1Q84 : (

Over the last few days I made the big mistake of reading all of 1Q84. After I finished, I obtained a copy of some of the author's planning notes for the book:
* Repetition is key. Have all characters repeat back virtually all dialog, internal thoughts, and backstory.
** Don't be afraid to italicize or bold entire sentences when you're repeating them for the fourth or fifth time.
** There are 944 blank pages here, you've got to stretch the content to fit, and none of that changing the margins or font busines.
** Example: have you seen the moon? Have I seen the moon? Yes, have you seen the moon. Do you mean, have I looked up in the sky recently to observe a celestial body? Yes, that is what I mean. That is a good question. (Internal dialog): Have you seen the moon, she asked me. What could it mean? I should remember if I looked up in the sky to observe a celestial body.
** For backstory, explain it from the character's perspective, then again from their friends's perspective, then again from their antagonist's perspective, then again from the random PI's perspective, then again from the love interest's perspective. Don't summarize any of these times. You've got to hit all of the same details each time. It's also good to have the character reflect again on how their backstory relates to the world, preferably a few times.
* Throw in a bored, hollow description of sex or a character thinking about the imperfections in their genitals from time to time. Callous extreme violence is also welcome.
* Nothing should be clear. Repetition of vague or contradictory passages is sufficient.
** Characters should sometimes be able to hear and respond immediately (with repetition) to each other's thoughts, but without order
** Characters should sometimes ask each other or themselves to explicitly believe illogical beliefs
* Make almost everything relate to many other elements, but make some obvious exceptions. Like a jigsaw puzzle with a few pieces that don't fit anywhere, leaving holes in the landscape.
* Introduce several new subplots all of a sudden near the end of the book, but don't even try to resolve them.
* Fixate on a few meaningless details. Every time you describe the park, the only descriptors should be the mercury lamp and the zelkova tree and the slide. The slide matters, the others do not. Ditto for most scenes.
* Don't forget to taunt your readers.
** Include a character that edits a book down so that it has no repetition and flows well
** the slope of the plot advancement should look as much like a distended staircase as possible: long period of descriptions and introspection, concentrated burst of plot advancement. Repeat. The reader should feel like you know perfectly well how to write gripping storylines, but choose not to due to your desire to make this a "literary magnum opus"