Last time, we discussed how a story is like a completed puzzle. Dozens of pieces come together and interlock to create a coherent and understandable narrative. One of those pieces is the plot, which we will discuss and explore in more detail in today’s post.
Plot Defined
A story’s plot consists of all the events that happen to the hero throughout the narrative, driving them forward from start to finish. These moments can be big or small, but they are essential to keep the story moving and the main character active.
Plot is synonymous with structure. It is the framework on which your story is built and what keeps it upright. Put in more literary terms, “The plot in a dramatic or narrative work is constituted by its events and actions, as these are rendered and ordered toward achieving particular artistic and emotional effects” (Abrams 224). Without a plot, a story and its characters have nowhere to go.
A good plot feels organic and not forced: “An organic plot shows actions that lead to the hero’s character change or explain why that change is impossible” (Truby 259). Organic = believable. The audience has to be invested and understand the logic behind the plot being presented to them. We’ve all seen a movie where something happens out of nowhere that feels like its only purpose is to push the story in a direction it wouldn’t logically go, which can feel jarring and take us out of the story.
Plot and the Main Character
It’s all connected. This means the story’s plot must be directly linked to and impact the main character. The plot gives us the story arc, while the story arc impacts the hero and gives them their character arc. Both help drive the story forward.
A story’s plot should “come naturally from the main character rather than being imposed by the author on the characters. Imposed plot feels mechanical, with the wheels and gears of the story machine clearly evident. This drains the characters’ fullness and humanity, making them feel like puppets or pawns. Plot that comes naturally from the hero is not simply one the hero concocts. It is plot that is appropriate to the character’s desire and ability to plan and act” (Truby 259-260).
When a new plot element is introduced to the main character, a struggle should impact them and their choices. Their situation-handling choices should be organic and logical and based on who they were established as from the story’s start. Yes, they should grow and change as the story develops, but their growth should make sense to us, and their choices should be based on these established elements.
Plot & Structure
I touched on this earlier, but it’s important to repeat the importance of a story’s foundational structure. In its basic form, a story’s plot can be broken down into the following three-act structure:
ACT ONE
Inciting Incident: “a single event that either happens directly to the protagonist or is caused by the protagonist” (McKee 190).
Plot Point/Stunning Surprise 1: “the arrival of some event or dramatic reversal that creates a moment of shock for the Hero and drops the curtain on the first act – while immediately raising is again on the second act” (Edson 118).
ACT TWO
Mid-Point Sequence: “The Hero reaches a Point of No Return beyond which turning back is no longer an option…Conflict with the Adversary becomes deeply personal…A ‘ticking clock’ time limit is set in motion…An unmasking takes place, literally or figuratively, and an inner truth gets revealed” (Edson 219-220).
Plot Point/Stunning Surprise 2: “comes out of the blue and changes everything. It signals the end of Act Two and the beginning of Act Three…frequently the primary additional punch of Stunning Surprise #2 is that it completely destroys the Hero’s plan for victory and announces that sweeping improvisation will now be required for the Hero to have any chance of besting the Adversary” (Edson 129).
ACT THREE
Climax/Obligatory Scene: “third-act final showdown between Hero and Adversary that resolves the main plot question once and for all” (Edson 137).
Denouement: “wraps up the plot loose ends and relationships” (Edson 137).
These fundamental elements can help you craft a more substantial plot for your story and provide a solid structure for your main character to work toward their goal.
These can then be distilled down further into what Eric Edson calls Hero Goal Sequences: “three to seven pages of screenplay – usually two to four scenes – wherein the Hero pursues one short-term physical goal as a step toward achieving ultimate victory in the story. Then the Hero discovers some form of new information I call Fresh News that brings the current goal to an end and presents a new short-term goal – thereby launching the next Hero Goal Sequence” (Edson 155).
The more you explore the plot, the more effective it will be. I believe it’s best to start simple and become more complex as you craft your plot elements. Start with the basic three-act structure, then break things down using Hero Goal Sequences or something similar.
Final Thoughts
Whew! This was a lot of information, but it’s essential knowledge as you begin crafting and writing your next story. By understanding plot and its relationship to your main character and the overall story, you can create a stronger narrative that connects with and engages audiences.
Next Time…
I’ve got a special holiday-themed assignment for you in the next post. See you then!
Sources:
Abrams, M.H. A Glossary of Literary Terms. Harcourt Brace, 1999.
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
McKee, Robert. Story. Harper Collins, 1997.
Truby, John. The Anatomy of Story. Faber and Faber, 2007.
