- It's the road map that takes your story from point A to point B. Advertisement: What is plot - why happiness is overrated There's a reason why 'Happily ever after' comes at the story's end. It means nothing else is happening. Cinderella and her Prince Charming wake up late, eat a nice breakfast, and take a walk. A slow news day.
- Microsoft Plots the End of Visual Basic More Login. Microsoft Plots the End of Visual Basic. Archived Discussion Load All Comments. Full Abbreviated Hidden /Sea.
- In a literary work, film, story or other narrative, the plot is the sequence of events where each affects the next one through the principle of cause-and-effect.The causal events of a plot can be thought of as a series of events linked by the connector 'and so'. Plots can vary from the simple—such as in a traditional ballad—to forming complex interwoven structures, with each part sometimes.
Microsoft Plots the End of Visual Basic. What they’re talking about here is including Visual Basic in.NET 5 to allow porting of existing code. First: What is ‘plot structure’? ‘Plot structure’ refers to the patterns the events of a story form. Some cite Aristotle as one of the first writers to codify story structure. He wrote in his Poetics (though in specific reference to tragedy) that every story should have a beginning, middle and end – our most basic ideas of structure.
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The Seven Basic Plots: Why We Tell Stories is a 2004 book by Christopher Booker containing a Jung-influenced analysis of stories and their psychological meaning. Booker worked on the book for thirty-four years.
The meta-plot begins with the anticipation stage, in which the hero is called to the adventure to come. This is followed by a dream stage, in which the adventure begins, the hero has some success, and has an illusion of invincibility. However, this is then followed by a frustration stage, in which the hero has his first confrontation with the enemy, and the illusion of invincibility is lost. This worsens in the nightmare stage, which is the climax of the plot, where hope is apparently lost. Finally, in the resolution, the hero overcomes his burden against the odds.
The key thesis of the book: 'However many characters may appear in a story, its real concern is with just one: its hero. It is the one whose fate we identify with, as we see them gradually developing towards that state of self-realization which marks the end of the story. Ultimately it is in relation to this central figure that all other characters in a story take on their significance. What each of the other characters represents is really only some aspect of the inner state of the hero himself.'
Overcoming the Monster
Plots End Basics
Definition: The protagonist sets out to defeat an antagonistic force (often evil) which threatens the protagonist and/or protagonist's homeland.
Examples: Perseus, Theseus, Beowulf, Dracula, The War of the Worlds, Nicholas Nickleby, The Guns of Navarone, Seven Samurai (The Magnificent Seven), James Bond, Jaws, Star Wars, Attack on Titan.
Rags to Riches
Definition: The poor protagonist acquires power, wealth, and/or a mate, loses it all and gains it back, growing as a person as a result.
Examples: Cinderella, Aladdin, Jane Eyre, A Little Princess, Great Expectations, David Copperfield, The Prince and the Pauper, Brewster's Millions. The Jerk.
Definition: The protagonist and companions set out to acquire an important object or to get to a location. They face temptations and other obstacles along the way.
Examples: The Iliad, The Pilgrim's Progress, The Lord Of The Rings, King Solomon's Mines, Six of Crows, Watership Down, Lightning Thief, Raiders of the Lost Ark, Monty Python and the Holy Grail.
Voyage and Return
Definition: The protagonist goes to a strange land and, after overcoming the threats it poses or learning important lessons unique to that location, they return with experience.
Examples: Ramayana, Odyssey, Alice's Adventures in Wonderland, Goldilocks and the Three Bears, Orpheus, The Time Machine, Peter Rabbit, The Hobbit, Brideshead Revisited, The Rime of the Ancient Mariner, Gone with the Wind, The Third Man, The Lion King, Back to the Future, The Midnight Gospel.
Definition: Light and humorous character with a happy or cheerful ending; a dramatic work in which the central motif is the triumph over adverse circumstance, resulting in a successful or happy conclusion.Booker stresses that comedy is more than humor. It refers to a pattern where the conflict becomes more and more confusing, but is at last made plain in a single clarifying event. The majority of romance films fall into this category.
Examples: A Midsummer Night's Dream, Much Ado About Nothing, Twelfth Night, Bridget Jones's Diary, Music and Lyrics, Sliding Doors, Four Weddings and a Funeral, The Big Lebowski.
Definition: The protagonist is a hero with a major character flaw or great mistake which is ultimately their undoing. Their unfortunate end evokes pity at their folly and the fall of a fundamentally good character.
Examples: Anna Karenina, Bonnie and Clyde, Carmen, Citizen Kane, John Dillinger, Jules et Jim, Julius Caesar, Macbeth, Madame Bovary, Oedipus Rex, The Picture of Dorian Gray, Romeo and Juliet.
Definition: An event forces the main character to change their ways and often become a better individual.
Examples: Pride and Prejudice, The Frog Prince, Beauty and the Beast, The Snow Queen, A Christmas Carol, The Secret Garden, Peer Gynt, Groundhog Day.
The Rule of Three
'Again and again, things appear in threes . . .' There is rising tension and the third event becomes 'the final trigger for something important to happen'. We are accustomed to this pattern from childhood stories such as Goldilocks and the Three Bears, Cinderella, and Little Red Riding Hood. In adult stories, three can convey the gradual working out of a process that leads to transformation. This transformation can be downwards as well as upwards.Booker asserts that the Rule of Three is expressed in four ways:
- The simple, or cumulative three, for example, Cinderella's three visits to the ball.
- The ascending three, where each event is of more significance than the preceding, for example, the hero must win first bronze, then silver, then gold objects.
- The contrasting three, where only the third has positive value, for example, The Three Little Pigs, two of whose houses are blown down by the Big Bad Wolf.
- The final or dialectical form of three, where, as with Goldilocks and her bowls of porridge, the first is wrong in one way, the second in an opposite way, and the third is 'just right'. 
- William Foster-Harris' The Basic Patterns of Plot sets out a theory of three basic patterns of plot.
- Ronald B. Tobias set out a twenty-plot theory in his 20 Master Plots.
- Georges Polti's The Thirty-Six Dramatic Situations.
- Several of these plots can also be seen as reworkings of Joseph Campbell's work on the quest and return in The Hero with a Thousand Faces.
Scholars and journalists have had mixed responses to The Seven Basic Plots. Some have celebrated the book's audacity and breadth. The author and essayist Fay Weldon, for example, wrote the following (which is quoted on the front cover of the book): 'This is the most extraordinary, exhilarating book. It always seemed to me that 'the story' was God's way of giving meaning to crude creation. Booker now interprets the mind of God, and analyses not just the novel – which will never to me be quite the same again – but puts the narrative of contemporary human affairs into a new perspective. If it took its author a lifetime to write, one can only feel gratitude that he did it.'Beryl Bainbridge, Richard Adams, Ronald Harwood, and John Bayley also spoke positively of the work, while philosopher Roger Scruton described it as a 'brilliant summary of story-telling'.
Others have dismissed the book, criticizing especially Booker's normative conclusions. Novelist and literary critic Adam Mars-Jones, for instance, wrote, 'He sets up criteria for art, and ends up condemning Rigoletto, The Cherry Orchard, Wagner, Proust, Joyce, Kafka and Lawrence—the list goes on—while praising Crocodile Dundee, E.T. and Terminator 2'. Similarly, Michiko Kakutani in The New York Times writes, 'Mr. Booker evaluates works of art on the basis of how closely they adhere to the archetypes he has so laboriously described; the ones that deviate from those classic patterns are dismissed as flawed or perverse – symptoms of what has gone wrong with modern art and the modern world.'
Microsoft Plots End Basic
- ^'Terminator 2 good, The Odyssey bad'. The Guardian. 2004-11-21. Retrieved 2019-05-22.
- ^'the definition of comedy'. Dictionary.com.
- ^Christopher Booker, The Seven Basic Plots, Continuum 2006, p 229-233
- ^ abc'The 'Basic' Plots in Literature'. Archived from the original on 2015-08-21. Retrieved 2013-09-11.
- ^'The Seven Basic Plots'. Bloomsbury. Retrieved 2013-03-19.
- ^Scruton, Roger (February 2005). 'Wagner: moralist or monster?'. The New Criterion. Retrieved 19 March 2013.
- ^Adam Mars-Jones 'Terminator 2 Good, The Odyssey Bad', The Observer, November 21, 2004, retrieved September 1, 2011.
- ^Kakutani, Michiko (2005-04-15). 'The Plot Thins, or Are No Stories New?'. The New York Times. Retrieved 2013-09-11.
Plots End Visual Basic
Microsoft Plots End Visual Basic
Before you can start writing, you must have at least a basic idea of the three major components of a story. Plot is what happens. Character is to whom it happens. And setting is where and when it happens. Most stories are either plot-driven or character-driven. A plot-driven novel is one in which what happens is more important than to whom it happens. An example of this is an action/adventure novel. A character-driven novel is one in which a character evolves during the story, and what happens isn’t as important as how the character reacts to what happens. An example of this is a romance novel. A successful plot must have a struggle of some sort—on one hand, something that a character (or characters) wants, and on the other hand, something that prevents the character from having it.
Plots are based upon three fundamental struggles:
• Man-against-man—this is when another character (the antagonist) is at odds with the protagonist (the main character) and tries to prevent the protagonist from accomplishing his goal. An example of this would be a cop chasing down a serial killer.
• Man-against-nature—this is when nature (or, possibly, machinery) causes problems for the protagonist. An example of this would be a man left behind in Antarctica, fighting for survival against the elements of nature.
• Man-against-himself—this is when some character flaw within the protagonist prevents him from achieving his greatest desire. An example of this would be a man who wants a happy home life, but who battles alcoholism.
Many novels have a main plot with several subplots spidering off of it. However, in order to keep a handle on things and to prevent random rambling, it is important to have a focus statement to give your story cohesiveness. A focus statement describes your story’s basic plot in one sentence. Yes. One sentence. Forcing this focus gives you a home base to return to and reflect from, and ensures that you don’t drift too much in other directions.
Examples of a focus statement::
• An uneducated man from the slums climbs through the political world in his quest to become President.
• A teenager hones his acting skills in hopes of making it big on the Silver Screen.
• An alcoholic mother struggles to raise her children.
A plot must also have three distinct parts: a beginning, a middle, and an end. The beginning, of course, is where the story starts. The setting must be firmly established (both place and time), the main character must be introduced, and the story question must be presented. The story question puts the focus statement into a “what if” format:
• Will the uneducated man from the slums be able to achieve his goal to become President?
• Can the teenager make it big on the Silver Screen?
• Will the alcoholic mother be able to successfully raise her children?
The middle of the story is where we build the action and further develop the characters. The middle of the story is the link between the beginning and the end, and that which makes the end possible. The end of the story consists of two parts, the climax and the resolution, also called the denouement. The climax is the turning point in the novel, where the tension is highest. The climax is where all seems lost, where decisions must be made, where life and death hang on the balance. The climax should lead directly into the resolution, which should answer the story question and resolve the character statement of the main character (usually, these will be linked).
In a character-driven novel, the main character should be changed in some way—wiser, more mature, kinder, perhaps even more cynical—but he/she must have undergone a change. If his character goal has not been achieved, then it must be resolved (perhaps the uneducated man from the slums decides that he can make a greater impact on society if he becomes a teacher than he could make as President or perhaps the teenager’s father is seriously injured in an accident and the youth realizes that nothing is more important than his family and he’d prefer to stay close to home).
Plot is accomplished through a series of scenes. A scene is the dramatization of one snapshot in time—what happens at one specific place at one specific time. Of course, the action may unwind over a period of several minutes or longer, but once the action is transferred to a different setting or to a different character, that scene ends and another scene begins. (However, the same scene continues if the viewpoint character himself is moving, say walking down the street from one house to another, or if the omniscient point of view is used).
Every scene in a novel must further the plot or develop a character (preferably both at the same time); otherwise, it is an extraneous scene and should be cut. Every scene should also have a feeling of completeness about it. This is accomplished by ending the scene with an action, thought or dialogue by the viewpoint character, hopefully resolving or reviewing whatever “mini-crisis” the scene presented.
Most writers divide their novel into chapters. Some give a title to each chapter; others just use numbers. There are no rules for assigning chapters, although I’ve read advice that suggests that each chapter should consist of three scenes or each chapter should consist of twenty pages. I think this is up to the individual writer.
Plot is certainly one of the most important components in your novel. There are several ways to go about developing plot. Some people outline, putting every scene on an index card. Some people know the entire plot before they even write one word; others discover the plot as they write. If you’d like your own copy of our reproducible Chapter Summary Worksheet, which can help you outline your chapters, or the Novel Summary Worksheet, which can help you identify each component of your novel so you can stay focused, please just email me at [email protected] and I’ll send one out to you.
Bottom line: plotting is as individual as personality. Find what works for you and use it.
(c) 2003 Sandy Tritt. All Rights Reserved.