plotlessness


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plot

 (plŏt)
n.
1.
a. A small piece of ground, generally used for a specific purpose: a garden plot.
b. A measured area of land; a lot.
2. A ground plan, as for a building; a diagram.
3. See graph1.
4. The pattern or sequence of interrelated events in a work of fiction, as a novel or film.
5. A secret plan to accomplish a hostile or illegal purpose; a scheme.
v. plot·ted, plot·ting, plots
v.tr.
1. To represent graphically, as on a chart: plot a ship's course.
2. Mathematics
a. To locate (points or other figures) on a graph by means of coordinates.
b. To draw (a curve) connecting points on a graph.
3. To write or develop the plot of: "I began plotting novels at about the time I learned to read" (James Baldwin).
4. To form a plot for; prearrange secretly or deviously: plot an assassination.
v.intr.
1. To form or take part in a plot; scheme: were plotting for months before the attack.
2. To write or develop the plot for a work of fiction: A good mystery writer must plot well.

[Middle English, from Old English.]

plot′less adj.
plot′less·ness n.
plot′ter n.

plotlessness

(ˈplɒtlɪsnəs)
n
the state of being plotless
References in periodicals archive ?
novel's seeming plotlessness, suggesting that it is constituted by
The seeming plotlessness of Bellatin's stories impedes their interpretation, perhaps accounting for someone like Diana Palaversich to conclude that his work is "en su mayor parte ilegible" ("Apuntes" 26).
For those who fear some of the less-entertaining facets of social realism -- non-professional actors, poetic but grim plotlessness -- Zaman and co-writer Mehmet Aktas have devised an ensemble drama that finds narrative diversity in the tragi-comic variety of immigrant experience.
For him, it is to be traced back to the achievements of certain fin-de-siecle authors, such as Arthur Morrison, Henry James, or Frederick Wedmore, and their concerns with aspects such as plotlessness, open endings, or the conception of the short story as a genre in which "writers give less and ask more [from readers]" (Pain 1916: 45-46).
This monologue unflinchingly exposes both the inherent plotlessness of travel and the unstoppable mutability of thinking, as it enacts a series of sudden leaps from one location or thought to another, a series that defies narrative ordering.
As he argues that this "difficulty" of the short story--under the guise of plotlessness, incompleteness, openneness and allusiveness--made it a favourite genre in modernism, Hunter traces the debates about the challenges of the short story back to the Edwardian period, identifying "how to" guide books and critical studies in the early twentieth century as forerunners of modernist short fiction.