“When I think of highly plotted novels I think of detective fiction or mystery fiction, the kind of work that always produces a few dead bodies. But these bodies are basically plot points, not worked-out characters. The book's plot either moves inexorably toward a dead body of flows directly from it, and the more artificial the situation the better. Readers can play off their fears by encountering the death experience in a superficial way. A mystery novel localizes the awesome force of the real death outside the book, winds it tightly in a plot, makes it less fearful by containing it in a kind of game format. [from an interview with DeCurtis]”
“The characters and plot in this book are pure fiction. Any similarity to real persons living or dead, elected, convicted, or merely toppled from power, is entirely coincidental.”
“Novels and gardens," she says. "I like to move from plot to plot.”
“I began to write fiction on the assumption that the true enemies of the novel were plot, character, setting and theme.”
“Character, I think, is the single most important thing in fiction. You might read a book once for its interesting plot—but not twice.”
“But my philosophy is that plot advancement is not what the experience of reading fiction is about. If all we care about is advancing the plot, why read novels? We can just read Cliffs Notes.”