Zitat des Tages über Handlung / Plot:
Certain writers look down their noses at plot, and I think I might have been one of them until I tried it.
If you are heartbroken and can't face the world, you need something with a fantastic plot. You won't be able to read anything boring because your attention span when you are heartbroken decreases by three-quarters.
Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.
What I look for in a script is the plot point and whether they're strong, obviously, or not, whether the characters are rich or not, and if I can do justice to the character or not. Some movies you look at and the script is so bad that no one can do anything with the script.
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.
Some movies I see today have the most dramatic plot points but the actors are not playing them dramatically.
Science fiction is an amazing literature: plot elements that you would think would be completely worn out by now keep changing into surprising new forms.
A lot of roles for people with disabilities are quite patronising. It's a real pity when they are just used to give dull PC kudos to a drama, or when they're wheeled on in a tokenistic way without any real involvement in the plot.
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.
In re-reading 'Presumed Innocent,' the one thing that struck me - and I re-read the book four different times in writing 'Innocent,' interested in different things each time - but I did think there were a couple of extra loops in the plot that I probably didn't need. The other thing that sort of amazed me was how discursive the book was.
Storytelling is ultimately a creative act of pattern recognition. Through characters, plot and setting, a writer creates places where previously invisible truths become visible. Or the storyteller posits a series of dots that the reader can connect.
In 'Law & Order,' your main job is to stay out of the way of the plot. On another show you'd receive your script and see stuff that seems challenging and feel excited that the writers thought highly enough of you to write it for you.
You asked what is the secret of a really good sketch. And it is a sketch is a small play. It's got a beginning, and a middle and an end. It should have a plot; it should have the characters, conflict. It is a little play. And in it, will be funny stuff.
I am not an analytical writer. Once I flesh out my characters and decide on the elements of my plot, the story unfolds in my head almost as though it was a movie reel.
Long before the idea of a writer's conference was a glimmer in anyone's eye, writers learned by reading the work of their predecessors. They studied meter with Ovid, plot construction with Homer, comedy with Aristophanes; they honed their prose style by absorbing the lucid sentences of Montaigne and Samuel Johnson.
I don't care how good a song is - if it holds back the storyline, stalls the plot, your audience will reject it.
The conventional Aristotelian plot proceeds by means of a protagonist, an antagonist, and a series of events comprising a rising action, climax and denouement.
If my writing comes to a halt, I head to the shops: I find them very inspirational. And if I get into real trouble with my plot, I go out for a pizza with my husband.
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.
An action movie should, like any other, follow the narrative traditions of literature. That means there should be subtlety, a slow build and a gradual bringing together of all the separate threads of the plot. To see all of it coming together slowly is very rewarding for the audience.
Wake the power within thee slumbering, trim the plot that's in thy keeping, thou wilt bless the task when reaping sweet labour's prize.
There are few films where you have women really driving the plot.
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.
As for 'Great Expectations', it is up there for me with the world's greatest novels, not least as it vindicates plot as no other novel I can think of does, since what there is to find out is not coincidence or happenstance but the profoundest moral truth.
When sex is necessary for the plot of a book, or a character development, then I don't shy away from it. Why should I?
I try to write something that would interest anybody and keep them turning the page. You must have a plot and good storyline.
Writing is truly a creative art - putting word to a blank piece of paper and ending up with a full-fledged story rife with character and plot.
Games, by nature, have more plot options and non-linear qualities than TV and film.
I have a book coming out in September, for example, where the plot concerns counterfeiting, and I had to do a lot of research on that. Or on any legal matters, for example, I have to do a lot of research online.
The beginning of a plot is the prompting of desire.
To this day, I get rewrite offers where they say: 'We feel this script needs work with character, dialogue, plot and tone,' and when you ask what's left, they say: 'Well, the typing is very good.'
I think the further away you get from completing a book, the more responses you see to it from readers, the more your own tastes and opinions shift and the more you start to see things you could have written differently in the detail, or done differently on the broader scale of plot and character.
I tend not to know what the plot is or the story is or even the theme. Those things come later, for me.
All we think about is how to keep the audience engaged, and normally we're big on plot because that's the easy way to do it.
I always try to tell a good story, one with a compelling plot that will keep the pages turning. That is my first and primary goal. Sometimes I can tackle an issue-homelessness, tobacco litigation, insurance fraud, the death penalty-and wrap a good story around it.
I did a show called 'Lois & Clark' - it was about Superman - years ago. They wanted someone to play the president of the United States. The plot was the president got kidnapped by a group, and they made a clone of him, who was very irresponsible and silly.