[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/

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

Nugget #134 -- Foundations Need Walls

 Story narrative is based in what characters see and 
 hear. There’s almost no way around that. Those are 
 the foundations on which you build the frame. And 
 that’s okay. But remember, nobody lives on just the 
 concrete slab. You actually have to put up walls.

By Photo by CEphoto, Uwe Aranas or alternatively © CEphoto, Uwe Aranas,
CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=39211147

Nugget #110 -- Viva la Storylution!

Most every great piece of fiction that 

has helped to create change in the world 

has been an aftereffect of the story the

writer wanted to tell. It began with 

story, not with revolution.