I'm not much of a plotter. I start off with an inciting incident, and in classic crime fiction what happens is that all the action flows from that incident. It's very comfy when it all ties up and feels like a complete universe, but my stuff doesn't always work that way.
Essentially and most simply put, plot is what the characters do to deal with the situation they are in. It is a logical sequence of events that grow from an initial incident that alters the status quo of the characters.
That President Mohammad Khatami's policies have been blocked is the bitterest incident in the contemporary Iranian history. This means that the wishes of millions of people who voted for Khatami and called for freedom and justice have been ignored... Why should cultural activities and journalism be so risky in Iran?
For me, it is important to pick up characters which I can relate to. Or I recall an incident in my life or tap into my innermost emotions and try to bring that reality on to the screen.
I had one incident where my daughter said that a girl asked if she was a brown person. I said, 'We're black. You have black people, white people, Chinese people, Hispanic people; we're all brought up differently.'
You may think it was a very little thing, and in these days it seems to me like a trifle, but it was a most important incident in my life. I could scarcely credit that I, the poor boy, had earned a dollar in less than a day; that by honest work, I had earned a dollar. I was a more hopeful and thoughtful boy from that time.
There was an incident in Argentina when I was making a film called 'The Warrior and the Sorceress.' There were, like, 40, 50 sword fighters and martial artists on the set, and one of the sword fighters challenged me. I said, 'Look, you don't want to fight me. Nobody wants to fight me. You gotta be crazy to want to fight me.'
I lived near the border with China, and one night, I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident.
A disagreement or incident involving someone who's not that important to you, like a guy who cut you off in traffic or a rude cashier, is something that should roll off your shoulders. Save the effort for resolving conflicts with the people you cherish.
The process of writing is like creating a game of dominoes: The first domino creates the second incident, and so forth until the end.
What people fear most about tragedy is its randomness - a taxi cab jumps the curb and hits a pedestrian, a gun misfires and kills a bystander. Better to have some rational cause and effect between incident and injury. And if cause and effect aren't possible, better that there at least be some reward for all the suffering.
'Blind Curve,' the book I'm working on now, sprang from a crazy incident that happened to me last year while on my book tour. I was pulled out of my car for a minor traffic violation - an incident that escalated into my being thrown into cuffs and told I was going to jail. Except in my story, the hero doesn't get off as easily as I did.
There was an incident, in 1912, which 'gave me a turn,' so to speak: when I brought the 'Nude Descending a Staircase' to the Independants, and they asked me to withdraw it before the opening.
We have the purveyors of hatred who take every single incident between people of two races and try to make a race war out of it and drive wedges into people. And this does not need to be done.
I still think that we have a hesitance to talk about things racial. And I think we do it at our detriment. We go from incident to incident, and we have spikes in which race becomes something that we talk about, as opposed to talking about race in those less contentious times when I think we might make more progress.
When an incident is reported, HR almost always starts from a place of disbelief. They request evidence and ask for proof. But if HR is investigating a sexual harassment case within the company, it is their duty as HR to protect their employees. That is the sentiment that has to shift.
No, you don't have to start your play with a premise. You can start with a character or an incident, or even a simple thought. This thought or incident grows, and the story slowly unfolds itself. You have time to find your premise in the mass of your material later. The important thing is to find it.
I gave my heart to the Lord, and I remember the incident vividly. The Lord spoke to me. I know that sounds funny. It was not an audible voice or anything of that nature.
Marriage, to women as to men, must be a luxury, not a necessity; an incident of life, not all of it.
In the final analysis, the incident is seen as originating from an emotional expression of the frustration and anger of the proud people of China who had been subject to ever increasing oppression from without and decadent corruption from within.
