Sunday Funnies: Pockets!!! It has pockets!!

[Link] What Is the Difference Between “Story” and “Plot”?

by David Young

We often say we should start at “the beginning,” which, in the words of Julie Andrews, is a very good place to start. However, it’s not necessarily true that the same kind of beginning works for every story. In fact, that remains dependent on a few factors, including where your story truly begins chronologically, as well as how your plot is structured.

Did You Just Say “Story” and “Plot” Separately?

Yes, indeed. While some consultants may call your story a “plot,” or an editor may mistake the plot for a “story,” they are distinct parts of the writing process that complement each other—hence the common misconception about their natures.

So, what are they, and why are they different? What purpose does each one serve, exactly? We can start by substituting other terms for each. Let’s learn some Russian!

In the Russian novelist boom of the 20th century came an interesting comparison between two concepts: syuzhet and fabula. Narratologists seeking to break storytelling down into clear parts defined fabula with the same meaning in Russian as it has in Latin: “story.”

Meanwhile, syuzhet was given a more nuanced meaning. The actual word roughly translates to the English word “subject,” as in the subject of an art piece or the subject of a sentence—the main focus. When thinking about syuzhet, think of that focus. You’ll begin to see why in a second.

So, What Is Fabula?

Other than simply saying the word “story” again, let’s define fabula in more concrete terms.

Scholars of Russian formalism saw it as the chronology of events as they occur—not the order in which they’re told. Greek tragedies acknowledged horrible battles before, after, and during the main scenes shown to the audience; but these were sometimes told out of order. Similarly, Inception (2010) acknowledges that there were events that led to the first heist we see at the beginning of the movie.

Whether it happens in front of the audience or not, there is an actual timeline of events that is unaffected by the way the story is told. Renfield is affected by Dracula well before Jonathan Harker heads out to the Count’s dark fortress—but we don’t see that happen. Regardless of which scene told Renfield’s part, his story is concretely part of the equation. It’s an inherent truth of the narrative.

Consider that a fable is a story with a purpose, with a message behind it; since “fable” comes from the Latin term fabula, just like the Russian word. So, when remembering fabula, think of the immovable timeline behind the narrative—the truth is the storyline.

OK… Then What Is Syuzhet?

On the other hand, syuzhet acts as the focus of the storytelling. If fabula is the truth behind a narrative, then syuzhet is the message in front of a narrative.

After all, by organizing events from a story in certain ways, you can mislead the audience or confuse the message, making a story tell a different truth. That is the power of the syuzhet, or the “subject,” of the story. That is what we call “plot,” and it’s how a movie like Eternal Sunshine of the Spotless Mind (2004) can surprise and delight an audience, despite the twist of the movie coming at the “beginning” of the timeline.

Because of how the story events are organized, you can give the audience a completely different experience from the original story—one that reveals more of the timeline and that narrative truth, making it clear what the story’s “subject” (its focus) should be. If the focus is on discovering lost memories, showing all those memories at the beginning would undermine the story.

This is why syuzhet and fabula must always work together: To have a narrative, you must have both story and plot complement each other.

Read the full article: https://thescriptlab.com/blogs/42366-what-is-the-difference-between-story-and-plot/

Sunday Funnies: You've heard of the dramatic plot structures... Well...

 

[Link] Use a plot coupon to drive your story forward

by Rob Bignell

Among the tried and true devices you can use for moving a story forward is a plot coupon.

A plot coupon is something a character must obtain that later can be “cashed in” to resolve the overarching conflict so that the story may end. For example, in the ancient Greek myth Jason and the Argonauts, our hero and his valiant crew go in search fo the Golden Fleece, which once obtained will allow Jason to take his rightful place as king. The overarching conflict that began the story is that Jason must gain his rightful place on the throne, and the Golden Fleece is the plot coupon that allows him to achieve this goal. Once he is king, the story is over.

Seeking the coupon moves the plot forward. In Jason and the Argonauts, each adventure they go on centers on one element in the attempt to find the Golden Fleece. In each adventure, they may discover clues that help them find the Golden Fleece or they may suffer setbacks that must be overcome in “episodes” that follow.

Read the full article: https://inventingrealityeditingservice.typepad.com/inventing_reality_editing/2016/06/use-plot-coupon-to-drive-your-story-forward.html

This Week's Theme Is, Well, Theme

I know this opening paragraph isn't going to win me any fans in a blog about writing action-driven genre fiction, but I'm just going to write it anyway. I can't tell you how often I've heard fellow writers say in convention panels that they don't really think about or care about theme because they just want to tell a fun, action-heavy story that entertains a reader and leaves everything the same when it's over. Well, I cringe every time I hear that. I really do. 

Why? Because (1) it means those fellow creators don't really understand what theme actually is and (2) they're totally full of shit. 

Yes, I said it. 

Theme Is Historically and Contextually Important for Stories

I teach high school English in addition to writing, and our current unit is one about Short Stories and the art of small fiction. We've read Edgar Allen Poe, Ernest Hemingway, Alice Walker, Raymond Carver, Ambrose Bierce, and Louise Erdrich. Each of these writer's stories continues to resonate with readers because they say something and do more than just "pass the time." 

Now, just so you know, I'm not only referencing the kind of stories we read in English Lit classes, I am an avid reader of detective, horror, sci-fi, and pulp hero stories. The best of these genres too, in addition to wanting to tell a ripping yarn, also have themes that elevate them beyond just being fun, action-heavy stories that entertain. 

In fact, I'd go so far as to say the reason they can entertain in the first place is because they have something to say to the reader. Stephen King writes about childhood trauma carried into adulthood... a lot. Raymond Chandler writes about personal loss transmuted into public good. Walter Mosely writes about changing racial norms and trying to overcome them. Ray Bradbury writes about whimsy being the basis for both technology and horror. Stephen Donaldson writes about how our bad decisions play a great hand in determining what we think of as our fate. The Golden Amazon tells us about absolute power corrupting absolutely while The Spider tells us that sometimes fighting evil can taint us with some of that evil. 

Don't get me wrong, the trouble with much "Literature" with a capital L is that it has a lot to say but fails to entertain. However, that doesn't make the opposite a better, more honest option. It's equally a failure to write a story that entertains but fails to have something to say. Those stories (and trust me, I've read more than a few in old Pulp mag reprints) disappear from my brain almost immediately. 

It's the ones that do more that stick around, even if they're not the best written or the kind that gets anthologized in high school and college textbooks. Theme isn't about longevity. It isn't about your Literature class. It isn't about being discussed at author forums and writing conventions. It's about every story being itself. It's about every story, no, your story mattering to someone, anyone, a reader out there. 

Again, writing with a theme doesn't mean said theme has to be an indicator of high art. Some may. Some may not. But ultimate, for me, it gets down to this statement from Abbie Emmons: 

If we don't understand why what's happening matters to our characters, we don't know why it matters to us. 

(from https://www.youtube.com/watch?v=ot3jkbmBKsc)

I want to break that down into two parts. 

What Is Theme and Why Does It Work?

The first part of Emmons' statement is "why what's happening matters to our characters." That covers PLOT and STORY. Plot is exactly that, what's happening to our characters. Story is why it matters to them. Plot alone can't sustain a story, either novel or short story. It's why even bad horror movies usually involve a character trying to overcome some kind of trauma instead of a generic anybody (except when that's the central theme -- that it can happen to anyone) as a hero or most often final girl. The horror of the killer/ghost/monster is what enables them to process that trauma (loss of a kid, family member, sight, job, etc.) It's what is at stake beyond simply living and dying or beating the villain. It's that awesome marriage between plot and CHARACTER. Get those two together with a bottle of wine and some Wynton Marsalis, and trust me, soon you'll see a baby called story. 

Story then determines your THEME even if you're not planning it out on the front end of storytelling. It's this second part of Emmons' statement: "why it matters to us." 

This is where, I'll admit, a lot of the issues genre writers (particularly pulp writers) can have with theme begins. Theme usually involves change, or at least the opportunity to change, or failure to change. But, the argument goes, pulp heroes aren't supposed to change. That's the whole point of reading their stories. They have a fan base because they're consistent characters. 

I agree. There are certain things about certain characters that can't change, at least not permanently. Frank Fradella had a saying while I was Vice President of Cyber Age Adventures/iHero Entertainment that went like this: "Don't blow up Cleveland; we're going to need that later." 

This works to the benefit of some characters, particularly those who can face their flaws, traumas, and issues and still refuse to change no matter the pressure they face. Batman often faces the need or desire to kill the Joker, and the theme of that story is not whether he actually will or not, but how he walks that tightrope. That can be compelling every time even though the reader knows there's no way Bruce is going to pull the trigger. 

On the other hand, this works to the detriment of some characters, particularly those who are perfect and have no flaws or struggles, no matter the pressures or issues they face. It's the one reason I've never been a fan of Doc Savage. I don't mind that he is physically perfect and always wins, but he never struggles with anything. He never faces any failure in his past or present. He never struggles with emotional baggage. And rarely does his support cast. They can be as flat as cardboard cut-outs. 

I know, if you didn't tune out at the first paragraph, that comment about Doc Savage just sent many of the rest of you running for the hills. 

I present Superman as a counter to the good Doc though. Although Clark is the pinnacle of physical perfection and the sheer embodiment of American values of mom, baseball, and apple pie, he still struggles. He knows that his superheroic identity puts those he loves in danger, so he fights to keep it secret, which can screw up his everyday life (with work, with Lois, etc.). He also faces doubt when his choices for winning don't include an "American values" option. How does a man with a perfect record choose between two bad options and then live with the consequences? Those are great Superman stories. Of course, the best Superman stories figure out a way to choose neither but it doesn't come easily, hence "why what happens matters to the characters" is still a part of the story. The theme of trying to remain true to your own nature is also a theme. But without a conflict that forces that theme, a hero like Doc Savage never changes for different reasons than Superman. 

Note: Maybe this happens in other Doc Savage novels, but in the several I've read before I gave up, Doc Perfect is never allowed to have a flaw or less-than-perfect choice to confront.

What Isn't Theme?

I hope you didn't miss this sentence just a few paragraphs above: "Story then determines your theme." Theme is always an organic outgrowth from your story. Now, remember, story isn't plot. Story is plot and character working together to make the plot matter. 

That's why many writers who may not consciously write with a theme in mind tend to have them show up by nature of the kind of characters they write, the kind of stories they tell, and the kind of outcomes that happen in those stories. As most writers know, it's a difficult thing to keep yourself out of your stories -- and not just in a Mary Sue or Marty Stu way. The beliefs that have guided you through life, the ideals to which you ascribe, the politics you try not to discuss at Thanksgiving -- all of that stuff seems to find a way to seep into your work as if it escapes through your fingertips as you type. (Hell, maybe it actually does. That's as good an explanation for it as any other I've seen.)

If you can't find it yourself, and you're any writer worth your storytelling salt, don't worry. Astute readers will find it for you. Even if you're one of the writers I was talking about in the first paragraph. You still end up writing variations on a theme, and the sum total of your body of work will shine a spotlight on it. Just be warned, sometimes those themes may not say the kind of things you want to be said about your writing. (Such as women only exist for saving and men who don't punch their way out of trouble aren't real men, but that's an essay for another day.) 

Nor is a theme a moral. We're not talking about fables or allegories when we talk about theme. Yes, the best of those still have themes. You can't turn a page in Lord of the Rings, A Swiftly Tilting Planet, or even "The Little Match Girl" or "The Ugly Duckling" without bumping into theme. But the moral isn't the theme. Themes can lead to lessons as we confront things about ourselves as readers, as writers, as critics, etc., but the lesson itself is never the theme. 

So, all this to say: Don't be afraid of the concept of your story having a theme. Don't be afraid to talk about it or bring it up at convention panels. And for god's sake, don't think that decrying the concept of theme from your position behind a table or podium at a conference or convention makes you somehow more honest than other writers. That's about as honest as being an ironic hipster. If your work resonates with someone, you have a theme that reader has identified and identified with -- even if you didn't intentionally approach the work with a theme as you pantsed your way through writing. 

Yes, I acknowledge that even Doc Savage has a theme that folks resonate with. I see my own hypocrisy just fine, thank you. (LOL). 

To paraphrase Aerosmith: Theme on, theme on, theme on, theme until your writing dreams come true! #sorrynotsorry

A Matter of Pantsing -- How Do You Outline?

What kind of outlining technique (for those of you who are plotters) do you use to plan out your novel? Note cards? Old-fashioned number and letter outline?

Rory Hayfield-Husbands: Coming up with ideas for each scenario and then discussing it with like minded people.

Anna Grace Carpenter: When I outline (which is not all the time) I use the index card method. Those are then transferred/typed into a doc that serves as my first draft. As I write the chapters that cover each scene I delete the plot points out of the outline until there are none left - just the manuscript. (But, I also use outlines more for sequels or revisions now than the initial first drafts of first books.)

Jonah Mason: The best method I know is to outline the story in a couple of paragraphs, hitting the high spots in a prose way. It's not technically an outline, more of a "treatment," like you might do for a script.

Jeremy Hicks: A mix of methods. I was using a legal pad and note cards today, actually.

Pamela Turner: I use Scrivener's index cards to outline. I use regular index cards, too, but at least with Scrivener, I can read my notes. :-)

Gordon Dymowski: I just use paper (a notebook or legal pad) and pencil - my outlines are usually in bullet point form. (I'm not too pedantic about format - the outline is there for me to organize ideas)

Brian K. Morris: I start out with an elevator pitch for the basic story, add an ending (that I will likely change at least once as I write), then flesh out the story using the Lester Dent Master Plot as my guide before working on the first draft.

Percival Constantine: I don’t have a consistent method. Sometimes I’ll use a mindmapping program to focus, other times I’ll scribble in a notebook, but it usually ends with scene descriptions in Scrivener’s notecards.

James Palmer: I just write them out in Scrivener. I figure out my plot points, then do a scene outline, one chapter per scene.

Janice Elliott: Howard I use a mind map software. It is called Free Mind and it can be found online for free. Because the human brain is not designed to organize our thoughts in a linear fashion as we are taught throughout our schooling, this method improves recall and next steps easier. I can honestly map out an entire book using it.

Bill Craig: I don't normally outline unless it is going to be a lengthy project, and then I used the number and letter method that I learned in school.

Mike Baron: Detailed outline.

Sarah Lucy Beach: Writers Blocks computer program. It allows me to shuffle elements around if necessary.

Alison Marceau: Depends on if I have the story completely mapped out, I've used notebooks to just summarize, maybe write a snippet or dialogue so I don't forget it or that will remind me. Key words and the like.

I'll also do separate notes for research and character details.

GoogleDocs is awesome for all of it.

There are also "writer's guide" apps, too, that help you keep track of the details and outlines and settings. I have them downloaded but haven't used them yet, though.

Neen Edwards: Note 8... I have a lot of saved sticky notes.

Matt Hiebert: Outlines of each chapter.

Ian Totten: First I do a quick outline to get an order for all the important things, then I do a detailed chapter by chapter outline that runs 30-40 pages.

Duane Spurlock: I do about ten bullet points and typically start ignoring them by the time I hit the third or fourth.

The bullet points make a perfectly good plot. It just seems, as I get a little ways into the story, I want to be entertained and surprised by it, just as if I'm reading it, not writing it. I think that helps the spontaneity that we want to come across to the readers as they experience the story.

Derrick Ferguson: I admire writers who have every detail, every twist and turn of the plot/story figured out before they type Word One, but that doesn't work for me. If I know everything about the story then what's the point of me writing it?

I like to leave plenty of wiggle room to surprise myself with the direction that the story and the characters take because I figure that if it surprises me and I'm writing the damn thing then it sure as shootin' will surprise whoever ends up reading it.

Jason Waltman: Note cards are you friends

Mark Bousquet: I've got a journal where I jot down whatever thoughts come to mind about the stories and characters and events. Sometimes I'll write dialogue exchanges. Scenes. Notes to myself about where to keep my focus. I'll create pressure diagrams. Usually I'll end up rewriting and reworking and refining the main story as I work through this, then get to a narrative outline, often broken down into acts or movements.

Josh Duke: Ive found that if I write out an outline I lose the drive to flesh it out.
I take notes, i jot down key dialogue to remind me of a direction or scene- but I just let it grow as it will. Ive found if I do that, I inadvertently end up creating complex connections and story threads I didnt expect to.

Danielle Procter Piper: I know where it begins, I know where it ends, but the journey to the last part often surprises me.

[Link] Every Story in the World Has One of These Six Basic Plots

by Miriam Quick

“My prettiest contribution to the culture” was how the novelist Kurt Vonnegut described his old master’s thesis in anthropology, “which was rejected because it was so simple and looked like too much fun”. The thesis sank without a trace, but Vonnegut continued throughout his life to promote the big idea behind it, which was: “stories have shapes which can be drawn on graph paper”.

In a 1995 lecture, Vonnegut chalked out various story arcs on a blackboard, plotting how the protagonist’s fortunes change over the course of the narrative on an axis stretching from ‘good’ to ‘ill’. The arcs include ‘man in hole’, in which the main character gets into trouble then gets out again (“people love that story, they never get sick of it!”) and ‘boy gets girl’, in which the protagonist finds something wonderful, loses it, then gets it back again at the end. “There is no reason why the simple shapes of stories can’t be fed into computers”, he remarked. “They are beautiful shapes.”

"Thanks to new text-mining techniques, this has now been done. Professor Matthew Jockers at the University of Nebraska, and later researchers at the University of Vermont’s Computational Story Lab, analysed data from thousands of novels to reveal six basic story types – you could call them archetypes – that form the building blocks for more complex stories. The Vermont researchers describe the six story shapes behind more than 1700 English novels as...

Read the full article: http://www.bbc.com/culture/story/20180525-every-story-in-the-world-has-one-of-these-six-basic-plots

[Link] Teaching Creativity & Structure in Writing

by Laurisa Reyes

When it comes to writing well, two things are essential: creativity and structure. These work side by side to construct any piece of good writing, be it a poem, a story, an essay, or an instruction manual.

Let’s begin with structure. Structure isn’t so much the shape or the organization of the writing as it is the rules that govern how we write. It includes spelling, grammar, punctuation, syntax, as well as things like thesis statements, plot progression, argumentation methods, poetic patterns, and so forth. Structure is HOW words are put together and HOW they function within a sentence, a paragraph, stanza, or so on. Without structure, things simply don’t make a lot of sense. Also, the rules that form the structure of writing apply the same to everyone.

Creativity, on the other hand, is the freedom to sculpt language the way an artist sculpts a work of art. Every individual creates his/her own style of expression and language patterns. Each person is capable of tapping into his/her imagination to craft a unique written work. The possibilities are truly endless. New songs, poems, stories, news articles, and books are brought into existence by the thousands every single day. In fact, it is practically impossible for two people to write the same story or poem — unless they intentionally copy each other.

In order to write well, which means to express one’s ideas in a way that they can effectively communicate those ideas to others, kids need both the rules that govern good writing and the freedom to explore their own imaginations. To focus solely on spelling and grammar and such is boring and can discourage the budding writer who may struggle to learn those concepts.

Likewise, to allow unfettered freedom without also teaching structure gives kids a false sense of confidence and dooms them to mediocrity in a world where employers and college professors expect quality writing skills.

Read the full article: https://www.goread.com/buzz/lwreyes/article/teaching-creativity-structure-in-writing/