Holes Themes And Quotes

In Hidden Writing, a main plot is constructed to camouflage other plots (which can register themselves as plot holes) by overlapping them with the surface (superficially dynamic plot) or the grounded theme. In terms of such a writing, the main plot is the map or the concentration blueprint of plot holes (the other plots).

Within the character’s inner life, the Lie has created either a hole or a block.

Do you know where a story is going when you start writing, or do you let the story take control and see where it takes you? This answer deserves one sentence or an essay! I’ll try to summarize it like this: writing, for me, is a little like wood carving. You find the lump of tree (the big central theme that gets you started) and you start cutting the shape that you think you want it to be. But you find, if you do it right, that the wood has a grain of its own (characters develop and present new insights, concentrated thinking about the story opens new avenues). If you’re sensible, you work with the grain and, if you come across a knot hole, you incorporate that into the design. This is not the same as “making it up as you go along”; it’s a very careful process of control.

no one defined my role as a Pigeon more eloquently that President Reagan during the course of Operation Carrier Pigeon. The cryptic "pigeon language" utilized by all participants in the operation was intermixed with Wizard of Oz, Alice in Wonderland, and “Genie in the Bottle” cryptic programming themes. While Pigeon meant messenger, "Carrier Pigeon" referred to the U.S. Air Force aircraft that actually transported the arms and drugs. "Pigeon Droppings" included the sometimes multi-national dispersal of the arms and drugs after they reached their destination. "Pigeon Holing" meant covering up the criminal activity. These definitions, as I understood them then and understand them now, may well include deeper, more diverse meanings than I have perceived.

However, the simple-minded Middle Ages used dramatic and picturesque methods to squeeze out the desired confessions: the rack, the wheel, the bed of nails, impalement, hot coals, etc. In the twentieth century, taking advantage of our more highly developed medical knowledge and extensive prison experience (and someone seriously defended a doctoral dissertation on this theme), people came to realize that the accumulation of such impressive apparatus was superfluous and that, on a mass scale, it was also cumbersome. And in addition . . . In addition, there was evidently one other circumstance. As always, Stalin did not pronounce that final word, and his subordinates had to guess what he wanted. Thus, like a jackal, he left himself an escape hole, so that he could, if he wanted, beat a retreat and write about “dizziness from success.” After all, for the first time in human history the calculated torture of millions was being undertaken, and, even with all his strength and power, Stalin could not be absolutely sure of success. In dealing with such an enormous mass of material, the effects of the experiment might differ from those obtained from a smaller sample. An unforeseen explosion might take place, a slippage in a geological fault, or even world-wide disclosure. In any case, Stalin had to remain innocent, his sacred vestments angelically pure.

This, plus the inherent drive of the religious reformations, made them work towards the disenchantment of the world, and the abolition of society based on hierarchical equilibrium, whether that of élite and mass, or that we find reflected in the Carnival, and the “world turned upside down”. Indeed, the hostility to Carnival and such-like remains of popular culture is one of the evident points in common between religious and secular re-orderings. In the perspective of élites of the sixteenth and seventeenth centuries, the world upside down of Carnival was neither a subject of amusement, nor a salutary correction for élite pride, nor an “air-hole” (safety valve), nor a recognition of the depth and many-sidedness of human life. It was simply an image of, and an invitation to sin. Starting with Brant’s Ship of Fools, a stream of writing, painting (Bosch, Breughel), illustrations begin to moralize this theme of reversal. It is in the end no laughing matter. Indeed, the world

Dave heard BURRing. He turned and saw that the bouldering zombies had begun to clamber through the holes in the wall that the fire had created and climb down the ladder from the roof. Before long, the train was surrounded by gray zombies, trying to break in and get them. “We’re definitely gonna die now,” sighed Carl. “I might as well eat my final baked potatoes. At least I’ll die happy then. Well, as happy as someone can be while they’re being eaten alive by zombies.” “I thought you said this train drove itself?” Spidroth said to Dave. “I thought it did,” said Dave, starting to panic. Now that they were in the passenger car, there was no way of getting back to the train car without leaving the car and going through all the zombies. Then, just as Dave was starting to lose all hope, the train began to rumble, the redstone lights above them switching on, and a friendly robotic voice coming out of a speaker. “Hello, theme park visitors!” said the voice. “Are we all ready for a wonderful vacation?” “JUST GET THIS TRAIN MOVING, FOOL!” Spidroth bellowed.

Reich would soon back a request from Angelo Mozilo, Countrywide’s white-haired, unnaturally tanned CEO. Mozilo wanted an exemption from the Section 23A rules that prevented Countrywide’s holding company from tapping the discount window through a savings institution it owned. Sheila and the FDIC were justifiably skeptical, as was Janet Yellen at the Federal Reserve Bank of San Francisco, in whose district Countrywide’s headquarters were located. Lending indirectly to Countrywide would be risky. It might well already be insolvent and unable to pay us back. The day after the discount rate cut, Don Kohn relayed word that Janet was recommending a swift rejection of Mozilo’s request for a 23A exemption. She believed, Don said, that Mozilo “is in denial about the prospects for his company and it needs to be sold.” Countrywide found its reprieve in the form of a confidence-boosting $2 billion equity investment from Bank of America on August 22—not quite the sale that Janet thought was needed, but the first step toward an eventual acquisition by Bank of America. Countrywide formally withdrew its request for a 23A exemption on Thursday August 30 as I was flying to Jackson Hole, Wyoming, to speak at the Kansas City Fed’s annual economic symposium. The theme of the conference, chosen long before, was “Housing, Housing Finance, and Monetary Policy.

Alone, [Chamcha] all at once remembered that he and Pamela had once disagreed, as they disagreed on everything, on a short-story they’d both read, whose theme was precisely the nature of the unforgivable. Title and author eluded him, but the story came back vividly. A man and a woman had been intimate friends (never lovers) for all their adult lives. On his twenty-first birthday (they were both poor at the time) she had given him, as a joke, the most horrible, cheap glass vase she could find, in colours a garish parody of Venetian gaiety. Twenty years later, when they were both successful and greying, she visited his home and quarrelled with him over his treatment of a mutual friend. In the course of the quarrel her eye fell upon the old vase, which he still kept in pride of place on his sitting-room mantelpiece, and, without pausing in her tirade, she swept it to the floor, crushing it beyond hope of repair. He never spoke to her again; when she died, half a century later, he refused to visit her deathbed or attend her funeral, even though messengers were sent to tell him that these were her dearest wishes. ‘Tell her,’ he said to the emissaries, 'that she never knew how much I valued what she broke.’ The emissaries argued, pleaded, raged. If she had not known how much meaning he had invested in the trifle, how could she in all fairness be blamed? And had she not made countless attempts, over the years, to apologize and atone? And she was dying, for heaven’s sake; could not this ancient, childish rift be healed at last? They had lost a lifetime’s friendship; could they not even say goodbye? 'No,’ said the unforgiving man. – 'Really because of the vase? Or are you concealing some other, darker matter?’ – 'It was the vase,’ he answered, 'the vase, and nothing but.’ Pamela thought the man petty and cruel, but Chamcha had even then appreciated the curious privacy, the inexplicable inwardness of the issue. 'Nobody can judge an internal injury,’ he had said, 'by the size of the superficial wound, of the hole.

Prittlewell, Little Rollright, Chew Magna, Titsey, Woodstock Slop, Lickey End, Stragglethorpe, Yonder Bognie, Nether Wallop and the unbeatable Thornton-le-Beans. (Bury me there!) You have only to cast a glance across a map or lose yourself in an index to see that you are in a place of infinite possibility. Some parts of the country seem to specialize in certain themes. Kent has a peculiar fondness for foodstuffs: Ham, Sandwich. Dorset goes in for characters in a Barbara Cartland novel: Bradford Peverell, Compton Valence, Langton Herring, Wootton Fitzpaine. Lincolnshire likes you to think it's a little off its head: Thimbleby Langton, Tumby Woodside, Snarford, Fishtoft Drove, Sots Hole and the truly arresting Spitall in the Street. It's notable how often these places cluster together. In one compact area south of Cambridge, for instance, you can find Bio Norton, Rickinghall Inferior, Hellions Bumpstead, Ugley and (a personal

It takes a lot of energy to bring music to life, and then to sharpen it, to master it. Channeling a complicated piece is like taming a tiger: you set all these sounds in motion. You start themes, establish a rhythm, and then you have to keep it going. You’ve unleashed a tiger in the room and now you have to use every note and rest to show off its power and beauty, while keeping it under control. If you slip, a claw swipes at your leg or slashes a hole in your wall. I used to release that beast every day and control it, put it through its paces. High

pring is a great time to introduce your children to the wonders of God's creation. Take them to a garden center and let them pick out a tree to be planted in your yard. Let them help dig the hole, add soil amendments, and place the tree. As they fill the hole around the tree, talk about how amazing God was when creating the world. Your children will love watching the tree grow through the years... as they grow with it. And remember when you used to press flowers in a scrapbook? Why not do it again? Use the pages of your phone book or apply heavy weight as you press and dry the flowers. When they're completely dry, use a tiny bit of glue to arrange them on colorful or white poster board. Add lace and ribbon, and you've got a perfect pressed flower arrangement. Or make it more masculine by adding graphics of sports, animals, cars, or trucks. ere's a tip that'll help in the dilemma of what to do with your various collections. Always arrange them in odd-numbered groupings. Three is a magic number. Cluster things that have differing shapes, but keep a theme going. ho is your best friend? Who is your second best friend? Now think about it. Is there really such a thing as a "bad" friend? Not all friendships are alike, to be sure. Some are casual and relaxing. Others are intense and stimulating. And some surprise us by seeming to come out of nowhere. Some friendships will fade ...a truth we have to accept. I have several "friends of the heart." These people aren't necessarily "best friends" because

Truth be told, the reality show itself quickly degenerated into a televisual soap opera that was not that different than old variety shows made for large audiences. And its audience was amplified at the usual rate of competing media, which leads to the self- propagation of the show via a prophetic method: self-fulfilling prophecy. In the end, the ratings for the show play part of the spiral and return cycle of the advertising flame. But all of this is of little interest. It is only the original idea which has any value: submitting a group to a sensory deprivation experiment ( Which in other times was a form of calculated torture. But are we not in the middle of exploring all the historical forms of torture, served in homeopathic doses, under the guise of mass culture or avant-garde art? This is precisely one of the principle themes of contemporary art.), in order to record the behavior of human molecules within a vacuum - and no doubt with the design of watching them tear each other apart in the artificial promiscuity. We have not yet reached this point, but this existential micro-situation functions as a universal metaphor for the modern being, holed up in his personal loft, which is no longer his physical or mental universe. It is his digital and tactile universe, of Turing’s “spectral body”, of the digital man, captured within the labyrinth of the networks, of man turned into his own (white) mouse.

You do know scones are not donuts, right?" Nina wasn't one to pass up any baked goods, but a donut was a donut. No scone would do. "This is not your white, British-royals high tea, my friend. This is Highland Park high tea. It opened a month ago, and I think we're about to have our whole world rocked." The Jam's exterior was black-and-white---- if you blinked you'd miss it. But when they went inside Nina immediately spotted a colorful mural of dinosaurs seated on velvet cushions, eating donuts and drinking out of porcelain cups. A pristine glass display case on the opposite wall featured rows and rows of endless donuts--- a happy welcoming committee of frosting and dough. "We'll be having tea for two," Jasmine said at the counter. "And for my donut, could I get the Swirly Rosewater, please?" As soon as she saw the names and flavors of the donuts, she instantly knew two things: one, she was going to love these, and two, Leo would absolutely hate them. Nina suddenly felt sympathy for Leo any time a contestant created a unique flavor pairing on the show. She raced to find the donut her friend had ordered in the case, and landed on a frosted pink cake donut that had a lemon rosewater glaze topped with roasted pistachios. "You live your life in pink, Jas." "No better color. So from what I read online, the deal is that instead of scones, they do vegan donuts---" Nina's eyes narrowed, and Jasmine glared right back. "Don't judge. What are you going to get?" "I need chocolate," Nina said. She scanned the rows in search of the perfect solution. "May I recommend our Chocolate from the Crypt donut?" the saleswoman suggested from behind the display. Her sharp bangs and blunt ponytail bobbed as she explained, "It's our fall-themed donut--- chocolate cake with a chocolate glaze, and it's got a kick from the cayenne pepper and cinnamon we add in." "Oh, my donut," Nina said. In the case was an absolutely gorgeous chocolate confection--- the cayenne and cinnamon flakes on the outside created a black-and-orange effect. "I am sold." "You got it." The saleswoman nodded and rang them up. A narrow hallway covered in murals of cartoon animals drinking tea led them to the official tearoom. Soaring ceilings revealed exposed beams and brick walls, signaling that the building was likely older and newly restored. Modern, barrel-back walnut chairs were clustered around ultrasleek Scandinavian round tables. Nina felt like she'd followed Jasmine down a rabbit hole and emerged into the modern interpretation of the Mad Hatter's tea party. "This is like..." Nina began. "It's a fun aesthetic." "I know, right?" Jasmine replied as they sat down. "It makes me feel like I'm not cool enough to be here, but glad I got invited." Nina picked up the prix fixe high tea menu on the table. The Jam's version of finger sandwiches were crispy "chicken" sliders, potato-hash tacos and mini banh mi, and in lieu of scones, they offered cornbread with raspberry jam and their signature donuts. "And it's all vegan...?" "Yes, my friendly carnivore, and hopefully delicious.

As they got closer, Dave saw that the outside of the walls was surrounded by a huge moat. The train was heading towards a bridge leading across the moat, but as far as Dave could see, there was no hole for the train to pass through. “Is this train just going to crash into those walls?” said Carl, peering out of one of the broken windows. “Which idiot designed this thing?” They sped across the moat, and Dave had a brief glimpse of a deep pit with water at the bottom of it. They were rushing straight towards the quartz walls, and in a few seconds, they would smash into them. “Everyone, brace yourselves!” Dave shouted. They all held on tightly to the seats as the train sped forward, but the crash never happened. Instead, a pair of large quartz doors opened, allowing the train to pass through. The next thing they knew, they were inside the theme park, still speeding along the train track. Dave caught glimpses of rides and shops and buildings as they zoomed forward, going deeper and deeper into the park. “Robot idiot, why isn’t the train stopping?” Carl demanded. “We’re inside the theme park now.” “When you say ‘robot idiot’, are you referring to me?” the friendly voice on the speakers asked. “Yes,” said Carl. “You’re a robot, and you’re an idiot, so I’m calling you a robot idiot.

Lord, my story is full of bad turns, apparent plot holes, and missteps—but also full of hope and promises of restoration. Use it as you will. May every story I tell, idea I have, and work I accomplish point to themes of glory. Amen.

It shouldn’t take long. I’ve got snot pouring out of my nose and this insane ringing in my ears, the theme of the X-Men show in my head. That one tune over and over, soundtrack to me scrubbing fury holes in the goddamn carpet: Da-na-na-na NA na na! Da-na-na-na NA na na!! It’s so loud in my head, I honestly can’t tell if it’s coming out of my mouth or not, but it must be because Stoner starts yelling at me to shut the hell up. And I’m screaming back at him Da-na-na-na NA na na! because by this point I’ve pretty thoroughly lost my mind.

I'm just me. Samuel Clearwater. I was born in this shit hole town. My favourite word is any variation of FUCK. I like my whiskey with a side of blow and maybe a little weed. I have a running theme song in my head for pretty much every occasion and I like to sing it at the top of my lungs, regardless of who is around or where I am. One of my most favorite things to do in this life is to give my friend Bear shit 'cause the look on his face is fucking priceless. I love all kinds of movies and I cried like a little bitch during the entire two hours of PS I Love You. I dig all kinds music. Countrey. Folk. Pop. Blues. Rap. Everything from Tupac to Taylor Swift. I have an unnatural obsession with making perfect pancakes.

I loved that there were cat symbols everywhere: feline figurines in window storefronts, cat posters, and cat ads. Even the construction signs were cats- pink-and-white Hello Kitty figures hanging off barriers, to keep pedestrians from stumbling into holes in the road.

Inspiration is when you find the right theme, one which you really like; that makes the work much easier. Intuition, which is also fundamental to writing fiction, is a special quality which helps you to decipher what is real without needing scientific knowledge, or any other special kind of learning. The laws of gravity can be figured out much more easily with intuition than anything else. It’s a way of having experience without having to struggle through it. For a novelist, intuition is essential. Basically it’s contrary to intellectualism, which is probably the thing that I detest most in the world—in the sense that the real world is turned into a kind of immovable theory. Intuition has the advantage that either it is, or it isn’t. You don’t struggle to try to put a round peg into a square hole.

took the opportunity to bound three steps ahead and turn into the next aisle. My gun was up and on target, and I could see Diego on the ground. But he had anticipated what I was going to do and had his pistol up. He fired one round, which went slightly to the left and struck the shelf right next to my head. Instinctively I squeezed the trigger twice at the target directly in front of me. It was a simple double tap. Bang, bang. For an instant, I could see the look in Diego’s eyes. Then he fell back and dropped the gun onto the floor. I immediately holstered my pistol and dropped to my knee. I reached down and pulled his thick T-shirt up over his stomach and chest to see two wounds just above his sternum. Blood was already starting to pump out. I placed my palms over each hole, hoping to stem the blood flow. The young man made a gurgling sound and tried to lift his head off the floor. I yelled out, “I need some help here.” A few seconds later, Todd appeared at my side. He said, “Fire and rescue is on the way. What do you need me to do?” “Help me stop the bleeding on one of these wounds.” Todd didn’t move. He put his hand on my shoulder instead. “Mike, it’s over. You did what you had to do.” I looked down and saw that Diego was perfectly still. I felt for a pulse at his chest and then at his neck. No more blood was pumping out of the wounds. He was dead. I flopped back, and my shoulders hit the bookshelf. I sat there staring down at the teenager I had just shot dead. From the end of the aisle a woman’s voice said, “You murdered him.” My head snapped in that direction. It was a young woman, and she was staring at me. A young man joined her and said, “You shot him for no reason?” Before fire and rescue and more cops could show up, a small crowd gathered, and they all picked up a similar theme. They thought I had acted rashly and fired my weapon without provocation. They thought I was some kind of monster. Once someone was there to secure the scene and Todd was leading me toward an office where I could gather my thoughts, I kept hearing people say, “Murderer.” “Killer.” Todd kept his arm on my shoulder and said, “Don’t worry about these ignorant morons. One thing I’ve learned working here is that I’m never surprised to see smart people acting like idiots. They have no idea you just saved their asses.

Doodle Jump: The Addictive Classic That Never Gets Old Doodle Jump is one of those rare mobile games that has stood the test of time. First launched in 2009 by Lima Sky, it quickly became a household name and a must-have game on smartphones. With its simple yet incredibly addictive gameplay, Doodle Jump continues to capture the attention of both casual and hardcore gamers. In this post, we’ll explore what makes Doodle Jump so special and why it remains a top mobile game even after more than a decade. What is Doodle Jump? At its core, Doodle Jump is a vertical-scrolling platformer where you control a cute, four-legged creature called “The Doodler.” Your goal is simple: jump as high as possible by bouncing from one platform to another, avoiding enemies and obstacles along the way. The further you go, the higher your score. But don’t be fooled by the simplicity—Doodle Jump is packed with unique features and charming elements that make it endlessly entertaining. Standout Features of Doodle Jump 1.

Doodle Jump: The Addictive Classic That Never Gets Old Doodle Jump is one of those rare mobile games that has stood the test of time. First launched in 2009 by Lima Sky, it quickly became a household name and a must-have game on smartphones. With its simple yet incredibly addictive gameplay, Doodle Jump continues to capture the attention of both casual and hardcore gamers. In this post, we’ll explore what makes Doodle Jump so special and why it remains a top mobile game even after more than a decade. What is Doodle Jump? At its core, Doodle Jump is a vertical-scrolling platformer where you control a cute, four-legged creature called “The Doodler.” Your goal is simple: jump as high as possible by bouncing from one platform to another, avoiding enemies and obstacles along the way. The further you go, the higher your score. But don’t be fooled by the simplicity—Doodle Jump is packed with unique features and charming elements that make it endlessly entertaining. Standout Features of Doodle Jump 1. Simple Controls, Endless Fun One of the main reasons for Doodle Jump’s popularity is its intuitive control system. You tilt your phone to move left or right and tap the screen to shoot. No complex tutorials or learning curves—just jump in and play. 2. Charming Hand-Drawn Aesthetic The game’s distinctive “doodle” art style looks like it was sketched in a notebook—and that’s exactly the point. This playful, creative design gives the game its signature look and keeps it lighthearted and visually fun. 3. Challenging Yet Rewarding Gameplay As you climb higher, the platforms become trickier, enemies more aggressive, and obstacles more unpredictable. The game’s increasing difficulty makes it exciting and keeps players coming back to beat their high scores. 4. Power-Ups and Enemies Doodle Jump features a variety of power-ups like jetpacks, trampolines, and propeller hats that help you climb faster. But watch out for black holes, UFOs, and monsters that can end your run in an instant! 5. Multiple Themes and Worlds From space to underwater adventures, ninja levels, and jungle settings—Doodle Jump keeps things fresh with multiple themed environments. Each theme offers a unique twist, keeping gameplay exciting and unpredictable. Why People Still Love Doodle Jump Today Despite the rise of more complex and graphic-heavy mobile games, Doodle Jump continues to shine due to its accessibility and timeless appeal. It’s the perfect game to kill a few minutes while waiting in line, and the quick restarts make it dangerously easy to say, “Just one more try!” Plus, with global leaderboards and in-game achievements, there’s always a reason to keep jumping. Final Thoughts Whether you're new to mobile gaming or just feeling nostalgic, Doodle Jump is a perfect reminder that sometimes, the simplest games are the most fun. Its charming visuals, smooth gameplay, and addictive design make it a must-play—even in 2025.

When it comes to iconic mobile games, few titles are as instantly recognizable as Doodle Jump. First released in 2009, this seemingly simple vertical platformer quickly became a global sensation. Over a decade later, it still holds a special place on millions of smartphones—and for good reason. At its core, Doodle Jump is about guiding a small, green alien-like creature (the Doodler) as it jumps from platform to platform, climbing endlessly into the sky. The concept is straightforward, but the execution is what made the game legendary. Its addictive gameplay, hand-drawn aesthetic, and quick restarts created the perfect loop: play, fall, repeat. Unlike many modern games with steep learning curves, Doodle Jump is instantly accessible. You tilt your device to move left or right and the Doodler jumps automatically. What starts off easy soon becomes a test of reflexes and concentration. As you ascend, moving platforms, disappearing platforms, monsters, black holes, and UFOs appear to make things interesting—and increasingly challenging. One of the key reasons Doodle Jump remains relevant today is its timeless design. The visuals are charming, with a notebook-style background and cartoonish animations that feel playful and familiar. The simplicity is part of its charm—it doesn't try to overwhelm players with flashy effects or unnecessary complexity. In terms of gameplay, the mechanics are tight and responsive. The Doodler reacts quickly to your inputs, and each mistake feels like something you can learn from and improve upon. That’s part of the reason people often come back for “just one more try”—it always feels like you’re only seconds away from beating your high score. Over the years, Doodle Jump has evolved. New themes, characters, and power-ups have been added to keep things fresh. From jungle environments to space adventures, the game has managed to expand while staying true to its original identity. These updates have helped it appeal to both longtime fans and new players discovering it for the first time. Doodle Jump is available on both Android and iOS, and despite the flood of mobile games released every year, it still holds up as one of the best pick-up-and-play experiences on the market. Whether you have five minutes to spare or an hour to kill, it’s the perfect game to reach for. In a mobile gaming world that often prioritizes complexity and monetization, Doodle Jump is a reminder that simplicity, when done well, can be powerful—and endlessly fun.