This is the first post in a three-post series to give you a feel for how the 27 Essential Principles of Story as a whole. The series includes 1) Ten Essential Principles of Plot; 2) Nine Essential Principles of Character and 3) Eight Essential Principles of Setting, Dialogue and Theme.
In Aristotle’s classic, The Poetics, the philosopher identified basic principles of storytelling that are still relevant, over 2,400 years later. What you’re about to learn about plot is old school. It’s Classic Dramatic Structure updated and given a shot of adrenaline.
By “Classic Dramatic Structure” we mean stories with a clear beginning, middle and end, that build tension, and finish in a way which is meaningful and resonant. Our goal here is to give you enough structure to avoid getting lost but not so much that it strangles creativity. This will give you the confidence you need to excel.
We always start by keeping things simple then add complexity as our work develops. Think of mastering Classic Dramatic Structure like learning how to lay down tracks for your story to ride on from start to finish.
Start Strong
The first essential principle of plot is Drop the hammer. This means that your story begins with a hero who experiences something that radically alters life as they know it. To begin your story you set up then drop the hammer.
The second essential principle of plot is Ask dramatic questions. After the hammer comes down, your audience/readers ask, “What will happen?” Dramatic questions propel your story forward. The most important one — the Major Dramatic Question (MDQ) — is basically, “Will the hero get what they need?”
The third essential principle of plot is Explore all endings. Your story can end one of three ways: Happy, sad or mixed. Think of this like a train ride that might end at one of three stations. Whichever station you choose reveals the meaning of your story. The purpose of writing is to discover the truth of who you are. The stories you tell reveal your nature.
Build Momentum Through the Middle
The fourth essential principle of plot is Connect with “therefore,” not “and.” By this we mean the events that occur in your story flow in a direct line of cause and effect. This happens therefore this happens. If you say Joe hits Doug and — then anything can happen. You want to connect events with a tight chain of cause and effect. Joe hits Doug therefore Doug hits Joe back.
The fifth essential principle of plot is Escalate risk. Your hero takes risks to fulfill their need. The risks they take must escalate or the story drags. If your hero risks her life then risks being late for dinner the story will drag.
The sixth essential principle of plot is Clash expectation with reality. This is what we mean by the term, Plot Twist. It means the hero — and your reader/audience — expect one thing to happen but something else happens. How your character deals with this clash reveals who they are.
The seventh essential principle of plot is Max out the middle. This simply means that you place a scene packed with emotion and/or spectacle in the middle. This is really just a trick to hold your audience/reader’s attention in the middle, when the story is most likely to drag.
Make it Count
The eighth essential principle of plot is Begin the end with a critical decision. At some point your hero must make a conscious decision to take an action that will decide their fate.
The ninth essential principle of plot is Confirm the decision. Heroes don’t just make a decision. You push them to the limit of their ability to endure. It’s as if the Universe, or God, is getting up in the hero’s face to say, “You sure, motherfucker?”
The tenth essential principle of plot is Wrap up fast. Once you answer the Central Dramatic Question, tie up all loose ends and get out. Think of this like listening to someone continue telling a story after you get the point. Not good.
The Purpose of Mastering Structure
These 10 Essential Principles of Plot will help you tell coherent, authentic stories. Do you feel how following these principles will keep you on track throughout the process? This is important because when you write, you want to be in what psychologist Mihaly Csikszentmihalyi calls a “Flow State.” This is that optimal experience where you are so focused hours pass by in minutes.
In order to get into a flow state you must feel that you know what you’re trying to accomplish and be able to judge whether or not it’s working. These principles give you that knowledge.
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