Plot
Gwendolyn Leonard (pronounced Len-nard) epitomized the term "self involved." After being fired from her corporate job, she was reduced to moving in with her former assistant, spunky Terry Reynolds, and starting up a new promotions business as her partner. Terry and her brother Danny shared a loft apartment atop a clock tower in New York City, and Danny worked as bartender at Clockworks, the restaurant below, while he pursued his dream of becoming a writer. Clockworks was owned by Guy Mann, an average Joe who adamantly pursued Gwen, though she kept him at arm's length (his response to each of her blow-offs was "Oh, yeah!").
Also regularly seen was Mrs. Francis, a crotchety unemployment agent whom Gwen ultimately inspired to quit her job and open up an eggroll shop; Ashley Mann, Guy's son who worked as a female impersonator; Scott Bickley, Danny's lecherous agent who moonlighted as a suit salesman; and Steve Summer, a former classmate of Gwen's who'd carried a torch for her for decades. Infrequently seen were Gwen's snobbish mother Rita (Dixie Carter) and Terry and Danny's loud-mouthed mother Tina (Randee Heller).
Read more about this topic: Fired Up (TV Series)
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)