"My books are primarily plot driven but the best plot in the world is useless if you don't populate them with characters that readers can care about"
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Plot is the engine, but Deaver is insisting the passenger matters more than the horsepower. Coming from a writer synonymous with high-concept thrillers and tight mechanical pacing, this reads less like a sentimental nod to “character” and more like a craft warning: suspense is a delivery system, not the payload. Readers don’t actually turn pages for plot points; they turn pages to protect someone in their heads.
The phrasing is quietly defensive and revealing. “Primarily plot driven” acknowledges the brand: Deaver’s work is built on momentum, reversals, clues that click into place. Then he undercuts the genre’s most common self-justification - that intricate plotting is enough - by calling even “the best plot in the world” useless without emotional stake. “Populate” is a telling verb: characters as inhabitants of an engineered space. It concedes the artificiality of the thriller machine while arguing that what makes it run is empathy, not plausibility.
Subtext: character is the only part of the story the reader can’t outsource to intellect. You can admire a twist at a distance; you can’t experience tension without attachment. Deaver’s “care about” is also deliberately plain, almost bluntly commercial. He’s not chasing psychological profundity for its own sake; he’s chasing the bond that converts a clever premise into a lived experience, the kind that keeps a reader up at 2 a.m. This is genre pragmatism posing as artistic principle - and it’s persuasive because it’s honest about the transaction.
The phrasing is quietly defensive and revealing. “Primarily plot driven” acknowledges the brand: Deaver’s work is built on momentum, reversals, clues that click into place. Then he undercuts the genre’s most common self-justification - that intricate plotting is enough - by calling even “the best plot in the world” useless without emotional stake. “Populate” is a telling verb: characters as inhabitants of an engineered space. It concedes the artificiality of the thriller machine while arguing that what makes it run is empathy, not plausibility.
Subtext: character is the only part of the story the reader can’t outsource to intellect. You can admire a twist at a distance; you can’t experience tension without attachment. Deaver’s “care about” is also deliberately plain, almost bluntly commercial. He’s not chasing psychological profundity for its own sake; he’s chasing the bond that converts a clever premise into a lived experience, the kind that keeps a reader up at 2 a.m. This is genre pragmatism posing as artistic principle - and it’s persuasive because it’s honest about the transaction.
Quote Details
| Topic | Writing |
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