Danish writer Mathilde Walter Clark’s story, “The Disappearance of Things” appeared in The Chattahoochee Review along with works by Roxane Gay and Aimee Bender.
In his poem, “To a Mouse,” the Scottish poet Robert Burns wrote the line—now famous as the source of the title of John Steinbeck’s novel Of Mice and Men—”The best-laid plans of mice and men/often go awry.” As a piece of advice for story writers, the line is as helpful today as it was in 1785. We often create a draft of a story or novel that has The Big Thing That Will Happen and The Way The Character Feels About It, but we don’t have any middle. In other words, we have no plot. To solve that problem, we can create plans and then let them go awry.
This is exactly what the writer Mathilde Walter Clark does in her story, “The Disappearance of Things.” Clark is Danish, and the story appeared in translation (by Martin Aitken) in The Chattahoochee Review, where you can read it now.
How the Story Works
The story is about a man whose possessions have begun to disappear: “a screw lid, a left sock.” It soon becomes clear that this isn’t a case of absent-mindedness. His shoes vanish, and the man realizes that his entire worldview is threatened.
That was not the way matter behaved. It could be obstructive, but it was an obstructiveness that came of existing, of having substance and shape. Of possessing hardness and inthewayness. He was under no illusion that he was a knowledgeable man, but the few things he did know were things to which he attached great importance. He knew, for example, that orderly surroundings make an orderly mind. And he knew that shoes don’t just disappear.
And so the premise is set, and we know how the man feels about it. We also know with some certainty that the disappearances will continue and that this will affect the man’s mental state. The question is now one of plot. The story can’t keep moving in the same way as it began: things disappearing, the man feeling confused. Resistance is needed. The man needs to push back. Something needs to happen. But how?
Here is Clark’s solution:
Following the disappearance of the rissole, he had drawn up a detailed list of all his possessions in order to help him navigate in what were habitually new and chaotic surroundings. The list ran initially to one hundred and forty-eight pages of yellow, lineated A4 paper.
The man creates a plan. He’s going to keep his things in a single room and consult his list to make sure all is accounted for. The temptation, now, would be to immediately thwart the plan. But that’s not what Clark does. Instead, she explains the logic behind the plan (“His possessions were ordered according to the following taxonomy”).
Okay, so now it’s time to thwart the plan, right?
Wrong. Instead, Clark adds to the plan:
He had yet to experience things disappearing in front of his eyes, so if he stayed awake long enough he thought he might be able to reduce his losses. He also took a chamber pot into the living room with him, since a number of his things seemed to be taking the opportunity to disappear during his visits to the bathroom.
This is how plot works. The character encounters a problem and comes up with a plan for dealing with it. The plan has a rationale. It’s personal to the character, and as the character thinks about it, she realizes holes in the plan. Perhaps those holes cause small problems, and so she adapts and closes the holes. Things are under control.
And that’s when you make the plan go awry:
It worked fine for a day or two until the lists disappeared.
Not only does the plan get thwarted, but that act—the disappearance of the list—feels personal:
[T]he leaves of yellow A4 were gone, with the exception of the one itemizing
temporary possessions belonging in the kitchen region. On the other hand,
the pile containing temporary possessions belonging in the kitchen region
was also gone, exactly as if matter had decided to play a very serious practical
joke on him.
The story has created a situation in which the character cannot defeat the problem. But the character himself isn’t defeated. And so the story continues. When all hope is lost, what comes next? That’s where plot must go.
The Writing Exercise
Let’s create and thwart plans to create plot, using the “The Disappearance of Things” by Mathilde Walter Clark as a model:
- Create a problem to be solved. The type of problem will depend on the type of story. Clark is writing (generally speaking) in the style of Fabulism (think of the writers Aimee Bender, George Saunders, Manuel Gonzales, Kelly Luce, or the filmmaker Michael Gondry), and so her problem isn’t realistic so much as a supernatural manifestation of some internal problem. The point is this: all genres create problems. Vampires must be killed, bills must be paid, cancer must be faced, and intergalactic nemeses must be defeated. The important thing is to create problems that can be addressed head on. In other words, the character must possess the power to solve the problem (serfs can’t defeat intergalactic villains, at least not on their own).
- Create a solution. Simple solutions tend to be better than complex solutions. In Star Wars, the good guys blow up the Death Star—pretty simple. It’s the complications to enacting the simple solution that make it interesting. In “The Disappearance of Things,” Clark has her character make a list of his possessions so that he can track the ones that go missing—again, a simple solution. The solution also fits his character because he’s detail-oriented. So, identify a trait of your character and ask yourself, “What kind of plan would that kind of person invent?”
- Give the solution a rationale. In part, this means to explain how it will work (the way a heist movie has its thieves rehearse the heist before actually enacting it). But it also means giving details about why the character knows the plan will work. The reader of the story or novel (or viewer of the heist movie) has suspicions that they’re being set up, but those suspicions need to be balanced out by the solidity of the plan. Readers need to believe that even if one or two things go wrong, the plan as a whole is solid. This is why Clark explains the taxonomy of the man’s possessions. She’s convincing us that the man is mentally fit and together. Even if one or two of his possessions goes missing, he’s still with it. He’ll be fine. Without this paragraph (this rationale for why his solution of creating a list is a good one), the readers will simply believe they’ve been given another plot point to be easily knocked over.
- Tweak the plan. Show your character in a state of reflection. There’s a scene at the end of Don Delillo’s novel White Noise when the novel’s main character, Jack Gladney, is driving to confront a man. As he drives, he repeats his plan to himself. But also, as he drives, he thinks about the plan and adds details to it. Any character, if they bear any semblance to real-life people, will try to anticipate the future and the things that might occur in it. So, let your character anticipate the ways the plan might go wrong or the obstacles it might encounter. Then, give the character room to adapt the plan to these potential problems. In so doing, the plan becomes more solid, more believable.
- Thwart the plan. The plan must go wrong. If something goes according to plan, readers will be disappointed. At the very least, the results must be different than expected (the old “Be careful what you wish for” thing). There are two ways that a plan can go wrong: the expected way (that the writer and character have anticipated) and the unexpected way. I don’t mean that a meteor appears from space. I mean that you can use any of the characters or things or trends that you’ve already established and reintroduce them in unexpected ways. Clark does this by returning to the disappearances that set the story in motion. The expected move would be to make things on the list disappear. The unexpected move is to make the list itself disappear. It’s also a move that renders the plan totally unworkable. As a plot point, this is useful because it forces the character into terrain that he could not (or refused to) anticipate. Once the character is in that situation, that’s when the story really takes off and the reader leans in. That’s when we see something we did not expect to see.
Good luck!
