Francie, the speaker of Moore’s "How to Become a Writer," comments a number of times about how she has been told, by teachers and fellow students, that the plots of her stories are weak. Superficially, and ironically, the same comment might be made about "How to Become a Writer." It does have a plot though, if one was carefully checking for a pulse to take of this story, one might have to press rather hard; and it manges to escape this irony at the very conclusion. It is an apparent paradox that may or may not be present depending on one's interpretation of the intended meaning of the work and its dramatic effect on the reader.
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