Character-Driven Plot Quotes

Character is plot, plot is character.

Dialogue is character and character is plot.

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.

When I'm writing a script, I don't worry about plot as much as I do about people. I get to know the main characters - what they need, what they want, what they should do. That's what gets the story going. You can't just have action, you've got to find out what the characters want. And then they must grow, they must go somewhere.

Character is the plot in many ways

On 'Master of None,' the majority of the episodes were just one story, and that was by design because we really wanted to focus in on the character of Dev and get the audience in his head.

Black Books adheres to a more old fashioned, traditional sitcom format, which I think works, because in its own way, it's quite theatrical.

Characters make their own plot. The dimensions of the characters determine the action of the novel.

I think we're going to enter a phase where there's less interest in the CGI and there's a demand for story again. I think we've dropped the ball a little bit on stories for the sake of the amazing toys that we've played with.

If a writer is true to his characters they will give him his plot. Observations must play second fiddle to integrity.

People are falling in love with characters now, and that is why writers are creating such stories. I am really happy that such stories are getting prominence.

I will never do a usual film with song and dance; the character has to be important.

What I would like to do is a thriller. I've been wanting to do that for a long time, but one that was not at all dependent on special effects. Just purely psychological, but will scare the hell out of you. That's what I would like to do. I have not found it yet.

The instant that movies became described as character driven was the instant when characters stopped mattering in movies. In other words, the birth of the notion of the character-driven movie coincided with the birth of movies in which characters were incidental to the very activities in which they engaged.

'Dhruva' is not a first person narrative of Siddharth Abhimanyu.

'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.

Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.

I write sentence to sentence. That's the kind of writer I am. I don't have a plot when I begin. I have to be convinced and I have to be surprised.

The characters are the plot. What they do and say and the things that happen to them are, in a sense, what the plot is. You can't take character and plot apart from each other, really.

The shows I've been working on, especially 'Parenthood' and 'Friday Night Lights,' I think are completely character-driven stories. I think, for most writers, that's a privilege to be telling those kinds of stories. It's erroneous to me.

In independent film you tend to have stories that involve more of a community, and the smaller characters are important to the story.

Not Going Out' is a pretty neutral sitcom - to quote the 'Seinfeld' thing, it's not really about anything.

I think people forget how radical the narrative of 'Slacker' is. There's no story, you know? We could go from one character to the next to the next and never return.

'Monk' planted the seed that a procedural could have character and be quirky and have comedy.

It's great when you see things on a massive scale and you see these huge sets, but it's not the be-all and end-all - it can be about characters as well.