Look at that by - (best sales books of all time .txt) 📕
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If you have any dignity whatsoever, be honest about who it is you stole the idea from.
Give an example from the latest book you’ve read. The one by that Nobelist.
Simos Panopoulos - Look at that
161
“What else?”
“Let’s say, the fact that most writers first devise the plot and then they’ll start coming and going to all the places it stipulates, for reconnaissance. Say the book is talking about, I don’t know, a public house? They’ll go to a public house. About a house of joy? They’ll go to a house of joy. The White House? They’ll go to the White House. About a nursing home? They’ll go to a nursing home. Something that both leaves a sub-stantial ecological footprint on the environment and the sensation of, due to the regurgitation of familiar clichés, déjà-lu and therefore of déjà-écrit.”
“Whereas yourself? You won’t move an inch? You only concern yourself with your own household so to speak?”
“No, but wherever I go, in the near vicinity usually, I don’t do it intentionally. Once I go though, I pick and choose, even if something is seemingly worthless.”
“I see. Whatever makes you…”
“Exactly, without thinking about where I’ll put it be-forehand though. I go, in other words, from real life to plot and not from plot to real life.
“Have you got any examples?”
Well, yours is déjà-noté.
Simos Panopoulos - Look at that
162
“In football, for instance, when the centre-forward topples to the ground following a legal yet violent tackle from the opponent and is issued a yellow card for play-acting, or when you’re making a stuffed dish, but you’ve run out of peppers and tomatoes and you still have stuffing left over, or in couples, when one of the two asks his or her partner for a break to think things over, or what a conventional producer says about a biological one, or…”
“I think you’ve made yourself clear. Since you’re on the subject of plot though, yours is rudimentary, it can easily fit in half a haiku.”
“I’ll grant you that, if by plot you mean the occurrence of natural disasters earthquakes and floods. Some-thing, that is, which as a reader never interested me, so why would it appeal to me as a writer? If a plot is the sequence of events, the real matter then is what exactly constitutes an event. For you, as a reporter, only that which is breaking news is worthy of the honorary title of ‘event’, while for me it’s whatever is no news.”
“So then, in the end, why should one write?”
“I can only talk for myself. Firstly, there’s no, in me, such
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