What do we mean when we talk about story structure?
A story is a complex entity comprising many interrelating parts. The author imposes some sort of organising principle onto the material, turning the story into a narrative. The result of this forming or shaping of the material is the story structure.
Certain structural markers are so explicit that the audience is aware of them, such as chapters in novels. Elizabethan plays are typically divided into five acts. A film script is broken down into acts, sequences, and scenes.
But there are structures that are not usually made obvious or explicit. For example, a scene may be broken down into beats – marked only by the moments when the mood or relationship the scene describes changes. Two characters are having a conversation, character A says something which makes character B react in a different way from what A expected – that’s a beat.
The term beat is also sometimes used when marking such changes on a bigger scale, across an entire narrative. Some screenwriters work with so-called beat sheets; in the Beemgee outlining tool, the plot event cards are perfect for creating beat sheets, since each card is designed to stand for one plot event. In a beat sheet, a beat is one unit of plot. If you think of narrative as a chain of events, then each beat is a single link. In one school of thought, a Hollywood movie is ideally constructed of exactly 40 such beats. (more…)
A plot arises out of the actions and interactions of the characters.
On the whole, you need at least two characters to create a plot. Add even more characters to the mix, and you’ll have possibilities for more than one plot.
Most stories consist of more than one plot. Each such plot is a self-contained storyline.
The Central Plot
Often there is a central plot and at least one subplot. The central plot is usually the one that arcs across the entire narrative, from the onset of the external problem (the “inciting incident” for one character) to its resolution. This is the plot that is at the(more…)
The term motif refers to any recurring element – in storytelling as in music or other arts.
Examples of elements that turn up repeatedly within a whole are an image on a tapestry or a particular sequence of notes in a symphony. The dispersal of these elements creates a pattern. It is therefore part of the artist’s craft to have some sort of design principle determine this pattern.
What motifs do
Motifs do not make a plot. But since they make patterns they are part of the structure of a story. And they help add a layer of meaning.
In other words, if a motif is present excessively in the first half of a story, and hardly at all in the second, then the author had better be aware of a reason for this uneven distribution. The distribution – the pattern – carries meaning to the audience. Remember, the audience yearns for meaning, is always striving to understand what the story is trying to convey at any given point. This demand for some sort of raison d’être for each element of a story, or for a sense of order within the whole, may well be unconscious to the audience much of the time, but ultimately the experience of the story is more satisfying when the audience can work out reasons and meaning.
In stories, motifs can be almost anything. Objects, actions, metaphors, symbols, colours, or images can be motifs. What defines an element as a motif is the systematic deployment within the story rather than the thing itself.
How motifs work
Motifs work best when(more…)
In essence, there are three kinds of opposition a character in a work of fiction may have to deal with:
- Character vs. character
- Character vs. nature
- Character vs. society
However, this way of categorising types of opposition is not equivalent to internal, external and antagonistic obstacles. Any of the three kinds of opposition listed above may be internal, external, or antagonistic. It depends on the story structure.
In any story, the cast of characters will likely be diverse in such a way as to highlight the differences and conflicts of interests between the individuals. In some cases, certain roles may be expected or necessary parts of the surroundings, i.e. of the story world. In the story of a prisoner, it is implicit that there will be jailors or wardens, whose interest it will be to keep the prisoner in prison, which is in opposition or conflict with the prisoner’s desire for freedom.(more…)
In stories, characters are faced with obstacles.
These obstacles come in various forms and degrees of magnitude. And they may have different dimensions: they may be internal, external, or antagonistic.
Often the obstacles that resound most with a significant proportion of the audience are the ones that force the main characters to face and deal with problems within themselves, in their nature. In other words, with their internal problem.
Internal obstacles are the symptoms of the characters’ flaws, of the internal problem. The audience perceives them as scenes in which the character’s flaw prevents her progress.
Not every story features characters with internal problems. An internal problem is not strictly speaking necessary in order to create an exciting story.
But it helps.
The Emotional Truth
An internal problem makes the character appear fallible – and thus more credible, more human, more like us. Internal problems are invariably emotional and private. They express(more…)
More than any other part of a story, the beginning has to grab the audience’ or reader’s attention.
In the beginning, before audience or readers are emotionally involved and concerned about the fates of the characters, the danger of them turning away from the story is greatest.
Now, there’s more to a beginning than the kick-off event. While being an attention grabber, the entire first section of a story also has to establish the following:
- Who the story is about
- What the story is about
- Where the story takes place
That sounds self-evident, but all the elements needed to answer those three points amount to an awful lot of information. And at this stage, the audience or readers are not yet patient or forgiving, because they are not yet emotionally hooked.
In this post we will:
- look at the who/what/where
- determine the two key events that the first section of a story must include
- provide a checklist of all the elements the first part of a story requires
How to describe a full plot event.
We’ll talk here about describing events, since the usual term scene is more general and has different meanings for different media. Furthermore, a scene may conceivably contain more or less than one entire event.
An event in a story requires three elements: characters, function, and (perhaps most importantly) a difference between expectation and result.
In describing each plot event, it is useful to consider the six wh- questions as a guide: Who does what to whom, where, when and why? With this approach, each plot event gains its own logline, which is a good exercise since it forces you as an author to figure out just what dramatic function each plot event has in the context of the overall narrative.
Characters causing events make story. As(more…)
Inventing a story that has no backstory is about as easy as finding a perfect rhyme for the word orange.
That is, next to impossible.
Backstory is the stuff that went on before the story begins, or more precisely, before the kick-off event. As such, backstory might better be called “pre-story”. It is a necessary component of any story.
After all, the characters come from somewhere – they have pasts, they have histories. These histories have shaped them into who they are, which determines their actions now, in the time of the story. These actions are the source of the events of the story. So some part of the characters’ histories will be relevant to the story – and this bit of information or knowledge needs to be passed on to the audience or reader. That’s why so many stories have “campfire scenes”. (more…)
Narrative consists of successive events.
One recognizable convention from film is what we might call the kick-off event. It is the opening scene, the very first item in the narrative. This is not to be confused with the inciting incident.
We’ll refer to the kick-off event as the initial scene, and whatever the medium – page, stage, or screen – it ought to capture the audience’s or reader’s attention.
The kick-off event can be drawn from virtually anywhere in the event chronology – like a “capsule” of plot pulled out from the narrative. It may open up some questions to arouse our curiosity, or tell us something about a major character that will become relevant much later. It can throw the audience or reader, the recipient of the story, in medias res, or it can build up slowly to set the scene and establish a mood. This first event(more…)