Novelists Essential Guide to Creating Plot by David A. Schwinghammer
Last edited: Saturday, July 29, 2017
Posted: Tuesday, July 11, 2017
Author, Davis, insists there is no such thing as an original plot, narrows them to only two.
J. Madison Davis argues that of all the story elements plot is the most important. Some writers might insist that characterization or theme would trump plot. Davis would answer that we can't know these characters until they actually do or say something. "We cannot know a character without that character undergoing a test, that test is the plot."
Much of what Davis says about plot is basic, but even accomplished writers need reminders, especially those that are blocked. One very helpful reminder is that plot is chronological. Even if your story starts in medias res (in the middle) the writer must know the beginning. Davis also stresses a causal chain: problem leads to solution, which leads to another problem, which leads to another solution until we finally reach climax where the story problem is solved. The intensity should also build, the main character's choices becoming fewer and fewer until he must choose at the climax.
Davis also addresses such technical devices as story frames, which can help with suspension of disbelief. In CONNECTICUT YANKEE, for instance, Mark Twain has his main character get hit in the head before he travels back in time to Camelot.
A bone of contention that Davis examines is the plot outline. Some authors worry that an outline may hamper spontaneity but Davis likes them because they give an overall view of the entire plot and help point out problem areas.
Another helpful hint is the superiority of implication to outright statement. Keep backstory to a minimum. Davis recommends music playing on the radio, news announcements, or headlines from a newspaper which can help to imply setting while characters are engaged in action.
In the last chapter Davis addresses "Ready-Made" plots. It is his contention that there is no such thing as an original plot. As a matter of fact, he whittles them down to two: someone goes on a journey, and a stranger comes to town. Each of us, however, brings an original personality and perspective to the plot and that's where the real writing begins.
Dave Schwinghammer's Fargo-esque mystery novel, Soldier's Gap, is available at Authorsden.com and Amazon.com, new and used. See sample chapters on Authorsden.com
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I tend to agree with the simple approach suggested. Before I write a story or a novel, I have a plot in mind with a beginning, action in the middle, and, hopefully, an interesting end. While I have used flashbacks and other time devices, I agree with the author that the chronological approach helps the reader understand what's going on. Some authors are jumping all over time and different subplots making it difficult to follow their stories.
Because I have a plot in mind I'm not fond of outlines. But I can see where they would keep an author that often get sidetracked on track. As I write, I always have the ending in mind and I'm writing to reach that. What is strange, especially with short stories, is that twists or surprise endings often don't come to me until I'm actually writing the end and think of them.
well done, nice informative article
one I will save
m
Because I have a plot in mind I'm not fond of outlines. But I can see where they would keep an author that often get sidetracked on track. As I write, I always have the ending in mind and I'm writing to reach that. What is strange, especially with short stories, is that twists or surprise endings often don't come to me until I'm actually writing the end and think of them.
Ron