A Quote by Michael Trucco
It's an interesting plot device to enter in a third wheel - it always helps raise the stakes for all parties involved. But often, those characters can be one-dimensional.
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Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.
Any plot you impose on your characters will be onomatopoetic: PLOT. I say don't worry about plot. Worry about the characters. Let what they say or do reveal who they are, and be involved in their lives, and keep asking yourself, Now what happens? The development of relationship creates plot.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
Fiction writers come up with some interesting metaphors when speaking of plot. Some say the plot is the highway and the characters are the automobiles. Others talk about stories that are "plot-driven," as if the plot were neither the highway nor the automobile, but the chauffeur. Others seem to have plot phobia and say they never plot. Still others turn up their noses at the very notion, as if there's something artificial, fraudulent, contrived.
There are two parties involved in every corrupt transaction, typically a government official and a business person. Yet those who pay bribes are often depicted as innocent victims ... The reality is that both parties conspire to defraud the public.
We are actually fourth dimensional beings in a third dimensional body inhabiting a second dimensional world!
While I've written in the POV (point of view) of adolescent characters before... I never have had to create novels in which those characters not only drive the plot, but also are instrumental in resolving whatever issue the plot deals with.
I think there's grays in characters if you look at all the great characters, those characters that have those layers of being good and being bad and what's the struggle. It's always more interesting to watch.
The first act is the easiest to plot. The second act is always the hardest to plot. Generally a good, you know, sometimes the third act can be difficult because you can get into a rut in the third act - everybody runs to their Corvette, has a chase, and you catch the bad guy.
To be honest, in 2012, I was against both candidates, and so I just picked any third party because I thought if more people voted for third parties then they'd have to take third parties seriously.
In plotting a book, my goal is to raise the stakes for the characters and, in so doing, keep the reader mesmerized.
Often, female characters are quite one dimensional, especially in a two hour film; television gives characters room to breathe and develop.
I find that I am much slower in the beginning of a book. I am thinking of the plot, of the characters and who they are, and where they are going. I often throw out a lot of the writing I start with, because the characters and plot improve as I write. Or perhaps I should say it is my hope they will improve as I write.
I look for an interesting and often times, fresh character. Something different that what is done all the time or than I've done recently. I look at who is directing. Those two variables as well as a third, which is the content and the quality of the screenplay. I look at the arcs of the scenes and characters and relationships.
The writer must always leave room for the characters to grow and change. If you move your characters from plot point to plot point, like painting by the numbers, they often remain stick figures. They will never take on a life of their own. The most exciting thing is when you find a character doing something surprising or unplanned. Like a character saying to me: ‘Hey, Richard, you may think I work for you, but I don’t. I’m my own person.’
My face lends itself to austere characters, and unless they're two-dimensional, I will do them. Any actor will tell you that an interesting villain is much more interesting to play.
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