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Some time ago I wrote an article explaining how plot wasn’t the order in which events appeared in a story, but the order in which they happened to the characters.\u00a0 The storytelling order can be all mixed up for effect.\u00a0 As an example, consider the Quentin Tarantino movie, Pulp Fiction<\/em>, in which several interconnected story lines are presented quite out of order from how they actually came down.\u00a0 A large part of the fun for the audience is to try to put the pieces together in the right sequence so they understand the meaning of the story.<\/p>\n Of course, that’s an extreme example.\u00a0 Much more common is the simple flashback (or flash forward).\u00a0 But even here, some flashbacks are plot, and others are storytelling.\u00a0 First, consider a story in which the story opens in a given year and then the next section begins with the introduction, “Three years earlier…”\u00a0 In this case, the characters aren’t being transported back in time, just the reader or audience.\u00a0 The author is showing us what happened that led up to where things are “now” in the story.\u00a0 That is all storytelling, and can be quite effective.<\/p>\n But now consider a flashback in which a character recalls some incident in the past.\u00a0 The character drifts off into reverie and then we, the readers or audience, watch those events as if they are in the present, observing the memories as the character experiences them.\u00a0 This is plot, not storytelling, because neither character nor readers are transport back in time.\u00a0 Rather, we are just observing just what the character is reminiscing about in the here and now.\u00a0 And so, this trip to the past does<\/em> affect the character – it changes how they feel and perhaps what they will do next.<\/p>\n This is also true of flash forwards: Do we jump into the future to see where a character will end up, or is the character projecting where they might end up and we are seeing what they are thinking?\u00a0 The first variation is storytelling, the second is plot.<\/p>\n Of course things can get really out of whack in time-travel stories, especially since you can add both plot flashbacks and storytelling flashbacks also.\u00a0 The important thing here is to know when you are actually altering your plot or just changing the order in which the readers or audience are shown parts of the plot.\u00a0 If you are aware, you can play these techniques like a virtuoso, but if you treat them all the same, you’ll just end up with a cacophony.<\/p>\n But, as I said, that was covered in an earlier article I wrote, but I am repeating it here as a necessary foundation to what comes next.\u00a0 And that is, the difference between Static Plot Points and Sequential Plot Points.\u00a0 Very important.<\/p>\n To begin, if you strip away all the storytelling aspects of plot and get down to just the structure (the order in which things happen to the characters), you’ll find there are two kinds of plot points:\u00a0 One, Static Plot Points, such as the story Goal, that remain the same for the whole course of the story, and Two, Sequential Plot Points, such as Acts, Sequences, Scenes, and Beats within a scene, in which the story moves from one to the next to the next until the progression of the plot arrives at the climax, resolves and ends.<\/p>\n And that is what this article is about – giving you a glimpse into those two aspects of plot.<\/p>\n First, let’s look at the static plot points.\u00a0 We’ll cover just four in this article to make the point about static vs. progressive and address others in later articles.\u00a0 Here’s the four we’ll explore:<\/p>\n Goal, Requirements, Consequences, and Forewarnings.<\/p>\n Here’s a brief description of each:<\/p>\n Goal is what the protagonist is trying to achieve and the antagonist is trying to stop.\u00a0 Each probably has recruited their own team of helpers enlisted to aid in their two contradictory quest, but it is ultimately the protagonist and antagonist who have to duke it out to determine if the effort to achieve the goal ends in success or failure.<\/p>\n Now we all know that some goals turn out to be not worth achieving and that some goals are born of a misguided understanding, and also that goals can be partially achieved so, for example, the protagonist doesn’t get everything they want but enough to cover what they really need.\u00a0 No matter how you temper it, the story Goal is the biggest linchpin in your story’s plot.<\/p>\n Requirements are what’s needed to achieve that Goal.\u00a0 Requirements might be a shopping list of things the characters need to obtain or accomplish in any order (like a scavenger hunt) or Requirements could be a series of steps that need to be checked off in order.<\/p>\n Now you’d think that would make Requirements a sequential plot point, but it doesn’t because the Requirements remain the same for the entire story.\u00a0 So, just because you have to fulfill requirement 1 and then 2 and then 3, doesn’t make them sequential.\u00a0 Sequential plot points are like gears that turn to a different setting every act, sequence, or scene.\u00a0 The focus of each act, for example, is different than the last one, while the Requirements remain the same, even if they have to be accomplished in a certain order.<\/p>\n Yeah, this stuff can get pretty complex.\u00a0 That’s why you have me, your friendly neighborhood teach of story structure and storytelling to guide you through these tricky little story structure quagmires.<\/p>\n Consequences, are sort of like an Anti-Goal.\u00a0 Consequences are what will happen if the goal is not accomplished.\u00a0 It’s kind of like the flip-side of the coin.\u00a0 One the one side is the positive desired future and on the other side is the negative undesired alternative if that future isn’t achieved.<\/p>\n Consequences are really important because they double the dramatic tension of the story.\u00a0 The character are just chasing something positive, they are also being chased by something negative.\u00a0 Will they catch the Goal before the Consequences catch them?\u00a0 That’s where plot tension comes from.\u00a0 Right there.<\/p>\n Forewarnings…\u00a0 Just as Requirements are how you can chart the progress toward the Goal, Forewarnings are how you can chart how close the Consequences are to happening.\u00a0 Consequences can be cracks in a dam, follow by a small drip, a few little leaks, and so on.\u00a0 Everyone knows that at some point, the dam is going to bust – unless the characters achieve the Goal first, such as diverting the upstream flow, or opening the jammed overflow gates.<\/p>\n Forewarings can also be emotional too.\u00a0 A man must make his fortune to satisfy a woman’s father before he can get permission to marry her.\u00a0 But, there is another suitor.\u00a0 While he’s off looking for a legendary treasure, the woman has a casual conversation with the rival.\u00a0 As the man remains away, the woman and the rival share a meal, have a picnic, sit close together on the beach, watching the sunset.\u00a0 We all know that if the man doesn’t return with the treasure soon, the woman will go with the suitor who is there, rather than the man who isn’t.<\/p>\n So those are four examples of static plot points.\u00a0 There are many more.\u00a0 You’d be surprised!\u00a0 Some of them are extremely handy in making a plot click like clockwork.\u00a0 Alas, those are beyond the scope of this particular article.\u00a0 But don’t worry, I’ll be covering those in the not too distant future.\u00a0 Was that a flash forward?<\/p>\n All right.\u00a0 Now what about the Sequential Plot Points?\u00a0 A storya unfolds over time – not just in the telling, but the whole point of a story is to follow a journey and learn if the characters involved make the right decisions or not to get what they are after, both materially and emotionally.\u00a0 And we, the readers or audience, gain from that experience so we are better prepared if we ever face that kind of human issue in our own lives.<\/p>\n Now of course nobody thinks about that while following a story, but that’s how it works at the structural level.\u00a0 That’s part of the craft of authorship: to structure a story to affect readers or audience in a certain way intentionally to move them to feel or respond in a desired fashion when all is said and done.<\/p>\n To this end, think of a story as a symphony.\u00a0 You may know that symphonies are made of of movements – large sections of time in which certain themes are explored.\u00a0 And then the symphony shifts into another movement in which a different theme is explored.\u00a0 By the end of the symphony, all the variations of the theme that the composer wanted the audience to experience have been related, leading to a final climax and conclusion.\u00a0 How very like a story.<\/p>\n In stories, the largest of these movements are the acts.\u00a0 You can feel them when watching a movie or reading a book.\u00a0 There comes a point where something major is completed and the characters move on to a different kind of effort or understanding.\u00a0 Or, some major event occurs that sends everything off in a different direction. You get a sense of completion when you reach an act break, and also the sense that the next stage or phase of the story’s journey is about to begin.<\/p>\n Within acts are smaller movements called Sequences.\u00a0 Sequences usually follow an arc that spans several scenes.\u00a0 It may be a character arc or a kind of effort or process that has its own beginning, middle, and end within the story as a whole.\u00a0 For example, we’ve all heard of the “chase sequence” that often occurs in action movies.\u00a0 That’s how they come across, basically.<\/p>\n Scenes are smaller units and are more defined.\u00a0 They are like little dramatic circuits that have a Potential, Resistance, Current, and Outcome (Power).\u00a0 Each scene is a little machine – a miniature story within an act.\u00a0 Each scene starts with some dramatic potential, runs into a resistance, presses forward, and ends with a resolution to that original potential.<\/p>\n One of the most elegant things about scenes is that the way a scene ends set up the dramatic potential that will start another scene later.\u00a0 Elegant, but hard to get your head around.\u00a0 Again, not to worry, I’ll be covering that aspect of plot in another article soon.<\/p>\n Point being, that each scene is a tooth on the cog of an act.\u00a0 And together all these act cogs work together as part of the plot machinery of your story.<\/p>\n And finally, just as I covered four of the most basic static plot points, here is the fourth and final sequential plot point I’ll give you for now:\u00a0 Beats.<\/p>\n Beats are the turning of the gears within each scene.\u00a0 They are the steps within the scene that introduce the potential, bring into play the resistance, pit those against each other, and spit out the outcome.<\/p>\n What those beats are and how to use them is, again, the subject of another article.\u00a0 But the point here is that the sequential progression of a plot isn’t just one event after another; it is more like wheels within wheels.<\/p>\n And so, I believe we have accomplish our goal<\/em> of the moment, which is that you are now probably quite away that the order of events in a finished story is not at all the plot.\u00a0 The plot is the order in which events happen to the characters.<\/p>\n And plot has two kinds: static, and sequential.\u00a0 The static point points include such things as Goal, Requirements, Consequences, and Forewarnings, and never change their nature over the course of the story.\u00a0 The sequential plot points are like gears that move the machinery of the plot forward, act by act, sequence by sequence, scene by scene, and beat by beat.<\/p>\n And that, my fellow writers, is how a story rolls.<\/p>\n For more on how to use these concepts to build your story, try out the StoryWeaver Story Development Software<\/a><\/em> I designed just for that.\u00a0 And to learn more about how to structure your story, try out the Dramatica Story Structure Software<\/a><\/em> I co-created with my partner.<\/p>\n Until next time, may the Muse be with you!<\/p>\n
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