Good Story PlotsWell Story-Plots
His book The Seven Basic Plots:
Ideas Story & Plot Lines - samwich
It is a story telling and storyline guide to help you begin your own story. What is the story? She was abducted, but what's the point? Fantastic notion! I' m going to use this notion, but alter it a little, I'll give you credit aw!
It' a great thought!!!!!!
Actions and history
Aside from the differentiation between the two layers of history and discursive, which is part of structuralistic vocabulary, there is an older narrative that distinguishes between history and action. Both of these concepts only partially coincide with the concepts of history and discourses. History and action are still widely used in English, so it is important to be cognisant.
Aristotle pointed out the fundamental distinction between history and action, distinguishing between action in the physical universe and what he called myth (Aristotle 1953). History and action, as used in English literature, were established and redefined by the writer and reviewer E.M. Forster in his aspects of the novel (1927).
Historical research by Ford defined history as the chronic order of occurrences and action as the chain of causality and logic that links occurrences (see Forsters, 1927: 93f). History is only a story if at least one incident occurs, i.e. something changes from state A to state B:
He' s dead, the kings. The last example is more a story than a narrative, just because no incident is taking place. Also note that the occurrences in a story are an animated creation, i.e. figures (the croc, Fred, the King). The majority of histories contain a succession of occurrences and not just a single one.
This is why Manfred Jahn gives the following definitions of history: This is a succession of occurrences and action with character. Forster' s illustrations of the distinction between history and action are examples: and then the reigning kings death and the queens (story). He was killed and the princess was mourned. The action can be seen as part of the discussion, as it is part of HOW the story is presented:
Undoubtedly, there are innumerable books, theatre pieces and fiction that are developing this fundamental story. In spite of the resemblances of the basic story, the reasoning and logic relationships between the two stories, i.e. the actions of these two stories, are very different. Helen in The Tenant of Wildfell Hall, on the other hand, married Arthur Huntingdon because she is drawn to his charms and good looks.
She married the peasant Markham, with the agreement of her boyfriends, because she can count on his virtues and commonsense. Forster' s conditions have often been criticized. In a story like "the Kings death and then the queens death" it has been claimed that we proceed from the automatic assumption that the two occurrences are linked because they are narrated one after the other (see Chatman 1978: 45f).
In fact, some reviewers argue that the differentiation between action and history is man-made and has no usefulness in literary analyses (Wenzel 1998: 175). Indeed, history itself, the simple succession of occurrences, is an abstraction, a construction that does not exist in our minds until we have studied the story depicted in the text (Rimmon-Kenan 1983: 6).
Nevertheless, the differentiation between history and action is still widely (though not always consistently) used to distinguish the degree of connection between the occurrences in a story. And, in fact, the story "the king dying and then the queen dying" allows for a series of conspiracies, apart from "the king dying and then the Queen dying of grief".
Or it could be: "The kingdom is dead and then the kingdom is dead because she has eaten the same poisonous cake" or "the kingdom has dead and then the kingdom has passed away from pure confusion because he has given her no funds in his will". Storylines can have one or more storylines, i.e. they can be about one or more groups of people.
Dickensâ Bleak House, for example, features the storylines around Lady Dedlock and the discoveries of her culpable past and the storylines around Esther Summerson and her growing to ripe. In certain places these two storylines fuse, since Esther is the bastard daugher of Lady Dedlock (see also storylines in the drama).
Individual storylines are relatively seldom, most of them developing several storylines. Not all of these multiples are equally important, there can be one master and one or more secondary plotter line. These sub-plots can be used as a counterpoint to the principal action, e.g. if the same combination of occurrences is present in a higher and a lower societal spheres (see also contrasts and correspondences in the characterization; for a detailled representation of individual and several storylines see Nischik 1981).
That is often the case in Vectorian fiction, which often ends with a whole section that summarizes all loosely endings of the story and gives a brief insight into the figures' futures (see e.g. George Eliot, Middlemarch or Charles Dickens, Hard Times). Strict action also adds to tension.
On the other hand, the shortage of excitement or excitement in a story can partly be attributed to the fact that there is no narrowly-action. A similar shortage of occurrences exists in Samuel Beckett's wait for Godot (see the debate in the drama). A lot of contemporary and postsmodern authors consciously try to do without event-dominated histories and narrow strands of action because they believe that it is not an exact representation of the real world and they maintain that they are more interested in the characters than in the story.
Action and personality naturally interdepend on each other. There is no story or story that can evolve without personalities, and personalities are often, if not always, evolved through plots. âWhat is nature, except definition of the event? So what's an event other than the portrayal of your personality? While there are still many occurrences and activities, some stories place less value on the chain of causation between them.
Instead, it could be an episode connected by a shared personality, like Moll Flanders in Daniel Defoe's novel Moll Flanders or Sam Pickwick in Charles Dickensâ Pickwick Papers, or a shared topic. Parcels that are not definitively or provisionally closed are referred to as open parcels or even just open parcels (see also parcel in Drama).
Whilst the first three tomes end with a pretty clear temporary loss of the bad forces, Voldemort has clearly regained control in The Goblet of Fire and a mass assault on the good forces is at the end of the tome.