Intricate Plot Quotes

40 Words for Sorrow is brilliant-one of the finest crime novels I've ever read. Giles Blunt writes with uncommon grace, style and compassion and he plots like a demon. This book has it all-unforgettable characters, beautiful language, throat-constricting suspense.

Steven Erikson is an extraordinary writer. I read Gardens of the Moon with great pleasure. And now that I have read it, I would be hard pressed to decide what I enjoyed more: the richly and ominously magical world of Malaz and Genabackis; the large cast of sympathetically-rendered characters; or the way the story accumulates to a climax that hits like machinegun fire. My advice to anyone who might listen to me is, Treat yourself to Gardens of the Moon. And my entirely selfish advice to Steven Erikson is, write faster.

Usually if I find a film that's challenging, that I'm intrigued by, I want to watch it again knowing what the ending is. I found that with something like 'The Godfather Part II.' I think it took me three watches to fully experience it in the way it was intended.

Alan Moore's writing is almost novelistic. It's very intricate and wordy and smart.

'Dune' was like a giant machine, and it was hard to keep track of all the pieces, but 'Blue Velvet' was a very sleek, compact little experience.

I like the gray movies. I don't know if audiences always... it makes them work a little harder. And they have to work hard in 'Hoover.'

I don't think 'Lootera' is slow paced; it's finely paced for its setting and story.

Most crime fiction plots are not ambitious enough for me. I want something really labyrinthine with clues and puzzles that will reward careful attention.

The opera is like a husband with a foreign title - expensive to support, hard to understand and therefore a supreme social challenge.

Even though L.A Confidential box-office was a fraction of, say, Titanic or the Grinch movie, it finds its audience and will continue doing so for who knows how long, because of the basic thing we love about movies, which is storytelling and performances.

The old detective story that's got a really complicated motive doesn't apply to mine.

I love magic and playing with magic systems. But to me, good fantasy like all fiction comes down to good character and plotting.

I'm not over-enamored of complicated books, and wonder if it's more for the author's ego than anything else?

I don't think anyone wants a reader to be completely lost - certainly not to the point of giving up - but there's something to be said for a book that isn't instantly disposable, that rewards a second reading.

Shows like Game of Thrones, stories like that, only really come around once every 10, 15 years. I can't remember the last time a show has really caught the imagination that way. Maybe Star Wars back in the '70s.

In the case of 'News Radio,' I loved that show. I loved the actors and the producers, but I was longing very much for something more to sink my teeth into me. I think it was an incredibly smart show, but I found myself on the peripheral of a lot of it.

I absolutely love Dorothy Dunnett's 'House of Niccolo' series and the 'Lymond Chronicles.' They are so detailed.

I like to read novels where the author seems knowledgeable, like someone you know you could walk calmly next to through a complicated situation, and he or she would be alive to its meaning and ironies. And you wouldn't even have to mention them out loud to each other.

I saw Tequila Sunrise as a romantic picture with complex, bigger than life characters.

'The State Within' demands a certain intelligence from its audience. It doesn't just wash over you - it asks for commitment. And that's a really good thing.

I'm rereading Jenny Offill's 'Dept. of Speculation.' I love it, and she's just a magician. Line by line and paragraph by paragraph, it's mesmerizing and so intricately plotted and so nimble.