How to Structure the Plot of a Novel by Gary Gauthier

Today, for Life List Club Friday, I welcome fellow Life Lister, Gary Gauthier, for the second guest post of the week!  Gary has a great blog called Literary Snippets, where he posts snippets (get it?) of classics, as well as pictures that relate to the snippet.  I love it because it's like an art and literature lesson in one! 

If you miss me (I hope!), after you finish reading Gary's awesome post, please stop over at Jess Witkins' Happiness Project, where I am sharing some thoughts on Positivity. 

Without any further ado, heeeere's Gary!

How to Structure the Plot of A Novel by Gary Gauthier

A New Look at the Narrative Arc

If you are serious about writing fiction, your stories can’t ramble. They need structure.  I am going to suggest to you a simple system that can be used to create a memorable work of fiction. It has the added benefit that it can help you easily sketch an entire plot with a visual representation.

Nature, in her infinite wisdom and grace, gave us the arc.

What Is the Narrative Arc?

The narrative arc is a metaphor used to describe a story’s trajectory. A plot begins with rising action that sets up a challenge; the challenge creates tension that reaches a climax; finally, the tension is released and the trajectory heads downward to a point of rest.

A smooth trajectory like the arc of a rainbow does less than full justice to the rising and falling action in the plot of a novel. Our system goes one step further and uses the arc to show rising and falling action as the plot progresses.

Narrative Structure: A Simple System That Works

1. Reduce your plot to two central events.
2. Place the first central event about 25% into the story.
3. Place the second central event, the climax, approximately 25% from the end of the story.
4. Unify the plot with an overarching theme.

The Foundation of Your Plot is the two central events you selected. The first is called a catalyst (or inciting event) and the second is the climax. The two events are related and involve the protagonist or the hero.

Here are three examples of plot foundations. 
I: Boy likes girl. The girl, overcome by a display of chivalry and bravery, falls in love.
II: Victim suffers great harm.  She exacts revenge.
III: Protagonist enters an arranged (or bad) marriage. She is transformed and leaves. 

Use an overarching theme to unify the entire plot. For the examples above, the themes can be: love conquers all, an eye for an eye, and the ugly duckling is transformed into a beautiful swan.

A Visual Representation of Our System

The two red pillars represent the catalyst and the climax. They also help to define the narrative arc.

From Point A to Point B - Your job as a novelist is to create a meaningful and memorable ride for the reader from point A to point B. Your subject matter and the genre determine whether the ride is heartwarming, inspirational, stormy, disturbing, thrilling or horrific. The big caveat is, if your story is not interesting, the reader can put the book down at any time and never finish.

A Play in Three Acts - The two red pillars in the figure divide the plot into three sections. Most plays and movies use this system. Most best-selling novels and literary classics follow this format. You can label the blue vertical supports and use each to represent a chapter or a scene. As an example, you can use the following convention: a, b, c; 1a, 1b, 1c; 2a, 2b, 2c.

Pace the Dramatic Tension. It’s not an accident that the narrative arc peaks at the inciting point and at the climax. It’s an intentional, creative act by the writer.

Tell the Story Deliberately. Start the story with action and circumstances that lead the reader to the catalyst. The reader should be vested in the story (sold) by the time he arrives at the catalyst. Begin the centerpiece of the plot (approximately one-half the narrative) after the inciting event (think: “after commercial break”) and end it with the climax. Close the story by driving the point home (reinforcing the theme) and resolving the aftermath of the climax.  

The Unifying Theme Plays a Crucial Role. The structure of your story holds the action together in a self-sustaining and interconnected plot that moves in one direction. A winding excursion leading nowhere is a waste of writing talent. If you follow the template laid out above, the characters will be woven into the theme in support of the plot. If all the action and the characters do not come together as a unified whole, your readers will be disappointed and will feel like their trust was misplaced.  

Purpose and Structure are Distinct Animals. The purpose of a bridge is to provide for safe travel from one point to the other. A traveler doesn’t care (and is only vaguely aware) that the bridge’s structure is a system of support designed to bear weight across a span. So it goes for the reader and your plot.

Stay True to Your Purpose. Let’s face it—most readers of fiction are looking for entertainment, an escape. They don’t care how you structure your story, but without a sturdy plot supported by a strong foundation, you reduce the chances of achieving your purpose.

If you end up writing a best-seller, what most readers will notice is that you wrote a great story.

Did you recently read a novel whose plot fits into the structure described? What’s your personal experience with the narrative arc?

 (Images are sourced by courtesy from Wikimedia.)

Gary Gauthier is working on his first novel, a crime thriller set in New Orleans just before Hurricane Katrina's landfall. His blog, Literary Snippets, gives him an opportunity to express and share his appreciation for art and literature. He occasionally posts articles as well. Some of his favorite writers are Thomas Hardy, Charles Dickens, George Eliot, Nathaniel Hawthorne and Edgar Allan Poe. But this changes from time to time. Stay tuned! Follow him on Twitter, Facebook, and Google Plus.

Three Things I Learned About Writing at a Social Work Conference - Part I

The infamous “they” say that inspiration for writing can come from any source.  In my case, “they” were right.  This week, my understanding of the craft and my personal process of writing was influenced by lessons I learned at the NASW-Wyoming Chapter’s Annual Social Work Conference.  As the post became rather lengthy, I have broken it into two parts.  This week I focus on an aspect of craft that gained clarity in my mind.   Next week I will finish with lessons  about some personal aspects of the writing process.

About the Craft:  Characters and plot are intertwined.  I understood this intellectually, but I never really grasped the simplicity of this concept until this conference.

The opening speaker at the conference, the Rev. Rodger McDaniel, spoke about systems of care, and made a statement to the effect of “A judge lives in a world where he/she gives an order or direction and expects it to be followed.  Our clients don’t live on that planet.”  Light bulb moment.  Conflict exists between the judge and the client, not because they are at enmity with each other, but for no other reason than they have differing world views.  The planet our protagonists and antagonists live on is their worldview, their needs and desires - what makes them human and real.  It’s their character.  The conflict that arises because of their worldviews is plot. 

The best thing about this understanding is it makes sub-plots (finally) understandable.  Who we are spills out into a variety of areas of our lives.  For example, if I had been abandoned as a child, I may have difficulty trusting others.  This trust issue would present itself in my life in many different environments and situations.  I might have difficulty with authority, I may have poor intimate relationships, the list can continue in myriad directions.  Therefore, if I’m writing a romance about a woman with trust issues, the main plot would be her relationship with the male lead character, but I can throw in a sub-plot about her trust issues at work and the difficulty she has with a controlling boss.  Still working on the main plot, but it is augmented and strengthened by the sub-plot.

That’s it for this week.  Please come back next Saturday, when I explain the lessons I learned about writerly passion and myself.