Writing Tip: Basic PLOTTING

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OokamiKasumi
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Writing Tip: Basic PLOTTING

#1 Post by OokamiKasumi »

Basic PLOTTING
by OokamiKasumi

A plot is the pattern a story follows, the most common being:

-- Beginning
-- Middle
-- End

All successful (read: popular) stories have patterns. Sometimes it's simple, sometimes it's complex, but all of the stories read or told often enough to remain in the popular mind of any culture have a pattern, a plot.

Here are some examples of simple plot patterns…

Traditional:
• He came.
• He saw.
• He conquered.

American Dream Version:
• He came.
• He conquered.
• He became very rich.

The Heroic version:
• He came.
• He conquered and became the leader of his people.
• He died in the middle of a glorious battle to defend his land, and became a legendary figure that would never be forgotten.

Erotic Version:
• He saw.
• He conquered.
• He came.

Aristotle's Elements of a Greek Tragedy - simplified:
• Act One: He rose to glory.
• Act Two: His pride drove him to make a foolish, but costly, mistake.
• Act Three: He crashed and burned.

Aristotle's Elements - American version:
• Act One: He rose to glory.
• Act Two: His pride drove him to make a foolish, but costly, mistake.
• Act Three: He crashed and burned.
• Act Four: He fixed his mistake, and rose again to conquer.

Your basic Romance plot:
• The lovers are thrown together.
• The lovers are forced apart.
• The lovers go against the odds to get back together.

Your basic Yaoi Romance plot:
• One lover seduces the other.
• A misunderstanding drives one lover away.
• The lover that misunderstood chases the other lover down to beg for forgiveness.

Your basic Adventure plot:
• Hero meets Villain.
• They fight and the Villain wins.
• The hero rises from his defeat to battle the Villain again, and wins the war.

Your basic Manga Adventure plot:
• A group of friends meet a Villain.
• The villain corners them individually and defeats each one.
• The friends rise from their individual defeats to team up on the Villain and win the war.


I can already hear the whining…

"But that's so…formulaic! Where's the creativity?"
~~~~~~~~~~~~~~~~
Creativity is Overrated.

Ever hear the phrase: "It's not what you have, it's what you do with it,"? This is especially true when writing stories. It's not the plot, but what you do with the plot that makes it creative.

No matter what those Creative Writing classes teach, for a story to be enjoyed by the widest possible audience, it needs to have some sort of structure, a pattern -- a plot.

Why?

Because a story without some sort of plot pattern reads…wrong. Everyone, in every culture, has been trained from childhood to EXPECT a story to follow some sort of pattern to take it from Here to There, and make some sort of point too. In fact, some of the hottest blockbuster movies including 'Star Wars' follow one of the oldest plot patterns in human history -- the Heroic Cycle, as codified by Joseph Campbell.

The Heroic Mythic Cycle:
(Paraphrased to avoid copyright issues.)
~~~~~~~~~~~~~~~~
Act One - Chosen

Humble Beginnings
Destiny Comes Knocking
Shoved into Adventure
Sagely Advice ~ Paramours & Sidekicks

Act Two - Challenge

Leaving the Known World behind
Challenges, Friends & Foes
Battle at the Crossroads

Act Three – Crisis

Into the Labyrinth
Temptation & Betrayal
Anger ~ Despair ~ Sacrifice
Inheritance / Blessing / Curse
Treasure & Celebration

Act Four – Climax

Escape / Expelled from the Labyrinth
The Hunter becomes the Hunted
Rescue & Loss of Paramour / Side-kick
Battle at the Crossroads to Home
Death / Rebirth
Delivery of Treasure & Just Rewards


A great many people who write quite successfully 'by the seat of their pants,' may tell you that they don't need to plot, they just…write it from beginning to end. That doesn't mean their stories don't follow a pattern. It's merely that the plotting pattern they use is so ingrained into their subconscious they follow it instinctively -- without even knowing they're doing it.

Unfortunately, that's not a talent I possess. I have to work everything out on paper or I get lost in a hurry.

How to Use a Plot
"What is plotting good for anyway?"

~~~~~~~~~~~~~~~~
Well, the best use of a plotting pattern is so you don't get lost in the story. Think of the plot outline as a road map marking out the most direct route from Here to There. This doesn't mean you can't take side trips to sight-see or visit friends along the way. It's merely a way of keeping track of where you are, and where you should go next, by knowing where you intend to end up. Knowing your basic route ahead of time also makes it much more difficult to get lost on a back road or trapped in a cul-de-sac.

In short, if you know where you're going when you start out, sooner or later, you'll actually get there.


A note on Japanese stories…
~~~~~~~~~~~~~~~~
From: 'Eight Ways to say You ~ The Challenges of Translation'
By Cathy Hirano
The most obvious differences between Japanese and English writing styles are organization and tone.

My English composition classes in high school taught me that English is supposed to flow in a linear fashion, from introduction, to body, to conclusion, and that a statement should be supported by a logical explanation. Even in literature, a book works toward a climax, and then a conclusion. In contrast, Japanese composition appears almost circular, and although it has its own logic and organization, it is very different from how I learned to write in school.

In English, we stress clarity.

In Japanese, subtlety is preferred. The Japanese writer dances around his theme, implying rather than directly stating what he wants to say, leaving it up to readers to discern that for themselves. He or she appeals to the reader's emotions rather than to the intellect, and tries to create a rapport rather than to convince. The Japanese reader, in turn, is quite capable of taking great leaps of imagination to follow the story line.

Cathy Hirano is the translator of The Friends, winner, for Farrar, Straus & Giroux, of the 1997 Batchelder Award.
~~~~~~~~~~~~~~~~
Go HERE to read the whole article:
http://www.hbook.com/magazine/articles/ ... hirano.asp
~~~~~~~~~~~~~~~~

In Conclusion…
~~~~~~~~~~~~~~~~
-- By using even the most basic of plot patterns, the writer can keep track of not only where they are in their story, but where they intend to end up. This makes it very easy to avoid the most common pitfall of fiction writing: "The story's halfway done and I have no idea how to end it!"

Enjoy!

DISCLAIMER: As with all advice, take what you can use and throw out the rest. As a multi-published author, I have been taught some fairly rigid rules on what is publishable and what is not. If my rather straight-laced (and occasionally snotty,) advice does not suit your creative style, by all means, IGNORE IT.
Last edited by OokamiKasumi on Tue Mar 13, 2012 7:15 am, edited 2 times in total.
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Re: Writing Tip: Basic PLOTTING

#2 Post by LateWhiteRabbit »

#CORRECTIONS - It's Joseph Campbell, not William Campbell.

And yes, basically every great story ever told is based on the Hero's Journey. In fact it can be a challenge to find a good story that ISN'T based on the Hero's Journey.
Image

This is especially true when you realize that "hero" just means protagonist, and there doesn't necessarily need to be anything fantastical or epic about a Hero's Journey story. Even movies like Harold and Kumar Go to White Castle follow the Hero's Journey formula.

Going here and starting at Part 1 is a great series of articles on using the Hero's Journey.

I would also add Christopher Booker's Seven Basic Plots:
Overcoming the Monster

Hero learns of a great evil threatening the land, and sets out to destroy it.

Rags to Riches

Surrounded by dark forces who suppress and ridicule him, the Hero slowly blossoms into a mature figure who ultimately gets riches, a kingdom, and the perfect mate.

The Quest

Hero learns of a great MacGuffin that he desperately wants to find, and sets out to find it, often with companions.

Voyage and Return

Hero heads off into a magic land with crazy rules, ultimately triumphs over the madness and returns home far more mature than when he set out.

Comedy

Hero and Heroine are destined to get together, but a dark force is preventing them from doing so; the story conspires to make the dark force repent, and suddenly the Hero and Heroine are free to get together. This is part of a cascade of effects that shows everyone for who they really are, and allows two or more other relationships to correctly form.

Tragedy

The flip side of the Overcoming the Monster plot. Our protagonist character is the Villain, but we get to watch him slowly spiral down into darkness before he's finally defeated, freeing the land from his evil influence.

Rebirth

As with the Tragedy plot, but our protagonist manages to realize his error before it's too late, and does a Heel Face Turn to avoid inevitable defeat.

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Re: Writing Tip: Basic PLOTTING

#3 Post by OokamiKasumi »

LateWhiteRabbit wrote:#CORRECTIONS - It's Joseph Campbell, not William Campbell.
Fixed. (Take it easy! No need to get hostile.)
LateWhiteRabbit wrote:And yes, basically every great story ever told is based on the Hero's Journey. In fact it can be a challenge to find a good story that ISN'T based on the Hero's Journey.
Not True.
-- Romance stories are not based on the Hero's Journey at all. They're based on the Beauty & the Beast / Eros & Psyche pattern**. The Hero's Journey does not work for Romances because the HJ doesn't map out feelings or relationships, only challenges. Romantic Love is addressed in the HJ, but only in One Stage, and it's treated as merely another Challenge to be dealt with -- or avoided.

**I mapped out this Alternate pattern here:
http://ookamikasumi.deviantart.com/art/ ... -152950217
LateWhiteRabbit wrote:This is especially true when you realize that "hero" just means protagonist...
Hero does Not mean Protagonist. Go back and read your Greek, Aristotle in particular.

Protagonist = "One who fights FOR."
Antagonist = "One who fights AGAINST."

Despite what your literature professors may force you to swallow, (or what may appear on their exams) those are the actual definitions.

The main character is the one who the story is about, whether or not they are a Protagonist, an Antagonist, a hero, or a villain. In addition, the one telling the story may not be any of them. In fact, the one telling the tale is traditionally Not the the protagonist, the antagonist, or even the main character, but an Ally character; someone caught in the middle, between the Antagonist and the Protagonist.

For more details on this particular sore spot of mine, PROTAGONIST read:
When the Hero is NOT a Hero: http://ookamikasumi.deviantart.com/art/ ... -262552938
LateWhiteRabbit wrote:...there doesn't necessarily need to be anything fantastical or epic about a Hero's Journey story. Even movies like Harold and Kumar Go to White Castle follow the Hero's Journey formula.
Very true.
LateWhiteRabbit wrote:...a great series of articles on using the Hero's Journey.
TV Tropes is also an excellent resource for plot formulas. http://tvtropes.org/pmwiki/pmwiki.php/Main/Plots

For seriously in-depth use of the Hero's Journey for writing fiction, or movies, I recommend "The Writer's Journey" by Chris Vogler. His book also covers the archetypical characters found in the Hero's Journey, where they're stationed, and their functions in the story. http://www.amazon.com/Writers-Journey-M ... 193290736X

For more modern plotting patterns, I recommend Story Structure Architect, by Schmidt. It's based off of Polti's Dramatic Situations, only she goes into 54 different plots. She also talks about combining plot lines to make stronger stories. http://www.amazon.com/Story-Structure-A ... 1582973253
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Re: Writing Tip: Basic PLOTTING

#4 Post by silenteve »

This was all very helpful. I don't do a lot of plotting because I find it boring and somehow I lose track of what I wanted to originally write. When I do plot, however, I end up plotting the middle and the end but I'm rather lost on how to start the story.

I think most romance stories follow the way Jane Austen's stories are written:
Pride and Prejudice: Girl hates boy because Girl misunderstands boy. Boy is actually pretty good guy. Boy rescues girl. Girl changes opinion, fall in love. THE END (This is kinda like Beauty and the Beast.)
Emma: Girl doesn't understand love. Girl falls for closest guy near her (best friend). Marriage (or something like that) THE END
Persuasion: Girl rejects boy. Boy becomes amazing. Girl loves boy, boy still loves girl. HAPPY END
Sense and Sensibility: Girl falls for a guy. Guy is an asshole. Girl is sad and boy comes around and makes her happy again. Girl forgets asshole, is happy. END
Mansfield Park: Girl has been in love with same guy for long time. Takes awhile until stupid boy figures it out. They're happy together. END.

Or maybe it's like the Bronte Sisters:
Wuthering Heights: Lovers can't be together. Struggle, fail. SAD END.
Jane Eyre: Girl goes for mysterious guy. Discovers horrible secret. Gets over it, HAPPY END.

Most of the romance things I've read usually follow these kinds of plots.
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Re: Writing Tip: Basic PLOTTING

#5 Post by LateWhiteRabbit »

OokamiKasumi wrote:
LateWhiteRabbit wrote:#CORRECTIONS - It's Joseph Campbell, not William Campbell.
Fixed. (Take it easy! No need to get hostile.)
Sorry, I didn't think I was being hostile . . . :( That's just how corrections are pointed out on a lot of forums I frequent for articles, and since your writing posts are like articles that should be stickied, I thought it appropriate.
OokamiKasumi wrote:
LateWhiteRabbit wrote:And yes, basically every great story ever told is based on the Hero's Journey. In fact it can be a challenge to find a good story that ISN'T based on the Hero's Journey.
Not True.
-- Romance stories are not based on the Hero's Journey at all. They're based on the Beauty & the Beast / Eros & Psyche pattern**. The Hero's Journey does not work for Romances because the HJ doesn't map out feelings or relationships, only challenges. Romantic Love is addressed in the HJ, but only in One Stage, and it's treated as merely another Challenge to be dealt with -- or avoided.

**I mapped out this Alternate pattern here:
http://ookamikasumi.deviantart.com/art/ ... -152950217
Fair enough. Though I contend that a pure romance story could easily be plotted as a Hero's Journey - the feelings and relationships being challenges in a Romance.
OokamiKasumi wrote:
LateWhiteRabbit wrote:This is especially true when you realize that "hero" just means protagonist...
Hero does Not mean Protagonist. Go back and read your Greek, Aristotle in particular.

Protagonist = "One who fights FOR."
Antagonist = "One who fights AGAINST."

Despite what your literature professors may force you to swallow, (or what may appear on their exams) those are the actual definitions.

The main character is the one who the story is about, whether or not they are a Protagonist, an Antagonist, a hero, or a villain. In addition, the one telling the story may not be any of them. In fact, the one telling the tale is traditionally Not the the protagonist, the antagonist, or even the main character, but an Ally character; someone caught in the middle, between the Antagonist and the Protagonist.

For more details on this particular sore spot of mine, PROTAGONIST read:
When the Hero is NOT a Hero: http://ookamikasumi.deviantart.com/art/ ... -262552938
Your DeviantArt article makes compelling points, but through all the literature classes and multiple family members who are literature professors, I've always heard it phrased a different way. Namely, that it is relative. Meaning the "protagonist" is who we are "for" in the story, and the "antagonist" is whomever is opposing them. But word etymology seems to be on your side. Ant-Heroes and Villain stories don't muddle the definition much for me - if it is their story I consider whomever is against them the "antagonist" whether or not that antagonist is a "good guy".

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Re: Writing Tip: Basic PLOTTING

#6 Post by OokamiKasumi »

silenteve wrote:I think most romance stories follow the way Jane Austen's stories are written... Or maybe it's like the Bronte Sisters...
OMG...! I never really noticed those patterns before.
-- Excellent observations.
LateWhiteRabbit wrote: Sorry, I didn't think I was being hostile . . . :( That's just how corrections are pointed out on a lot of forums I frequent for articles, and since your writing posts are like articles that should be stickied, I thought it appropriate.
Remind me to Never visit those forums. They sound way too scary and confrontational for me.
LateWhiteRabbit wrote:...Though I contend that a pure romance story could easily be plotted as a Hero's Journey - the feelings and relationships being challenges in a Romance.
The Hero's Journey is about External challenges one overcomes. Romances are about Internal feelings that you adjust and/or succumb to. The Hero's Journey just does not fit the Romance pattern. Which is why I mapped out a whole different myth cycle for it.
LateWhiteRabbit wrote:Your DeviantArt article makes compelling points, but through all the literature classes and multiple family members who are literature professors, I've always heard it phrased a different way.
LOL! Well, that explains everything. I never went to college or took any literary classes. I just write books for a living. Everything I know comes directly from self-study and experience. :)
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Re: Writing Tip: Basic PLOTTING

#7 Post by Applegate »

As far as "protagonist" goes, my dictionary claims...

1. the leading character, hero, or heroine of a drama or other literary work.
4. the first actor in ancient Greek drama, who played not only the main role, but also other roles when the main character was offstage. Compare deuteragonist, tritagonist.


... quoting only the relevant definitions. :lol:

The part about English and Japanese authors is interesting; it explains why these two often have such a different feel to their writer, and I definitely like the subtle version more. It is interesting to think about a theme, rather than be told downright what the theme of the story is.

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Re: Writing Tip: Basic PLOTTING

#8 Post by LateWhiteRabbit »

Applegate wrote:As far as "protagonist" goes, my dictionary claims...

4. the first actor in ancient Greek drama, who played not only the main role, but also other roles when the main character was offstage. Compare deuteragonist, tritagonist.
Ha! Wow. You know, everything I've ever studied about Greek drama convinces me that I would be bored to tears by the things. (And the ones I've seen performed in classic fashion DO bore me to tears.) This new information just confirms that. Those things were as formalized as a presidential address.

I mean, the actors usually wore masks, any violence or death happened offstage, most information is relayed through messengers, they almost always take place in a single location with no scenery changes, and they preferred to focus on ethics of character rather than anything to do with physical actions or social relations between people. They had a chorus whose job it was to relay information and summaries of what the audience was seeing and to show the audience how they should react. Top all that off with the fact that story lines often went into a corner and a "god" would be dropped on stage to snap their fingers and magically solve everything. :roll:

I much prefer the discription of Ancient Egyptian theater. They had tons of actors, props, masks for "god" characters, backdrops and changes of scenery, killing of live animals on stage, dancing and ballets. Not to mention nude servants playing musical instruments. The longest plays were supposedly 13 acts long with 2 intermissions. Some where morality plays that dealt with psychology and treated "god characters" as human in personality and action. Those had choruses that sang verses similar to the Greek tragedies, but other plays were satires and sex comedies. In one satire's story, the pharaoh received five hundred lashes, his wives deceived him, he couldn't make up his mind and became a slave to his advisors; and his architects robbed his wealth. In one sex comedy the gods are all convening in council to argue who is more deserving of praise (in obnoxious and bumbling fashion) and one of the goddesses sees how naked she can get to annoy her father before he becomes distracted and yells at her. :lol:

Respect to Aristotle, but I guess my tastes are a bit more plebeian in nature. The Egyptian theater just seems more . . . fun. :mrgreen:

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Re: Writing Tip: Basic PLOTTING

#9 Post by Taleweaver »

LateWhiteRabbit wrote:You know, everything I've ever studied about Greek drama convinces me that I would be bored to tears by the things. (And the ones I've seen performed in classic fashion DO bore me to tears.) This new information just confirms that. Those things were as formalized as a presidential address.
Obviously, you've never seen a Noh play. I'm in love with all things Japanese, but I have not - to this day and with at least ten attempts - managed to sit through a single Noh play out of sheer boredom. Someone once described Waiting for Godot as "Nothing happens. Twice." In Noh theater, nothing happens as well. Eighty times.

And it's not because of my lack of understanding of the language. Kabuki I can digest much easier, simply because of the action involved. And Kabuki plays tend to run one full day.
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Re: Writing Tip: Basic PLOTTING

#10 Post by OokamiKasumi »

Applegate wrote:As far as "protagonist" goes, my dictionary claims...
1. the leading character, hero, or heroine of a drama or other literary work.
4. the first actor in ancient Greek drama, who played not only the main role, but also other roles when the main character was offstage. Compare deuteragonist, tritagonist.


... quoting only the relevant definitions. :lol:
Yup, that's what I keep hearing. However, the words themselves mean--
Pro- = For.
Anti- = Against.
-agonist = One who struggles.
Applegate wrote:The part about English and Japanese authors is interesting; it explains why these two often have such a different feel to their writing, and I definitely like the subtle version more. It is interesting to think about a theme, rather than be told downright what the theme of the story is.
It explained an awful lot to me too. However, Japanese stories tends to be Too subtle for me. There are just too many social mores I can't grasp, and cultural symbols that I miss, simply because I wasn't born there.
LateWhiteRabbit wrote:The Egyptian theater just seems more . . . fun.
I think I'm going to have to agree with you there.
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