The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.
I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
I didn't want to do comedy again. It is way harder when you are doing comedy. You can't just concentrate on the character and the plot. In comedy, the writers, instead of obsessing about character and plot, obsess about the jokes.
The characters are the plot. What they do and say and the things that happen to them are, in a sense, what the plot is. You can't take character and plot apart from each other, really.
When you describe a character's dream, it has to be sharper than reality in some way and more meaningful. It has to somehow speak to plot, character, and all the rest.
I try not to divide plot and character. I get to know a character by what they want and fear and how those internal forces play out in their lives.
My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.
I definitely feel that plot flows from character. I don't believe that you can construct a plot and insert people into it.
I definitely feel that plot flows from character. I dont believe that you can construct a plot and insert people into it.
Dialogue is character and character is plot.
I think action should be revealed through character, so if you have a plot problem, it's probably a character problem.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
I pride myself on doing character-driven movies and, when my movies have worked, it's been because of the right casting and the right character, and it just clicks.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.