[ENE] MOD1 PLOTS

plot

• series of events (story) whose formal arrangement

• Temporal, causal, and functional relationships of the events as they occur 

• Structure of the story itself 

• have shapes

events

• Smallest plot units

• Incidents: key emotional moments for the characters in the story. 

• encompasses the cause of and the response to an incident (cause + incident + response = event)

• transition from one state to another state caused or experienced by characters

Propp’s Narrative Functions

• Fundamental building block of logical system

• an act of a character, defined from the point of view of its significance for the course of the action”

• character and setting are interchangeable variables → action itself is important 

Pattern of Functions

1. Period of Relative Stability

2. The Inciting Incident

3. The Call to Adventure

4. The Decision to Act

5. The First Test & Empowerment

6. The Climax

7. Resolution of New Instability

[propp] period of relative stability

• Prior to the beginning of  narrative sequence, a situation of relative stability exists in the fictional world such as a happy marriage, a peaceful kingdom, or a prosperous occupation.

[propp] stage1: the inciting incident

• an event occurs which disrupts the stability of the current situation

  • E.g. A death in the family

• character re-evaluates the present, unchanged situation to acknowledge an existing but previously unrecognized problem 

  • E.g. a man realizes that he is unhappy in his marriage

[propp] stage 2: the call to adventure

a secondary character brings the request to the main character (the protagonist) that something be done to rectify the situation

[propp] function 3: the decision to act

• The protagonist makes a decision to act in a way to alleviate the problem

[propp] f4: the first test and empowerment

• The protagonist takes the first step in the process, at which time other functions may occur

  • The protagonist faces a test which challenges his ability to resolve the situation.

  • The protagonist responds to the test, and if he succeeds,

  • acquires empowerment which helps him to pursue the greater goal at hand.

  • If he does not succeed, he may try again with another strategy

[propp] f5: the climax

• protagonist reaches the main action required to alleviate the initial problem

[propp] f6: resolution of new instability

• Succeeds: restoring the situation to stability

• Fails: creating a new instability which may prompt a new sequence of events in the plot

spheres of functions

1. hero

2. villain

3. donor or provider

4. dispatcher

5. false hero

6. princess and her father

[sphere] hero

• Axis of the narrative 

• Seeker hero: someone who sets off in search of a missing person 

• Victimized hero: a character who is seized or banished and is the direct victim of villainy

• Can be both depending on the context

[sphere] villain

• The character who causes harm or injury to the hero or their family

[sphere] donor or provider

The person who gives the hero the magical agent after a series of tests and questions

[sphere] helper

• Magical helpers who carry out various actions int he support of the hero 

[sphere] dispatcher

Usually a parent or authority figure who sends the hero off on the quest

[sphere] false hero

Someone who presents a false claim to be the hero

[sphere] princess and her father

• Not included 

• Girl or sought-for-person or thing that is the goal of the quest and the reward of the hero

Bremond’s character actions

• proposed a theory which outlines the various directions a plot may take according to the logical possibilities of narrative

• two basic types of character actions: those that modify the situation and those that tend to preserve it

[CA] possible situations

• A process of modification may lead to improvement (a pleasant date begins a relationship) or deterioration (a horrible date ends in rejection).

• A process of preservation may lead to protection (a confirmed bachelor remains unattached) or frustration (he finds himself trapped in an unwanted marriage)

limitation of this plot structure

• removes character motivations or intention from the discussion of action

• Explaining plot in terms of impersonal formulas reduces complex characters to mere variables in an equation

• Bremond: ignore the factor of human motivation 

Thomas Pavel’s Move-grammar

• Pavel: attempts to address the weakness of Propp

• criticizes Propp and Bremond for removing character motivation from the analysis of plot

• proper understanding of plot includes knowledge of the person or group who performs an action, the reason for it, and its effects on the overall strategic configuration

• conceives of plot as an elaborate game in which the players make Moves in hopes of advancing their cause over that of their opponents

moves

• Action: have an impact on the overall strategy of the plot in order to constitute a Move, either by prompting or allowing another Move, or by ending the story

• A Move: 2 components + 1  

  • a problem which calls for the Move

  • an attempt at a solution

  • an auxiliary agent or circumstance which aids the Mover*

• Responded with a counter-move

types of plots

1. Solution-oriented plots: reaching a final solution to the problem is difficult 

   • Surpasses character’s ability

   • Consists of subpproblems 

2. Auxiliary-oriented plots: lead the reader down one path only to have it twist suddenly in an unsuspected direction

conclusion of Propp, Bremond, Pavel

• Propp: understands actions in terms of function 

• Bremond: demonstrates logical plot options, but doesn’t explain why a path was chosen 

• Pavel: improves on both theories via Move-grammar

  • takes into account character motivation with each Move representing a character’s solution to a specific problem, often in response to a previous Move.

Todorov’s Narrative Theory of Equilibrium

1. Beginnings

   1. equilibrium

   2. disruption of equilibrium

2. Middle

   1. Recognition of Disruption 

   2. Attempt to Repair the Disruption

3. Endings

   1. New Equilibrium

[todorov] beginnings

• That which does not itself follow anything by causal necessity 

• Backstory: leading up to the current situation 

• introduces a disturbance into the character’s situation, upsetting the status quo, giving the character a problem to solve or a goal to pursue. 

• describe the parameters of the fictional world (time, setting, culture), establish the tone of the work (comic, epic, realistic, fantastic), and provide some exposition of previous events which led to the present situation

1. Equilibrium 

• Backstory 

2. Disruption of Equilibrium 

• Once it has been disrupted, this state of disequilibrium exists until stability is restored at the end of the story

[todorov] middle

• describes what he calls the first doorway, an event which, once the protagonist steps through, commits her to the main action with no turning back

• protagonist strives to attain his or her objective, whether solving a problem, righting a wrong, or achieving a desire

  • If the protagonist were to reach this goal immediately, the story would be over too quickly.

1. Recognition of Disruption 

2. Attempt to Repair the Disruption

[todorov] 3 basic kinds of obstacles

1. Physical obstacles arise from the situation: the hero must reach a distant location, overcome serious illness, or defuse a bomb in a few seconds.

2. A personal obstacle is another person who opposes the protagonist’s goals, someone called the antagonist. We should not, however, always think of the antagonist as the villain, nor is the protagonist always a hero.

3. At times the thing which stands in the way of reaching the goal lies within the protagonist himself.

• Reversal: dramatic irony occurs whenever events turn out contrary to expectations 

[todorov] types of dramatic irony

1. Sophoclean irony

• reversals in which the character’s expectations are thwarted but not the audience’s

• Sophoclean irony produces the feeling of suspense as the audience fears not the unknown but the inevitable

2. Euripidean irony

• sudden plot twist takes the audience by surprise along with the characters.

• To prepare the audience for future surprises, the film foreshadows events by planting clues along the way. The plant appears as a minor detail at first but later turns out to be significant.

[todorov] endings

New Equilibrium (Open or Closed Endings)

• traditional narrative for an ending to be satisfying → not arbitrary, stopping the sequence of actions at a random point. 

• A proper ending brings the main action to some form of resolution

• By the end: protagonist either reaches the objective or fails to obtain

• traditional closed narrative: “satisfies individual and social desire for moral authority, a purposeful interpretation of life, and genuine stability”

• Open ended: temporarily when they set viewers up for a sequel

• Twist endings: reevaluate scenes 

multiple plot patterns

1. plot threads

2. main plot vs. subplot

3. unity of action

[patterns] plot threads

Individual narrative lines within a story where a specific character or group of characters pursues a particular goal. Each thread functions as a self-contained quest with its own distinct beginning, middle, and end.

[patterns] main plot vs. subplot

• Narratives often feature plot threads of varying complexity. 

• The main plot: primary, most developed focus of the story

• Subplots: secondary, less complex threads that support or run alongside the main journey.

[patterns] unity of action

• A traditional narrative principle established in Aristotle’s Poetics that emphasizes a single, cohesive plot. 

• Modern storytelling frequently diverges from this by utilizing multiple, interconnected plot threads.

5 types of multiple plot patterns

1. sequential pattern

2. interwoven pattern

3. parallel

4. converging

5. opposing

sequential pattern

• A structure where a single protagonist must accomplish several tasks or objectives one step at a time in a linear, consecutive order to reach their final goal.

• E.g. step by step sequences 

interwoven pattern

• A structure where a protagonist pursues more than one goal simultaneously. The different plot threads are braided together throughout the entire narrative, often directly influencing one another

• E.g. faces 2 challenges

parallel pattern

• A structure where a film tells the stories of multiple characters or groups, alternating back and forth among the different threads

• threads can range from entirely independent to deeply connected by theme, situation, or shared characters.

converging pattern

• A structure presenting multiple plot threads that initially appear to have no connection at all, but eventually collide and intertwine at pivotal points in the story. 

opposing pattern

• A structure that places equal or near-equal emphasis on both the protagonist and the antagonist. The narrative attention is split between two conflicting characters, turning their clashing goals into competing, parallel plot threads

genre

• A category of artistic texts that share common qualities, frameworks, and conventions

• based on a spectator's previous exposure to similar movies

genre theory

• An analytical approach that moves beyond looking at a single, individual film

• examines the broader characteristics of a group of works

• explains how genres guide both the production of films (by creators) and the interpretation of films (by viewers)

[genre] key elements

1. similiarities in content

2. similarities in form

3. spectator expectations and narrative functions

4. speciffic types of genre structures and dynamics

similarities in content

• The underlying substance, building blocks, and subject matter of the story.

• Common Plot Lines: Predictable sequences of events.

• Character Types: Recognizable character archetypes (e.g., a sheriff, an intelligent robot).

• Settings: Specific locations or time periods where the story takes place (e.g., the Old West, a spaceship).

similarities in form

• The structural manner, style, and technique used to tell the story.

• Example: Classic detective/film noir movies frequently use a specific formal technique, such as gritty voice-over narration (e.g., "The minute the dame walked into my office, I knew she was trouble...").

spectator expectations and narrative functions

• A film's genre establishes a narrative framework

• functions as a guideline for interpretation, shaping how audiences react to a film.

specific types of genre structures and dynamics

1. The Master Plot (Grindon)

• A recognizable type of dramatic structure that sets up a standard narrative framework for a specific genre or series

2. Genre-Specific Endings

• audience's sense of satisfaction with a movie's ending depends entirely on the genre's rules and can be specific to the type of drama

samples of structures

1. Tragedy: sad, serious conclusion to feel appropriate

2. Melodrama: sets the audience up for good to triumph over evil 

3. Hybridity (Genre Mixing): combine aspects of completely different genres, opening up unique, cross-categorical narrative possibilities

4. Genre Revisionism: film that remains within a specific genre but consciously deconstructs, subverts, or challenges its traditional, simplistic formulas.

tropes

• commonly recurring themes, ideas, images, or devices (or stereotypes) that we often see in texts

• Cliches

masterplots

• Recurrent skeletal stories, belonging to individuals and cultures that play a powerful role in questions of identity, values, and the understanding of life

types of masterplots

1. Quest: A character-driven story that has a hero go on a journey for something that changes him in some way.

2. Adventure: A plot-driven story that focuses on reaching a series of goals.

3. Pursuit: The Chase plot, very action oriented.

4. Rescue: A Rescue Arc as the main story, also very action oriented.

5. Escape: A Great Escape plot, similar to the Rescue, except the captive rescues himself/herself.

6. The Riddle: Basic Mystery plot revolving around a Driving Question.

7. Rivalry: Character-oriented story based on the interactions of two opposing characters, The Hero and The Rival.

8. Underdog: A story where the Underdogs Never Lose. Revolves around an underdog (maybe they are underprivileged, poor, disabled, etc.) who triumphs despite overwhelming odds.

9. Temptation: The story revolves around whether or not to give into a temptation, and the consequences, Pandora's Box-like.

10. Metamorphosis: A story revolving around a physical transformation of some kind, generally a true Metamorphosis is a one-way street.

11. Transformation: A story revolving around an inner-change, rather than a physical one.

12. Maturation: A Coming of Age Story, where the a character matures physically, emotionally or spiritually.

13. Love: Your basic Boy Meets Girl Romance Arc, with two characters falling in love as the main story.

14. Forbidden Love: Star-Crossed Lovers who spend most of the plot trying to be together despite the world trying to tear them apart.

15. Sacrifice: Revolves around a characters and their sacrifices, lethal or otherwise.

16. Discovery: A story that unearths those skeletons in a character's Mysterious Past.

17. Wretched Excess: Story where the character is in a downward spiral from drugs, greed, depression, insanity, etc.

18. Vengeance: Your basic Revenge story, very character-driven.

19. Ascension: Follows a character's rise to power.

20. Descension: Like-wise to Ascension, follows a character fall from power.

Claude Levi Strauss’ binary oppositions

• Binary opposites: pair of related concepts which are opposite in meaning

  • Understood by relationship to each other 

• binary opposites formed the “basic structure of all human cultures” and “all human ways of thought”

[claude] misrepresentations

• one of the two terms governs the other

• Critique: language is much more ambiguous than the system suggests

  • meaning can never be fully present or fully grasped because words derive their value from the processes of difference and deferral

campbell’s Hero’s journey

• proposed the concept of the Monomyth, an archetypal narrative forming one mythic pattern as the foundation for all other myths.

1. departure

2. intiaition

3. return

[campbell] departure

• where the hero ventures forth, leaving the safety of home for a mysterious forest, a treacherous ocean voyage, or a trip through the underworld

• begins with a “call to adventure” when the hero receives a challenge by a mentor or guide.

1. the ordinary world

2. call to adventure

3. refusal of the call

4. meeting the mentor

[depart] the ordinary world

We see the hero's normal life at the start of the story before the adventure begins.

[depart] call the adventure

1. The hero is faced with an event, conflict, problem, or challenge that makes them begin their adventure.

[depart] refusal of the call

The hero initially refuses the adventure because of hesitation, fears, insecurity, or any other number of issues.

[depart] meeting hte mentor

1. : The hero encounters a mentor that can give them advice, wisdom, information, or items that ready them for the journey ahead.

intiation

1. crossing the threshold

2. tests, allies, and enemies

3. the approach to the belly of the whale or the inmost cave

4. the ordeal

5. the reward

[initiation] crossing the threshold

The hero leaves their ordinary world for the first time and crosses the threshold into adventure.

[initiation] test, allies, and enemies

1. The hero learns the rules of the new world and endures tests, meets friends, and comes face-to-face with enemies.

[initiation] the approach to the belly

The initial plan to take on the central conflict begins, but setbacks occur that cause the hero to try a new approach or adopt new ideas.

[initiation] the ordeal

Things go wrong and the greatest conflict is faced by the hero. The hero experiences more difficult hurdles and obstacles, some of which may lead to a life crisis.

[initiation] the reward

1. After surviving The Ordeal, the hero seizes the sword — a reward that they've earned that allows them to take on the biggest conflict. It may be a physical item or piece of knowledge or wisdom that will help them persevere.

return

forms the plot for several famous myths involving a homecoming

1. the road back

2. the resurrection

3. the return

[return] the road back

1. The hero sees the light at the end of the tunnel, but they are about to face even more tests and challenges.

[return] the resurrection

1. The climax. The hero faces a final test, using everything they have learned to take on the conflict once and for all.

[return] the return

1. The hero brings their knowledge or the "elixir" back to the ordinary world.

Vogler’s Mythic Archetypes

1. Mentor: advises the hero 

2. Guardian of the Threshold: stands as the first obstacle which the protagonist must overcome, testing her resolve and proving her worth 

3. Shapeshifters: characters who appear to be something other than they truly are 

• Femme fatale 

4. Shadow: dark side of the hero’s personality, tempting him toward self-destructive behavior 

5. Trickster: impulse for msicherif

heroine’s journey

• Issue: did not adequately address the psycho-spiritual journey of women

• developed a model of a heroine’s journey based on her work with women in therapy

• Realm of fairy tales

• Goal: journey of psychological independence

• Drive towards feminine joy

stages. in heroine’s joruney

1. heroine separates from the feminine

2. identification with the masculine and gathering of allies

3. road trials and meeting ogres and dragons

4. experiencing the boon of success

5. heroine awakens to the feelings of spiritual aridity/death

6. intiaition and descent to the goddess

7. heroine urgently yearns to reconnect with the feminine

8. heroine helas the mother/daughter splot

9. heroine heals the wounded masculine within

10. heroine integrates the masculine and feminine

[heroine'] HEROINE SEPARATES FROM THE FEMININE

The “feminine” is often a mother/mentor figure or a societally prescribed feminine/marginalized/outsider role

[heroine] IDENTIFICATION WITH THE MASCULINE & GATHERING OF ALLIES

• The heroine embraces a new way of life. This often involves choosing a path that is different than the heroine’s prescribed societal role, gearing up to “fight” an organization/role/group that is limiting the heroine’s life options, or entering some masculine/dominant-identity defined sphere

[heroine] ROAD/TRIALS AND MEETING OGRES & DRAGONS

• The heroine encounters trials and meets people who try to dissuade the heroine from pursuing their chosen path, or who try to destroy the heroine.

EXPERIENCING THE BOON OF SUCCESS

• The heroine overcomes the obstacles in their way. (This is typically where the hero’s journey ends.)

HEROINE AWAKENS TO FEELINGS OF SPIRITUAL ARIDITY/DEATH

• The heroine’s new way of life (attempting the masculine/dominant identity) is too limited. Their success in this new way of life is either temporary, illusory, shallow, or requires a betrayal of self over time.

INITIATION & DESCENT TO THE GODDESS

• The heroine faces a crisis of some sort in which the new way of life is insufficient, and the heroine falls into despair. All of the masculine/dominant-group strategies have failed them.

HEROINE URGENTLY YEARNS TO RECONNECT WITH THE FEMININE

• The heroine wants to but is unable to return to their initial limited state/position.

HEROINE HEALS THE MOTHER/DAUGHTER SPLIT

• The heroine reclaims some of their initial values, skills, or attributes (or those of others like them) but now views these traits from a new perspective.

HEROINE HEALS THE WOUNDED MASCULINE WITHIN

The heroine makes peace with the “masculine” approach to the world as it applies to them.

HEROINE INTEGRATES THE MASCULINE & FEMININE

• To face the world/future with a new understanding of themselves and the world/life, the heroine integrates the “masculine” and “feminine” qualities/perspectives

• permits the heroine to see through binaries and to interact with a complex world that includes the heroine but is also larger than their personal lifetime or their geographical/cultural milieu

Kishotenketsu

• Kisotenketsu: Asian story structure subverts our Western concepts of how stories work

• Japanese story structure that doesn’t need conflict to work

• relies on the third act twist

• puts the whole narrative into context

• Setting up for the twist

• originates from short-form origins

parts of kishotenketsu

1. Ki = Introduction

• This is the setup, where the characters and world and any other significant information is introduced.

2. Sho = Development

• expands and develops what was introduced. 

• Often there is not a huge change here, but the narrative is building on what was set up.

3. Ten = Twist / Turn

• most important part of the structure. 

• "Twist": unexpected turn that changes the story. This is the "high point" of the structure.

4. Ketsu = Conclusion

• After the turn, the narrative concludes. Often what happens in the previous three parts gets adequately explained or reconciled in some way in here, so we have a new understanding or interpretation of what happened. 

• The ending of kishotenketsu tends to be more open to various outcomes--it's not given that everything will be tied up in what Westerners would consider "satisfying." But it nonetheless ends the structure.