A Quote by Ted Dekker
If Slater were someone else, Kevin would merely be the poor victim of a horrible plot. Unless he was killed by Slater, in which case he would be the dead victim of a horrible plot
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The main difference is, in 'Cold Case,' the victim sometimes had been dead for decades - you didn't have the advantage of being able to interview the victim. You had to piece together the circumstances surrounding the crime from witnesses and other evidence. 'SVU' is much more immediate in that you can talk to the victim.
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.
I did this movie, 'A Walk Among the Tombstones' - I truly play a horrible, horrible individual in that - and I would occasionally go to the theater and watch what people's responses were, and they would laugh. He makes jokes, and people would respond to him in a human way. Then I've really done my job if I've humanized a really horrible person.
Being a victim doesn't take much. There are built-in excuses for failure. Built-in excuses for being miserable. Built-in excuses for being angry all the time. No reason to trying to be happy; it's not possible. You're a victim. Victim of what? Well, you're a victim of derision. Well, you're a victim of America. You're a victim of America's past, or you're a victim of religion. You're a victim of bigotry, of homophobia, whatever. You're a victim of something. The Democrats got one for you. If you want to be a victim, call 'em up.
Plot comes first. The plot is the archictecture of your novel. You wouldn't build a house without a plan. If I wrote without a plot, it would just be a pile of bricks. Characters are your servants. They must serve your plot.
'Stop playing the victim.' - unless you've been cast in a community theater production of 'Law & Order: SVU,' I'm not sure why anyone would choose to play victim.
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.
Capital punishment is the most premeditated of murders, to which no criminal's deed, however calculated can be compared. For there to be an equivalency, the death penalty would have to punish a criminal who had warned his victim of the date at which he would inflict a horrible death on him and who, from that moment onward, had confined him at his mercy for months. Such a monster is not encountered in private life.
If forgiving depended on the culprit owning up, then the victim would always be at the mercy of the perpetrator. The victim would be bound in the shackles of victimhood.
When you're a victim, you automatically have a built-in excuse for failure. When you are a victim, it's always somebody else's fault. When you're a victim, success is not possible. When you are a victim of something, you are acknowledging that you are as far as you're gonna get, and you can't get any further, because there are more powerful forces arrayed against you than the force of yourself against it.
The plot is very important because writers have to play fair with their readers, but no one would care about the plot if the character work wasn't there. So, basically every book I work on starts with me thinking not just about the bad thing that's going to happen, but how that bad thing is going to ripple through the community, the family of the victim, and the lives of the investigators. I am keenly aware when I'm working that the crimes I am writing about have happened to real people. I take that very seriously.
[The witch] would have known that when a willing victim who had committed no treachery was killed in a traitor’s stead, the Table would crack and Death itself would start working backwards.
'Rozabal' was theological while 'Chanakya' is political. Unlike 'Rozabal,' which was about research, the aim of 'Chanakya' is plot, plot, plot, which carries the character. The common DNA, of course, is history.
I don't think plot as a plot means much today. I'd say that everybody has seen every plot twenty times. What they haven't seen is characters and their relation to one another. I don't worry much about plot anymore.
The thing that most people didn't understand, if they weren't in his line if work, was that a rape victim and a victim of a fatal accident were both gone forever. The difference was that the rape victim still had to go through the motions of being alive.
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.
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