During a book club discussion of a
writer from outside the United States, a writing friend from an Eastern
European country pointed out triumphantly, There’s no structure! Did she secretly
hope to prove that structure in book-length manuscripts is an American plot
that should not apply to her own writing? Sorry, no. The book in question
actually did possess structure. It just wasn’t the narrative arc that’s come to
seem standard in modern fiction. It was, in fact, an ancient and honorable
structure, which I was pleased to hear Australian writer Kate Forsyth describe at a
recent writing workshop.
Kate Forsyth |
Episodic plot has been in use at
least since the 15th century writing of Le Morte d’Arthur. Don
Quixote doted on it in the 17th century, The Pickwick Papers in the 19th. Many memoirists and writers
of narrative nonfiction still employ it, not to mention writers of children’s
chapter books. Why has the episodic plot fallen into disrepute? And how (and
when) is an episodic plot an appropriate story vehicle?
To review: the dramatic arc (also
called a narrative arc) features a story in which, over the entire length of
the story, the action rises ever more tensely to a climax, and then falls to a
resolution. The pedigree of the narrative arc dates back to the origins of
drama – Act I, Act II, Act III, and so forth.
By comparison, in an episodic
plot, the narrative consists of a series of interconnected episodes – stories
or chapters – which each tell their own story, with its own dramatic arc in
miniature, but are also complete and satisfying in their own right.
It demands a strong beginning –
think of that as an engine – to grab its readers’ attention and pull them all
the way through its long train of story cars, connected by a common character
or setting -- until it ends in a final resolution, like a train’s caboose.
Forsyth suggests using the
episodic plot for stories that span a long period of time, such as the book my
friend complained about at the beginning of this post. Think multi-generational
sagas. Think biographies. Think stories covering a long period of time. (James
Mitchener, anyone?)
image: wikimedia commons |
Forsyth credits Jane Austen and
her romantic interest in fairy tales for adapting the narrative arc of these
short fictions into the gold standard for modern long-form fiction. (And
Forsyth knows her fairy tales, having earned a graduate degree in fairy tale
studies, as well as adapting them to modern fiction in books such as Bitter Greens, her retelling of the
Rapunzel story.)
But if an episodic plot seems to
suit your story, give it a try. I’ll add some caveats. An episodic plot isn’t a
mishmash. It requires a strong connection between all its story cars. I’ve also
heard at least one book editor knock episodic plots as “bus ride”
stories. If you know the publisher, editor, agent, you’re aiming for has
similar feelings, don’t seek to outrage their feelings. As
Forsyth also says, when you break the rules, break them wisely. And well.
Forsyth’s appearance last week in
Dallas was sponsored by WORD (Writing Organizations ‘Round Dallas). If you’re looking
for a compatible writing group, check out the site. And stay tuned, I hope, for
more visits like that of Forsyth.
***
Is anybody ready for another
contest? Perhaps as an extra way to get our prose in front of agents, editors,
publishers? While researching agents to query for my latest, I came across an
intriguing idea called prose challenges. The Inklings Literary Agency site includes a button labeled "prose challenge" that links to a site called Prose.
Trident Media Group simply lists its current “challenge” at the Prose site.
Demonstrate your writing talent, they say. If they like it. . .
(Later: continuing the
conversation with Kate Forsyth)
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