Impulse of Narrative: Georg Polti Plots or Storylines - The 36 Dramatic or Tragic Situations
Abstract
Before we get to Polti’s categories, here are the elements of a story as modern analysts have teased them out of traditional tales like folk tales and classical tales. Not all of them are always present, but some always are. Polti addressed the problem, the impulse and the central elements. If you have been intending to start that novel or screenplay but felt short of ideas, here is the Wise Women’s synopsis of plot to give you a few ideas. May the Goddess inspire you. Saviour Shirlie.
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Impulse of Narrative
Before we get to Polti’s categories, here are the elements of a story as modern analysts have teased them out of traditional tales like folk tales and classical tales. Not all of them are always present, but some always are. Polti addressed the problem, the impulse and the central elements. Elements not essential to the plot serve to particularise and colour the story.
Most dramas start with a stable situation which is then destabilised by some impulse—a character or an event which creates a conflict to set the plot in motion. The climax of the drama is the outcome of the conflict and whether it is resolved. Traditionally the story concludes when the problem is resolved by the hero’s quest or task and a new balance is established, but often modern writers like to leave the situation in flux, as being closer to reality where problems are not always satisfactoritly solved.
- Situation at start—Some form of equilibrium. Narrative is a movement between two equilibria.
- In traditional tales, like fairy tales, the movement between the two equilibria is precipitated by supernatural events. Science fiction also begins with the supernatural—the imagined future and its technology which might, but might not, be possible. The narrative makes it all seem natural.
- Problem—Often an injury or a need, physical or psychological sets up a conflict needing resolution. The problem is instigated somehow:
- Dispatcher, impulse or agent of change—human or non-human eg the bank foreclosing in Grapes of Wrath; the ring bequethed to Frodo Baggins in the Lord of the Rings—sends the hero on the quest.
- Objects or objectives—desired eg power, happiness, wealth or things which represent or bring these.
- Characters
- A hero/heroine, human or non-human eg a rabbit in Watership Down—seeks or struggles
- A villain—opposes
- A false hero—presses false claims
- Donor—gives the hero gifts eg advice, money, somewhere to stay, magic items
- A Helper—helps the hero.
- Various others as needed. Too many characters, especially if introduced too quickly, confuse the reader or audience. Get into characters—emphasise "who they are" rather as well as "what they do". Know what makes them tick; decide which characters are going to take part; decide what the relationships between them will be; what do they think of each other; what do they want from each other.
- Quest—the main story line. Might be a real quest for power, happiness or wealth but could be something personally to be strived for eg Emma’s increase in self-knowledge to deserve Mr Knightley in the Jane Austen novel. A good plot does not have to be a complicated one.
- Incidents—usually instigated by the Villain or the Donor
- Resolution—the problem is solved or resolved (though it might not be really solved).
- Reward—in fairy stories the hand of the princess; in modern stories a goal achieved or psychological state attained.
- Benefactor—gives the reward, in fairy stories the king
- Ending—a new equilibrium is established or the old one restored. But is the resolution complete or is something missing, perhaps lost forever? Various degrees of doubt or unfulfilment can be left in modern drama.
- Stylistic Aspects
- Dialogue—obvious in a play or screenplay but essential too in stories for reading. Readers are used to people speaking and it is natural for them to know things from dialogue.
- Do not inform the audience by loading dialogue, for instance, by asking loaded questions ("Weren’t you Mrs Thatcher’s Foreign Secretary before you made that dramatic speech that made her resign as chief basher of the needy?"). Make dialogue natural, not speeches.
- Structure—linear or flashback.
- Always keep a little information from the audience—enough to keep their interest without allowing them to lose track or be quite sure of what is going on.
Last uploaded: 20 December, 2010.
