Top 1200 Plot Twists Quotes & Sayings - Page 20

All my life I thought that the story was over when the hero and heroine were safely engaged -- after all, what's good enough for Jane Austen ought to be good enough for anyone. But it's a lie. The story is about to begin, and every day will be a new piece of the plot.

With six weeks' worth of recuperation time, you'll also be able to see any glaring holes in the plot or character development. And listen--if you spot a few of these big holes, you are forbidden to feel depressed about them or to beat up on yourself. Screw-ups happen to the best of us.

Regarding themselves as irreplaceable, both Lenin and Stalin tried in different ways to destroy their successors - Lenin through a testament that attacked Stalin and Trotsky, Stalin through purges culminating in the Doctors' Plot of 1953.

I plot the par 5s back from the green and make my plan. If I can reach the green in two shots, I'm going to be aggressive off the tee. But if 's a three-shot hole, the goal changes. You want to put yourself in position to hit your favorite shot to the green.

The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion, the entire novel which suddenly becomes one you have never read, never even heard of, as if, one by one, the memories you used to harbor decided to retire to the southern hemisphere of the brain, to a little fishing village where there are no phones.

First comes an idea. Then, characters begin to evolve out of the landscape of that idea. And then, finally, characters dominate: plot is simply a function of what these people might do or be. Everything has to flow from their personalities; otherwise it will not be emotionally engaging, or plausible.

Have you ever visited that portion of Erin's plot that offers its sympathetic soil for the minute survey and scrutinous examination of those in political power, whose decision has wisely been the means before now of converting the stern and prejudiced, and reaching the hand of slight aid to share its strength in augmenting its agricultural richness?

Once you engage with the simple enough business of feeding yourself, of soil and water, weather, season and harvest, it becomes personal. It is about you, your family and friends. Food becomes an aspect of those relationships as well as your intimacy with your plot.

For me, Modern Warfare 3 's plot makes its signature turn around the bend when Russia invades Europe. As in, all of it. Simultaneously. Now, I've never invaded Europe, except for that one time, but I would think that's a project you might want to stagger out a bit if you haven't forged an alliance with any galactic empires lately.

There's so much material out there that's unnecessarily racist. It takes a shot at what is 'urban' or demonstrates blackness with some sassy, neck-jiving character that's not even relevant to the plot. I see it time and time again, and it doesn't move the story forward. It just kind of cryogenically freezes us in this old racial paradigm.

Man is eminently a storyteller. His search for a purpose, a cause, an ideal, a mission and the like is largely a search for a plot and a pattern in the development of his life story - a story that is basically without meaning or pattern.

Music, I find, gets you out of a trap [when screenwriting], because it speaks to your emotions directly, it's an abstract thing, it's not concerned with plot or story. And so music really helps - often I'll listen to the music and just write anything, just to get through.

While problems in a film are fairly easy to identify, the sources of those problems are often extraordinarily difficult to assess. A mystifying plot twist or a less-than-credible change of heart in our main character is often caused by subtle underlying issues elsewhere in the story.

You say fate is almost indispensable to literature - I think it's completely indispensable, at least in a novel, because a novel always has a plot. Even if nothing happens, even if someone just spends a day walking around Dublin, or whatever, there's still something going on.

I can't imagine otherwise - I guess Virginia Woolf could write wonderful novels where the women never have sex, and her novels work. But for me, I don't think I could write a plot without sex happening somewhere.

I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.

Mammootty came on board unexpectedly. 'Uncle,' which I am co-producing with Sajai Sebastian, was meant to be a low-budget film and we had almost cast another actor in the titular role. But, during the shoot of 'Puthan Panam,' I narrated the film's plot to Mammootty, who liked it and wanted to do the movie.

Listen, in dreams and especially in nightmares, from indigestion or anything, a man sees sometimes such artistic visions, such complex and real actuality, such events, even a whole world of events, woven into such a plot, with such unexpected details from the most exalted matters to the last button on a cuff, as I swear Leo Tolstoy has never invented.

Estimates are that in 2012, more than 32 million books were available - the explosion, thanks to the ease of self-publishing; 2013 could see even more titles grace our virtual bookstores! That means we are going to be awash in covers and titles, plot descriptions and characters.

Better that right counsels be known to enemies than that the evil secrets of tyrants should be concealed from the citizens. They who can treat secretly of the affairs of a nation have it absolutely under their authority; and as they plot against the enemy in time of war, so do they against the citizens in time of peace.

When I think about directing a film, the thing that stops me short is wondering if I'm a natural at it the way I think you, and PTA, and Fincher are born directors. Maybe some people's talent is in understanding the ways that film communicates, without dialogue, without plot.

One wise decision I made was buying a plot of land with planning permission in Richmond, and building my own five-bedroom home on it. I sold three years after I completed the building and more than doubled my money. I like Richmond and always have my eyes open for other properties in the area.

Blair liked to think of herself as a hopeless romantic in the style of old movie actresses like Audrey Hepburn and Marilyn Monroe. She was always coming up with plot devices for the movie she was starring in at the moment, the movie that was her life.

The 9/11 attack itself played out around the world, with planning meetings in Malaysia, operatives taking flight lessons in the United States, coordination by plot leaders based in Hamburg, and money transfers from Dubai - activities overseen by al-Qaeda's senior command from secure bases in Afghanistan.

If you look at the attached plot you will see that the land also shows the 1940s blip (as I'm sure you know). So, if we could reduce the ocean blip by, say, 0.15 degC, then this would be significant for the global mean—but we'd still have to explain the land blip.

I did the X-Men, and I plotted the stories, and Roy Thomas dialogued them. And that first set of comic books that I did are the plot that the first X-Men movie was taken from, where Magneto invents a machine that turns regular humans into mutants. That's my idea.

The film 'The Queen' came about with a producer saying to me that he wanted me to write about the circumstances behind Diana's death. I think he was hoping that I would come up with some journalistic scoop that would identify an MI5 covert plot.

I work on one book at a time. And yes, I am immersed. Six days a week for four to six hours a day. In between books, I stop writing for as much as two to three months, but during that time, I do research and think, plot and plan the book.

Did you ever see Cheech and Chong's Up in Smoke? That's what happens if you really smoke weed and make a movie. You get two guys and no plot and it's basically like, 'Yeah! Let's drive a van made of weed!' And that's pretty much the movie.

In a very literal way, of course, Shakespeare did change the course of history: when it didn't fit the plot he had in mind, he simply rewrote it. His English histories play fast and loose with chronology and fact to achieve the desired dramatic effect, re-ordering history even as it was then understood.

But, as an actress, you don't want to run into these scenes, willy-nilly. The couple that I did do were important for the character and essential to the plot, to show what was actually going on between each character. It is great to be able to have that, and to be able to say certain things and have certain passions.

Our easiest approach to a definition of any aspect of fiction is always by considering the sort of demand it makes on the reader. Curiosity for the story, human feelings and a sense of value for the characters, intelligence and memory for the plot. What does fantasy ask of us? It asks us to pay something extra.

I have learned a great deal from the theatrical side of Covent Garden. The Paris Opera Ballet is more concerned with technique. It's perfect. It's beautiful. It's well done. But it lacks the theatrical tradition that is so important in England. At the Royal Ballet, absolutely everyone on stage seems to be caught up in the plot.

As someone who is non-binary gender identifying, I feel a particular responsibility to portray members of my community on stage and on screen, not only as fully fleshed-out characters who are integral to the plot, but as characters whose gender identity is just one of many parts that make up the whole person.

If you look at the history of the letter in the novel, small changes in the British postal service became really significant because of how quickly people are suddenly able to communicate, and letters actually arrive at the intended time, and they arrive to the correct recipient. All of this is really important to a plot.

Integration is the biggest con job ever pulled on any group of people, any nationality in the world. It was a plot by white liberals to gain black political power for themselves and their wild ideas, and for a few black bourgeoisie who were paid to exercise leverage as black spokesmen.

To honor life, we must be willing to grow through what we don't know yet, and outgrow what we know no longer fits us. We must be willing to give in to the process, moment by moment, realizing a new plot may be unfolding.

A Thousand Pardons began at the beginning. I wanted it to be one continuous, almost breathless kind of story. In order to do that, it's really hard not to begin at the beginning. There's such a chain of consequence to everything that happens to main characters - it's very hard to break it apart and still be able to hold the plot in your head.

Alafair Burke understands the criminal mind. Long Gone is both an education and an entertainment of the first order. This is a very clever and very smart novel by a very clever and smart writer. The dialogue crackles, the plot is intriguing, and the pacing is perfect.

The Clinton machine is at the center of this power structure. We've seen this first hand in the WikiLeaks documents, in which Hillary Clinton meets in secret with international banks to plot the destruction of U.S. sovereignty in order to enrich these global financial powers, her special interest friends and her donors.

The world of fiction is a sovereign world that comes to life in the author's head and follows the rules of art, of literature. And that is the major difference that is reflected in the form of the work, in its language and its plot. An author invents every aspect of a fiction, every detail.

The needlework of lies and rumors seeks to distract peoples attention from the daily business of governance under the Presidents leadership. Those who continually plot for the Presidents downfall will never succeed because she is a hard-working President with no other agenda than to promote our peoples welfare

Part of the plot was a knock that V wanted to bring down the government and bring chaos. I don't know why I thought of Guy Fawkes, because it was during the summer. I thought that would be great if he looked like Guy Fawkes, kind of theatrical.

Imgur is a data-driven company, and our community is our most important signal. But you can't perfectly plot humans neatly into a chart. It takes someone with instincts and empathy to truly understand the community and represent them in all of the company decisions.

I think the great thing about the Jack Ryan films is that the plot and the story always take center stage. If you've done your job as the actor portraying Jack Ryan, you are present enough to make an impact, but you let the story shine.

Everything that you could think about in life, or experience, or be interested in, theoretically should be expressed or dealt with in cinema. But the way typical narratives are set up, there's no room for philosophy, because it's just digressive material. It's not advancing the plot, so there's no place for it. It's the kind of stuff you would cut out, and that you shouldn't have put in there to begin with.

There is only one thing a writer can write about: what is in front of his senses at the moment of writing... I am a recording instrument... I do not presume to impose "story" "plot" "continuity"... Insofar as I succeed in Direct recording of certain areas of psychic process I may have limited function... I am not an entertainer.

The ones [comedies] that I always liked, whether it's Terms of Endearment, Broadcast News, or Fast Times of Ridgemont High, they were all about two hours, or a little bit over two hours. With that extra 15 or 20 minutes, you can get to real character and you're not just stuck in plot.

The dominant metaphor of conceptual relativism, that of differing points of view, seems to betray an underlying paradox. Differentpoints of view make sense, but only if there is a common co-ordinate system on which to plot them; yet the existence of a common system belies the claim of dramatic incomparability.

We live in the world of images, but we also live in the world of the Internet, of zapping and where people move. You can make little videos on your phone. I love very composed images, but the idea of moving pictures with a story, with a plot is quite interesting, too.

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.

I had a plot connection that nobody understood for this fourth character, and decided, Oh, nobody gets it, that's all. I'll write another draft to make her make sense. It took me awhile to learn that these three people were the core of this play, which seems so obvious now.

I started as a playwright. Any sort of scriptwriting you do helps you hone your story. You have the same demands of creating a plot, developing relatable characters and keeping your audience invested in your story. My books are basically structured like three-act plays.

I hate SF books that think all you need to make a book is cool technology and mind-bending ideas without a decent plot or characters. And I hate when fantasy books are allowed to ramble off into five hundred page diatribes which don't advance the story one bit.

The fantastic thing about the theatre is that it can make something be seen that's invisible, and that's where my interest in theatre is- that you can be watching this thing happening with actors and costumes and light and set and language, and even plot, and something emerges from beyond that, and that's the image part that I'm looking for, that sort of added dimension.

I get a very vague idea and - perhaps because I once was a journalist, or perhaps because that's what made me want to be a journalist - I go off and explore it for a bit, rather than mapping out a plot and then filling in the research.

Typically in horror films the character just services the plot, and you really are just going from 'point a' to 'point b,' just so that you can end up at 'point c.' They are just sort of stick characters. That's just not interesting to me.

There is nothing - no program, no hobby, no vice, no crime - that does not 'create jobs'. Tsunamis, computer viruses and shooting convenience store clerks all 'create jobs'. So that claim misses the plot; it applies to all so is an argument in favor of none. Instead of an argument on the merits, it is an admission that one has no such arguments.

The first time I re-discovered the joy of watching an action movie was when I saw 'Die Hard.' It was a completely simple plot - a guy goes to meet his wife, and the building gets taken over by terrorists - but I was completely blown away. Great characters, and it moved along really fast.

There is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.