part three

It is more difficult for a writer to describe the everyday
life than an exclusive situation.
Ilya Shevelev

According to the laws of literature, the plot of any work must be completed

IN classic version a plot is considered such if it contains five components: exposition (and plot), development of action, climax, winding down of action And denouement. Subjects modern works often built according to a lightweight scheme: plot – development of action – climax – denouement or even more simplified plot – action – climax (aka denouement).

The classical scheme is more suitable for solid, slowly developing plots; it is used when writing thick books, scripts for plays, and thoughtful films. The lightweight scheme is better suited to our high-speed world; it is used to write scripts for cartoons and action films, as well as for all kinds of comics and other graphic works where the quality of the plot, such as its rapid development, is important.

Which scheme you prefer is up to you to decide. Below I will show you different variants development of the action and give you a couple of tips on how to build a plot depending on the genre of the work. But first, first things first.

1.Exposition.

First of all, we inform the reader about where and at what time the action takes place, introduce the characters, briefly tell their story, and introduce the reader to them. There is no conflict here yet, as such, but the prerequisites for it can be identified.
Lorraine moves to new apartment, meets neighbors, calls a friend– this is our exposition: we introduced the reader to the main character, indicated the time and place of action, indirectly told about the rest characters. The beginnings of the conflict here can be shown through the peculiar relationships of the girls, on the basis of which the shoots of misunderstanding and jealousy will soon arise.
How long the exposition will be depends entirely on the author and his intention. For works with a fast-paced plot, a couple of lines are enough to introduce the reader to the essence of the matter; for works with a protracted plot, the introduction is usually made larger. Try not to overdo it, not to stretch the tie and at the same time not to crumple it too much.

2. The beginning.

Not to be confused with exposure! Actually plot– this is the event from which it all begins. We can say this: if a conflict is the cause of a war, then the beginning is a reason for it, like a violation of a peace treaty.
And in our story, what will serve as a “trigger” for the development of the plot, what event? I think that the action will begin with the acquaintance of our heroines with the handsome Dave, because it is after this that everything will start spinning and spinning. This means that in our case, the beginning of the plot can be considered the dating scene.
Usually the plot is the moment when the hero is confronted with important task, which he must fulfill, or he, the hero, must make his choice. The author usually uses this situation, to define the conflict, show exactly where the hero and villain are at odds, describe exactly how each of them perceives the problem facing them, and subtly hint at what each of them intends to do next.

Now, a young man appeared in the girls’ field of vision, whom they both liked, but he liked Lorraine more, and Inga was infuriated by this. Lorraine is embarrassed that this happened, but she likes the guy and intends to continue their acquaintance. Inga is annoyed, but is not going to do anything yet; she chose to step aside and let her friend do whatever she sees fit.

At the same time, the writer, having ensured that the reader is clearly interested in his story, slowly begins to unwind his intrigue (who will win and who will be left with his nose? How will it end?) and at the same time, gradually presenting to us the main idea of ​​the work (“friendship and love will win all" or, conversely, "no friendship, even the strongest, can withstand betrayal").
There doesn't have to be just one premise; In serious works, authors usually invest a lot at once storylines – love line, family, detective, political and other, other. The authors of series usually limit themselves to one single line, but no one is stopping you from making several of them. So, as many storylines as there will be, there will be as many ties; they can be scattered throughout the text, but don’t forget: every situation must have a logical conclusion, which means that every tying will have a continuation and denouement. There should be no storylines started but not completed.

3. Development of action in an ascending manner.

This is where the unlimited flight of fantasy begins! The author invents the most incredible plot moves, places the characters in different difficult situations, describes their experiences on this matter and tells us how trials strengthen the characters’ characters, what lessons they learn for themselves.

Heroes must change, this is very important! If the character has not changed at all from the first to the last episode, if he is still the same and perceives the world the same way as before, if he has not learned any valuable lessons for himself, then you have not fulfilled your task as a writer. Why did this story need to be told? What was its deep meaning? What did the author want to tell us? It turns out that there was no point in anything, I didn’t want to say anything, and, in general, there was nothing to talk about.

The action should not be incoherent: here our heroes were caught by a maniac, but they, incomprehensibly escaping from the tormentor, find themselves at an abandoned nuclear station for no reason. Plot moves should “cling” to each other, like loops in knitting, then you will get a solid sock, that is, excuse me, a story.
It would be best if, before describing any move, you slightly “reveal your cards” in advance and give a modest, imperceptible hint that, very possibly, such and such will happen soon. Just a hint, nothing more. For example, if you planned that in an episode or two your hero will threaten someone with a gun, it would be nice to announce now that this cute young man is the proud owner firearms or has the habit of going to the shooting range, where he was noticed as a good shooter. At least, when the reader sees that your Cool Walker is taking aim at his opponent and threatening to shoot off an important part of the poor fellow’s body, he will not have the feeling that he, the reader, was hit in the head with a log. On the contrary, he will be pleased with himself: wow, I’m still in last episode I guessed what to expect from this ranger!

Everything you hinted at in the opening should be developed and fleshed out. The conflict must grow steadily. Let the characters show themselves from different sides, let new participants be involved in the conflict, let those who initially remained silent speak out.

Take, for example, our conflict, which we have already outlined. Two friends quarreled over a guy and are trying to share him, and at the same time maintain friendly relations. And the guy? How does he feel in such a situation? What does he want? What are his intentions regarding each of the girls? Or maybe he doesn't care?

Steadily develop the storyline from episode to episode. If there are several storylines, it is even more interesting, let them intersect, intertwine, “push” each other. The heroine is more likely to commit suicide if her friend betrayed her, she ran out of money, and she had problems at work than if any of these troubles occurred.
So, gradually building up the tension, we step by step bring the heroes to the very important stage throughout history. This climax.

The beginning

The beginning

PREPARATION - one of the initial stages in the development of the plot poetic work. In Z. those conflicts are created (“started”) that will deepen in the process further development actions, right up to the denouement, resolving these conflicts. So eg. Z. “Hamlet” is the meeting of the hero of the tragedy with the shadow and Hamlet’s subsequent decision to take revenge on the king for the murder of his father.
Types of Z. can be extremely diverse. With a logically clear disposition work of art The story follows directly after the exposition of the characters; such as Z. classical tragedies, short stories of the Italian Renaissance, etc. Sometimes Z. goes ahead of the exposition; Let us remember the dynamic poem of L. Tolstoy’s “Anna Karenina”: “Everything was mixed up in the Oblonskys’ house.” Horror novels and detective novels are characterized by the so-called. analytical structure of the plot: the cause is revealed to the reader after the effect it generates (“The Hound of Baskerville” by Conan Doyle). Further, the denouement of one episode can simultaneously include the plot of a new episode (adventure novels such as “Rocambole” by Ponson du Terrail, etc.).
The writer’s choice of one or another type of writing is determined by the stylistic and genre system, in terms of cut he designs his work. Since both style and genre are, in turn, determined by the psychoideology of a particular class group, then compositional technique Z. becomes socially conditioned.
Thus, the stories of the chivalric romance, like this entire genre, both in form and in essence express the psycho-ideology of the aristocracy with its cult of courtly adventures, a string of successive ones. Z. bourgeois novels from the heyday of commercial capital use themes sea ​​travel, pirate raids, shipwrecks desert island, which the hero will subsequently turn into a flourishing colony. Sudden and convulsive Z. Dostoevsky, introducing the reader into the very turmoil of events, are dictated by the decadent psyche of the Russian philistinism of the 60s. Devoid of solid outlines and acute conflicts, Z. Chekhov's dramas are fully consistent with the passivity and lyricism of the Tuzenbachs, Voinitsyns and other representatives of the petty-bourgeois intelligentsia of the era of industrial capitalism, whose artist was Chekhov. In all these cases, z. has certain functions in the system of poetic style, in the structure of the literary genre and corresponds to their social orientation.

Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .

Tie

An event that disrupts the balance of the original situation, revealing a contradiction in it that gives rise to conflict and sets in motion plot. The plot can be prepared and motivated in exposition works (for example, in the tragedy “Romeo and Juliet” by W. Shakespeare, where in the first scenes the enmity of the Montague and Capulet families is reported), but it can also be sudden, giving the plot action special tension and poignancy (as in “The Inspector General” by N.V. Gogol).

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

Antonyms:

See what “Tie” is in other dictionaries:

TIE, ties, women. 1. units only Action under Ch. tie tie 1 in 1 value (colloquial). It is necessary to improve and speed up the tying of packages. 2. An object used to tie something; something used to tie it, a ribbon, a ribbon. Robes come in… Dictionary Ushakova

Strapping, starting point, starting point, pull, acquaintance, tying, end, beginning, start, prologue, string, beginning Dictionary of Russian synonyms. plot see beginning Dictionary of synonyms of the Russian language. Practical guide. M.: Russian... ... Synonym dictionary

plot- TIE, and, g. 1. and in sign. tale The end of something; state when with what l. forever over. That's it, that's it, not a gram more (I don't drink). 2. Acquaintance, blat. To be in a bind with anything and without extras. throw something to do, to give up something forever,... ... Dictionary of Russian argot

An event that is the beginning (starting) of an action (development of a plot); often marks the emergence of conflict between characters... Big Encyclopedic Dictionary

TIE, and, female. 1. see tie. 2. What is used to tie it (braid, ribbon, rope). Apron with ties. 3. Beginning, starting point of what n. actions, events; the beginning of a dramatic or other literary work with a complex plot. Z. battle. Z.... ... Ozhegov's Explanatory Dictionary

This term has other meanings, see Tie (meanings). The plot is the event that is the beginning of the action. It either reveals existing contradictions, or itself creates (“starts”) conflicts. So, in tragedy... ... Wikipedia

plot- an event that served as the beginning of the emergence and development of a conflict that forms the basis of the plot of a work of art. The plot determines the subsequent development of the action; This is a crucial plot element. Category: composition and plot... ... Terminological dictionary-thesaurus in literary studies

AND; pl. genus. zok, dat. zkam; and. 1. Unlock to Tie to tie (1.Z.) and Tie to tie. Z. bags. Find an excuse to start a holiday romance. 2. usually plural: ties, zok. What is used to tie it (rope, ribbon, ribbon). Hat with... ... encyclopedic Dictionary

plot- TIE, and, pl. zok, dat. zkam, g Part of literary or theatrical work with a complex plot, which is the beginning, containing events that determine further action, which sets the main conflict; Ant.: denouement. Reading “Roslavlev”... ... Explanatory dictionary of Russian nouns

plot- užuomazga statusas T sritis augalininkystė apibrėžtis Po žydėjimo pradėjusi didėti mezginė. atitikmenys: engl. acrospire; germ rus. string; embryo; rudiment... Žemės ūkio augalų selekcijos ir sėklininkystės terminų žodynas

[Dramaturgy] - lecture for lesson 5:
"Composition. Part 2. Plot composition"

What is included in the plot composition?

Exposition - plot - development of action - climax - denouement - finale

All these points are related to the laws of spectator perception.

The first 10 minutes – you need to interest.
Next is to maintain his attention.
Then increase the tension, increase the viewer's attention.
Then bring the tension to the limit.
And in the end - not to disappoint the viewer, to please the ending.

EXPOSITION

E x p o s i t i o n- period of the film,
preceding the development of the conflict.

From the exhibition the viewer must understand:

• Who are the heroes (who is who)
• What is the situation (where to act)
• What is the situation (that could turn into a conflict)
• What is the theme of the film
• What genre of the film?

The exposition should be well written; it is one of the most important parts of the film.

Types of exposure:

• direct (presentation of the hero “as is”)
• delayed (let's say the murder happens first, and only then we see what and how)

Remembering O Henry. Where is the exhibition?

In a small block west of Washington Square - SETTING

Jonesy is a diminutive of Joanna. One came from Maine, the other from California. As a result, there arose shared studio. - HEROES

In November, an inhospitable stranger, whom doctors call Pneumonia, walked invisibly around the colony. - SITUATION

When did the exhibition end?
When Jonesy got sick.

Why did it end?
Because we had a problem.

TIE

Request- this is the moment of beginning
main conflict action.

If the exposition is a time period, then the beginning is a certain POINT from where everything begins.

Where is this point in O. Henry's story?

“She has one chance... well, let’s say, against ten,” he said, shaking off the mercury in the thermometer. - And only if she herself wants to live. Our entire pharmacopoeia becomes meaningless when people begin to act in the interests of the undertaker. Your little lady has decided that she will never get better. What is she thinking about?

The very fact that she got sick means nothing to the “spectator”. But the doctor’s conclusion is already information that excites us!

It is sometimes said that films have several plots. This is true - after all, there are also several conflicts in the film.

But the beginning of the main conflict is ONE!

Often the plot is preceded by a “provoking event,” that is, something that escalates the conflict immediately before the plot. Regarding Hamlet, for example, this is the appearance of his father's shadow.

ACTION DEVELOPMENT:

Development of action- This is the largest part of the film, escalating the conflict and leading to its climax.

That is, the conflict escalates several times.

Regarding O Henry, the heroines talk twice, and the atmosphere is heightened twice. Episodes with Berman are also added there.

You can increase the tension

• sudden news
• the appearance of a new character
• memory
• and so on

CLIMAX

K u l m i n a t i o n- moment
the highest tension of the conflict.

This is PIC! Moment! POINT OF HIGHEST TENSION.

The climax is not something that has already happened.

And the moment of waiting, what will happen?!

That is, not when a person is shot, but when he waits: to shoot or not.

If you determine that the climax has occurred, but after that the tension is still increasing, then there is a mistake, you found the climax incorrectly.

Therefore, more full definition the climax looks like this:

K u l m i n a t i o n– the moment of the highest and last
tensions of the main conflict.

Often, before the climax, the pace of the film usually either sharply accelerates or slows down sharply, which sharpens the audience's interest.

There are also two climaxes. But one of them is always more important, as in the case of the beginning.

And finally, where is the climax of O Henry?

At the moment when the curtain is raised and we wait to see whether the sheet is hanging there or not. It’s as if we hear “drumsticks” before the denouement suddenly overtakes us.

INTERCLOSURE

Discussion- the final segment of the plot development, its outcome.

The denouement, as a rule, comes immediately (!) after the climax.

For example, in Pulp Fiction, when Jules lets the robbers go.

But sometimes, this is not the case. Sunset Boulevard, for example, begins with a denouement - the death of the main character.

Sometimes instead of a denouement you should:

Disaster- a destructive event
untying all knots of conflicts.

Let's say the action was unfolding, and then we had, say, a volcanic eruption. Then the denouement lies precisely in this eruption.

THE FINAL

The final- the final point of the picture,
revealing its meaning.

Often, it is the ending, and not the climax and denouement, that defines a film. After all, it is in the finale that you can show the hero’s reaction to the events that happened and give the viewer the emotion that he wanted to see.

Types of finals:

Closed final.
There are no questions about the film. Good/evil has won, all conflicts are over.
For example, "Pulp Fiction".

Open final
Questions still remain, and the action may continue. For example, Blade Runner.

Dual ending
A combination of the past two.
For example, "Nights of Cabiria"

Composition - this is a comparison, co-location of individual parts of a work (play, script, performance). That is, the composition is “responsible” for the construction of the work, taking direct part in this process.

Each work has its own “order of construction.” It is determined by the generally accepted, known to us, conditional division into “main moments of the action”: the beginning (where the initial event is), the climax (where the main event is), the denouement (where the final “resolution” of the end-to-end action/plot occurs).

The composition establishes certain patterns of connection between the individual parts of the work - the main moments of action, episodes, scenes and, if necessary, within them. That is, the establishment of a certain relationship and interdependence between previous and subsequent actions, events - how and with what they influence each other - this is “the establishment of patterns of connection between the individual parts of the work,” which should be the main “concern” of the composition.

In the classical version of dramaturgy, the following parts of a work of art are distinguished: prologue, exposition, plot, development, climax, epilogue.

This list and order are not mandatory. The prologue and epilogue may not be present in the narrative, and the exposition can be located anywhere and not necessarily in its entirety.

The plots of modern works are often built according to a simplified scheme: plot - development of action - climax - denouement, or according to an even more simplified plot - action - climax (also known as denouement).

Prologue - the introductory (initial) part of a literary and artistic work, which anticipates the general meaning, plot-plot basis or main motives of the work, or briefly outlines the events that precede the main content.

Prologue function - convey the events that prepare the main action. However, the prologue is not the first episode of the narrative that is forcibly cut off from it.

The events of the prologue should not duplicate the events of the initial episode, but should generate intrigue precisely in combination with it.

Exposition - depiction of the arrangement of characters and circumstances immediately preceding the unfolding of the plot action.

Exposure functions:

Determine the place and time of the events described;

Introduce the characters;

Show the circumstances that will be the prerequisites for the conflict.

The beginning - the moment from which the plot begins to move. The beginning is the first clash between the conflicting parties.

The event may be global or small, or the hero at the first moment may not appreciate its importance at all, but in any case, the event changes the lives of the heroes. The characters begin to develop according to the idea of ​​the work.

Climax - the pinnacle of the plot, highest point conflict of the work, the point of its resolution.

Plot resolution - outcome of events, resolution of plot contradictions.

Epilogue - the final part added to the finished work of art and not necessarily connected with it by the inextricable development of the action.

Just as the prologue introduces the characters before the action begins or reports what preceded it, so the epilogue introduces the fate of the characters who interested him in the work.

M.A. Chekhov defined the composition of the play as a three-member whole. “You will experience the beginning as a seed from which a plant develops; the end is like a ripe fruit, and the middle is like the process of turning a grain into a mature plant, the beginning into an end.” He argued that “in a well-constructed play (or performance) there are three climaxes, corresponding to three main parts. They are in the same relationship with each other as these parts themselves (commencement, development, denouement).” Then each of the three main parts of the whole can be subdivided into any number of smaller ones with their own auxiliary culminations. In addition, in other tense moments it is necessary to place accents that allow the director not to deviate from the main idea and at the same time implement his own directorial plan.

Composition is the main thing that distinguishes the work of one director from another. The composition should never be artificially composed, a kind of fictitious microcircuit. This is the biography of space, emerging from the actors, from the air, and from the specific scene, from the relationships around the performance. The composition is a mass of incarnations in real circumstances.

Composition of the play “Masha and Vitya against the Wild Guitars”:

Exposition: The sorceress begins to tell, “create” a fairy tale.

She introduces auditorium with the main characters - Masha, who believes in fairy tales, and Vitya, who does not believe in them. The guys have an argument, as a result of which Masha decides to prove that she is right - the fairy tale exists.

Plot: Masha and Vitya learn about the abduction of the Snow Maiden.

Father Frost tells the children that Koschey stole the Snow Maiden and now the New Year will never come. Primary school students decide to go to the fairytale forest and, at all costs, save the granddaughter of Santa Claus.

Plot development: schoolchildren, having found themselves in a fairy-tale forest, encounter evil spirits, which they are helped to cope with by friendship and courage.

Having learned that the guys are going to rescue the Snow Maiden, the evil spirit decides to separate them and defeat them one by one. Their main task is to prevent the guys from finding the Kingdom of Koshchei. However, forest dwellers offended by evil spirits come to the aid of Masha and Vita, who are rescued by students along the way. In gratitude for their salvation, the “positive heroes” help the children find their way to Koshchei.

Climax: The Snow Maiden's release from captivity.

Masha, having arrived in Koshcheevo’s Kingdom, makes a deal with the main villain - she exchanges a “magic” recipe for toothache (Koshchey has been “struggling” with his teeth for a long time) for the Snow Maiden.

Denouement: Victory over evil spirits.

Vitya, saving Masha from the clutches of Koshchei, enters into a fight with him, in which he wins. Baba Yaga, Leshy, Wild Cat Matvey and other evil spirits set off in pursuit of the children. The Sorceress and the auditorium come to the aid of the children.

Epilogue: The children return to school, where Father Frost and Snow Maiden are waiting for them.

The performance ends with general joy - the New Year has come.

If in human life the causes and consequences of what is happening are not always clear and understandable, then in a literary work all the actions of the characters are logically connected with each other.

Any event is a consequence of the previous one, and all scenes that are not related to the action are cut off as unnecessary. The sequence of events depicted by writers is objective world a literary work, or a plot that allows you to get acquainted with the life of the characters in its spatial and temporal changes.

What is a plot?

The plot forms the basis of any literary work. It is he who reveals to the reader the chain of events being described, the characters’ personalities, and their relationships with each other. If we compare the plot with the construction of a house, then it can be presented in the form of a frame, which, as events develop, is overgrown with scenes-bricks, and by the end of the work it acquires a roof-decoupling.

Many literary works are built according to a single chronological scheme, in which all events occur one after another. These usually include adventure novels, sagas, and memoirs. There are also those where the scenes are connected not by a temporal, but by a cause-and-effect relationship, that is, each new action of the characters is the cause of the previous one. The concentric scheme is usually characteristic of detective stories, thrillers or dramas.


Being a complex whole, the plot consists of many elements, each of which carries specific functions. For example, the exposition includes information about the characters even before events begin to develop, but tells about what happened after everything described in the work.

Not every book contains all the plot elements, but all of them have at least three key points called the plot, the climax, and the denouement.

What is a tie?

The beginning is understood as a certain event that occurs at the beginning of the work. It gives impetus to action and plays a significant role in revealing the characters’ characters. In adventure novels, the plot is most often a scene that pushes the characters to perform feats; in detective stories, it is a description of a crime that will subsequently be solved by detectives.

If we look at specific example, you can turn to Dumas’s novel “The Three Musketeers”. The plot in it is the scene where d’Artagnan, upon arrival in Paris, meets Cardinal Richelieu and realizes that he has a serious and powerful enemy.


It is this meeting that becomes the beginning of a sequential chain of events on which the author’s work is built.

Climax - what is it?

The climax is one of the most interesting and significant events in the book, the point of highest tension at which the hero either gives up or receives new strength for further struggle. This plot element is found in all literary works, starting from short stories and ending with multi-volume novels.

Its presence in the plot is considered inevitable, since otherwise the reader may lose interest in what is written.

In small literary forms usually only one is present climactic episode. For example, in the fairy tale about Cinderella, an intriguing moment can be considered the scene where the evil stepmother found out about her stepdaughter’s trip to the ball. Long stories can have one or many climaxes, especially if there are several subplots running through the story.

If we talk about The Three Musketeers, then the culmination here is the tragic resolution of the story with the pendants, when Constance dies. But in the novel “The Master and Margarita” there are several climaxes, in particular, Margarita’s trip to the ball and Pontius Pilate’s meeting with Yeshua.

What is a decoupling?

The denouement refers to the event in which the conflict between the heroes of the work is resolved. In it, the character can achieve his goal or be left with nothing and die.


Sometimes it happens that there is no resolution in the work - in this way the author leaves space for readers to think.

Returning to Dumas, the denouement can be called the scene last meeting d'Artagnan with the cardinal, in which Richelieu awarded the brave hero a patent for the rank of lieutenant of musketeers.