The Rivalry plot follows the same pattern as the adversary plot, only in this case the third element is generally built in.  Often it is a thing, like gold or money, or a concept like power or freedom.  Sometimes it is a person, though that might also be a TRIANGLE plot depending on whether the third person (man or woman) is an active participant in the story or treated more like an object to obtain.

In the Adversary plot it is two people (protagonist and antagonist) or groups against each other, and sometimes, as is often the case in war stories and some thrillers of political intrigue, they are adversaries simply because they represent two opposing worldviews.  In the rivalry plot we are still dealing with the word “against” except the “against” has a purpose: to obtain the object. 

Again, these plots of competition may be summarized in the way my friends talked about plot, as “man against man, man against God (nature) and man against himself.”  Also, again, they may be drawn as internal (character driven) stories or external (action/event oriented) stories, the choice is yours.

Man Versus Man:

In the rivalry, sometimes the object of desire is substantial, such as a National Treasure.  At other times it is an insubstantial object such as power.  The Lord of the Rings was essentially a rivalry plot between a reluctant king and a flaming eye over which will end up ruling the human race.  In the case of the Lord of the Rings, though, that plot is overshadowed by the JOURNEY plot of Frodo Baggins…

Whether substantial or insubstantial, the rivalry plot includes two forces, not necessarily opposed to each other, but in pursuit of the same thing.  In the Film, Those Magnificent Men in Their Flying Machines, a competition from start to finish, we are drawn in to root for the poor American, but not disappointed when the Englishman wins the race.  The American gets the girl, the object of the rivalry.  Nor are we upset when the Frenchman is swamped by the crowd on touchdown in Paris, despite his not winning.  About the closest the film has to a “bad guy” is the German, but he is so comical it is hard to hate him.  In the rivalry for control of the town that culminates in the shootout at the OK Corral, on the other hand, we are glad that the good guys win, if indeed they were the good guys. 

In these examples, you can see two important points.  First, while the protagonist (s) should be fairly clear—you want the reader to root for someone—the line between the good guys and bad guys may be blurry.  In the end of National Treasure II, the “bad guy” saves everyone else’s lives.  Second, win or lose is sometimes less imperative then it tends to be in the antagonist plot.  Consider Ben-Hur and his rivalry with Messala or The Count of Monte Cristo and his love triangle.  We are pleased when the good guys win (in a sense) even if the winning is bittersweet. 

In the Three Musketeers, the good guys also win, but the Cardinal remains in power, untouched, above it all, so it is sort of a half-victory.  In the Hunchback of Notre Dame, the Hunchback does not get the girl.  In Fahrenheit 451, the man saves his life and gets the book, but the dark ages are far from over.

Man Versus God (Nature): 

The first thing that came to my mind was The Old Man and the Sea.  The second was Milton, Paradise Lost.  A third example would be Goethe’s Faust.  All of these express not merely an adversarial relationship, but in some sense a rivalry: for power, control, the means of life and one’s livelihood.  In Bunyan’s works, Pilgrim’s Progress or The Holy War, the struggle is for a man’s soul.  In the Illiad, Achilles and Hector are mere pawns as the Greeks and Trojans play out their antagonism under the hand of rival gods.  In every case, though, there is something to be gained by being the one who is successful.  And perhaps something to be lost for the unsuccessful.

Man Versus Himself: 

In this last form, look for examples where a person is their own worst enemy.  Don Quixote would certainly qualify.  Catch 22 or Cool Hand Luke might qualify.  One Flew Over the Cuckoo’s Nest also, though this last is perhaps best understood as an UNDERDOG story.  Also, Spiderman.  Let me explain. 

Spiderman, in the original storyline, fights himself more than he fights the super-baddies.  That was what made this superhero story so unique and wildly successful.  He has guilt about Uncle Ben, a need to protect Aunt May at all costs and teenage angst and low self-esteem run amok.  He can’t go fully superhero.  He trashed the suit countless times; but he can’t go normal, happy, successful life either, as he seems to want (his object).  He is so conflicted it prevents him from getting the girl (object) too, Mary Jane or Gwen, who have their own rivalry of a sort going on… Sheesh!

The Plot: 

The first thing to decide is what is the key to the story.  If there is something (an object) that two people want to obtain, it is a rivalry and that object always needs to be the motive and front and center in the story.  If not, it is a basic adversarial plot.  Night at the Museum I:  Both the old guards and the new want the tablet = rivalry.  Don’t lose sight of the tablet.  Braveheart (or the Patriot) the men want freedom, the King of England (or his Generals) want to maintain control (opposite objectives) = adversaries.  Here is a question:  Can two lawyers be adversaries?  Can they be rivals?

Like the adversary plot, the pattern of the rivalry plot will remain the same (similar) as are all competitive plots.  Normally the antagonist gains the upper hand at first by knocking down his opponent.  The meat of the story is the protagonist fighting back or “rising up” from the ashes though it may appear hopeless.  The Antagonist gets close to the objective…  But eventually the two meet in the final confrontation where the object is gained or lost (occasionally lost forever.  Occasionally gained and discovered to be unwanted after all).

Competitive plots get some variation when two (protagonist and antagonist) becomes a triangle or when the two “against” don’t start out on the same footing (one starts as a clear underdog).  Though still plots of competition, they are different enough to be worthy of note… next time.

This plot is perhaps the most basic of all plots in the plot library.  It can be summed up with one word “against” and satisfies my professional writing friends who delineated plot for me in three (or 4) forms:  “Man against man, man against God (nature) and man against himself.”

As far as internal versus external storylines goes, the internal (character driven) story will generally be found in “man against himself” plot and the external (action/event oriented) story will generally be found in the “man against man” plot, but not invariably, not always.  As for “man against God (nature),” it can go either way, but tends to lean toward internal storylines.

Man against Man:

This may be the most basic of the basic.  It is the mainstay of the B-movie where the good guy wears a white hat and the bad guy wears a black hat.   The “against” is the given point that needs to be remembered, and everything in the plot must bend to that directive.  Here is where you will find the basic protagonist (good guy) and basic antagonist (bad guy), and the stories built on this alone are innumerable.  (Then again, there are some stories where even those lines blur, for example Neil Simon’s The Odd Couple.  Who is the bad guy?)

Unlike the B-movies and most comic books, the protagonist need not be perfect and the antagonist need not be evil.  They may well be two people trying to do the right thing.  They may each have a mix of internal conflicts going on.  Invariably, though, they will be distinguished in the story by their decisions and actions, usually on moral grounds.  How often has the antagonist believed that the ends justify the means?  How often has the protagonist tried to save the life of the antagonist in the end?

Yes, this is one of those plots where a writer has to be careful.  It lends itself much too easily to cardboard characters and B-movies.  But then, if you are careful, you might produce  the next Star Wars.  That series of movies is built primarily as an adversary plot.  Luke Skywalker rises against the Empire, but is beaten down.  He becomes a Jedi and proves himself against Jobba the Hut. Then, finally, he has the showdown with the Emperor and the Vader himself.

The Magnificent 7 (7^th Samurai) is another great adversarial plot, but from these examples you can see that “man against man” need not be just two people.  War stories are mostly adversarial plots, whatever else may be going on in the story.  Consider D-day, Patton, Massada.

NOTE: it is in the “whatever else is going on” that a writer can often avoid a plot of complete cardboard.  Even the thinnest white hat-black hat B-western had a love interest to carry some of the load.  And here we see the third wheel which, if you have been reading these posts, you know I recommend to add depth to your story.

Man against God (Nature):

I am only going to mention a few of stories here, because you need only to get the idea.  The Shack would certainly have to be called a “man against God” story, though it may be an EMOTIVE plot as well.  Moby Dick, on the other hand is clearly a “man against nature” story.  What Melville did in the story, though, was add that third wheel in the form of the narrator:  “call me Ishmael.” 

Some stories in this category mix my professional friend’s ideas.  Both Swiss Family Robinson and Lord of the Flies begin as “man against nature” stories, but devolve into “man against man” stories.  There is nothing wrong with that, as these stories show, but it is important for a writer to know going in to be able to make a smooth transition.  Then there is Homeward Bound.  It is not exactly a “man against nature” story, but you get the idea.

Man against himself:

Robinson Caruso, on the other hand, is essentially a man against himself story even though it outwardly appears as another “man against nature” idea.  Likewise, you will find some sports stories are really “man against himself” stories despite the outward competition.  Rocky might fit here, or The Mighty Ducks, or The Bad News Bears, though honestly, while these are still competitive stories, they are underdog plots…  And anyway, now we are headed back toward B-movie land.

The Plot: 

Adversary plots generally follow the same pattern.  Two forces, often two persons stand against each other in a way which appears that one will win (succeed) and one will lose (fail)—though sometimes both lose and rarely both win.  The two need not have the same strengths and weaknesses, but they should begin on fairly even ground.

The against is all that is needed to provide conflict, tension and resolution.  Consider James Bond versus Doctor No, Sherlock Holmes versus Doctor Moriarity, Van Helsing versus Dracula, or Doctor Jeckel versus himself.  Versus (against) says and does it all.

Most of the time, early in the story, the antagonist gains an advantage.  The poor Count of Monte Cristo ended up in prison.  The meat of the story is the return or “rising up again” of the protagonist to that equal footing and status – to where there is a second chance at the one on one.  The resolution is how things turn out.  As often as not, the antagonist is overcome and never will rise again, unless it is a series…

Then again, the Count of Monte Christ is really a Rivalry plot, but that will have to wait until next time.

Last week I talked with two people, professional writers with numerous books to their credit, and even they can’t agree on the idea of plot.  What they came up with was (“J” 4, “M” 3):  Man against man, Man against God—with man against nature separate or included–and Man against himself. 

What I would like to talk about over the next few weeks is more than 3 or 4 plots.  Of course “J” would probably insist I was writing about themes.  Sheesh!  We can’t even agree on the terminology…  Then again, that may be a strong reason as to why plot has been so misunderstood and, I feel, poorly taught in so many settings.

Out of deference to my friend, I want to talk about 3 themes, each of which may be divided into several plots.  In every case (where I can) I will also try to show how these plots might be tailored to internal (character focused) stories and external (event or action) stories..  Working, then, from back to front:

The third theme I call plots of the heart (or maybe soul or spirit if you prefer those terms).  This is not to say all other plots are devoid of an emotional component, only…It will be a while before I get there.

The second theme will be journey plots.  There are many ways one pursues a quest, and they only occasionally end in funeral plots. (Sorry.  I had to work that in here somewhere)  ANYWAY…   This will be the second theme: a journey of one kind or another,

The first theme I want to tackle are plots of competition, and I put it first only because our study of Cinderella has already given us a competitive plot:  The Underdog.  Plots of competition really include all of the plots my professional writing friends named.  These are plots where there is an “against,” as in, Man against man (the obvious one), but also against God, against Nature and against the self. 

I also put plots of competition first because they are the ones that invariably (though not always) include a protagonist (good guy) and antagonist (bad guy) and so they are the ones everyone thinks of when they think of the word “plot.”  Every story has to have a protagonist and an antagonist, doesn’t it?  No… But for the most part, plots of competition do.

NOW THE DISCLAIMER:  I should maybe post this each time…  No plot is pure apart from some simple short stories and fairy tales.  Every story, and certainly every novel, movie and play will be complicated by sub-plots of one kind or another.  So when I give an example, I am NOT saying it is the ONLY thing the book is about.  I am only saying, in my opinion, it is the MAIN plot in the story (or if not main plot, I will point that out).  Your opinion may vary.  I repeat:  Your opinion may vary.

NOW THE PREPARATION:  In the course of these posts, I will not (normally) give much of a template.  The idea isn’t to plug your characters, and setting into the slots and produce a story.  It is enough to have examples and hopefully get the idea of how the particular plot works.  How you tailor the plot to your story is what will make your story great!

For next time, be prepared for The Adversaries!

Consider this:  Proofreading is more than just looking for typos.  Sometimes it is the juxtaposition of ideas that makes something unintentionally funny…

I received these in my e-mail in-box.  There is no telling how far around the net they have been, but if you have not seen them, they are worth a look.

Love those Church Ladies.. They’re Back! Those wonderful Church Bulletins!  Thank God for church ladies with typewriters. These sentences (with all the BLOOPERS) actually appeared in church bulletins or were announced in church services—- These are guaranteed to make you LAUGH, OUT LOUD!  

The Fasting & Prayer Conference includes meals.

The sermon this morning: “Jesus Walks on the Water.” The sermon tonight:  “Searching for Jesus.”

Ladies, don’t forget the rummage sale. It’s a chance to get rid of those things not worth keeping around the house. Bring your husbands.

Remember in prayer the many who are sick of our community. Smile at someone who is hard to love. Say “Hell” to someone who doesn’t care much about you.

Don’t let worry kill you off – let the Church help.

Miss Charlene Mason sang “I will not pass this way again,” giving obvious pleasure to the congregation.

Next Thursday there will be tryouts for the choir. They need all the help they can get.

Irving Benson and Jessie Carter were married on October 24 in the church. So ends a friendship that began in their school days.

A bean supper will be held on Tuesday evening in the church hall. Music will follow.

At the evening service tonight, the sermon topic will be “What Is Hell?” Come early and listen to our choir practice

Eight new choir robes are currently needed due to the addition of several new members and to the deterioration of some older ones.

Scouts are saving aluminum cans, bottles and other items to be recycled.  Proceeds will be used to cripple children.

Please place your donation in the envelope along with the deceased person you want remembered.

The church will host an evening of fine dining, super entertainment and gracious hostility.

Potluck supper Sunday at 5:00 PM – prayer and medication to follow 

The ladies of the Church have cast off clothing of every kind. They may be seen in the basement on Friday afternoon.

This evening at 7 PM there will be a hymn singing in the park across from the Church. Bring a blanket and come prepared to sin.

Ladies Bible Study will be held Thursday morning at 10 AM. All ladies are invited to lunch in the Fellowship Hall after the B. S. is done.

The pastor would appreciate it if the ladies of the Congregation would lend him their electric girdles for the pancake breakfast next Sunday.

Low Self Esteem Support Group will meet Thursday at 7 PM. Please use the back door.

The eighth-graders will be presenting Shakespeare’s Hamlet in the Church basement Friday at 7 PM.. The congregation is invited to attend this tragedy.

Weight Watchers will meet at 7 PM at the First Presbyterian Church. Please use large double door at the side entrance.

The Associate Minister unveiled the church’s new campaign slogan last Sunday:  “I Upped My Pledge – Up Yours.”

 (NOTE:  “Poofreading” is from an old cartoon in the New Yorker:  A ragged man, back to the wall, holding out a tin cup and a sign which says “former poofreader”)

How many plots are there, really?  Ask a hundred writers and you may get a hundred answers, but you will find a consistent note in the answers: that the number of plots in this universe is limited and every storyteller since the beginning of history has merely tweaked the same plots over and over.

This question came up recently in a discussion.  One famous author, who shall remain nameless, was definitive in his answer.  He said:  “There are many themes. Hundreds to thousands. But there are only four basic plots. Man against man, man against nature, man against God, and man against himself.”

A second, nameless author came right back.  She said:  “As for basic plots, there are really only three and they were painted on their authors’ cave walls long ago: man against man. man against god [which includes ‘nature’], man against himself.”

Then someone (I’m sorry.  It may have been me) pointed out that Aristotle saw only two plots in the universe:  Internal (character oriented) plots and external (action or event oriented) plots.  Frankly, I like Aristotle better, because it avoids the word “against.”  At the same time, though, I think we can expand on these ideas a little.  Maybe we should call them “plot-themes” though, to avoid the ire of certain authors who shall remain nameless…

What is a plot?

When I began this series of posts, I compared a story to a house.  The setting was the house itself in a settled location and also the props: the furniture and all the little knick-knacks that turn a house into a home.  The characters are, naturally, the people and often the animals who live there and interact: from whence comes the story.  Plot, I said, was like the air.  It fills every room and is the medium through which all action takes place and through which all words must be spoken (since sound does not travel in a vacuum).  Without air, all die; and it has a peculiar virtue in that air is invisible.  So a plot should be invisible, at least until needed.

Plot is needed in two ways:  First, it is needed by the storyteller to keep them on track—to help them tell the story they intend to tell.  Second, it is needed by the storyteller to explain the story when the inevitable question arises:  “What is your story about?”

Cinderella:

Sticking with the story we have butchered in the course of these posts, how would you describe the story of Cinderella?  If you are like my sixteen-year-old son, you will probably start at the beginning and tell the whole thing, taking longer than it would take to watch the Disney movie.  After the third sentence, though, the movie producer would be snoring and probably have you bodily ejected from the building.  I’ve read too many query letters like that.  So that won’t do.

How about setting?  It’s a medieval kind of story full of castles and clocks chiming twelve and shoes…  That really doesn’t tell us anything.  It might spark some interest in a medieval buff or someone with a clock fetish or Imelda Marcos, but even those people will ask for more information.

So maybe character?  It is about a good girl and a wicked step-mother and step-sisters, and a charming prince… Oh, and there’s a fairy in it. Can’t forget the fairy, to which the movie producer is likely to say, “So?”  Again, character alone doesn’t really say anything.  What is the story about?  You want to include character and maybe setting in a query letter for your novel, but the letter needs to be focused on something else.  Plot is what the story is about.  I can describe Cinderella with one word:

Underdog. 

Not even venturing into the written word, mister movie producer, how many successful movies have been built around the underdog theme?  The Bad News Bears, the Mighty Ducks, Rocky…  How about Home Alone, You’ve Got Mail, It’s a Wonderful Life, or maybe Elf???

Not every one of these movies (and the larger list of movies, books, stories and plays that you can probably build) are purely underdog stories, but the gist of the story is there.  In Cinderella’s case, a good little girl is crushed under her stepmother’s thumb, but by her loving nature, and with a little magical help, she is able to overcome her adverse condition and leap-frog over the head of her oppressor into the arms of happiness…  Do you think?