I'm trying to undermine the basis of Christian belief... I'm not in the business of offending people. I find the books upholding certain values that I think are important, such as life is immensely valuable and this world is an extraordinarily beautiful place. We should do what we can to increase the amount of wisdom in the world.]
If you write then you are reborn because by writing about the moment, you can relive it for a second time.
In our modern age, there are writers who have heaped scorn on the very idea of the primacy of story. I'd rather warm my hands on a sunlit ice floe than try to coax fire from the books they carve from glaciers.
There's an old rule of theater that goes, 'If there's a gun on the mantel in Act I, it must go off in Act III.' The reverse is also true.
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 actionis through. That is all Plot ever should be. It is human desire letrun, running, and reaching a goal. It cannot be mechanical. It canonly be dynamic. So, stand aside, forget targets, let the characters, your fingers, body, blood, and heart do.
I'm trying to undermine the basis of Christian belief... I'm not in the business of offending people. I find the books upholding certain values that I think are important, such as life is immensely valuable and this world is an extraordinarily beautiful place. We should do what we can to increase the amount of wisdom in the
I hate when people ask what a book is about. People who read for plot, people who suck out the story like the cream filling in an Oreo, should stick to comic strips and soap operas. . . . Every book worth a damn is about emotions and love and death and pain. It's about words. It's about a man dealing with life. Okay?
But, how do you know if an ending is truly good for the characters unless you've traveled with them through every page?
Reading a novel after reading semiotic theory was like jogging empty-handed after jogging with hand weights. What exquisite guilt she felt, wickedly enjoying narrative! Madeleine felt safe with a nineteenth century novel. There were going to be people in it. Something was going to happen to them in a place resembling the world. Then too there were lots of weddings in Wharton and Austen. There were all kinds of irresistible gloomy men.
And thus it happens that the reader, the closer he comes to the novel's end, the more he wishes he were back in the summer with which it begins, and finally, instead of following the hero onto the cliffs of suicide, joyfully turns back to that summer, content to stay there forever.
Nothing belongs to itself anymore. These trees are yours because you once looked at them. These streets are yours because you once traversed them. These coffee shops and bookshops, these cafés and bars, their sole owner is you. They gave themselves so willingly, surrendering to your perfume. You sang with the birds and they stopped to listen to you. You smiled at the sheepish stars and they fell into your hair. The sun and moon, the sea and mountain, they have all left from heartbreak. Nothing belongs to itself anymore. You once spoke to Him, and then God became yours. He sits with us in darkness now to plot how to make you ours.” K.K.
But he doesn't love her. I invented that. It is a plot if you imagine people in love--the lazy looping criss crosses of love, blows, stares, tears. No. It doesn't happen. No love. People meet, touch, stare into one another's faces, shake their heads clear, move on, forget. It doesn't happen.
The night it fallsThe stars shine throughThe inky blackThat is the cueFor plot demandsThat dreams be sownThe fantasies I have aloneThe words come fastThey flow like wineI am the midnight writer...
You keep waiting for the moral of your life to become obvious, but it never does. Work, work, work: No moral. No plot. No eureka! Just production schedules and days. You might as well be living inside a photocopier. Your lives are all they're ever going to be.
In pursuit of your Purpose, don't miss the plot by concentrating on making money. Rather focus on helping people by presenting solutions to their problems for it is a guaranteed route to making money in the future.
Believe in YourselfWhy must we see something to believe in its existence?The wind itself cannot be seen by man, but all have felt it's gentle touch and watched the mighty trees bow as it swept past.We cannot see love yet its nurturing warmth is the essence of our being and sorrow can touch our very soul. For remorse is like a ripple on the ocean, once given it remains only in the heart of the receiver.Yet all of these cannot be seen only felt. Why then do you doubt your self-worth? For though it cannot cast a reflection in the mirror you have only to look in the eyes of those you love toSee it clearly.Prologue To Kiss a KingTo Kiss a King Copyright © 2017 by Julie Brookshier and Robin WoodsAll rights reserved. Except for use in a review, the reproduction or use of this work in whole or in part in any form is forbidden without written permission of one or more of the authors.This is a fictional work. Names, characters, places, and events are merely the product of the authors' imaginations or used fictitiously, purely for entertainment purposes. Any resemblance to actual persons, living, dead, or undead or any business establishments, events or places past, present, or future, is entirely coincidental.
What frightened me most was, I could no longer believe in my own life as a story. Everyone needs a story, a part to play in order to avoid the realization that life is without significance. How else do any of us survive? It’s what makes life bearable, even interesting. When it becomes neither, people say you’ve lost the plot. Or just lost it.
I’m a little bit of a plot junkie. I like stakes in my books. Sometimes storytelling gets a bit of a bad rap. “Plot’s easy” or “there’s a higher art we are all aspiring to.” Yes, first and foremost we are all aspiring to that art but I also think it has to have a certain propulsiveness, a certain thing that’s keeping me turning the pages. No matter how great the voice is you will have problems in the plot that will enable somebody to put it down. There are too many things competing for everyone’s attention to allow anyone to put that book down. I don’t want the reviewer to put it down because they’ve got 50 galleys stacked up. I don’t want the reader to put it down.
I have no problem in moving a date one way or another or coming up with a subplot that gets my characters in (or out) of a fix more rambunctiously than the extant records show.
The life of a writer is directed by a mad impulsive muse, that can tell them to cancel all their storyline: a creative divergent devil.
Don't bother looking for the meaning of it all. There isn't one.Maybe not, but life compulsively dangled the possibility. Life, the dramatist on speed. Life, that couldn't stop with its foreshadows and ironies and symbols and clues, its wretched jokes and false endings and twists. Life with its hopeless addiction to plot.
You have to have a plot too, you know? Because without it, your life is less of a story and more of an empty paper.
The last time she was up here, she had been... staring up at the sky and dreaming of stars. Now, she looked down and plotted flames.
What a disgrace! They were afraid...ashamed...they chose to conceal it...they buried the roots of a Great Civilization...they lacked the courage to go further...and turned their backs on what science had to offer them...and tried to seal away forever the hole they had torn open with their own hands.
Dan, I'm not a Republic serial villain. Do you seriously think I'd explain my master-stroke if there remained the slightest chance of you affecting its outcome? I did it thirty-five minutes ago.
There are stories that don't need a plot. Sooner or later they rise above the confusion and untangle their mysteries in a series of sentences.
Stories start in all sorts of places. Where they begin often tells the reader of what to expect as they progress. Castles often lead to dragons, country estates to deeds of deepest love (or of hate), and ambiguously presented settings usually lead to equally as ambiguous characters and plot, leaving a reader with an ambiguous feeling of disappointment. That's one of the worst kinds.