Top 1200 Plot Twists Quotes & Sayings - Page 2

The more secrets and twists in a character, the better.

To plot is to live. […] We start out lives in chaos, in babble. As we surge up into the world, we try to devise a shape, a plan. There is dignity in this. Your whole life is a plot, a scheme, a diagram. It is a failed scheme but that's not the point. To plot is to affirm life, to seek shape and control. Even after death, most particularly after death, the search continues. Burial rites are an attempt to complete the scheme, in ritual. Picture a state funeral, Jack. It is all precision, detail, order, design. The nation holds its breath. - (WN 292)

I'm a pantser. I try to plot. I always try to plot. I end up with a few paragraphs that basically outline the gist of the story.But I never get much beyond that. I get too impatient to write.

Life has many twists and turns.

Each time I'm starting to work on a film, even if I love to settle the plot in the real world, I start to think about the plot as a fairy tale, or a dream, or a nightmare... As if it was the best way to tell the truth about characters or narration, instead of realism.

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.

An idea has no worth at all without believable characters to implement it; a plot without characters is like a tennis court without players. Daffy Duck is to a Buck Rogers story what John McEnroe was to tennis. Personality. That is the key, the drum, the fife. Forget the plot.

The character can never be static from book to book. People might think you just come up with a new plot and stick this guy in. Well, he has to be as new as the plot every time.

What interests me about fiction is plot. And what interests me about plot is whether someone tells a story that moves me within the constraints of storytelling. And I have narrowly defined storytelling.

In musical theater, if you have a song, it has to advance the plot. If you have a song in a musical and it does not advance the plot, it gets dropped.

In the 'Buffy' room, it was never about a plot twist, ever. It was always about, 'Tell the story, tell the characters, complicate their lives, make things get worse,' but we never worked backwards from the plot, and it was always a great lesson.

Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.

I mean suspense, twists are almost impossible these days.

Everything happens for a reason. I'm grateful for the twists and the turns, as painful as they've been.

The choices we make within the boundaries of the twists of fate determines who we are

My advice to aspiring writers of fantasy trilogies or series is that each book needs two main plots. There's the 'big story', the over-arching grand plot of the entire series, and there is the complete-in-itself, one-book plot.

the marriage twists, holds firm, a sailor's knot.

Physiologically adult humans are not meant to spend an additional 10 years in a school system; their brains map that onto "I have been assigned low tribal status". And so, of course, they plot rebellion - accuse the existing tribal overlords of corruption plot, perhaps to split off their own little tribe in the savanna, not realizing that this is impossible in the Modern World.

I've always said I'm less interested in twists as I am about escalation.

After preliminary research, I zero in on an idea, and then I spend at least four months exploring the topic and in plot-building. I jot down every single detail of the plot as bullet points per chapter, and only when the skeleton is complete do I start writing.

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

Don't be surprised at Fortune's turns and twists: That wheel has spun a thousand yarns before.

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.

As writers and readers, we're drawn to conflict. It's that ancient theory of plot that's written on the whiteboard during every fiction workshop, characters who want something overcoming obstacles as a way to create narrative momentum and suspense. So there's that, that trauma gives us more plot.

Sometimes, like in 'Invisible Monsters,' I get too out of control, and instead of a plot point every chapter, I want a plot point in every sentence.

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.

I've tried and I can't. The thought of it twists me in a knot.

[E]very plot, worth the name, must be elaborated to its dénouement before anything be attempted with the pen. It is only with the dénouement constantly in view that we can plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points tend to the development of the intention.

I think plot is very overrated. Plot is obviously necessary, but what I really care about is emotionally affecting the audience. Having a thought myself and then an emotional experience myself, somehow transferring that to the audience.

We loved the original 'Dynasty' - the camp and the big, surprising, soapy twists.

As regards plot I find real life no help at all. Real life seems to have no plots. And as I think a plot desirable and almost necessary, I have this extra grudge against life.

I write fast. But it takes me a while to get going. It's very important for me to see my whole plot. I have to see the end first because I like a surprise in the end. Which is why I let characters and plot gestate in my mind.

To fate and the strange way that it twists us all together.

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 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.

The straight line cannot proceed through the torturous twists of life.

I've always figured the only way I could finish a book and get a plot was just to keep making it longer and longer until something happens - you know, until it finds its own plot - because you can't outline and then fit the thing into it. I suppose it's a slow way of working.

I had to write something and couldn't think of a plot, so I decided to write a Cinderella story because it already had a plot! Then, when I thought about Cinderella's character, I realized that she was too much of a goody-two-shoes for me, and I would hate her before I finished ten pages.

Only a struggle twists sentimentality and lust together into love.

I detest the word plot. I never, never think of plot. I think only and solely of character. Give me the characters; I'll tell you a story-maybe a thousand stories. The interaction between and among human beings is the only story worth telling.

The twists and turns of your life can be so unexpected, and that's a good thing to learn.

It's so refreshing to just play straight-ahead music with lots of twists.

The rollercoaster has its ups and downs, loops and twists but enjoy the ride. We are all on it together.

It is possible to combine a story line and plot line in the same work. Usually the storylines comes first, serving as a background to the plot line, but not always.

Younger people have greatest fears. Why is that? Because they don't know the plot. They don't know their own individual plot... they don't know what's going to happen to them.

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.

We turn the Cube and it twists us.

If often happens too, both in courts and in cabinets, that there are two things going on together,--a main plot and an under-plot; and he that understands only one of them will, in all probability, be the dupe of both. A mistress may rule a monarch, but some obscure favorite may rule the mistress.

One of the things I learned as a young semiotics nerd was that if you have plot moving forward, no matter how banal the facts of it, simply the fact that the plot is rolling forward makes you wonder what's going to happen next, which creates suspense. So you can control peoples' attention simply by having things move forward in a story.

I love good stories; you have to have a good plot - characters which intertwine with a good plot.

The way I pack is I look at how long I'll be gone and I pack day for day. If I'm going on a three-day fishing trip, I plot each day. I put most of that in a little bag. If I'm going from there to work on golf courses for a few days, I plot that trip.

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.

My writing has a lot of surprising twists.

Story is about pulling the reader in and a plot is a more externalized mechanism of revelation. A plot is more antic, more performative, and less intimate. When you're telling a story you're telling it into someone's ear.

Life is not what you expect: it is made up of the most unexpected twists and turns.

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.

Not only a great game, 'Uncharted 2' raised the bar for storytelling for the medium. The game treated action as a part of the overall story rather than a way to move from plot point to plot point.

I give a glamorous twists to rangolis by combining it with beautifully crafted diyas.

Plot is just not my gift. I'm fascinated with complex characters, and that doesn't mix well with complex plots. And by the way, when the plot is simple, you can move one piece around and make it feel fresh. Hell or High Water's a good example: I don't tell you why the brothers are robbing the bank.

I don't really believe in 'directions' in art; the rope twists as you follow it, that's all.