Other ELEMENTS OF PLOT

SUSPENSE

This is the quality that compels a reader to read on. In the less sophisticated type of fiction, it simply means the quality that makes the reader ask “What will happen next?”

In more sophisticated fiction, the question is often “How is the protagonist’s behaviour to be explained in terms of human personality and character?”

SUSPENSE

Two common devices for creating suspense are to introduce these elements:

Mystery An unusual set of circumstances for which the reader craves an explanation.

Dilemma

The protagonist must choose between two courses of action, both undesirable. (ie: Solomon Kane, Spider-Man)

SURPRISE

Closely connected with suspense in the short story is the element of surprise. It is most pronounced when the story takes a radical departure from what we expect.

In the short story, it is usually found in the surprise ending, in which the story takes a sudden new twist. The surprise ending is most often used in escape fiction, but can also be in interpretive fiction. The value of the surprise ending can be judged in two ways.

A. The fairness in which it is achieved.

If it results from improbable coincidence or a series of small coincidences, from the planting of false clues, or the withholding of necessary information, then it may be dismissed as a cheap trick.

If, however, it seems logical when looking back, it is fairly achieved.

This is not an easy thing to master....

B. The purpose it serves

If the surprise ending exists only for its own sake or in order to shock, it may be judged trivial. It is justified if it serves to open up or reinforce the meaning of the story.

A. The fairness in which it is achieved.

If it results from improbable coincidence or a series of small coincidences, from the planting of false clues, or the withholding of necessary information, then it may be dismissed as a cheap trick.

If, however, it seems logical when looking back, it is fairly achieved.

This is not an easy thing to master....

One other element…

Foreshadowing

This is the planting of clues early in the story which may serve to forecast the ending. They may not be noticeable at the time, but after the end has been reached, they should leap to mind as early indications of the ending.

A Case Study

The Sixth Sense Starring Bruce Willis and Hayley Joel Osment. Written/Directed by M. Night Shyamalan

Basic Starring John Travolta and Samuel L. Jackson

Written by James Vanderbilt

Surprise and Foreshadowing done well. The Sixth Sense

- Conversations with others

- Conversations with the two

- Clothing

- Colour Red

- Cold Breath

- Child’s unique gift

- Purpose unfulfilled

Surprise and Foreshadowing done badly. Basic

- Event that sets off story

- Multiple retellings

- Interrogation

- Tattoo

- Cigarettes

- Leap of logic / improbability

- Female marine involvement in investigation

- Ending at main character’s house.

Plot Manipulation

When the author gives his story a turn unjustified by the situation or the characters, he is guilty of plot manipulation.

Any unmotivated action or heavy reliance on chance or coincidence to bring about a solution is an example of plot manipulation.

Basic does this so blatantly, it’s almost an art form in itself.

Shogun, and every other novel by James Clavell is also guilty of this. Every book features a natural disaster that kills off a whole series of characters the author doesn’t know what to do with anymore..

Chance and Coincidence

Chance is the occurrence of an event that has no apparent cause in previous action or in the nature of the character.

Coincidence is chance compounded, or the chance happening of two events which have a particular connection.

Chance and coincidence may be justly used to initiate a story, and occasionally to complicate it, but never to resolve it. If the story is resolved by coincidence, we feel that the author has avoided the logic of life, rather than revealed it.

This resolution of plot is sometimes called deus ex machina (god from the machine) in reference to Greek plays and the appearance of a God that solved all the hero’s problems at the end.

Right...

So if all of that is what NOT to do in fiction, how do you end a story properly?

Glad you asked.....

PLOT ENDINGS

There are three main types of endings in all works of fiction, on stage, screen, or print.

The Happy Ending (ie: Every Disney movie, Every Comedy, Superhero Films like IronMan)

The Protagonist solves the problem, defeats the Antagonist and overcomes the conflict.

2. The Unhappy Ending (ie: Most Stephen King movies and books – specifically The Mist)

Antagonist triumphs and Protagonist fails to solve problem or overcome the conflict.

3. The Indeterminate Ending (ie: Almost every Sitcom. Archie Comics)

No definite conclusion is arrived at – the story does end, but not in terms of lasting resolved conflict.

So, from your own experience recently, list a movie you saw, TV show you watched, and a book/story/comic you read. Give its title, a short summary of how it ended, and which type of ending it was. And then... answer whether you felt it was a good ending or not.

MOVIE: ______________________________________________ Ended How? _______________________________________________________ Pattern it followed: ________________________ Good Ending? ___________

TV SHOW: ______________________________________________ Ended How? _______________________________________________________ Pattern it followed: ________________________ Good Ending? ___________

NOVEL, STORY, COMIC: _________________________________________ Ended How? _______________________________________________________ Pattern it followed: ________________________ Good Ending? ___________