great drama is all about structure

To be honest, to get every piece of vital information for plot and structure I would probably have to write a book rather than an article. But, if by the time you read this article you feel you do want to know more, lucky for us all... books have been written. I’ve probably recommended this one before in an article, but it deserves the shout out-

BLAKE SNYDER- SAVE THE CAT! THE LAST BOOK ON SCREENWRITING YOU’LL EVER NEED.

And it’s exactly as it says on the tin.

It’s more or less impossible to explain a perfect way to conduct plot and structure and how to directly approach it. Everyone’s different in their approach. Consequently, think of this article as more of a guideline of the different devices you can include to influence and affect your approach.

The discussion of plot and structure in the article is primarily aimed for theatre, however, plot and structure fall within the story being told therefore it can be applied to any platform. Although I will discuss how some plot points would have to be altered between theatre and television.

developing your plot

So typically, the development of the plot is the start line, then structure is built after. But, it’s important to remember to aim for the main necessities of the plot to be in place by page ten. When the audience are ten minutes into your production, they should now: be familiar with the world that’s been created, have an idea of what the story is about and will entail, know all of the main characters and the goal of the protagonist. Sounds like a lot doesn’t it? But once they’re ticked off, you know your set up is complete and you’re ready to go.

it's all about the audience

Keep your audience reeled in- the plot should have a motif of intriguing hooks. On television, a hook would be placed in your plot when adverts are due to motivate the audience to stay tuned in. As for stage, place these hooks just before intervals. If the audience feel the need to know how the plot will unravel then they’ll linger like a bad smell- but a bad smell you can be proud of...

An interesting plot device that typically draws an audience in, is creating an image of a perfect world: cosy nuclear family, nice home, stable. Take this image... then sabotage it. Yes, this family are together under one roof... but the parents are on the rocks, the eldest child has a drug problem. Create the illusion, quickly drag it to the reality.

Raise the stakes from the get-go. Within the first act (I’ll focus on acts within structure more specifically later) create a dilemma for the protagonist that will either give them all or nothing; and a hell of a difficult choice to make.

throw a spanner in the works

Of course... your protagonist is going to make the wrong choice and cause the world around them to crumble. Leave the first image of the world behind, and focus on this messed up one. But remember, the change in this world has to bring a change to your character. Throughout the progress of your plot your CHARACTER ARC needs to be considered. Character arc is the

development of a character- good or bad. There should be a noticeable change in their behaviour to show the effect of their changing world. For example- THE GREAT GATSBY- Jay Gatsby begins the story as a powerful man with everything, then becomes quite the opposite. It’s not only evident in his surroundings, but his own attitude. He begins prim and proper, until things don’t go his way and he loses his temper.

let the drama flow

If you find your plot is advancing too quickly, you still have twenty minutes until the interval but don’t want all to be revealed before your hook, create a B STORY. Soaps often have A, B and C stories so that too much of one storyline is being revealed in an episode. Allow your B story to play alongside the A story, with a similar theme to maintain the tone of the production. Towards the end of the production, try to intertwine the two stories somewhere to allow the plot to follow in a full circle.

If you’re still in the first act and struggling for a way to raise the stakes, create a plot point where the protagonist thinks they’re about to rise and achieve their goal, then quickly take this away from them. They’ll then want the goal more than ever; making the stakes higher.

Typically, towards the end of ACT 2- is the point where the protagonist appears at rock bottom after desperately trying to keep their head above water. Their life is in shambles. And the audience believe that too- but they’re rooting for them. Which THEN ACT 3 usually begins with a last-minute trick up the sleeve, an unconventional solution that works. And makes it all okay.

a balancing act

The final act should wrap up the new world as a result of the protagonist’s journey. Let me introduce you to a word that’s vital to a plot and a nightmare to spell when typing fast-

EQUILIBRIUM

EQ-UIL-IBRIUM

This is a theory by a guy called Tzvetan Todorov. It focuses on balance within a narrative. A plot should begin with an initial equilibrium that’s pre-existed in that world and looked upon as a balance- although it’s not. And when this is realised, a quest occurs to change it which causes a disequilibrium. The initial world has lost it’s balance and is more unstable than ever. This is what entertains the audience, the determination to regain an equilibrium and the lengths the protagonist goes to achieve it. Which in the end-

RECYCLE

Typically, the final image should juxtapose the beginning image in some way in order to show evident development in the plot and character. This doesn’t always happen, but it’s an effective device.

I’ve spoken a lot about plot, so I’m going to expand now purely on STRUCTURE.

“People have forgotten how to tell a story. Stories don’t have a middle of end anymore. They usually have a beginning that never stops beginning.” -Steven Spielberg

the three-act structure.

ACT 1- Set up as previously mentioned: characters, world, introduction of what’s at stake.

ACT 2- Mid point confrontation, increase in action, stakes made higher.

ACT 3-Resolution final hurdle for protagonist that gets them all or nothing. Tends to work in their favour- equilibrium reached.

HOOKS can be used to break up these acts.

For an article I’ve probably overstayed my welcome on the discussion. So much can be shared and advised I could go on to write a book myself. But like I said, luckily other people have done that.

And if it weren’t for them, I’d have probably stopped writing after the title.