A novel is not a summary of its plot but a collection of instances, of luminous specific details that take us in the direction of the unsaid and unseen.
'The Empty Bank' talks about really specific instances where I kind of make the wrong moves based off of money, and it also details instances where I was acting like I had money when I really didn't have that much money.
I am attracted to ellipsis, to the unsaid, to suggestion, to eloquent, deliberate silence. The unsaid, for me, exerts great power: often I wish an entire poem could be made in this vocabulary. It is analogous to the unseen.
This makes his writing very pleasing to read: João Gilberto Noll pays attention to detail, but only to certain details. And it's never easy to foresee which details will send the narrator or the plot in an unsuspected direction.
Jill Eisenstadt's comic second novel, 'Kiss Out,' is a work of such extravagant wackiness, eccentricity, and exuberance that any attempt to squeeze it into the confines of a simple plot summary seems doomed to failure and is possibly pointless.
I couldn't resist hiding some historical details and a few clues relevant to the plot and characters of 'A Discovery of Witches' throughout the pages of the novel.
Plot comes first. The plot is the archictecture of your novel. You wouldn't build a house without a plan. If I wrote without a plot, it would just be a pile of bricks. Characters are your servants. They must serve your plot.
When I'm filling notebooks I'm trying to pin down what I'm really interested in and to find those details that are so hard to come by, details that I can look at and believe are right on the mark. Things which bring a novel to life. They can take a while to come.
I lived in Boston for three years, and during that time, I wrote my first collection of stories, 'What the World Will Look Like When All the Water Leaves Us;' other stories that didn't make it into the collection; and several failed novel openings.
The characters are the plot. What they do and say and the things that happen to them are, in a sense, what the plot is. You can't take character and plot apart from each other, really.
I'm more to my family than a wonderful, luminous cook. I'm also a wonderful, luminous butler and a wonderful, luminous chauffer. And checkbook. I'm a luminous checkbook, too.
Poetry teaches us things that cannot be learned in prose, such as certain kinds of irony or the importance of the unsaid. The most important element of any poem is the part that is left unsaid. So the poetry frames the experience that lies beyond naming.
I have begun drafting a memorandum for the prosecuting authorities, together with all evidence necessary to establish not only the existence of numerous specific instances of scientific or economic fraud in relation to the official "global warming" storyline but also the connections between these instances, and the overall scheme of deception that the individual artifices appear calculated to reinforce.
I don't revise a lot when writing short stories. As far as the novel, I definitely thought more about plot. Honestly, I'm still pretty confused about what "plot" means. I've been reading some of my Goodreads reviews and one reader noted that the The Last Days of California "reads like a short story stretched to the breaking point, padded and brought into novel range..." I don't know what people want, really.
In Jones's experience, the decision to turn one's life around in a different direction rarely arrived with fireworks and marching bands. Often, the decision came with tears and regret. Then, almost impossibly, the power of forgiveness would fill an unseen void, allowing a new day's optimism and sense of purpose to take hold and point that life in a new direction.
I'm not one of those people that goes into details of my personal life on national TV to get attention. Some things are better left unsaid.
The awful shadow of some unseen Power Floats, tho' unseen, amongst us.