Writing Tips #3: Don't Lose the Plot

We dream in story, live in story, love in story and die in story. This is the human prerogative. Ever since we evolved the language of communication, humanity has been sharing stories with each other. The stories and their itinerant plots have existed since time began.

I love a good plot. Who doesn't. I love a writer who has taken the time to tease out a plot line, add all the trimmings and let it unravel like the layers of an onion.

A plot less story to me, is wandering without purpose. It is good to travel with a goal or a quest - to have the destination and the route mapped out. I do like a entertaining journey, full of natural wonders, beauty, mystery and drama. While meandering looking at the scenery works for a while, after a bit it does get boring and the very scenery that is awesome soon begins to irritate.

There are those who take pleasure in their exquisite writing skills they feel they can have a plot free existence. Not for me.

It has been said that there are only a few basic plot ideas in the world of literature and everything else is just a variation of these. The multitude of stories may have the same nub of a plot, but the characters, the scenario, the conflict, the outcomes, the tools and the timeline all make each story stand on its own.

While there are millions of stories out there, the plots may not be as varied as we think. It is in how we present the plot, what perspectives we offer, where we set the tale, how interesting we make the characters that makes the narrative new and interesting.

I will personally feel cheated when I read a story that is all fanciful writing, plenty of descriptive narrative, interesting characters but when I dig deeper and find no plot. I feel that all the time I have invested has been a bit of a three card trick. That is just me. I crave a plot, an idea or at least a nub of a narrative structure to prop up the story. Maybe you do too.

Trouble is the world of stories is so full of regurgitated mush; it is easy to see through the recycling process that goes on in most plots. It seems, looking at the success of Twilight, Harry Potter and countless science fiction, fantasy, romance, horror and mystery stories, that recycled plot is highly successful, and unpretentious- perhaps the public don’t mind however familiar a plot is, as long as there is one!

It will help ( ahem! - self interest declared.) if you have read the previous two articles in this series as there is a flow to them but not to worry, each hub also stands alone. The links are to your right ----->

I know you're going to ask me, where am I going with this. Well let me summarise for you - give you an overview. Over the course of this article we will look at the following themes:

• What is a plot?

• Are their ancient/modern templates for plotting?

• How many variations are there have these been mapped out?

• How do I start plotting?

• Can I do a 'mash-up' or a 'remix'?

• Will this make me a better writer?

We only have to have a look at mythology, legend and fairy tales to know that mankind have always craved for plots and have designed their mythology around plot structures. The folklore and ancient mythology from any of the ancient civilisations: Egyptian, Greek, Indian, Roman, Sumerian or Mayan have all got familiar plot structures.

The oldest plot-analysis we’ve got comes from Aristotle’s discourse on tragedies where he talks about a beginning, middle and an end. Only his works on analysis of tragedy have survived. Here  he talks about the changes that a character undergoes or a decision he or she makes that results in a spiralling plot development and may well result in a tragic consequence.

He felt that a plotline should evoke emotions ( pathos)  in the reader. Aristotle called the plot ‘mythos’ hence mythology is essentially a study of plots.

One of the oldest collection of stories from India dating back to the 3^rd century BC is a compendium of intricately linked tales in Sanskrit called Panchatantra ( Five Principles) This is attributed to a Brahmin called Vishnu Sharma who narrates the e stories to two princes to further their education in ethics and morals. The Panchatantra has since spread all over the world through various Arabic, Greek and Western fables and is said to have influenced even Aesop’s fables.

Many anthropomorphic animal tales that have spread through many cultures have their origins in Panchatantra. The stories have broad themes or plots but also work as a tale within a tale within a tale like a Russian Matryoshka doll.

They are still very popular in India for children and adults in all media.

These closely interlinked stories are divided into five main story or plot lines most denoting morals or principles to be learnt by the young princes through story and narrative without direct instruction.

Although these are the five major plots each tale literally has hundreds of sub stories- each one forming a fable much like Aesop's. There are several similarities as the Panchatantra ( 3rd century BC) had traveled the ancient world and has been translated into Arabic (750 AD) , Greek (11th century) , Hebrew (1100Ad), Latin, Syrian (570 AD) and Persian (570 AD)

Mitra-bheda: The Separation of Friends ( A lion and a Bull befriend each other much to the chagrin of its two advisers that are jackals. One of them is hellbent of separating this friendship and ultimately this results in tragedy)

Mitra-lābha or Mitra-samprāpti: The Gaining of Friends ( a Crow and a Rat become friends despite their natural animosity.The rat frees the crow when it gets trapped in a net. This friendship carries on with other creatures like a Turtle and a Fawn in a cascade of good deeds- like pay it forward)

Kākolūkīyam: Of Crows and Owls (war and peace) : there is a raging war between a murder of crows and a family of owls. One of the crows 'defects' into the owl family pretending it has been made an outcast and then uses its inside knowledge to bring the owls down.

Labdhapraṇāśam: Loss Of Gains ( vanity loses ill gotten gains) : A Crocodile strikes up a mutually beneficial friendship with a Monkey. They become best friends and despite all warnings the monkey carries on in this dubious relationship. It transpires that the crocodile is actually is after the monkey's heart - not figuratively but literally as a delicacy for lady crocodile!. The deception is discovered and a denouement occurs. Gripping stuff!

Aparīkṣitakārakaṃ: Ill-Considered Action / Rash deeds ( hasty action- a Brahman leaves his child monetarily to be looked after by his pet mongoose. On returning he sees th e mongoose rush out to meet him with blood in its mouth and he fears the worst and kills the mongoose. Only later he realizes the Mongoose did its job, fought a snake and protected the child)

The first person to elaborate on a plot structure was Gustav Freytag (1816 -1895) a German dramatist and novelist. Freytag studied  Greek and Shakespearean Drama and came up with a five part plot structure popularly known as Freytag’s Pyramid.

Freytag’s analysis include the initial Setting for the story that begins with the Exposition- here the characters are introduced, their normal routines and characteristics displayed, a protagonist and perhaps an antagonist are contemplated and eventually the inciting moment or the conflict is introduced.

The conflict indicates the rise in momentum and the rapid ascend called rising action. Here further conflict may be introduced, secondary characters and conflicts may arrive, the net may close tighter and problems may worsen for the protagonist or the mystery deepens. This inevitable progression tightens s the grip on the reader and spirals up until it culminates in the climax.

The climax is the third act of the plot. Here the conflict is taken as far as it can. In a tragedy this is as bad as it can get or in a comedy of errors this is as confusing as things can get to. The climax indicates the turning of the tide, the protagonist may gain an advantage and the conflict may begin to loosen its grip indicative of falling action.

In falling action, the conflict unravels the roles may be reversed and there is a gradual slide towards the inevitable denouement. The plot may still progress and more mysteries may be revealed.

In the resolution or denouement, there is a final moment of triumph. The killer is revealed or the fortunes reversed to the full and protagonist may win. The conflicts are resolved, the story concludes and there may be a moment of catharsis or relief.

This represents the Western approach to story and narrative. There are variations thereof and every storyteller attempts to find new ways of injecting innovation into this plot line .

In Japanese tradition  of Jo-ha-kyū there is a three part narrative with a beginning, a break and a rapid. The climactic ends abruptly, without the decline of falling action. Here the climax and denouement may be the same not letting the pace slacken.

Another analyst of plots from ancient to modern was an author called Carlo Gozzi whose work was compiled, completed and written in French by Georges Polti as 36 dramatic plot situations. His work is still popular and is used by storytellers worldwide as a resource for constructing plots.

Bizarrely enough, I just figured that the surname Polti is an anagram of ' I Plot' . Go figure!

It looks like Polti has studied mostly Greek tragedies and Shakespearean plays and pretty much outlined their plots. There is a lot of similar sounding themes but I am sure his book will explain the differences in much more detail.

If you are bored you can play 'Spot the Plot' game with these. Tell me in your comments if you do spot plots.. there are so many familiar plots here.

If you are stuck for a plot idea.. go ahead just pick one!

Now that you know a bit of background and theory about plotting- why don’t you give it a try. I am sure you have got many ideas rattling around in your brain. It may be a Comedy or a Tragedy, a Quest or a ‘Rags to riches’ story. It may be a Journey there and back or a Rebirth . It may be Overcoming a monster- internal or external. ( Christopher Bookers seven basic plot ideas)

I have outlined how to go about applying all this theory and some practical tips in constructing a storyline for a novel. This is purely my version of events so handle with care!

If you are stuck for what emotions your characters need to go through to have a rich and varied dramatic effect- kindly consult the emotion wheel!

The said wheel is based on Jungian Psychology.

Follow these steps to a plotful life and a plethora of fortunes.

Pin that idea down

So let’s start. First you need to pin that plot idea down into two or three sentences. If you can’t you are in trouble. Your idea needs clarity. It needs to sound like one of those plot structures listed above – whatever the genre is you need to sum it up in a few sentences precisely. If you can't the idea is not mature yet. This is the synopsis, the nugget, the nucleus of your novel.

List the elements ( exposition, conflicts, escalation, climax, denouement, characters, setting)

Now you can go to town on the detail- what exactly is the setting what is the conflict – how many conflicts are there to escalate the plot and raise the tension? Who are the characters – how many main and sub characters are there? How do they drive the plot forward? Do they help or hinder the protagonist? How about plot devices: What are the Macguffins? Are there any Red herrings?

Organise the elements

This is the beginning of storyboarding. You have had a lot of ideas for scenes and characters. You need to be organised in how these come together. You need to be prudent and less possessive. A character who sounds good but doesn’t necessarily drive the plot forward will stick out like an unwanted accessory. Discard and move on. Or may be save that for another story! Plot devices also do come in handy here. Choose wisely.

Tease out the structure & characters

You start storyboarding the scenes- you can maybe write out all the scenes on index cards and arrange them on a corkboard. Now you can see whether it flows, whether the tension is maintained and whether each scene is self contained and enjoyable in its literary merit. Also monitor the grip on the reader- is it flagging? Is there too much re-exposition? Is there too much telling and not showing?

Throw in the details

Now you start writing. Live the scene. Close your eyes. What can you see happening. Built the scenario. Imagine you’re there. What can you smell. What background detail can you add. Can you visually conjure up the image and the backdrop for the reader. Expand the tension, flesh out the details. Give the characters traits and tics. Use mannerisms you have seen in real life to make them realistic and not like card board cut outs. Preferably use cliffhangers or twists to sustain the readers interest. Write - let the muses inspire you. Aim for at least a thousand words a day.

Innovate, Interest and Increase the stakes

Like a sculptor fine tuning, you start trimming, pruning, adding and refining your narrative. You make sure there is a fresh perspective, fresh plot elements, new twists to old ideas, elimination of clichés and a sense of fun and pace ( unless it s a tragedy of course) A story shouldn’t be one note. Even a tragedy needs moments of relief as reality not just a ruthless descent into melancholy. A comedy will also need tension. Sugar and spice. Sweet and sour. Like a master chef concocting a dish, like a painter wielding a palette - unleash your inner artist.

Navigate the story line

Now like a proud builder walking through their marvellous palace start reading over your work. Walk through each scene, each bit of dialogue, each plot twist and see if it all gels well. If you come across a misstep like a bad tile, a loose door, leaky tap or a creaky hinge- fix it. rewrite ,edit, rewrite. Walk again. Someone once said 90% of writing is in the editing.

Gather ye loose ends

Wrap it up. Finish the climax, tie up loose ends. Test the mood of the denouement. See if the plot works well. Ask a reliable person to read it if you feel to close to the material. Send it off. Test the waters. If unsure put it away for a while and then reread it. See how it feels. You've completed your first work of fiction. Rejoice. Crack open that champagne. Or maybe not, wait for the first cheque to arrive before splashing out on champagne. Have beer instead. Or some wine. Or soda pop. Drink anything -because you are likely to be dehydrated after all this activity!

Now how many of you have been paying attention? Did you notice that each step listed here is conveniently done using the letters in 'PLOTTING' to help you to remember. I devised this myself, as I spare no effort to aid your memory. A nice twist don't you think?

You at the back, stop yawning!

Now you don't have to follow a linear structure to your plotting. I love stories that play with the structure, that travel back and forth in time, throw in flashbacks, twist the POV ( within reason) and play with conventions of narrative.

However, I still expect a worthy story to justify all the gimmicks. All fancy footwork will be wasted if there is no solid plotting, an exposition, a conflict, a rising action, a climax, a falling action and a denouement. Some stories may choose to end abruptly in a climax and leave the 'happily ever after' unsaid. That is okay to me provided the reader is satisfied with the conclusion. It shouldn't leave a unfilled feeling in your gut.

Thank you dear reader, for your indulgence, time and patience. Hope you enjoyed this chapter on plotting and plot history.  I do hope if you have item you visit the other hubs on this subject too.

I hope this was useful and hopefully enjoyable. I will see you soon.

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Much appreciated!

Docmo

Copyright   © Mohan Kumar 2011