Plot me no plots.

 

Plot me no plots.
--
The Knight of the Burning Pestle (c. 1607; published 1613), Act II, scene 5

 

Francis Beaumont

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As far as “plot” goes, as I get older I more and more suspect that “plot” is really being used, in the many incarnations of this argument, as a placeholder for a whole cloud of qualities found (or not found) in certain narratives, some of which actually constitute “plot” and many of which do not. What first led me to suspect this is the fact that many of the sternest exponents of “I want novels to have plots, dammit” are also demonstrably fans of, for instance, quite a few Robert A. Heinlein novels whose plots can barely be detected even by advanced scientific equipment. (Not just later Heinlein, either; go back and look at Beyond This Horizon). As it happens, I like some of those books, too, and what I learn from them, and from thousands of other books, is that what matters isn’t the presence of a carefully-engineered, structurally sound “plot.” What matters is whether a book entrances us into reading it or forces us to decode it — and “plot” is just one of several methods of getting us into the reading trance. It’s a good method. It’s not the only one.

 

Patrick Nielsen Hayden

 

Of all the plots and conspiracies that ever entered into the mind of man, the Gunpowder plot stands pre-eminent in horror and wickedness. The singular perseverance of the conspirators is shown by the fact, that so early as in Lent of the year 1603, Robert Catesby, who appears to have been the prime mover of the plot, in a conversation with Thomas Wintour and John Wright, first broke with them about a design for delivering England from her bondage, and to replant the Catholic religion.

 

Guy Fawkes

 

When the Soviet government is experiencing a difficult period and plots are being hatched by bourgeois elements and when at a critical moment we manage to lay bare these plots — do they think they are discovered accidentally? Oh, no, not accidentally. They are discovered because the plotters live among the masses, because they cannot succeed in their plots without the workers and peasants and it is there that, in the long run, they run up against people who go to that badly organised, as they said here, Cheka and say that exploiters are gathered in a certain place.

 

Vladimir Lenin

 

All plots tend to move deathwards. This is the nature of plots.

 

Don DeLillo

 

Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded. If all you want is plot, go and read a Tom Clancy novel.

 

Warren Ellis