Top 1200 Plot Lines Quotes & Sayings

I came to the destruction of volume by the use of the plane. This I accomplished by means of lines cutting the planes. But still, the plane remained too intact. So I came to making only lines and brought the colour within the lines. Now the only problem was to destroy these lines also through mutual oppositions.

If we wish to count lines of code, we should not regard them as "lines produced" but as "lines spent."

I tend to favour films that have multiple plot and story lines, multiple characters and ensemble pieces.

As full lines of battle could not be handled through the thick wood, I ordered the advance of the six brigades by heavy skirmish lines, to be followed by stronger supporting lines.

'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.

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.

They plot, they plot, sleeping or afoot they never let up.

Plot a murder, you're saying. But every plot is a murder in effect. To plot is to die, whether we know it or not.

It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.

Plots are artificial. Does your life have a plot? It has characters. There is a narrative. There's a lot of story, a lot of character. But plot? Eh, no.

I plot as I go. Many novelists write an outline that has almost as many pages as their ultimate book. Others knock out a brief synopsis... Do what is comfortable. If you have to plot out every move your characters make, so be it. Just make sure there is a plausible purpose behind their machinations. A good reader can smell a phony plot a block away.

I just focus on getting the first scene right, with a few lines about the overall plot, and then the book grows organically.

Part of the mystique of shows like 'Curb Your Enthusiasm' is the idea that they begin with a couple of plot lines, and then a bunch of geniuses improvise dialogue. It's not quite that unstructured and loose. It makes for a good urban myth, but everything's a little more tightly scripted and programmed than that.

I thought I could rely on the plot in the novel and fill in the colour between the lines, but I made a mistake with that assumption. It was really, really hard because you pull a few things apart and then you realise how everything relies on everything else and it can all fall apart.

The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.

According to the media, trans women were subject to pain and punch lines. Instead of proclaiming that I was not a plot device to be laughed at, I spent my younger years internalizing and fighting those stereotypes.

Those of us raised in modern cities tend to notice horizontal and vertical lines more quickly than lines at other orientations. In contrast, people raised in nomadic tribes do a better job noticing lines skewed at intermediate angles, since Mother Nature tends to work with a wider array of lines than most architects.

Characterization is not divorced from plot, not a coat of paint you slap on after the structure of events is already built. Rather characterization is inseparable from plot.

Narrativity presumes a special taste for plot. And this taste for plot was always very present in the Anglo-Saxon countries and that explains their high quality of detective novels.

Obviously, a theatrical masterpiece needs more than a plot; many television shows are nothing but plot, and it is doubtful that they will stand the test of time. But I also don't think that making fun of plot or acting like we're all somehow 'above' structure is such a good idea.

My books are primarily plot driven but the best plot in the world is useless if you don't populate them with characters that readers can care about.

That's what life is, it's the small struggles. You walk down the street for half an hour, you see half an hour of drama. You don't need convoluted plot lines. You don't need long-lost brothers. You don't need it's set on the future; it's set on the moon.

Most short stories have but one plot. The very best, however, have what I call a plot-and-a-half – that is, a main plot and a small subplot that feeds in a twist or an unexpected piece of business that ads crunch and flavor to the story as a whole.

The romance is the primary plot in a story that has two plots. The second plot is not a subplot, but one that is interwoven with the romance plot (if that makes sense.) A story needs compelling characters in a compelling plot.

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.

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.

The whole idea of Mass Effect3 is resolving all of the biggest questions, about the Protheons and the Reapers, and being in the driver's seat to end the galaxy and all of these big plot lines, to decide what civilizations are going to live or die: All of these things are answered in Mass Effect 3.

My sister and brother are both writers as well. We are constantly discussing story and plot lines. And I love to discuss story ideas with my husband.

'True Blood' differs from 'Six Feet Under' in that there are way more characters and plot-lines, but fundamentally it's still about the characters and their emotions.

In this age, I don't care how tactically or operationally brilliant you are, if you cannot create harmony - even vicious harmony - on the battlefield based on trust across service lines, across coalition and national lines, and across civilian/military lines, you need to go home, because your leadership is obsolete. We have got to have officers who can create harmony across all those lines.

Is it possible Hanukkah doesn't inspire folksy songs? Plot lines may be a part. The Christmas story has a lot of material to work with. There's Jesus and his birth, the wise men, their gifts and tons of frankincense.

We don't usually start out with a plot that we can pitch in two lines. We spend a year brainstorming and discussing ideas that are sometimes of a visual nature, sometimes just about characters and then we try to structure the story.

This means keeping many trails open at once, inevitably requiring a fairly 'parallel' plot. This plot should be discovered rather than announced, so show, don't tell.

I definitely feel that plot flows from character. I don't believe that you can construct a plot and insert people into it.

One difference between film noir and more straightforward crime pictures is that noir is more open to human flaws and likes to embed them in twisty plot lines.

Plot is people. Human emotions and desires founded on the realities of life, working at cross purposes, getting hotter and fiercer as they strike against each other until finally there's an explosion-that's Plot.

Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded.

When I'm plotting out a book, I use a storyboard - I'll have maybe three lines across on the storyboard and just start working through the plot line. I always know where relationships will go and how the book is going to end.

If something is crucial to the plot, then I'd better be sure I've got my facts straight. Readers of crime novels are smart and savvy, and they'll waste no time letting me know if there's a hole in my plot.

I know from the past, critics often say my films don't have any plot, that kind of thing. I'm used to being told, "Yeah, it's slow and has no plot."

Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.

And if I'm guilty of having gratuitous sex, then I'm also guilty of having gratuitous violence, and gratuitous feasting, and gratuitous description of clothes, and gratuitous heraldry, because very little of this is necessary to advance the plot. But my philosophy is that plot advancement is not what the experience of reading fiction is about. If all we care about is advancing the plot, why read novels? We can just read Cliffs Notes.

Try this experiment: Pick a famous movie - 'Casablanca,' say - and summarize the plot in one sentence. Is that plot you just described the thing you remember most about it? Doubtful. Narrative is a necessary cement, but it disappears from memory.

The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.

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.

Sometimes my plot lines are so convoluted, I get calls from friends at 3 am saying; you SOB, you'll never pull this one off.

I definitely feel that plot flows from character. I dont believe that you can construct a plot and insert people into it.

A page a day means I need to focus on a gag a day, and that's great for laughs but bad for plot, and I'm primarily a plot guy.

Remember: Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations. Plot is observed after the fact rather than before. It cannot precede action. It is the chart that remains when an action is through. That is all Plot ever should be. It is human desire let run, running, and reaching a goal. It cannot be mechanical. It can only be dynamic.

Baseball is part of America's plot, part of America's mysterious, underlying design-the plot in which we all conspire and collude, the plot of the story of our national life.

So you think the best way to prepare kids for the real world is to bus them to a government institution where they're forced to spend all day isolated with children of their own age and adults who are paid to be with them, placed in classes that are too big to allow more than a few minutes of personal interaction with the teacher-then spend probably an hour or more everyday waiting in lunch lines, car lines, bathroom lines, recess lines, classroom lines, and are forced to progress at the speed of the slowest child in class?

What's the Future? It's a blank sheet of paper, and we draw lines on it, but sometimes our hand is held, and the lines we draw aren't the lines we wanted.

My outlines can be 10-20 pages in length and focus primarily on the physical active plot over the emotional plot.

"Novels and gardens," she says. "I like to move from plot to plot."

You can't remember the plot of the Dr Who movie because it didn't have one, just a lot of plot holes strung together. It did have a lot of flashing lights, though.

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.

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.

Life and career are the same thing. Every life has to have a plot and a plan. You have to recognize this early and be quite cold-blooded in the discovery and articulation of that plot.

[Barack] Obama can draw lines for himself and his country, not for other countries. We have our red lines, like our sovereignty, our independence, while if you want to talk about world red lines, the United States used depleted uranium in Iraq, Israel used white phosphorus in Gaza, and nobody said anything. What about the red lines ? We don't see red lines. It's political red lines.

I want the plot to be as complicated as possible. Usually I'll write all the way through to an end, and then I go back and try to fix the ending so that it makes sense. I don't think out the plot ahead of time.