> Part 1 of Dostoevsky's The Idiot is maybe the best example I know that works from both perspectives. It's full of interesting characters with different motives, and it escalates to a incredible firework involving all these characters and motives all acting at the same time.
Yeah, that's absolutely the goal for most writers, but boy is it hard to craft a set of character psychologies that both feel believable while also leading to a plot that feels inevitable and monumental.
Yeah, that's absolutely the goal for most writers, but boy is it hard to craft a set of character psychologies that both feel believable while also leading to a plot that feels inevitable and monumental.