Offers several definitions of the concept “plot”. According to Ozhegov, plot in literature is the order and connection of events. Ushakov's dictionary suggests that they be considered a set of actions, the sequence and motivation for the unfolding of what is happening in a work.

Relationship with plot

In modern Russian criticism, plot has a completely different definition. The plot in literature is understood as the course of events against the background of which the confrontation is revealed. The plot is the main artistic conflict.

However, other points of view on this issue have existed in the past and continue to exist. Russian critics of the mid-19th century, supported by Veselovsky and Gorky, considered the compositional aspect of the plot, that is, how exactly the author communicates the content of his work. And the plot in literature is, in their opinion, the actions and relationships of the characters.

This interpretation is directly opposite to that in Ushakov’s dictionary, in which the plot is the content of events in their sequential connection.

Finally, there is a third point of view. Those who adhere to it believe that the concept of “plot” has no independent meaning, and when analyzing it is quite enough to use the terms “plot”, “composition” and “plot diagram”.

Types and variants of product schemes

Modern analysts distinguish two main types of plot: chronicle and concentric. They differ from each other in the nature of the connections between events. The main factor, so to speak, is time. The chronic type reproduces its natural course. Concentric - focuses no longer on the physical, but on the mental.

Concentric plots in literature include detective stories, thrillers, social and psychological novels, and dramas. Chronicle is more common in memoirs, sagas, and adventure works.

Concentric plot and its features

In the case of this type of course of events, a clear cause-and-effect relationship between the episodes can be traced. The development of the plot in literature of this type is consistent and logical. It is easy to highlight the beginning and end here. Previous actions are the causes of subsequent ones; all events seem to be pulled together into one node. The writer explores one conflict.

Moreover, the work can be either linear or multilinear - the cause-and-effect relationship is preserved just as clearly, moreover, any new storylines appear as a result of events that have already happened. All parts of a detective story, thriller or story are built on a clearly expressed conflict.

Chronicle story

It can be contrasted with concentric, although in fact there is not an opposite here, but a completely different principle of construction. These types of plots in literature can interpenetrate each other, but most often either one or the other is decisive.

The change of events in a work built on a chronicle principle is tied to time. There may be no clear connection, no strict logical cause-and-effect relationship (or at least this connection is not obvious).

In such a work we can talk about many episodes, the only thing they have in common is that they happen in chronological order. A chronicle plot in literature is a multi-conflict and multi-component canvas, where contradictions arise and fade, and one is replaced by another.

Commencement, climax, denouement

In works whose plot is based on conflict, it is essentially a scheme, a formula. It can be divided into its constituent parts. The elements of plot in literature include exposition, setup, conflict, rising action, crisis, climax, falling action, and resolution.

Of course, not all of the above elements are present in every work. More often you can find several of them, for example, plot, conflict, development of action, crisis, climax and denouement. On the other hand, it matters how exactly the work is analyzed.

The exhibition in this regard is the most static part. Its task is to introduce some of the characters and the setting of the action.

The plot describes one or more events that give rise to the main action. The development of the plot in literature goes through conflict, rising action, crisis to climax. She is also the peak of the work, playing a significant role in revealing the characters’ characters and in the unfolding of the conflict. The denouement adds the final touches to the story being told and to the characters.

In literature, a certain plot structure has developed, which is psychologically justified from the point of view of its influence on the reader. Each element described has its place and meaning.

If a story does not fit into the scheme, it seems sluggish, incomprehensible, and illogical. For a work to be interesting, for readers to empathize with the characters and delve into what is happening to them, everything in it must have its place and develop in accordance with these psychological laws.

Plots of ancient Russian literature

Ancient Russian literature, according to D. S. Likhachev, is “literature of one theme and one plot.” World history and the meaning of human life are the main, deep motives and themes of the writers of those times.

The plots of ancient Russian literature are revealed to us in lives, epistles, walks (descriptions of travel), chronicles. The names of the authors of most of them are unknown. According to the time interval, the Old Russian group includes works written in the 11th-17th centuries.

The diversity of modern literature

Attempts to classify and describe the plots used have been made more than once. In his book The Four Cycles, Jorge Luis Borges suggested that in world literature there are only four types:

• about search;
• about the suicide of God;
• about the long return;
• about the assault and defense of a fortified city.

Christopher Booker identified seven: rags to riches (or vice versa), adventure, there and back again (Tolkien's The Hobbit comes to mind), comedy, tragedy, resurrection and defeating the monster. Georges Polti reduced the entire experience of world literature to 36 plot collisions, and Kipling identified 69 of their variants.

Even specialists of other profiles were not left indifferent by this question. According to Jung, the famous Swiss psychiatrist and founder of analytical psychology, the main subjects of literature are archetypal, and there are only six of them - the shadow, anima, animus, mother, old man and child.

Index to folk tales

Perhaps most of all, the Aarne-Thompson-Uther system “highlighted” the possibilities for writers - it recognizes the existence of approximately 2,500 options.

We are, however, talking about folklore here. This system is a catalog, an index of fairy-tale plots known to science at the time of compilation of this monumental work.

There is only one definition for the course of events here. The plot in literature of this kind looks like this: “The persecuted stepdaughter is taken into the forest and abandoned there. Baba Yaga, or Morozko, or Leshy, or 12 months, or Winter, test her and reward her. The stepmother’s own daughter also wants to receive a gift, but does not pass the test and dies.”

In fact, Aarne himself established no more than a thousand options for the development of events in the fairy tale, but he allowed for the possibility of new ones and left a place for them in his original classification. This was the first index that came into scientific use and was recognized by the majority. Subsequently, scientists from many countries made their additions to it.

In 2004, an edition of the reference book appeared, in which the descriptions of fairy-tale types were updated and made more accurate. This version of the index contained 250 new types.

Plot and composition. Stages of plot development

I. PLOT - the entire system of actions and interactions consistently combined in a work.

1. PLOT ELEMENTS (stages of action development, plot composition)

EXPOSITION- background, outlining the characters and circumstances that developed before the development of the main storyline.

TIE- the starting point for the development of the main storyline, the main conflict.

ACTION DEVELOPMENT- part of the plot between the beginning and the climax.

CLIMAX- the highest point of development of action, conflict tension before the final denouement.

INTERCLOSURE- completion of the plot, resolution (or destruction) of the conflict.

2. NON-PLOT ELEMENTS

At the beginning of the work

• NAME
• DEDICATION
• EPIGRAPH- a quotation from another work placed by the author before his own work or part of it.
• PREFACE, INTRODUCTION, PROLOGUE

• LYRICAL DIGRESSION- a deviation from the plot in a lyric-epic or epic work.
• HISTORICAL AND PHILOSOPHICAL DISCUSSION
• INSERT STORY, EPISODE, SONG, POEM
• REMARK- author's explanations in a dramatic work.
• AUTHOR'S NOTE

• EPILOGUE, AFTERWORD- the final part of the work after the completion of the main plot, telling about the further fate of the characters.

• The arrangement of its parts in a certain system and sequence. In epic - fragments of text, chapters, parts, volumes (books), in lyrics - stanzas, verses; in drama - phenomena, scenes, actions (acts).

• Correlation of storylines.
• The ratio of plot lines and non-plot elements.
• Composition of the plot.
• Artistic means of creating images.
• System of images (characters).

One of the trends in neo-romanticism k.19-n. 20 centuries. The focus of action literature is on the active hero. The hero's activity is realized primarily in an action that has a tangible, effective, cultural and historical character. The hero’s act is nothing more than the “objectification” of his will (see: “Will”) into the flesh of national-historical existence. The hero, as it were, establishes, as a result of the manifestation of his will, a certain new Law and thanks to this acquires the status of a cultural hero in the national legend. It is very significant that a hero of this type is not a thinking hero, an intellectual hero, whose superhuman activity is concentrated in analytical abilities, in thought (Sherlock Holmes by K. Doyle, Pastor Brown by G. K. Chesterton and other so-called characters . analytical genres in neo-romanticism), on the contrary, the hero’s inability to perform complex mental operations is often emphasized (the hero of R. Kipling’s “barracks” ballads, Tommy Atkins, or Captain McWhirr from D. Conrad’s story “Typhoon”). The low intelligence of the heroes, and sometimes the absence thereof, is not a negative characteristic of a character in action literature; on the contrary, this limitation helps the hero concentrate on a specific goal and convincingly achieve it. Thought, the ability to reason, to surrender to the flow of speculative-logical operations would look like obstacles that hinder the hero, inhibiting the process of the character’s volitional activity. Until recently, it was customary to link the literature of “action” with the so-called. “imperialist” ideology (the work of the “colonization ideologist” R. Kipling was often cited as an example), which, of course, does not stand up to criticism: Joseph Conrad, who, like R. Kipling and G. R. Haggard, pays tribute to this literature, cannot to be called "the ideologist of English colonization" and the "singer of imperialism" because of his democratic leanings. Liter: Yu. I. Kagarlitsky. Rudyard Kipling. // Rudyard Kipling. Stories. Poetry. Fairy tales. – M., 1989.

Action

Action

ACTION is a term that has several meanings. Used as a synonym for the term “act” (see). Denotes the action of the hero of the work, which characterizes and reveals his strong-willed orientation (dramatic device). It is one of the links in the chain of events called the plot of the work (see). And finally, by action we mean the dynamics of the work. Lessing argued that if the field of painting is bodies and spatial relationships between them, then the subject of poetry is action, located in a temporal sequence.
It is usually customary to define drama as the image of a person in D. Aristotle called D. the soul of tragedy. But D. owes any work of art its resemblance to life, the illusion of reality. Reproducing life, the world, a work of art reproduces them not in finished form, but in the process of their formation, for “the world does not consist of ready-made objects, but is a set of processes in which objects that seem unchangeable, as well as mental pictures of them taken by the head, concepts are in constant change, sometimes arise, sometimes die” (Engels). And the law of development (“everything flows, everything moves, nothing is at rest”), which penetrates nature, social relations and individual existence, seems to predetermine action and movement in a work of art. D. is predetermined by the movement in a work of art and the struggle that man had and has to wage throughout history (“The history of mankind is the history of the struggle of classes” - K. Marx). That is why the rationales of classical tragedy, which are static and given in a “ready-made form” from the first scene, do not make an artistic impression.
“Homer,” says Lessing, “does not describe the shield as a thing already completely ready, but as a thing being made. Seeing this, we,” he notes, “begin to marvel at the work itself, but we marvel as witnesses who saw how it was done.” What cannot be described in parts and in detail, Homer is able to show by the effect of the described phenomenon on others. In the Iliad, for example, he does not give a portrait of Helen, but he tells how Helen’s beauty affects the Trojan elders.
D.'s problem is the main problem of creativity. “Those who begin to create poetic works,” said Aristotle, “can achieve success earlier in dialogues and in the depiction of morals than in the development of action.” For many writers, the problem of D. remains unresolved throughout their entire creative path. Thus, the following letter to Suvorin, written while working on “The Duel”, is typical for Chekhov: “My story,” he writes, “is moving forward. Everything is smooth, even, there are almost no lengths, but you know what’s very bad? There is no movement in my story, and this scares me” (On the movement in the story and in Chekhov’s story, see M. Rybnikov’s book, On questions of composition, M., 1924). Chekhov's plays were also distinguished by D.'s extreme weakness.
The importance that great writers attached to this problem can be judged by L. Tolstoy’s review of Pushkin’s prose works: “They need to be studied and studied by every writer. This is how to write. Pushkin gets straight to the point (The guests were arriving at the dacha). Another would begin to describe the guests and the room, but he puts it into action right away” (Gusev N., Tolstoy in the Prime of an Artistic Genius, M., 1928).
Speaking about D. as a problem of the artist’s skill, it is necessary to emphasize that this problem is at the same time a problem of style. The lack of movement in Chekhov's stories, short stories and plays is explained not only by an organic lack of his talent. Provincial life in the reactionary 80s, which he reproduced, was not dynamic. Vulgar, ordinary, it paralyzed the will of its bearers - gloomy, disappointed, tired intellectuals, which are predominantly the images of Chekhov. Equally, it is not only the genius of L. Tolstoy that his works owe their dynamism. “The era, which was reflected in remarkable relief both in his brilliant works of art and in his teaching, is the era,” says V.I. Lenin, “after 1861 and before 1905,” when “everything turned upside down and was just settling down... “Turgenev, describing the life of the “Noble Nest,” reproduces this life as flowing very sluggishly and slowly - so that it seems as if life has even stopped here. The work, as if by the material itself, is doomed to staticity, immobility. But this is only an appearance, just as the immobility of the earth is an appearance. Here the action, the movement, is simply slowed down. Such is the life of the estate, such is the life of the feudal landowners.
In contrast to the manor life of serfdom, the life of the city rushes at an accelerated pace. The urban writer, as if in a hurry to keep up with this pace, does not linger on descriptions of nature, settings, and characters. These “inactive parts” (Aristotle’s expression), so characteristic of the works of estate writers - exponents of the psychoideology of a class doomed to relative inactivity, are completely absent from urban writers. In the works of the latter, predominantly dynamic motifs predominate.
Developing continuous action, the typical writer of the city in this regard - Dostoevsky, an artist of movement, not forms - as V. Pereverzev points out, simultaneously puts the necessary descriptions and characteristics into the mouths of the heroes. Dostoevsky even developed a special manner of starting from the middle, with D. (for example, “Crime and Punishment”, etc.). Therefore, the form of his works is often memoirs and correspondence. “The correspondence is already D.: it immediately opens the relationship to us, says nothing about its beginning.”
Establishing the dependence of the dynamics of a work of art on the style of social life, in conclusion we must once again emphasize that works that appear in eras of social changes and revolutionary eras are particularly dynamic and effective. The revolution - “the great movement on the world-historical stage” - creates its own special poetry - the poetry of history, which reproduces the dynamics of struggle. In those cases when the class making the revolution does not create this poetry, it borrows it from the arsenal of revolutionary traditions of the past. This was the case, for example. during the era of the Great French Revolution, when the bourgeoisie borrowed D.'s poetry from ancient Rome. For “the gladiators of the bourgeois order, the classical strict traditions of the Roman Republic provided all the ideals, all the artistic forms and means of self-deception that they needed in order to hide from themselves the bourgeois-limited content of their struggle and to maintain their enthusiasm at the height of the great historical tragedy” (Karl Marx , "18th Brumaire").
The October Revolution, which launched in our country a social movement unprecedented in the world, the struggle of the worker-peasant masses against capitalism, created its own artistic literature, reproducing the dynamics of this movement, the class struggle. The most striking works of the October Revolution are full of movements and movements with characteristic dynamic titles - “Iron Stream”, “The Fall of Dair”, “Storm”, “Destruction”. Bibliography:
Aristotle, Poetics, transl., introduction and notes. N. I. Novosadsky, L., 1927; Lessing, Laocoon, Collection. sochin., vol. VIII, St. Petersburg, 1904; Pereverzev V., The Work of Dostoevsky, M., 1922; Fritsche V., Western European literature of the 20th century. in its most important manifestations, ed. 2nd, M., 1928.

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 .

Action

1) the action of a character in a literary work, which can be expressed in the form of statements, movements, gestures, facial expressions, etc. The action can have an external expression (practical changes) or internal (changes in the state, mood, personality of the characters). External action (for example, in the works of V. Scott) is a means of depicting solvable contradictions and short-term conflicts. Internal action (for example, in E. Hemingway) depicts eternal, persistent conflicts.
2) In dramaturgy, action (in addition to indicating the actions of the heroes) is part of a dramatic work or performance and one of the rules classicism. In classic drama, the unity of action had to be observed (along with the unity of place and time) - the performance had to develop one storyline to its logical conclusion. In modern dramas there is often no unity of action. In lyrical genres of literature, action fades into the background, since feelings, emotions and experiences expressed through lyrics are more important. The action is on the periphery.

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

Antonyms:

See what “Action” is in other dictionaries:

See Reason; quantum of action - see Quantum theory. The “principle of least action” states that of all the mechanical movements that a system of bodies, bound by certain limiting conditions, can perform, that movement occurs when... ... Philosophical Encyclopedia

action- purposeful activity, implemented externally or internally; unit of activity. In Russian psychology, the concept of D. as a specific unit of human activity was introduced by S. L. Rubinstein and A. N. Leontyev.... ... Great psychological encyclopedia

ACTION, actions, cf. 1. Manifestation of some kind of energy, detection of activity. Action equals reaction. 2. only units. Work, state of the acting. Start the machine. This machine was in action just yesterday. 3. only units... ... Ushakov's Explanatory Dictionary

Action is an ambiguous word that can mean: Wiktionary has an entry for “action” The act of activity. Group action (in mathematics) Action (physics) Actions (acts) ... Wikipedia

Act, feat, deed, trick, step, maneuver, manipulation, machination, operation, procedure, process, act, doing, deed, dressing, manufacturing, execution, implementation, implementation, production, fabrication. Impression, effect. A move against... ... Synonym dictionary

Action- Action ♦ Action The result of the manifestation of will. Will without result is not action, just like result without will. To act means to do what you want and to be free to do so. From whom does the desire to act come? From the heart. Who is acting? ... Sponville's Philosophical Dictionary

1) a completed part of a performance, a play (the same as an act). 2) In drama and epic, the development of events that forms the basis, the flesh of the plot (plot). 3) In the theater, the main means of embodying the stage image ...

A physical quantity that has the dimension of the product of energy and time. If we consider a certain set of possible movements of a mechanical system between its two positions, then its true (actually occurring) movement will differ... Big Encyclopedic Dictionary

Preparing for the Unified State Exam - a universal reference book

Stages of action development: exposition, plot, climax, denouement, epilogue, lyrical digression

The development of action in a work of fiction includes several stages: exposition, plot, climax, denouement, epilogue.

Exposition (from the Latin expositio - presentation, explanation) is the background to the events underlying the work of art. Usually it describes the main characters, their arrangement before the start of the action, before the plot. Exposition motivates characters' behavior. The exposition can be direct, that is, at the beginning of the work, or delayed, that is, located in the middle or end of the work. For example, information about Chichikov’s life before his arrival in the provincial town is given in the last chapter of the first volume of Gogol’s Dead Souls. Delayed exposure usually gives the work a mysterious, unclear quality.

The plot is the event that is the beginning of the action. The plot either reveals existing contradictions, or itself creates (“knots”) conflicts. For example, the plot of Gogol’s comedy “The Inspector General” is the mayor’s receipt of a letter informing him of the arrival of the inspector.

Climax (from the Latin culmen - peak) is the highest point of tension in the development of action, the highest point of conflict, when the contradiction reaches its limit and is expressed in a particularly acute form. Thus, in Ostrovsky’s drama “The Thunderstorm,” the climax is Katerina’s confession. The more conflicts there are in a work, the more difficult it is to reduce the tension of the action to just one climax. The climax is the most acute manifestation of the conflict and at the same time prepares the denouement of the action.

The denouement is the outcome of events. This is the final moment in creating an artistic conflict. The denouement is always directly related to the action and, as it were, puts the final semantic point in the narrative. Such, for example, is the so-called silent scene in N. Gogol’s “The Government Inspector”, where all the plot knots of the comedy are “untied” and the final assessment of the characters’ characters is given. The denouement can resolve the conflict (Fonvizin’s “The Minor”), but it may not eliminate conflict situations (in “Woe from Wit” by Griboedov, in “Eugene Onegin” by Pushkin, the main characters remain in difficult situations).

An epilogue (from the Greek epilogos - afterword) always concludes a work. The epilogue tells about the further fate of the heroes. For example, Dostoevsky in the epilogue of “Crime and Punishment” reports how Raskolnikov changed in hard labor.

A lyrical digression is the author’s deviation from the plot, the author’s lyrical insertions on topics that have little or nothing to do with the main theme of the work. On the one hand, they inhibit the plot development of the work, and on the other, they allow the writer to openly express his subjective opinion on various issues that are directly or indirectly related to the central theme. Such, for example, are the lyrical digressions in Pushkin’s novel “Eugene Onegin” and in Gogol’s “Dead Souls”.

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What is plot in literature? Development and elements of plot in literature

Modern literary theory offers several definitions of the concept of “plot”. According to Ozhegov, plot in literature is the order and connection of events. Ushakov's dictionary suggests that they be considered a set of actions, the sequence and motivation for the unfolding of what is happening in a work.

Relationship with plot

In modern Russian criticism, plot has a completely different definition. The plot in literature is understood as the course of events against the background of which the confrontation is revealed. The plot is the main artistic conflict.

However, other points of view on this issue have existed in the past and continue to exist. Russian critics of the mid-19th century, supported by Veselovsky and Gorky, considered the compositional aspect of the plot, that is, how exactly the author communicates the content of his work. And the plot in literature is, in their opinion, the very development of the action and relationships of the characters.

This interpretation is directly opposite to that in Ushakov’s dictionary, in which the plot is the content of events in their sequential connection.

Finally, there is a third point of view. Those who adhere to it believe that the concept of “plot” has no independent meaning, and when analyzing it is quite enough to use the terms “plot”, “composition” and “plot diagram”.

Types and variants of product schemes

Modern analysts distinguish two main types of plot: chronicle and concentric. They differ from each other in the nature of the connections between events. The main factor, so to speak, is time. The chronic type reproduces its natural course. Concentric - focuses no longer on the physical, but on the mental.

Concentric plots in literature include detective stories, thrillers, social and psychological novels, and dramas. Chronicle is more common in memoirs, sagas, and adventure works.

Concentric plot and its features

In the case of this type of course of events, a clear cause-and-effect relationship between the episodes can be traced. The development of the plot in literature of this type is consistent and logical. It is easy to highlight the beginning and end here. Previous actions are the causes of subsequent ones; all events seem to be pulled together into one node. The writer explores one conflict.

Moreover, the work can be either linear or multilinear - the cause-and-effect relationship is preserved just as clearly, moreover, any new storylines appear as a result of events that have already happened. All parts of a detective story, thriller or story are built on a clearly expressed conflict.

Chronicle story

It can be contrasted with concentric, although in fact there is not an opposite here, but a completely different principle of construction. These types of plots in literature can interpenetrate each other, but most often either one or the other is decisive.

The change of events in a work built on a chronicle principle is tied to time. There may be no clear connection, no strict logical cause-and-effect relationship (or at least this connection is not obvious).

In such a work we can talk about many episodes, the only thing they have in common is that they happen in chronological order. A chronicle plot in literature is a multi-conflict and multi-component canvas, where contradictions arise and fade, and one is replaced by another.

Commencement, climax, denouement

In works whose plot is based on conflict, it is essentially a scheme, a formula. It can be divided into its constituent parts. The elements of plot in literature include exposition, setup, conflict, rising action, crisis, climax, falling action, and resolution.

Of course, not all of the above elements are present in every work. More often you can find several of them, for example, plot, conflict, development of action, crisis, climax and denouement. On the other hand, it matters how exactly the work is analyzed.

The exhibition in this regard is the most static part. Its task is to introduce some of the characters and the setting of the action.

The plot describes one or more events that give rise to the main action. The development of the plot in literature goes through conflict, rising action, crisis to climax. She is also the peak of the work, playing a significant role in revealing the characters’ characters and in the unfolding of the conflict. The denouement adds the final touches to the story being told and to the characters.

In literature, a certain plot structure has developed, which is psychologically justified from the point of view of its influence on the reader. Each element described has its place and meaning.

If a story does not fit into the scheme, it seems sluggish, incomprehensible, and illogical. For a work to be interesting, for readers to empathize with the characters and delve into what is happening to them, everything in it must have its place and develop in accordance with these psychological laws.

Plots of ancient Russian literature

Ancient Russian literature, according to D. S. Likhachev, is “literature of one theme and one plot.” World history and the meaning of human life are the main, deep motives and themes of the writers of those times.

The plots of ancient Russian literature are revealed to us in lives, epistles, walks (descriptions of travel), chronicles. The names of the authors of most of them are unknown. According to the time interval, the Old Russian group includes works written in the 11th-17th centuries.

The diversity of modern literature

Attempts to classify and describe the plots used have been made more than once. In his book The Four Cycles, Jorge Luis Borges suggested that in world literature there are only four types:

• about search;
• about the suicide of God;
• about the long return;
• about the assault and defense of a fortified city.

Christopher Booker identified seven: rags to riches (or vice versa), adventure, there and back again (Tolkien's The Hobbit comes to mind), comedy, tragedy, resurrection and defeating the monster. Georges Polti reduced the entire experience of world literature to 36 plot collisions, and Kipling identified 69 of their variants.

Even specialists of other profiles were not left indifferent by this question. According to Carl Gustav Jung, the famous Swiss psychiatrist and founder of analytical psychology, the main plots of literature are archetypal, and there are only six of them - the shadow, anima, animus, mother, old man and child.

Index to folk tales

Perhaps most of all, the Aarne-Thompson-Uther system “highlighted” the possibilities for writers - it recognizes the existence of approximately 2,500 options.

We are, however, talking about folklore here. This system is a catalog, an index of fairy-tale plots known to science at the time of compilation of this monumental work.

There is only one definition for the course of events here. The plot in literature of this kind looks like this: “The persecuted stepdaughter is taken into the forest and abandoned there. Baba Yaga, or Morozko, or Leshy, or 12 months, or Winter, test her and reward her. The stepmother’s own daughter also wants to receive a gift, but does not pass the test and dies.”

In fact, Aarne himself established no more than a thousand options for the development of events in the fairy tale, but he allowed for the possibility of new ones and left a place for them in his original classification. This was the first index that came into scientific use and was recognized by the majority. Subsequently, scientists from many countries made their additions to it.

In 2004, an edition of the reference book appeared, in which the descriptions of fairy-tale types were updated and made more accurate. This version of the index contained 250 new types.

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Exposition, plot, development of action

Lesson three. The intricacies of the plot.

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

3. Rules for plotting.

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

In the 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. 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).

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 options for developing 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 we can outline the prerequisites for it. Lorraine moves to a new apartment, meets her neighbors, calls her friend - this is our exposition: we introduced the reader to the main character, indicated the time and place of action, and indirectly told about the other 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 plan. 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 drawn-out 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, the beginning is the event from which everything begins. We can say this: if a conflict is the cause of a war, then the plot 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 introduction scene. Usually the beginning is the moment when the hero is given an important task that he must complete, or he, the hero, must make his choice. The author usually uses this situation to define the conflict, show exactly what the differences between the hero and the villain are, 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"). The plot does not have to be one; In serious works, authors usually put many storylines at once - love, family, detective, political, and so on. 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 heroes in various difficult situations, describes their experiences about this 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, 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 pistol, it would be nice to announce now that this nice young man is a happy owner of a firearm or has the habit of going to a 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 already guessed in the last episode 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 had problems at work than if any of these troubles happened. So, gradually building up the tension, we bring the heroes step by step to the most important stage in the entire story . This is the climax.

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The meaning of the phrase ACTION DEVELOPMENT. What is ACTION DEVELOPMENT?

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Sentences containing "action development":

• A literary narrative text is built according to the following compositional scheme: exposition, plot, development of action, climax, denouement.
• Proof of the above is also the fact that those who begin to create poetic works can achieve success in dialogues and depiction of morals earlier than in the development of action, as, for example, almost all ancient poets.
• And he began to follow the development of the action even more critically than before.
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kartaslov.ru

plot development is... What is plot development?

General subject: the development of the action, unravelling of the plot

Universal Russian-English dictionary. Akademik.ru. 2011.

• development of strategic nuclear weapons
• development of telerobots

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dic.academic.ru

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