#narrative arc

Plot Versus Narrative (Eagleton Again)

Turning back to look for wisdom from Terry Eagleton, partly because I'm conscious that I'm getting close to needing to take this book back to the library. (God bless you, free book emporium that willingly lends me access to all human wisdom and ingenuity in three-week bites.) Also because I am pinging (technical term) between other people's brilliant narrative confections and worrying about the salvageability [or otherwise] of my own.

Speaking of the brilliance of others - here's a very good YouTube analysis of a very, very good tv series. Over recent weeks, we've consumed quite a few different attempts to process Andor. This was one of the best we found. Possibly the best. Certainly - original.

Focus was on deconstructing the blocks of the storytelling in Andor and I was v disappointed, at time of watching, to discover that it was instalment-one-and-only (so far). VM hoping that next time I swing past, the next parts will be there. *Great* on mirroring of story-arcs and pay-offs: points out how one plot point, the anticipated inciting incident, fuels two arcs for the rebels during S1 and intros a theme around risk vs ethics (this returns twice in Andor S2 and at the start of Rogue One - only how the stakes have shifted for CA by then).

Not on topic* but this brings me to my current prized possession:

*if the topic is "modes of narrative // entirely on topic, if Andor...

So -

Back to Terry Eagleton -

I've speed-read my way through chapters on // characters // narrative and // interpretation // and I *think* the main point I've taken away (~possibly because I've already been thinking about it and so it's self-reinforcing in that regard~) is that the modernist* idea of plot is just that - an idea - and that there are other ways to structure a literary work [*i.e. designed around the idea of Things Making Progress, having direction, proceeding From somewhere To somewhere else].

But pulling in for a moment to the kind of literary work - loosely defined - that *does* have a clear plot, he then surprised me by pointing out that plot is not a synonym for narrative. Pretty sure I've been interpreting these concepts as if they're effectively the same.

Eagleton points out that plot is the action logic part of the narrative - that other narrative elements include scene-setting, character development, reflection, even a choice as basic as including dialogue.

Appreciate that he understands that examples help. Here's his:

Think of the novels of Agatha Christie. Christie's crime thrillers are almost all plot. Other features of narrative... are ruthlessly stripped away to leave little but the bare bones of the action. The books differ in this respect from ... e.g. Dorothy L. Sayers, P. D. James, Ruth Rendell, Ian Rankin... authors who embed their plot in a much richer narrative context. (p.115).

I wonder if I might group Michael Connelly with AC? He's complimented by Lee Child as being a superb natural storyteller (and not a supernatural storyteller as I initially misread it) and my instinct is that what Child is nodding at is MC's astonishing ability to string together a combination of incidents (Eagleton's take on Aristotle's take on plot from the Poetics) so that we constantly ask - what next?

This is *not a diss*. Agatha Christie was - prolific. Incredibly successful. A very gifted spinner of tales. Not very interested in wasting time on - anything else, really. Deliberately pacey, consciously lean. Stylistic choices that she absolutely owned.

Final loop back round to Eagleton bcz he has something IMO really interesting to say about the way that we can go awry in our attempts to interpret a narrative. (Perhaps a warning to me as I continue to binge-consume YouTube's popup panoply of Andor analysts...)

Paranoics and conspiracy theorists are inclined to detect plots where there are none. They 'overread' stray details and random events, finding in / them the signs of some sinisterly concealed narrative. (p.115-116).

1. Overcoming the Monster Protagonist must stop the main threat (person, society, natural disaster, supernatural, …) (e.g. Dracula)

2. Rags to Riches A poor protagonist acquires power, wealth or romance, only to lose everything and grow as a person, then optionally gain it back (e.g. Cinderella)

3. Quest The protagonist and companions set out to acquire an important object or to get to a location, facing temptations and other obstacles along the way (e.g. Lord of the Rings)

4. Voyage and Return Protagonist goes to a strange land and, after overcoming the threats it poses & learning important lessons unique to that location, returns with experience (e.g. Odyssey)

5. Comedy An increasingly confusing plot, until it is made plain in a single, clarifying event, leading to a happy or cheerful ending (e.g. Bridget Jones's Diary)

6. Tragedy Highly flawed protagonist causes nor only their own own downfall, but also that of a fundamentally good character/folly (e.g. Romeo and Juliet)

7. Rebirth Protagonist is forced to change their ways and better themself through an impactful event (e.g. Iron Man)

+ two more plots, which were listed seperately because of their historic rarity:

8. Rebellion Against 'The One' The protagonist rebels against the all-powerful entity that controls the world until he is forced to surrender to that power

9. Mystery The protagonist is an outsider to a bad event (e.g. a murder), and tries to discover the truth of what happened

In today’s media-saturated world, we’re bombarded with stories. Some inform, others persuade, and many subtly shape how we see reality. But how do we distinguish a harmless news report from a crafted narrative or even propaganda? This is the first post in a series dedicated to equipping you with the tools to identify narratives in Western media—starting with clear definitions of what a media…

Narrative arc - also called a “story arc,” a “dramatic arc,” or just an “arc”.

It is a literary term for the path a story follows.

It provides a backbone by providing a clear beginning, middle, and end of the story.

Freytag's Pyramid

The concept of narrative arc as we know it today was created by Gustav Freytag, a German novelist and playwright who closely analyzed ancient Greek writing, along with William Shakespeare’s five-act plays.

As the term suggests, when plotted on paper, a typical narrative arc forms the shape of a hill or pyramid.

5 Classic Elements of a Narrative Arc

A traditional narrative arc has five elements, in the following order:

Exposition. This is the reader’s introduction to the story. The exposition offers background information to prime the audience for the rest of the story, including introducing the main character(s) (the “who”), setting (the “where”), and circumstances or time period (the “when”).

Rising action. This is when conflict begins to ramp up. The rising action usually begins with what’s called an “inciting incident”—the triggering event that puts the main events of the story in motion. This is when the audience starts to see what your story is really about.

Climax. This is the highest point of tension in your storyline, and often the point at which all the different subplots and characters converge. Typically, the climax requires the main character to face the truth or make an important choice.

Falling action. This is what happens as a result of the protagonist’s decision. During the falling action, the conflict gives way to resolution. Loose ends are tied up, and tension begins to dissipate.

Resolution. Also known as a denouement, this is how your story ends. The resolution of a narrative arc isn’t always happy, but it does close the loop and show how the events of the story have changed the characters and the world around them.

Narrative Arc vs. Plot

Plot - the individual events that make up your story. In other words, the plot is what happens.

Narrative arc - the path or sequence of your plot, and how that series of events creates a flow and progression that keeps the reader engaged at each stage in the story.

Narrative Arc vs. Character Arc

If a narrative arc is the path of the overall story,

a character arc is the path a specific character takes during that story.

The story arc is external, and happens to all of the characters,

while a character arc is internal, and happens to one person.

A character arc usually involves a character overcoming an obstacle and changing the way they see the world.

When the narrative arc begins its descent down the pyramid into the falling action and resolution, the character arc has its moment to shine.

This is when a character experiences a turning point by asking for help, learning a new skill, making a critical choice, and/or becoming more self-aware.

Typically, only major characters have character arcs, though minor characters can undergo this type of character development as well.

Create a Narrative Arc in 4 Easy Steps

Here are some writing tips for building a narrative arc in your own writing:

Choose an archetypal narrative arc. Think about the story you want to tell. Is the main character overcoming an obstacle? Going on a quest? Experiencing a rebirth? You don’t have to follow any one example to the letter, but writing with an archetypal narrative arc in mind can be a huge help.

Identify your beginning, middle, and end. Who are the main characters? What are they doing? When are they doing it? Where are they doing it? Why are they doing it? And, most importantly: What is all of that building toward?

Plug your events into a narrative arc. Creating a visual diagram of your chosen narrative arc, then add the events of your story along that arc. Seeing a quick overview of your story on a page makes it easier to identify problems and fill any gaps. For instance, if you have a lot of events clustered in your “exposition” stage, you may want to cut some of them out or reimagine them as new developments in the rising action.

Adjust as needed. Of course, there’s no hard and fast rule that you have to stick to Freytag’s traditional narrative arc. Every story is different: some are heavier on exposition, while others draw out the rising action. Give yourself the freedom to be flexible and see where your unique story goes.

The next time you sit down to write, consider drawing up a quick narrative arc. It’s a useful tool that can help you stay on track if you’re ever unsure of what comes next in your story.

In Christopher Booker’s 2004 book, The Seven Basic Plot Points, he outlines the seven main archetypal narrative arcs. They are:

Overcoming the Monster

The main character must stop the person or force threatening them.

Example: Dracula by Bram Stoker.

Rags to Riches

The main character begins poor, comes into money (and/or fame, power, and love), loses it, and becomes a better person because of it.

Example: Great Expectations by Charles Dickens

The Quest

The main character takes an epic journey to find something, someone, or some place, running into obstacles on the way.

Example: The Lord of the Rings by J.R.R. Tolkien

Voyage and Return

The main character visits a new world and returns home with a new perspective.

Example: Alice in Wonderland by Lewis Carroll

Comedy

The main character experiences an escalating sequence of confusing but comedic events, which are ultimately resolved into a happy ending.

Example: A Midsummer Night’s Dream by Shakespeare

Tragedy

The main character has a flaw or makes a mistake that results in their downfall.

Example: Romeo and Juliet by Shakespeare

Rebirth

The main character experiences an event that makes them a better person.

Example: A Christmas Carol by Charles Dickens

Perfecting Your Plot: How to Structure a Narrative

The content she summarized is very similar to (3 acts structure). Very good content. In fact, the basic story structure has similarities. Because the release of human psychological energy is regular.

by Christina Wodtke 

Start with Conflicted Characters

The character needs a goal, a motivation and a conflict.

The goal can be alien to your audience,

but the motivation must be shared by them, and

the conflict creates struggles that increase engagement.

Paint a Picture

Details transport you into the story.

The world disappears and you have a story play in your head.

Even though there are no literal pictures.

But be careful—Too many details and the story gets bogged down.

Make the Protagonist Suffer

“Be a Sadist. No matter how sweet and innocent your leading characters, make awful things happen to them - in order that the reader may see what they are made of.” (Kurt Vonnegut, How to Write a Great Story)

And when it can’t get any worse, make it worse before it gets better

The two key moments that create the peak of excitement in a story is the darkness before the dawn, and the dawn. 

The climax is the moment when the protagonist is either rescued or rescues themself.

In older tales, we saw a lot of Deux ex Machina (the hand of god) rescuing the hero. A hero could be rescued by luck, a partner, another hero…but modern audiences strongly prefer stories where the protagonist helps themself.

Resolution is Boring, Keep it Short

Interest grows with every additional conflict, but once the hero figures out the solution, our fascination collapses.

Don’t natter on while the audience’s mind is drifting.

Also Consider:

You need a good inciting incident to move your protagonist to action.

A setting is more than a place, it’s a situation and a moment in time. A vivid place has details.

Modern audiences prefer “return home changed” to “return home the same.”

EXAMPLES: ARCHETYPAL PLOTS ALONG THE ARC

Boy Meets Girl

Internal conflict is always satisfactory (e.g., she believes love interferes with his career, he believes love interferes with his beer.)

The crises usually revolves around betrayal — lying, cheating — and the climax shows it was a misunderstanding or we get atonement.

The struggle is always about them being separated.

The resolution is about binding them more tightly together than ever.

The Quest

You seek things, and find yourself.

Return home changed and don’t pass go.

Common elements include companions, a mentor, great losses and extreme character arcs.

The Underdog

Even though they do not have a shot in hell, the underdog wants something. They want it so bad.

Common elements include an enemy who blocks their path, and a coach who helps them forward.

In this case, they do not return home changed but rather move into a new life that fits their changed self.

Coming of Age

Naive person has the world teaches them a hard lesson, and they become a better person for it.

Struggle revolve around life sucking and then sucking more.

The hero grows and becomes better because of it, and via new understandings becomes competent.

In some tragedies, the world breaks them.

They can return home changed, but more often they move to a new life they have earned.

More Examples. Justice & Pursuit:

Weaving Multiple Plots:

Weaving multiple plots together to make subplots can further increase tension.

Multiple plots woven together makes the whole story not only unique but very compelling.