Dreame Writing Guides

Part 12 Analysis of Common Plots in Stories

Introduction:

When developing a plot, what are the rules that an author should obey?

1. In the content: portray the characters and reveal the theme of the fiction. 

2. In form: promoting the plot's development, and enrich the story.

3. In effect: set up the suspense. Attract the readers' attention and arouse within them a sense of urgent expectation. Employ a secondary storyline to the task of developing/fleshing out the mainline plot. A secondary storyline should increase the number of ups and downs in the story.

Upon looking at the above three points, a purpose for writing a plot emerges. Here are three reasons why an author should want to draft a plot in the early stages of their writing plots: 

a) To present the theme

b) To promote the development of the story

c) To make the story gripping

When drafting a plot, centering on these three points and master the plot trend. By combining the goals with common scenarios, you can complete your story without straying too far from the main subject. 

A drafted plot is like a map. It helps you keep your destination in mind, and it keeps you from getting lost along the way. Bear in mind, though, that your route is not set in stone. As you travel, keep your eye out for exciting detours. You can reevaluate your plot at any time you please. Do not make your plot so rigid that you become a slave to it. Never forget that you are the master of your plot.

In this chapter, we'll learn how to draft a plot and get the most of it while you write, from the beginning of your story right to the end.

1. Conflict

In stories, conflict is the catalyst that drives the plot. The conflict does not need to be violent, but it is an essential element to the story and works hand in hand with the plot, from its humble beginning to its noble ending. 

1.1 Contradiction Conflict

1.1.1 Two protagonists encounter an external conflict. 

The external contradiction draws the two closer and increases the quality of their interactions. For example, in the fiction Harry Potter and the Philosopher's Stone, the relationship between Ron and Hermione breaks down before Halloween because of an argument. A troll appears, though, and it draws them together. Once their relationship is repaired, they are able to work together and defeat their common enemy. 

1.1.2 There is a conflict between the protagonists. 

This could be a class and/or position conflict. Such a conflict would aim to highlight the nobleness of love and the trials that are sometimes required of a person before they can attain it. In Pride and Prejudice, Mr. Darcy and Elizabeth are unequal in terms of class, but there is a misunderstanding between them right from the get-go. The conflict arises as a result of their very different economic situations. The conflict is so ingrained in the culture that, even after the two put aside their concepts of class and fall in love with each other, the conflict remains. This exemplified when Elizabeth is scolded by Darcy's aunt for being a Social Climber. 

1.2 Emotional Conflict

1.2.1 Heartbreak. 

Whether your story has a happy ending or a bad ending, it's always heartrending when one party stops loving the other. In the fiction One Day, there is a scene where Emma says to Dexter, "I love you, Dexter. So much. I just don't like you anymore." This is a classic scene in fiction, and it also serves the book's movie adaption very well. Petty contradictions in life may not be worth raising to the level of hate. In fiction, though, it is possible to make appropriate artistic exaggerations.

1.2.2 Second chanceeunion. 

You need to make every scenario that involves love or hate seem natural. In the movie Flipped, at first Julie's fiery passion annoys Bryce. As he gets to know her better, though, he discovers the girl's inner beauty and goodness and falls in love with her. Unfortunately, he is too late. By the time he confesses his love, Julia has moved on with her life. She no longer feels for him as she did, and Bryce is thrown into a depressive funk. Eventually, they plant a sycamore tree together and, Julia rediscovers her love for Bryce. The emotional transformation of the two protagonists is not changed overnight. They experience several events and gradually improve their attitudes towards each other. A good piece of fiction should foreshadow events to come. 

Tips: 

Consider how a conflict stimulates the plot's development. A conflict should not be an independent event. It should be an ongoing issue, and it should not be resolved fully until the end of your story. When you write a plot with a conflict in mind, you should have a reasonable and natural solution to it in mind. While drafting your plot, it is also important to consider the characters' setting. Not every story works in every time and place. In fact, very few do.

2. Defusing

We've talked about confrontation and conflict, and now it's time to talk about how to resolve a conflict. Contradictions can be divided into two categories: internal contradictions and external contradictions. The internal contradiction is caused by the differences between two people. The external contradiction involves a problem that two or more people must work together to solve.

2.1 Resolving Contradictions/Conflicts

A contradiction/conflict caused by a misunderstanding is usually explained by the person who has been misunderstood or by one of their friends. There is often a routine process that takes place when such an event happens: the misunderstanding happens, there is an investigation, and then the air is cleared. It is more challenging to deal with objective contradictions, such as class and position contradictions. When these conflicts appear, you need to find a persuasiveealistic way to overcome them. 

In the film La La Land, Mia and Sebastian are an enviable couple, each with their own aspirations. As time goes by, they strive to pursue their individual dreams, and they grow apart. By the end of the movie, they are forced to make a tough choice. In the end, the conflict is resolved. As a modern-day tragedy, the conclusion is not satisfactory, but it is reasonable, and it is not abrupt, nor does it appear to come out of the left field. An important thing to note is that the emotions of the protagonists are portrayed accurately. Your characters should not be drones. If they don't feel emotions, your readers will not feel invested in them, and they are unlikely to want to see your story through to its end.

2.2 Overcoming Difficulties

Whether your story is a romance, a fantasy, a science fiction, or some other genre, overcoming difficulties should play a particularly important role in your plot. If you have a difficult time with this, I suggest you download the game Temple Run and run through it a half dozen times. When you start, the way is clear. As obstacles occur, you are forced to handle them appropriately. As the game progresses, it gets faster, and the obstacles become more regular. Similarly, you can set obstacles, punishments, and rewards for the protagonist. The obstacle could be anything from an old enemy to a physical deformity. The reward could be anything from money to power, or love. The more obstacles your hero faces, the more rewards they receive, the more eye-catching this story will be. 

In the book, Me Before You, the heroine, Louisa, is a young towny. She works in a shop and lives with her parents. Will, by contrast, has lived a life of wealth and privilege. Everything changes for him, though, when an accident causes him to become a quadriplegic. Louisa then becomes his carer. At first, Will suffers mental pain. He is bitter and angry, and he takes out his anger on the people around him. Through Louisa's tireless efforts, he finally opens his heart to her. In this plot, two people overcome an obstacle together. The heroine finds love, and the hero's image of himself is recovered. The advantage of such a plot is that the writer is able to portray two protagonists as equals, and readers are invited to see the world through both sets of eyes.

Tips: 

When resolving conflicts and contradictions, do not neglect the protagonist's emotions. Do not focus entirely on what happens to a single character. A character's true self is reflected in their interactions with the people around them. 

Furthermore, the side-stories of secondary characters can significantly enrich a story. Consider The Lord Of The Rings. Frodo is the main protagonist. There is no doubt about that, but how less engaging would the story be if you cut out his friends, Samwise Gamgee, Pippin Took, or Gandolf?

3. Coincidence

When people read literary work, they usually have certain expectations for the development of the story and the change of the characters' fates. Coincidence is like an adhesive. It can bring people or things that are not related together. It can create unexpected plot twists and enrich the story. In The Hobbit, Bilbo Baggins happens upon the Gollum. It is a coincidence, but, had it not happened, the book would not have worked. Not only that, but its sequel, The Lord Of The Rings. could not have taken place. Frodo would have failed in his quest, and the land would have been overcome by evil.

3.1 What I Have Is Exactly What You Lost

There are two ways we can deal with an important thing that has been lost. If you are writing romantic fiction, a lost item can create an opportunity for two protagonists to meet. If you are writing fantasy, science fiction, or thriller, the lost item might have been lost deliberately. This kind of plot twist can be used to inflame the conflict, possibly leading to a result that is either good or bad. 

A secondary heroine might pick up the protagonist's missing bracelet and put it on the secondary hero's toilet. If she tells the hero that the secondary hero has had an affair with the protagonist, an obstacle would be created. This would add complexity to the story.

3.2 Emergency

An emergency can be the reverse of a coincidence, and it might lead the story towards its climax. For example, in Twilight, when the Cullens and Bella are playing baseball, they encounter the wandering vampire Victoria and her lover James. James is ready to leave after saying hello. This allows the Cullens, who are afraid of exposing the fact that Bella is a human, to breathe a sigh of relief. Unfortunately, an accidental gust of wind exposes the smell of Bella, pushing the plot to enter a tense climactic moment. James and Victoria chase Bella. Luckily, Bella is protected by the Cullens. The gust of wind is the coincidence that initiates Jame's interest in Bella. After that, he tries to kill her. 

Tips: 

In terms of content, coincidence is a part of a chain of events. What you need to think about is how to refine the materials in life and process them artistically so that readers have a sense of familiarity and participation.

4. Suspense

The purpose of suspense is to break a routine and surprise the reader. The level of suspense should increase as the book gets closer to its end, confrontation, or turning point. Good suspense will increase a reader's interest in the story, and their desire to see it through to its conclusion. 

4.1 Flashback Beginning

Striking and intriguing scenes keep people in suspense. On occasion, leave the reader wondering how something happened. Not all mysteries need to be solved. In the film, Saw, the seemingly dead man at the beginning of the film is not noticed in the flashback. However, at the end of the story, the scene goes back to the warehouse. The man gets up from the fake pool of blood and happily watches the victims die on a monitor.

4.2 Mysterious Identity Of One's Character

A suspense might involve someone having a mysterious identity, or the sudden disappearance of something. The plot should gradually allow the reader to resolve the mystery. In the Harry Potter books, Professor Snape, who has hidden his identity in the first six books, finally shows his true identity in the final book, Deathly Hallows. It turns out that he is the one who has been secretly protecting Harry since the beginning. Until then, everyone thought that Snape was a bad guy. Once the mystery is resolved, it is easy to look back and see how the author foreshadowed this revelation. For example, in the first book, it was Snape that rescued Harry from Quirrel's spells. 

Tips: 

there are many other techniques you can use to creating suspense. For example, you could try to finish a chapter with a cliffhanger, or not to let characters answer dramatic questions too soon. 

Setting suspense is like riding a roller coaster. There is tension as the suspense builds, and the reader should anticipate what comes once the train reaches the top. Then the climax should resolve the tension, and the ending should be amazing. By the time a reader reaches the end of your story, they should be left wanting more. As you narrate the event, do not neglect the development of relationships. 

When you read fiction, do any plots stand out to you as being particularly good or interesting? For example, do you enjoy reading about one-night-stands or contract marriages? 

If you have a preference, please share them with us. Let's discuss plots and writing skills together!

                                                                                                                                                                             BY Jocelyn