The Many Definitions of Plot

Awhile ago I did an 8-part series on Plot to help me understand the differences between the terms: plot, story, and structure. (I’ve since revised some of my thoughts from that series when I did my grad lecture on story structure. More on that coming soon). But what I seem to find interesting is that no one seems to be able to agree on what plot is.

Sure, everyone sort of knows what plot is on a gut level, (and there’s plenty of overlap when writers discuss it), but there isn’t a concrete single definition. I think this is fascinating (and confusing), and oddly empowering. It means each of us gets to create our own personal definition of plot. We get to pick a definition that works for us!

I’ve begun to collect definitions of plot and I’ve shared my list below. Take a look through them and see if any resonate with you. Or maybe you’ll find you disagree with some (I sure do!). Perhaps some will confuse you, while others might help you consider plot in a whole new way! I’d love to know what you think.

As writers, we create our own philosophies about how we each define good writing and how the craft should be approached.  Coming up with our own personal definition of plot is an interesting part of that journey. I’ve never found two writers who articulate it exactly the same way.

Here’s what some of my craft books, friends, and teachers have to say about plot:

“Plot is how the events in a story directly impact the main character.”  - Martha Alderson 

Story is: “The king died and then the queen died.” Plot is: “The king died and then the queen died of grief.” - E.M. Forster

“Story is what happens; plot is the structure of what happens.”  - Cheryl Klein

“Plot is merely the mechanism by which your character is forced up against her deepest fears and desires.”  - Margaret Bechard 

“Plot is nothing more than the way you organize your story.”  - Nancy Lamb

Plot is “merely one way of telling a story, by connecting the happenings tightly, usually through causal chains.”  - Ursula Le Guin

“Story [is] what your novel is about. Plot [is] what happens within your story … Structure [is] how it’s organized.”  - Sheryl Scarborough

“Plot is the arrangement of events that make up a story…  Plot is the sequence of unfolding action. In examining plot we are concerned with causality, with how one action leads into or ties in with another.” – Chea Stephenson

“Plot is a system of actions.” – Susan Fletcher

Plot is “the under-the-surface weaving of various lines of action or sets of events so that the story builds steadily … It is a combination of what happens and how those events are revealed to the audience.” - John Truby

“Plot is not just what happens in a story. Rather, plot is a pattern of cause and effect or conflicts upsetting the equilibrium of a situation.” - Ron Layne and Rick Lewis

“Plots engage our capacity to understand motives and thus the logic of action.” - Roger Seamon

How do you define plot? I’d love to hear your personal definitions, thoughts, and ideas!

The above quotes come from the following sources:

Alderson, Martha. The Plot Whisperer: Secrets of Story Structure Any Writer Can Master. Avon, MA: Adams Media, 2011. Print.
Bechard, Margaret. Small Workshop Plot Handout. Vermont College of Fine Arts. 2012.
Chea, Stephenson. “What’s the Difference Between Plot and Structure.” Associated Content. 16 Feb. 2010. Web. 7 May 2010. 
Forster, E.M. Aspects of the Novel. 1927. San Diego: Harcourt Brace Jovanovich, 1985. Print.
Klein, Cheryl. “The Essentials of Plot.” CherylKlein.com. Web. Nov. 2012.
Fletcher, Susan. Structure as Genesis. Faculty Lecture. Vermont College of Fine Arts. 2012.
Lamb, Nancy. The Writer’s Guide to Crafting Stories for Children. Cincinnati, OH: Writer’s Digest Books, 2001. Print. 
Layne, Ron and Rick Lewis. “Plot, Theme, the Narrative Arc, and Narrative Patterns.” English and Humanities Department. Sandhill Community College. 11 Sept, 2009. Web.  7 May 2010. 
Le Guin, Ursula K. Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew. Portland, OR: Eighth Mountain Press, 1998. Print.
Scarborough, Sheryl. “Re: Laura’s (Way Late) Lecture Thread.” MFA Student Forum. Vermont College of Fine Arts. Web. Nov. 2012.
Seamon, Roger. “The Price of Plot in Aristotle’s Poetics.” The Journal of Aesthetics and Art Criticism, 64:2, Spring 2006. Ebsco Host. Web. 10 May 2011.
Truby, John. The Anatomy of Story: 22 Steps to Becoming a Master Storyteller. 2007. New York: Faber and Faber, 2008. Print.

Three Act Structure: A Pair of Spanx for Your Novel

By Sheryl Scarborough

If the writer’s closet of useful tools could be likened to Carrie Bradshaw’s fabu walk-in,  masterful accessories such as simile and metaphor would equate to exquisite Louboutin’s and Jimmy Choo’s footwear… exotic word choices would sparkle like Tiffany’s finest… and you would most likely find three-act structure in the drawer labeled: Spanx!

This is my way of saying Three-Act Structure may not be sexy, but once you try it, you’ll wonder how you ever lived without it. What exactly can Three-act structure do for you? I’m glad you asked.

• Simply organizing the main points of your manuscript into a structured beginning, middle and end will give you a comfortably shaped body of character, narrative and pace.  (Spanx, baby!)
• Three-act structure streamlines the creative process, allowing you to focus on great dialog and important story points, not the organization of them.  (When you’re busy being brilliant who wants to organize?)
• Which part of your story belongs in each act can be defined in enough detail that, once you learn it, you will never forget it.  (Can you just give me the crib version? Yes. Read on!)

There are plenty of whole books, which define Three-Act structure and demonstrate how it works. For the purpose of this blog I’m just going to give you the basics. Three-Act structure is a specific way to balance and pace your story. The breakdown is simple:

Each Act encompasses a certain number of pages. This is the pacing part. Each act also plays a specific role in telling your story. This is the structure part.

In Act 1 the purpose is to introduce your characters and orient your reader to the setting and world you imagine.

Act 2 is where your story develops; this explains why it’s twice as long as Act 1 and Act 3.

Act 3 should be reserved for the exciting climax and conclusion of your story.

Act 1: Think of a Knight on a Quest… 

Act 1 should answer WHO, WHAT, WHEN and WHERE… but not why. It should install your character in his world in a way that quickly orients your reader. Use Act 1 to identify your main character’s problems and introduce us to his friends and foes. Establish his goals and make us care about him.

If you’ve done your job, Act 1 is when your reader develops empathy with your main character. You need for this to happen… don’t blow it. The transition at the end of Act 1 is the point where your character commits to a course of action and your reader settles into her chair and thinks, “okay, here we go.”

Act 2: Facing the Two-Headed Dragon… 

If Act 1 is a Quest, then Act 2 is a series of challenges… sort of like facing a two-headed dragon!  In Act 1 your reader has learned WHO, WHAT, WHEN and WHERE. By the time she reaches Act 2 she wants to know WHY.

In Act-1 your job was to establish your character’s goal.

In Act 2.1, your job is to play keep away with that goal.

Just like in real life, adversity creates character.  The goal of the first half of Act 2 is to throw a series of try/fail obstacles into your character’s path. With each test your character’s commitment becomes apparant. Each time he fails, you deepen his character and reveal more about him… this is how readers find out what he wants and needs and especially how invested he is in his goal.

Not only will your character come alive through these challenges, but as you raise the stakes your reader will become more involved, intrigued and invested in your story.

The length of the trial and error portion of your story is dictated by Three-Act structure. In the first half of Act 2 you are writing toward the mid-point, which is a mere 25% of your total story.

The Mid-point: It Changes Everything…

The Mid-point can be a down moment – the catastrophic end of your character’s goal. Or, it can be an up moment – a moment of shaky success that’s so tenuous and delicate your reader will be worried that this is just one more thing for the main character to lose.

Just remember, the purpose of the Mid-point is that it changes everything.

The Second Half of Act 2: Rebuild the Character’s Goal… 

Depending on your Mid-point you have either destroyed your main character’s goal or you have pushed it to such a pinnacle that it is in jeopardy. In either case, the second half of Act 2 asks “now what” or “what now.” This is where you begin to rebuild your main character’s goal. To keep the reader intrigued you must keep the pressure on your main character. Achieving his goals should be hard and take real grit and determination. This is what keeps a reader in their seat.

You also want to begin to bring your storylines together in the last half of Act 2 so that you won’t crowd the climax and conclusion of your story with loose ends.

The End of Act 2: Your Character’s Darkest Moment

Pull out all the stops and really make this moment count. This is the low point your reader has been worried about for your entire novel. And now you must give it to them. Slam your story down on your main character with all the brutality you can muster and I guarantee your reader won’t be able to stop reading.

If you have built your story to this moment, the hopes and dreams that your reader has for your main character will carry them over the end of Act 2 and straight into the climax and conclusion.  They won’t be able to put down your book.

Act 3: The Unexpected and Long-Anticipated…

“Act 3 begins with the unexpected and ends with the long-anticipated.“ 

                                                            Author, Ridley Pearson

What this means, is as you conclude your story, you want to make the ending as exciting and unexpected as possible… and yet you want to fulfill your promise to the reader and wrap up the story they expected you would tell. In most cases, your main character will achieve a satisfying goal – maybe not the goal he started out with, but one the reader will accept as a good conclusion to your story.

Example: staying with my Knight on a Quest theme, the end of my story should involve rescuing the Princess – or in my case – The Prince.

But don’t forget to keep an element of surprise… your reader will be working with you to create a successful conclusion to your story.

My surprise that my Knight was really my Princess will be all the more delicious to my reader.

Three-Act structure is writing with purpose!

For more information, check out some of these books that do a good job explaining Three-Act structure:

King, Vicki. How to Write a Movie in 21 Days. HarperCollins Publishers, 1993. Print.

McKee, Robert. Story: Substance, Structure, Style and the Principles of Screenwriting. New York: ReganBooks, 1997. Print.

Schmidt, Victoria. Story Structure Architect. Cincinnati, Ohio: Writer’s Digest;, 2005. Kindle Edition.

Snyder, Blake. Save the Cat!: the Last Book on Screenwriting You’ll Ever Need. Studio City, CA: M. Wiese Productions, 2005. Kindle edition.

Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. Print.

Or, you can write to me at mediasherpa@gmail.com

Sheryl Scarborough learned Three-Act structure during her 20 year stint as an Award-winning writer for children’s television. Now, a recent graduate of the Vermont College of Fine Arts MFA program in writing for children and young adults, Sheryl has turned her creative attention on writing young adult mystery/thrillers.

Follow Sheryl on Twitter: @scarabs

Read more by Sheryl on her blog: Sheryl Scarborough Blog

The blog post was brought to you as part of the March Dystropian Madness Series.

TO PLOT OR NOT TO PLOT: Full Bibilography

This is the full bibliography for my “To Plot or Not to Plot” series:

• Part 1: Terminology and the Difference Between Narrative and Story
• Part 2: Taking a Closer Look at Story
• Part 3: Got Plot
• Part 4: Types of Plot
• Part 5: Structure and Looking at the Whole
• Part 6: Defining Story Structure
• Part 7: Defining Plot Structure
• Part 8: Defining Narrative Structure and Conclusion

FULL BIBLIOGRAPHY OF WORKS CITED:

Anderson, M.T. “Two Theories of Narrative.” Lecture. Vermont College of Fine Arts, Montpelier, VT. July 2008. Sound Recording.

Ashmore, Calvin. “David Bordwell: Narration in the Fiction Film.” Icosilune. 16 Feb 2009. Web. 16 May 2011.

Atwell, Amy. “It’s All a Matter of Time: Exploring Linear vs. Non-Linear Story Structure.” Romance University, 5 Nov 2010. Web. 10 May 2011. http://romanceuniversity.org/2010/11/05/its-all-a-matter-of-time-exploring-linear-vs-non-linear-story-structure/

“Basics of English Studies: Story and Plot.” English Department. Albert-Ludwigs University Freiburg.  n.d. Web. 7 May 2010. http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/Plot01.htm

Berg, Charles Ramirez. “A Taxonomy of Alternative Plots in Recent Films: Classifying the ‘Tarantino Effect’.”Film Criticism, Vol. 31, Issue 1-2, 5-57, 22 Sept 2006. Ebsco Host. Web. 6 May 2011.

Chea, Stephenson. “What’s the Difference Between Plot and Structure.” Associated Content. 16 Feb. 2010. Web. 7 May 2011. http://www.associatedcontent.com/article/2700073/ what_is_the_difference_between_plot.html?cat=4

Cowgill, Lisa. “Non-Linear Narratives: The Ultimate in Time Travel.” FilmmakerIQ.com, 17 Aug 2009. Web. 10 May 2011. http://filmmakeriq.com/2009/08/non-linear-narratives-the-ultimate-in-time-travel/

Da Vinci, Leonardo. The Last Supper. 1495-98. Painting. Art History: About.com. Web. 16 May 2011.

Doan, Lisa. “Plot Structure – The Same Old Story Since Time Began?” Critical Essay. Vermont College of Fine Art, 2006. Print.

“The Elements of Structure – Plot.” Dramatica Theory Book. Dramatica.com: A Wright Brothers Website. 1994-2009. Web. 7 May 2011. http://www.dramatica.com/theory/theory_book/dtb_ch_16.html

Freytag’s Pyramid. N.D. Graph/Illustration. Narrative Structure: Lit Blog. Web. 16 May 2011.

Gardner, John. The Art of Fiction: Notes on Craft for Young Writers. New York: Vintage Books (A Division of Random House), 1983. Print.

Klein, Cheryl. “Talking Books: The Essentials of Plot.” CherylKlein.com.  April 2006. Web. 7 May 2011. http://www.cherylklein.com/id18.html

Layne, Ron and Rick Lewis. “Plot, Theme, the Narrative Arc, and Narrative Patterns.” English and Humanities Department. Sandhill Community College. 11 Sept, 2009. Web.  7 May 2011. http://www.sandhills.edu/academic-departments/english/film/narrativearc.html

Lewis, Judy. “Plot Analysis and Narrative Structure.” Artemis Film Guides. n.d. Web. 7 May 2011. www.artemis-film-guides.com/Truman%20Show%20Sample%20Page.doc

Liz. “The Difference Between Plot and Story.” LearningNerd. 26 Jan. 2007. Web. 7 May 2011. http://www.learningnerd.com/the-difference-between-plot-and-story

Meadows, Mark Stephens. Three Alternative Plot Structure Graphs. N.D. Graph/Illustration. Radha’s Webblog, Corocoran College of Art and Design. Web. 16 May 2011.

Muliawan, Anugrah Adi. Flashback Plot Structure. N.D. Graph/Illustration. Anubuono Blog. Web. 16. May 2011.

Na, An. “Structuring Stories.” Lecture. Vermont College of Fine Arts, Montpelier, VT.  July 2010. Sound Recording.

“Narrative.” Random House Dictionary, Dictionary.com, 2011. Web. 16 May 2011.

Parise, John. Petal Plot Structure. 2002. Graph/Illustration. Storytelling: Story Structure, Carnegie Mellon School of Computer Science. Web. 16 May 2011.

Ragan, Sean. The Mystery of Chimney Rock: Plot Map. N.D. Graph/Illustration. Radha’s Webblog, Corocoran College of Art and Design. Web. 16 May 2011.

Ryan, Maurie-Laure. “Cheap Plot Trick, Plot Holes, and Narrative Design.” Narrative, Vol 17. No. 1 (January 2009). Ebsco Host. Web. 7 May 2011.

Sempere, Anindita Basu. “Verse and Vignette Novels: Why You Should (or Shouldn’t) Break Traditional Form.” Lecture. Vermont College of Fine Arts, Montpelier, VT.  Summer 2007. Sound Recording.

Shephard, Katie. Freytag’s Triangle. 2010. Graph/Illustration. Katie A2 Media. Web. 16 May 2011.

“Structure.” Random House Dictionary, Dictionary.com, 2011. Web. 16 May 2011.

“Structuralism.” Wikipedia.org. 4 May 2010. Web. 16 May 2011. http://en.wikipedia.org/wiki/Structuralism

Wattles, Jeffery. “Aristotle’s Nicomachean Ethics” Jeffery Wattles Website, Department of Philosophy, Kent State University.  n.d. Web. 12 May 2011. http://www.personal.kent.edu/~jwattles/aristotl.htm

“What is Narrative Structure?” In Point Online Production Resource, Pacific Cinematheque. n.d. Web. 7 May 2011. www.inpoint.org

Wikipedia. The Hero’s Journey. N.D. Illustration. Monomyth on Wikipedia.org. Web. 16 May 2011.

TO PLOT OR NOT TO PLOT: Part 8 – Defining Narrative Structure and Conclusion

Be sure to read the first seven parts of this essay:

• Part 1: Terminology and the Difference Between Narrative and Story
• Part 2: Taking a Closer Look at Story
• Part 3: Got Plot
• Part 4: Types of Plot
• Part 5: Structure and Looking at the Whole
• Part 6: Defining Story Structure
• Part 7: Defining Plot Structure

Defining Narrative Structure:

We’ve determined that plot structure is a type of story structure.  Similarly, story structure is a type of narrative structure. However, narrative structure does not have to include either a plot or a story. In essence it’s a kind of umbrella term for any structure related to narrative (which is something pertaining to the semblance of a story).

The work of structuralist Roland Barthes is an example of someone who’s developed narrative structures. The structuralism movement was very interested in creating “a model of a universal narrative structure, or a system of recurrent patterns and motifs” (Wikipedia). M.T. Anderson describes their pursuits as follows:

They sought to uncover the unspoken submerged rules of the way we live. In particular, they studied the way smaller units of meaning congregate and form larger units. They tried to break units down and find the smallest particles of meaning. Then attempted to come up with unified theories of how those units related to one another. How they were substituted or exchanged. They tried to define not just the rules of linguistic grammar, but essential grammar, and narrative grammar. (Anderson)

In his work, Barthes developed five Lexia or narrative codes for narrative. These included: the code of action, the code of connotation, the symbolic code, the cultural code, and the code of enigmas. Each of these codes is used to analyze and break down the grammar of a narrative. These codes, however, are used both on the grand “big picture” stage as well as on the smaller word by word, sentence by sentence arena (Anderson). Therefore structuring narrative is not based solely on plot or even story. A structure can be based upon the grammar of imagery (code of connotation) or a pattern of delayed answers (code of enigmas), and could be applied to the small units (without events and thus story) or the larger units of the whole.

As such, we can now see the key differences between narrative, story, and plot structures. Noting that plot does fall under the umbrella of story, and story under the umbrella of narrative, but the terms are not reversible to say all narrative includes stories and all stories include plots.

In Conclusion

It’s important for an author to know the differences between narrative, story, plot, and structure in order to make the best choices for his or her writing. The prevalent myth within film, literature, and storytelling circles that there is one type of structure and one type of plot, and though the details may change the underlying structures are the same. This is not true, and if it was narratives would become as static, cliché, and lifeless as a paint-by-number image of a kitten. The ability to distinguish terminology empowers the writer to make informed choices on what type of narrative they wish to present and what options are available to them. An Na warns that “when a story and a structure are not synced for a very purposeful and necessary reason then you are violating a very fundamental notion of story. You’re forcing the story to become something it doesn’t want to be.” The prevailing plot and structure myth gives authors the impression that there is only one way to tell a story and they may often find themselves trying to force their round-shaped story into a square-shaped plot structure. By understanding the differences, writers are empowered to make the best choices for their work so that they may keep the trust and faith of their readers.

Woohoo!

Thanks for sticking through this long blog series to the end! A full bibliography of this series will be posted shortly and can be found HERE!

TO PLOT OR NOT TO PLOT: Part 7 – Defining Plot Structure

Be sure to read the first six parts of this essay:

• Part 1: Terminology and the Difference Between Narrative and Story
• Part 2: Taking a Closer Look at Story
• Part 3: Got Plot
• Part 4: Types of Plot
• Part 5: Structure and Looking at the Whole
• Part 6: Defining Story Structure

Defining Plot Structure:

If story structure is a form of organization for a story that may or may not have a plot, what is plot structure? It’s important to note that plot structure is a type of story structure, but the two terms are not interchangeable. The most common story shape for plot structure is the Fichtean Curve (see figure 4). Talked about at length in Gardner’s book The Art of Fiction, this plot structure reflects the goal-oriented plot. In essence, the character has a goal and follows a series of three or more obstacles of increasing intensity in order to achieve that goal. The protagonist reaches an ultimate conflict called the climax and then proceeds to a resolution. This common story shape is often called the Aristotelian Story Shape. However, this may be a falsehood. Aristotle only mentioned that stories should have beginnings, middles, and ends (hence the three act structure). Aristotle had very little to say about plot structure according to author M.T. Anderson:

Structurally in terms of abstract story shape, Aristotle doesn’t really give us much of a pointer. He says ‘for every tragedy there is a complication and a denouement. By complication I mean everything from the beginning, as far as the part that immediately precedes the transformation to prosperity or affliction. And by denouement, I mean the start of the transformation to the end.’ So, it is really more of a two part thing, and he gives you no real sense of the proportion those two things should be in. It’s not actually tremendously useful.

Thus the story shape (the Fichtean curve) came later as others developed new theories of plot structure.

Another common shape is Freytag’s Pyramid, (also called Freytag’s Triangle) which many illustrate with close similarity to the Fichtean curve (see figure 5A). However, this is a distortion, and Freytag’s pyramid is actually symmetrical in its triangular form (see figure 5B), and reflects a Germanic idea of story shape (Anderson). Despite the name, this common plot-structure includes the elements of: Exposition, Rising Action, Climax, Falling Action, and a Denouncement. It’s also very popular as Klien points out:

You can see this structure everywhere. It’s Aristotle’s Greek tragedies. It’s all six Jane Austen novels. It’s in all six Harry Potters. It’s mystery novels, romance novels, most every pop song ever written, U2, Stevie Wonder. And the reason for that is, again, catharsis: all the emotion building up through your interest in the characters and their actions, exploding at the climax, leaving you drained but renewed. (Klein, 10)

The emphasis on increasing tension and emotional involvement is perhaps why this is the most popular plot structure around, but it’s not the only option. Author, An Na comments that the possibilities for plot and story structure “are about as plentiful as ways to cook food.” Taking a look at figure 6, which shows a plethora of alternative plot structures, one will begin to see she is indeed quite right.

Alternative plot structures can be applied to both novels and stories, but they may become more popular as interactive storytelling is developed using video games, internet, and digital interfaces.

Up Next: Part 8 – Defining Narrative Structure and Conclusion

** Full Bibliography will be provided at end of blog-post series.

TO PLOT OR NOT TO PLOT: Part 4 – Types of Plot

Be sure to read the first three parts of this essay:

• Part 1: Terminology and the Difference Between Narrative and Story
• Part 2: Taking a Closer Look at Story
• Part 3: Got Plot

Types of Plot

We’ve established that plot is the linear events chosen from the story and presented with a causal relationship. However, a writer might receive the comment: “This has no plot!” from a teacher, and the writer might then argue that he’s chosen events and presented them with profluence. This may be true, but it’s possible the teacher is referring to something more specific. One of the major issues when it comes to discussing plot, is the use of the word “plot” and how it often refers to a specific type of plot. What plot is that? Why it’s the grandpappy of dramatic theory’s concept of plot, of course: Aristotle’s energeic plot.

Energeia relates to action. John Garder says “the most common form of the novel is energeic” and by the word energeia “Aristotle meant ‘the actualization of the potential that exits in character and situation” (187). Philosophy professor Jeffrey Wattles explains Aristotle’s energeia as “when things are in activity,” further pointing out that “every activity is directed toward some good or goal.” And Klien explains that Aristotle’s tragedy is “a representation of a serious, complete action which has magnitude … represented by people acting and not by narration.” Therefore, when we speak of energeic plot we are talking about the action plot or the goal-oriented plot, where a protagonist has a goal and takes action to obtain that goal. This is the plot of Aristotelian tragedy, and the most common organizing principal used when plotting.

The energeic plot is the basis for most conversations on plotting. In fact, there are plenty of craft books claiming to have found the key to plot only to reiterate the same template of energeic plot (Doan).  Screenwriting guru Robert McKee explains plot as:

For better or worse, an event throws a character’s life out of balance, arousing in him the conscious and/or unconscious desire for that which he feels will restore balance, launching him on a quest for his object of desire against forces of antagonism (inner, personal, extra-personal). He may or may not achieve it. (McKee, qtd in Doan, 2)

And Gary Provost “The writer’s writer” explains plot similarly:

Once upon a time, something happened to someone, and he decided that he would pursue a goal. So he devised a plan of action, and even though there were forces trying to stop him, he moved forward because there was a lot at stake. And just as things seemed as bad as they could get, he learned an important lesson, and when offered the prize he had sought so strenuously, he had to decide whether or not to take it, and in making that decision he satisfied a need that had been created by something in his past. (Provost, qtd in Doan, 2)

This is the plot of The Hero’s Journey, it’s the plot taught in film school and found in myth and novel from contemporary times to the days of the Greeks.  But is it the end-all-to-be-all of plot?

The energeic plot may be the most common, but it’s not the only plot available to writers. In fact, film theorist Charles Ramirez Berg noticed an emergence of alternatively plotted films that don’t fall under the dominant energeic plot paradigm. He’s begun to classify films by new plot types and has come up with twelve categories, suggesting that this is just the beginning and not an all-inclusive list (8). A small sampling of his plot types include: The Polyphoic or Ensemble Plot: Multiple protagonists in a single location which is “characterized by the interaction of several voices, consciousnesses, or world views, none of which unifies or is superior to the others” (15).  There can be goals in this plot type, but more often it’s a character-driven story in the form of a portrait of a city or group of friends (example: The Big Chill).  The Daisy Chain Plot: No central protagonist, one character leads to the next. In this plot we follow an object as it switches hands from character to character (example: The Red Violin) (25). The Repeated Action Plot: One character repeats a single action, as in the film Groundhog Day or Lauren Oliver’s YA novel Before I Fall, where the protagonist re-lives a day of her life multiple times (30). As we can see, many types of plot exist, and though goals can be a part of these plots, it’s not the only way in which to plot a story.

Another term to consider is that of the soft plot. Is this a new plot type or a reaction to a plot without much action? This is a tricky question as the distinction relates to the context in which the question is posed. I would postulate that most often a soft plot comment is a reaction to a slow energeic plot. “Lack of suspense or tension in a narrative can in part be explained by the absence of a tight plot. There is very little tension, for instance in Virginia Woolf’s short story Kew Gardens, mostly because practically nothing happens … Many modern and postmodern writers deliberately try to eschew event-dominated stories and tight plots because they feel it is not an accurate rendering of reality and they claim to be more interested in character than plot” (Basics of English Studies, 2). The reference in this quote to “tight plot” and a need for “things to happen” is a reflection of a desire for energeic plot, but the idea of being interested in authenticity and character has merit of its own. A character driven plot could be its own plot type as well, where the designing plot principal is to show causal events that create a portrait or context of a character and her life rather than a specific goal.

It seems action, character; even an object (daisy-chain plot) can be the designing principal of a plotline, but what about theme? Gardner postulates multiple ways one can organize a novel, saying:

Successful novel-length fictions can be organized: energetically, that is by a sequence of causally related events, juxtapositionally, when the novel’s parts have symbolic or thematic relationship but no flowing development through cause and effect; or lyrically, that is by some essentially musical principal – one may think, for example, of the novels of Marcel Proust or Virginia Woolf. (185)

He goes on to explain:

The lyrical novel is the most difficult to talk about. What carries the reader forward is not plot, basically – though the novel may contain, in disguised form, a sequence of causally related events – but some form of rhythmic repetition: a key image or cluster of images; a key event or groups of events, to which the writer returns repeatedly, then leaves for material that increasingly deepens and redefines the meaning of the event or events; or some central idea or cluster of ideas. (185)

It is here that we’ve begun to move away from plot. Here we have begun to talk about stories, but stories without plots. What we have here is a pattern of organization concerning a story that lacks causality and profluence (thus has no plot). What we’ve stumbled upon is structure.

Up Next: Part 5 – Structure and Looking at the Whole

** Full Bibliography will be provided at end of blog-post series.

TO PLOT OR NOT TO PLOT: Part 3 – Got Plot?

Be sure to read the first two parts of this essay:

• Part 1: Terminology and the Difference Between Narrative and Story
• Part 2: Taking a Closer Look at Story

Got  Plot?

Okay, so I’ve got a story, but do I have a plot? Let’s take a look at how plot is different. Once a writer has established his or her story (what happens) one will need to decide which events to present to the reader. This is the construction of a plot. A plot is “someone’s telling of the story” (Liz), “how the story is presented” (English Basics), or “the arrangement of what happens” (Chea). The author isn’t going to share every event of the story, (well you could, but that would probably be a lot like reading a boring history book), instead an author will select specific events that best engage the reader in the story (see figure 3).

To create a plot, however, one won’t select events at random. There’s another important ingredient.

In Forester’s original example of story he said: “The King died and then the Queen died.” Here we have two events which create a story but it does not have a plot. In order for this to become a plot there must be a connection of causality. Forester thus offers: “The King died and then the Queen died of grief” (Cowgill). Stephenson Chea says that “in examining plot, we are concerned with causality, with how one action leads into or ties in with another” (2). Forester’s addition of the words “died of grief” shows the action of the Queen’s death is a result of the previous event.  Plotting means selecting events with an internal logic, events “that lead the characters from their situations and attitudes at the beginning of the problem to their situations and attitudes when the effort to solve the problem is finally over” (Dramatica). In The Art of Fiction, John Gardner describes this logic as profluence.  He says “a story contains profluence, and the conventional kind of profluence – though other kinds are possible – is a causally related sequence of events. This is the root interest of all conventional narrative”(55).  He goes on to state that the reason profluence is necessary is because “we cannot read a whole novel in an instant, so to be coherent, to work as a unified experience…narrative must show some profluence of development” (55).

If a story is what happens, and plot is the selection of events with a cause and effect relationship, one can begin to see how the two overlap. Ultimately an author in early stages of novel development may be simultaneously figuring out the story (what happens) as well as plotting it (how and why it happens). Humanities Professor Ron Layne states that “the plot is a series of conflicts or obstacles that the author and director introduce into the life of the characters,” the act of plotting therefore can affect and change the story while the writer is in process. In her evaluation of narrative, essayist Maurie-Laure Ryan adds that “plot exists on two levels: the plotting of the author, who creates the storyline; and the plotting of the characters, who set goals, devise plans, schemes, and conspiracies, and try to arrange events to their advantage” (56). An author must then balance the actions of character and the actions of their own choices of plotting.  Story and plot thus flip-flop back and forth as they are created, revised, and crafted. This flip-flop explains the inherent contradiction found in Gardner statement that “the writer has no story until he has figured out a plot that will efficiently and elegantly express it” (56). No wonder story and plot are often confused, particularly when a writer is in the act of creation.

So you may have a story, and you may have a plot, but did you know there are different types of plot?

Up Next: Part 4 – Types of Plot

** Full Bibliography will be provided at end of blog-post series.

TO PLOT OR NOT TO PLOT: Part 2 – Taking a Closer Look at Story

Be sure to read the first part of this essay:  Terminology and the Difference Between Narrative and Story

Taking a Closer Look at Story:

Every novel should have a story (unless of course it’s something experimental, but for the purposes of this essay let’s focus on stories). Scholastic editor Cheryl Klein says “a story is what happens”(1). That seems a little vague, so let’s dig deeper. Novelist Amy Atwell points out that stories are linear, a story “start(s) at Point A and follow(s) a logical progression of time-bound events that lead the character to Point B”(1). Forester, as mentioned above, gave us the example of “The King died” (point A) “and then the Queen died” (point B). Here we have the most basic element of a story, two events: “The King died and then the Queen died.” But for the novelist a story is more complex than two events. Story encompasses all events and all things that have happened in the lives of the characters. LearningNerd Blogger Liz, says story is “like history,” pointing out that story includes all chronological events that we may see play out in a novel, but it also includes the backstory, as well as events that may not end up in the final book.  In film, “story” is given its own specific term: the fabula. Film theorist David Bordwell says “in film, the fabula is not given to the audience; it is constructed based on what they see”(Ashmore). His point is the events presented to an audience allow them to imagine the story behind it and make connections between the events. Klien has a similar concept of story, and says that while in the drafting process the author’s “job in the first draft is to write the story, get the events down, find out who these people are and what they do.” Similarly, the film society Pacific Cinematheque says, “story is about trying to determine the key conflicts, main characters, setting and events … and should be concerned with the questions of ‘who’, ‘what,’ and ‘where.’” It looks as if story is chronological and it encompasses all the events, settings, and characters within a story-world. Story exists without judgment like a chronological history, it’s as Cheryl Klein said: “what happens.”

So you’ve got a Story, but do you have a plot?

Up Next: Part 3 – Got Plot?

** Full Bibliography will be provided at end of blog-post series.

TO PLOT OR NOT TO PLOT: Part 1 – Terminology and the Difference between Narrative and Story

I often find the terms Narrative, Story, Plot, and Structure to be used interchangeably (on blogs, in articles, tweeted, and talked about), and personally, much confusion has ensued as a result. The following is an adaption of a critical essay I wrote during my past term at the Vermont College of Fine Art. My goal was to clarify each of these terms in order to feel empowered by the vocabulary and the craft concepts rather than confused. Hopefully this series will help others who find the concepts confusing as well. The series is a little long and best read in-sequence.  Enjoy!

To Plot or Not to Plot: Plodding Our Way Through the Terminology     (Defining the difference between Narrative, Story, Plot, and Structure).

At some point every writer is going to have to wade his or her way through plot and structure. Not to worry, information on these not-so-tiny topics is plentiful. It’s so abundant, in fact, as to be absolutely mind-numbing; particularly so when it come to the plethora of terminology. Is narrative structure and plot structure the same thing? The terms seem to be used interchangeably, but are they really? What if a writing teacher says “there’s no story”? Do they really mean there’s no plot, or is the structure the problem? The goal of this essay is to investigate the fundamental differences between the terms of narrative, story, plot, and structure, to help the writer obtain the proper vocabulary in discussing his or her craft, and to realize the options available. As Mark Twain so famously advised with writing: “the difference between the almost right word and the right word is really a large matter, it’s the difference between the lightening bug and the lightning,” so too should we writers and educators discuss terminology with care. For the difference between narrative, story, plot and structure can be just as vast.

What the *bleep* is Narrative? Defining the difference between Narrative and Story:

When we talk about any form of storytelling, be it the written word, fine art, film or interpretive dance, the term narrative always shows up. Unfortunately this may be the hardest of all the terms to define because it’s the most elusive. The Random House Dictionary defines a narrative as “a story or account of events, experiences, or the like (true or fictitious).” This definition of a narrative is slightly misleading, as it directly states that narrative is a story, implying the words are interchangeable. But are they really? “E.M. Forester defines story as the chronological sequence of events” (Basics of English Studies), and with this definition gives the following example of a story: “The King died and then the Queen died.” If we look at the statement “The King died” alone we have a single event, an incident. There is no story until a second event is introduced: “the Queen died.” Therefore, at its base, a story is a sequence of at least two events. Is this also a narrative? Absolutely, everyone would agree that this is an example of a narrative story. The questions start to arise when we look at narratives that are not stories, which is where the elusive quality of the word hides.

Taking a look at fine art one encounters the term narrative art. A good example of narrative art would be Leonardo DaVinci’s The Last Supper. In the painting one sees an image of a single event (see figure 1). The event itself is not a story. It’s a moment trapped in time. The word narrative is associated with this type of painting because it depicts a moment within a larger story, and the viewer is able to draw upon the story he or she already knows when viewing the work. These artworks are considered narrative because they recall a story through association. Herein lies the truth of narrative, it can be a story but it does not have to be. A narrative is about story, and creates connections to story and storytelling but does not in and of itself have to be a story.

Another example of a narrative without a story would be a photo collage. Each photograph in a collage is of a separate event, moment, or object (which is not an event at all). However, the juxtaposition of images can spark a narrative relationship in the viewer’s mind. In figure 2, I’ve arranged a series of four random photos which have no initial connection with one another. However, a viewer may make connections between these images. For example one might begin to piece together a story about a girl who lives with her father in Florida and plays the piano. There is no sequence of events, thus no story. However the viewer begins to create a story by connecting these images in his or her mind, and that story (if one sees a story at all) will be different for each viewer. Hence the word narrative is applied to show that there is a tendency toward story, an implication, but no story is actually present. In the realm of literature it’s also possible to have a narrative without a story. Scenes or vignettes that create a collage of emotions would be a narrative, but not necessarily a story. Many poems, for example, would fall under this category. Therefore a story requires a sequence of events, but a narrative simply requires an implication or reference to story events without those events actually happening.

So now we know what Narrative is! But what exactly is story?

Up Next: Part 2 -Taking a Closer Look at Story

** Full Bibliography will be provided at end of blog-post series.

Exploring the Verse Novel

Verse Novel Format

The Verse Novel (AKA: a novel in poems) is a new form of storytelling that’s hit the YA market in the last five to ten years. Intrigued by this new form, I spent some time during my studies at the Vermont College of Fine Art this past term exploring the nuts and bolts of this form. Due to it’s intense emotional scenes, use of white space, and often edgy content, verse novels have become very popular with teens. Many see this controversial new form  as a great way to engage teens in poetry,where others find it to be lazy and examples of poor poetry and storytelling. You may love the form, hate it, or not be familiar with it at all. Either way, I thought I’d share some observations about the format that I’ve discovered in my personal exploration.

What is a Verse Novel?

• The verse novel is a new term that describes a narrative book of poetry.
• This is a highly controversial new book form. Many seem to have trouble classifying the form altogether as it’s not quite a long form poem (like the Iliad) nor is it a collection of poems, nor is it a normal novel. Personally, I’d consider it a new format in storytelling (rather than a genre) similar to how a graphic novel is a new format but can tell any type of story it wants.

Some Examples of Verse Novels Include:

• Books by author Ellen Hopkins: Crank, Tricks, Impulse, Fallout.
• Out of the Dust by Karen Hesse
• Make Lemonade by Virginia Ewer Wolff
• Novels by Sonya Sones: Stop Pretending, What My Mother Doesn’t Know
• Psyche in a Dress by Francesca Lia Block

Use of Poetic Form:

• The verse novel uses the poetic form in some manner. Most YA and MG verse novels use free or open verse. But some use more stringent poetic forms such as ballads.
• Verse novels have a strong use of white space.
• Some of the controversy comes from the fact that verse novels have creative use of line breaks (which some argue doesn’t make it poetry, but prose with weird line breaks).
• There is often creative punctuation (no caps, no periods, etc.)

A Strong Focus on Emotion:

• Poems create impressions of emotions, and some term this as a focus on “emotionalism.”
• The emotion is the most important part in verse novels!
• Some refer to this focus on emotion as creating impressions (like an impressionistic painting).
• There’s often a focus on brief interactions and moments rather than whole scenes.

Plot and the Verse Novel:

• Some verse novels have a cause and event plot, but others don’t. With a focus on emotion, often the causality found in most goal-oriented plots is lacking in a verse novel. But that is not always true.
• The strong focus on emotional moments allows the reader can piece together the events and story like a collage. This creates reader interaction and involvement.
• A verse novel can be organized around a series of scenes or moments that center around a common theme or idea.
• The poems can work like a game of connect the dots. The reader is offered many small moments/impressions that the reader then pieces together to see the whole.
• A lack of plot can sometimes leave the reader wanting more.

Does the Choice to Write a Novel In Verse Need to be Motivated?

• This is one of the controversial topics concerning Verse Novels. Many people argue that YES, there must be motivation for telling a story in verse. Like any  craft choice, be it POV or tense, there should be a reason for its existence that’s motivated out of the story itself.
• Often, motivations include some sort of story frame. Examples include the novel as the protagonist’s journal of poems, or the form as a result of a class assignment to explore poetry. Etc. I feel these are too direct interpretations. For example a graphic novel isn’t framed as a character’s sketchbook. The audience accepts it as a new media of storytelling.
• Some creative choices for verse motivation come out of the language itself. It could be a reflection of a character’s manner of speaking. For example in Make Lemonade the line breaks reflect when the character takes a breath.

What are your thoughts on verse novels? Do you love them? Hate them? Want to try writing one?