Plot Dynamics Quotes

If we were writing what the fans wanted to see, Betty and Jughead would be the most linear, monotonous narrative of all time.

Once, a French journalist told me that all my films are the same. I said, 'Excuse me? I work hard to make them different.' What she meant was that in my films there is a character that faces insurmountable odds, and they overcome them. But I thought that might be true, but you need certain factors for drama, and you need to overcome them.

There are two generic and invariable features that characterize utopias. One is the content: the authors of utopias paint what they consider to be ideal societies; translating this into the language of mathematics, we might say that utopias bear a + sign. The other feature, organically growing out of the content, is to be found in the form: a utopia is always static; it is always descriptive and has no, of almost no, plot dynamics.

We want our villains and antagonists to have distinct motivations.

I try not to divide plot and character. I get to know a character by what they want and fear and how those internal forces play out in their lives.

I quite like some of the movies that have many characters in them.

For me, in any story that I take, the antagonist is more interesting and multi-dimensional.

Plot is a literary convention. Story is a force of nature.

There's an idea that action movies are more attractive to one gender than the other or different kinds of people or whatever. The truth is action is not any different than any other part of a story.

With 'Red Sonja', it's a single character leading a book although there's a supporting cast, whereas 'Secret Six' is basically six characters who have equal time and equal place in the book, so it's got a team dynamic that 'Red Sonja' doesn't have.

Overpopulated fiction can be so confusing that readers put the story down. Under-populated novels can seem claustrophobic or boring. You want the right number of characters for your particular work.

A good novel should be deeply unsettling - its satisfactions should come from its authenticity and its formal coherence. We must feel something crucial is at stake.

I love sentences. I love characters. But most of all, perhaps, I love to work on plot, and that may be where my natural gifts lie, if I have any. I like to think hard about plots in TV shows and films.

Most of the time when you see a movie, the best character in the movie is not "the guy," it's the guy next to the guy.

I like to play bad guys, since good guys are always beaten up several times during the movie. Bad guys are beaten only once, in the end.

We always try to go back to character: What do they want? What are they doing? What's in motion that they're dealing with? When things get particularly heavy, we will take a step back and look at who has some room to have some things lighter, funnier, or sweeter happen.

In most shows, there's usually a hero or a protagonist, and even if there are multiple heroes or protagonists, most shows try and make it so you really always know who's the good guy and who's the bad guy.