The Chopping Blog

"Whenever I’m analyzing the plot of a more structurally experimental novel, I start by considering what happens at the climax."

But does this count as plot? Doesn’t plot require a protagonist? Doesn’t plot require an inciting incident, an arc, and a climax?

In the character of Heathcliff, Brontë proves that a protagonist doesn’t have to be likable for readers to follow them; they just have to be interesting.

Patchett writes about something that is very hard to make interesting: the triumph of goodness over evil. Her tricks: the use of tension, and the transformation of character.

Sanderson's masterful intertwining of family dynamics with the epic fantasy setting offers a rich, multi-layered narrative experience that showcases his ability to blend personal motivations with grand-scale storytelling.

Obstacles in a plot are like roadblocks a character must get around. Reversals, however, require a total change of direction.

In crafting The Alchemist, Paulo Coelho dared to prioritize narrative context—in this case his personal philosophy—over traditional story elements like subplots and character development.

The complexity that we would normally find in subplots instead takes the form of extensive world-building.

"Napoleon drives the story from beginning to end."

Setting is the key organizational tool in Jane Eyre.

There's a certain allure to a novel that intertwines disparate storylines, tying together seemingly unrelated narratives to form a compelling whole.

The climax ultimately addresses the question posed by the inciting incident: can the protagonist truly reconnect with his brother after learning about Sonny's arrest in the newspaper?