A Quote by Zoe Kazan
I think action should be revealed through character, so if you have a plot problem, it's probably a character problem.
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Action is only really compelling when it reveals character - character revealed through action, and not action for its own sake.
PLOT is CHARACTER revealed by ACTION.
Think of it as the Doorway of No Return. The feeling must be that your lead character, once she passes through, cannot go home again until the major problem of the plot is solved.
The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.
Character is revealed through action.
In my books, women often solve the problem. Even if the woman is not the hero, she's a strong character. She does change the plot. She'll often rescue the male character from some situation.
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.
The Christian faith is the most exciting drama that ever staggered the imagination of man-and the dogma is the drama ... The plot pivots upon a single character, and the whole action is the answer to a single central problem: 'What think ye of Christ?'... He was emphatically not a dull m an in his human lifetime, and if he was God, there can be nothing dull about God either.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
As the character talks and moves, the world around him is slowly revealed, just like dollying a camera back for a wider look at things. So all my stories start with a character, and that character introduces setting, culture, conflict, government, economy... all of it, through his or her eyes.
I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
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.
A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no 'atmospheric' preoccupations. Such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude.
I try to find the human element in the character's problem. And often, it is; even if the struggle is grand and on a worldwide scale, the problem is very personal.
plot is character in action.
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.
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