So far in this course, we have concentrated on specific plot development techniques. In this final tutorial, we stand back from the detail to take a overview of the plot, with the specific aim of ensuring that our innovations at the detailed level add up to an interesting and persuasive plot.

Aristotle's concept of plot having a beginning, a middle and an end provides a useful framework for such an evaluation. Broadly speaking, in Aristotle's terms:

• the beginning engages the attention of the reader/listener and defines the mystery to be solved;
• the end reveals the mystery insofar as it is to be revealed;
• the middle comprises the revelations that underpin the mystery and the events that shape the narrative.

The concept of beginning, middle and end also provides the basis for assessing a number of specific aspects of plot previously discussed in this course, as follows. Underlined phrases are links to the relevant topic sheets.

Character Journeys

The quality of a plot is largely determined by the extent of the journeys undertaken by the characters.

In much the same way as "before" and "after" pictures are photographs are used to communicate the potential benefits of an appearance-altering treatment, it should be possible to see clearly how far any character has travelled in the course of the plot by sketching the character's respective positions at the beginning and the end of the action.

In this context, the "middle" is the catalogue of conflicts and events that shape the character journeys. The conflicts and events should be not only engaging and resonant, but also relevant to the plot.

Any weaknesses in character journeys may usually be traced to weaknesses in terms of conflicts and events. Characters cannot be expected to undergo interesting journeys if everyone is nice to them or if nothing untoward happens to them. Conversely, if the plot is filled with thrilling conflicts and events, but the character journeys are less than compelling, it is likely that the conflicts and events are insufficiently focused on the all-important task of moving the characters along the way.

Setting Boundaries

When measuring the extent of character journeys in non-chronological plots, it is important to remember that the beginning and end of any character journey do not necessarily correspond with the beginning and end of the work.

Regardless of whether the events of the plot unfold in chronological order or with the the help of "time warps", the extent of any character journey is always measured in chronological time. In other words, if the character brings to life the story of his childhood and reflects on it, the journey begins in childhood and ends in present time.

Sub-Plots

In any rigorous assessment of a plot, each sub-plot should be subjected to the same sorts of analysis as the main plot. In other words, every sub-plot must not only earn its place by virtue of its relevance to the main plot; it should also have its own character journeys, shaped by conflicts and events that may or may not be the events and conflicts of the main plot.