The Eighth Step – Create the Framework – Timeframe, Structure, Plot, Sub-plots, Levels of Authority


Story Timeframe

  • What is the timeframe of the story – short, medium or long?

Short is relatively easy

Medium is more difficult

Long can be very difficult – may need a special mechanism to achieve this – for example flashbacks or going into trances. It may need a point of reference to provide a central focus, to bind the story together, to prevent going off at a tangent

  • The timeframe of the story can have an enormous impact on the number of stories that can be dealt with within a narrative, the depth of thematic concerns, the types of characterization possible and the plotting of the narrative

 

Structure

  • There are four basic structures:

Linear – all events take place in chronological order – this is a dominant form of structure –and is usually from one person’s point of view – the narrator

Simple – stories run in parallel – the level of characterisation needs to be very high, unless the story is dominated by action, where simple archetypal characters are sufficient

Complex – stories run in different timeframes

Episodic – a collection of discrete episodes. Each episode stands, and can be understood, on its own - it is usually from several people’s point of view

Associational – the narrative is formed by a series of events which are linked by common elements and do not rely on chronology – this form is dominant in advertising - usually from the author’s point of view – but, do not confuse this with author’s voice

Circular – formed by repeated events - usually from the author’s point of view – but, do not confuse this with author’s voice

  • Each structure can be used as the basis for writing the narrative. A combination of more that one can be used. But one should dominate the narrative while the other/s will play the role of adding variety
  • How will the stories and thematic elements be used to form the structure and a coherent narrative?
  • Structural Devices - a Story can:

Operate as a spine – other stories can be attached to it

Operate as a framing device – one story provides the dramatic structure, but other stories dominate the narrative

Be an establishing device – to establish an element of narrative

Be a thematic device – where the same story is repeated several times

Be a episodic device – crucial for writing sequences


Plot

  • Erect the frame on which to build the plot and try to sketch out the overall shape of the story
  • A good novel is planned. That means you need a structure where things happen for a reason
  • Select possible locations
  • Plot and characters should be planned together
  • Is a ‘Facts’ section or a Preface required?
  • What are the plot and sub-plots opening sentences and scenes?

Cut to the action, but don't be tempted to start the story with an explosion unless all other action flows from that explosion

The task, on page one, is to open the narrative at the exact moment of first barrier / highpoint. This doesn't have to be in the first line, but it has to be in the first scene

  •   What are the highpoints and barriers?

There needs to be a series of crisis that need to be resolved, or highpoints, or barriers to be broken down

Action dialogue is always preferable to narration, at least for the crucial points of the story.

Let the succeeding barriers be worse than the preceding ones

Every barrier your protagonist faces should have the potential of being a Mount Everest - too high to be conquered

Let your protagonist mess things up through his or her own character flaws. Sometimes your protagonist might err fatally and will have to live with it forever. Let his or her response drive the narrative

  • What are the low points?

                Intersperse dramatic scenes with peaceful passages

These need to follow the highpoints to form some ‘breathing space’ in the story

They provide a contrast to the highpoints

They need to contain the seeds of the next crisis

  • What is the climax at the end?

As the story comes to an end the momentum needs to increase

The climax needs to be the worst crisis, or highest point

The protagonist's final victory should be examined. How many of the people in your life achieve everything they want? Make your protagonist's reward convincing by its restraint

  • Start with the Main Character story – introduce him / her as soon as possible
  • Then create the other characters stories
  • Weave these together

 

Sub-plots

  • Before sub-plots are introduced make sure that the main plot is up and running – this establishes the main character first
  • They need a beginning, a middle and an ending and need to be as well planned as the main plot
  • There needs to be connections between the main plot and the sub-plots
  • They can be short or long, and run in parallel with the main plot
  • One way to keep the readers turning pages is to cut from the main plot to a sub-plot
  • They can be used to help bring the reader closer to a solution to the main plot
  • They need to be resolved prior to the main plot climax

 

Levels of Authority in Plots and Sub-Plots

  • A higher level of authority may drive the main character - may hold a threat over him / her
  • An even higher level of authority that the main character does not know about may drive that higher level of authority - may hold an even bigger threat over him / her
  • The same may be true for the second main character