Personal relations are the important thing for ever and ever, and not this outer life of telegrams and anger.
E. M. ForsterRead
The king died and then the queen died is a story. The king died, and then queen died of grief is a plot.
Interpretation
A simple sequence of events can be a story, but when emotions and motivations are involved, it becomes a deeper plot.
E. M. Forster's quote distinguishes between a mere recounting of events (story) and a more nuanced narrative (plot) that engages with the characters' emotions and motivations. The difference lies in the depth of meaning that is conveyed, highlighting how grief can transform a straightforward event into a rich psychological exploration.
In practice
This quote can be used in a writing workshop to discuss the importance of depth in storytelling.
Personal relations are the important thing for ever and ever, and not this outer life of telegrams and anger.
A poem is true if it hangs together. Information points to something else. A poem points to nothing but itself.
One must be fond of people and trust them if one is not to make a mess of life.
Oxford is Oxford: not a mere receptacle for youth, like Cambridge. Perhaps it wants its inmates to love it rather than to love one another.
The fact is we can only love what we know personally. And we cannot know much. In public affairs, in the rebuilding of civilization, something less dramatic and emotional is needed, namely tolerance.
One person with passion is better than forty people merely interested.
The problem with most genre fantasy is that it's not nearly fantastic enough. It's escapist, but it can't escape.
I think often people don't realize the great diversity of Southern writing because in their minds, if you're not from the South, it can seem regional and small, and of course that's not the case at all when you start to read the work.
Does the novel have to deepen the psychology of its heroes? Certainly the modern novel does, but the ancient legends did not do the same. Oedipus' psychology was deduced by Aeschylus or Freud, but the character is simply there, fixed in a pure and terribly disquieting state.
I would solve a lot of literary problems just thinking about a character in the subway, where you can't do anything anyway.
A report of a most alarming nature reached me two days ago.
In the century-long history of Chinese science fiction, apocalyptic themes were mostly absent. This was especially true in the period before the 1990s, when Chinese science fiction, isolated from the influence of the West, developed on its own.
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