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plotto.txt
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Plotto; a new method of plot suggestion for writers of creative fiction
Digitized by the Internet Archive in 2012
Cleanup by Gary Kacmarcik in 2016
https://archive.org/details/plottonewmethodo00cook
-- page i
-- FORMAT:book_title
PLOTTO
-- FORMAT:book_subtitle
A New Method of Plot Suggestion for Writers of Creative Fiction
-- FORMAT:byline
By William Wallace Cook
Printed in the United States of America
-- page ii
ELLIS PUBLISHING COMPANY
BATTLE CREEK, MICHIGAN
U. S. A.
-- FORMAT:copyright
Copyright 1928
by William Wallace Cook
Copyright (Canada), 1928 by William W. Cook
-- FORMAT_LINES:copyright
All rights reserved including that of
translation into the foreign languages,
including the Scandinavian.
-- HR
-- page iii
-- FORMAT_BEGIN:dedication
The Soul, with its human faculties which put it in
immediate touch with the Universe, is a Divine Instrument,
an Aeolian Harp which is not played upon
by the Winds of Chance but by all the Winds of Destiny
that blow from the four quarters of Human
Nature; and this Music of the Soul is a Divine
Harmony which the Creative Imagination, alone
of the human faculties, interprets in Creative Art.
To this high interpretation, through fictional narrative,
-- FORMAT_END
-- FORMAT:dedication
Plotto is dedicated.
-- HR
-- page 1
-- FORMAT:title
INTRODUCTION
-- FORMAT_BEGIN:bodytext
THE PLOTTO METHOD. Plotto achieves creative art in fiction by a new
Method of plot suggestion. Suggestion is based on Themes (or Masterplots)
and Conflicts.
THEME. Every story has a Theme, or an underlying proposition that indicates its
type. The Theme may be clear-cut and distinct, or shadowy and vague;
it is always in evidence, and differentiates one type of story from all the other
types. Around each Theme any number of distinctly different stories may be
written.
A story may be constructed with, or without, a certain Theme in mind. Rarely
perhaps does a writer begin a story with a set Theme in front of him. He may
develop his plot from a situation, or Conflict; nevertheless, as the plot develops the
Theme develops with it. The writer will feel the Theme and, consciously or unconsciously,
combine his Conflicts to a certain pattern. This pattern, plain in the
finished work, will conform to a Theme. When a story is built around a Theme,
the Theme becomes a Masterplot.
The Plotto Method enables the Plottoist to begin his story with a Masterplot
and marshal his situations or Conflicts in conformity to it; or, it enables him to
begin with a situation or Conflict and consciously to watch the particular Theme
as the plot unfolds.
MASTERPLOTS WITH INTERCHANGEABLE CLAUSES. Each Plotto
Masterplot classifies in general terms and in a single terse sentence a certain type
of story. Each Masterplot consists of three Clauses: An initial Clause defining the
protagonist in general terms, a middle Clause initiating and carrying on the action,
and a final Clause carrying on and terminating the action. Suggestions for exemplifying
the action with concrete situations are offered by the Conflicts.
THE CONFLICTS. Desire, in some one of its many forms, is responsible for
the awakening of Purpose. Something from without, impinging upon something
within, excites a feeling or an emotion, and the soul flows into Purpose, and Purpose
into action. Then, somewhere on the path of rising action. Purpose encounters
Obstacle. At this point, and at this point only, do we establish what writers of
creative fiction call a situation. Purpose alone never made a situation; Obstacle
alone never made one; but strike the flint of Obstacle with the steel of Purpose and
sparks of situation begin to fly.
Plotto, as a Method of plot suggestion for writers of creative fiction, is founded
upon this law: Purpose, expressed or implied, opposing Obstacle, expressed or implied, yields Conflict.
PURPOSES AND OBSTACLES, How many Purposes are there in the world?
Not many, although their variations are infinite. Perhaps, in the last analysis
one General Purpose would comprehend all the Purposes: TO ACHIEVE HAPPINESS. That
is the end and aim of life on this planet. But happiness has a
different meaning for most of us. There is the happiness of love and courtship,
of married life, of achieving wealth or power by all the many methods, good or evil,
that may be contrived by the thinking mind. Religion may be the road to happiness
-- page 2
for some, and revenge the road to a doubtful happiness for others. The virtues or
the faults of a human soul set the pattern of Purpose for that soul.
Plotto concerns itself with but one General Purpose in its application to three
general goals of endeavor:
-- FORMAT_END
-- FORMAT_LINES:bodylist
1. To Achieve Happiness in Love and Courtship.
2. To Achieve Happiness in Married Life.
3. To Achieve Happiness (Success) in Enterprise.
-- FORMAT_BEGIN:bodytext
Yet, while this one General Purpose runs through all the Conflicts, a host of
subordinate Purposes will appear in them, opposed by an infinite number of Obstacles.
There is one Supreme Purpose in every life: TO LIVE; and there is one Supreme Obstacle
each life encounters: DEATH. Complicating the scheme and
giving zest to the plot of life are innumerable subordinate Purposes and Obstacles,
dealing with all the enterprises of which life is capable.
Overshadowed by the Supreme Purpose of LIFE, and the Supreme Obstacle
of DEATH, we wage our mimic wars of conquest and gain; but, at any minute,
the Supreme Purpose may fail, and Death come striding into our finite calculations
and calling a truce. There is also a Paramount Purpose in all the lesser activities
of our existence, opposed by a Paramount Obstacle; and they marshal their secondary
Purposes and Obstacles to keep us “on our toes” and fighting valiantly for
all we have, or hope to have. Blessed be Purpose! And thrice-blessed be Obstacle!
The Conflicts in Plotto are brief statements of Purpose in active opposition with
Obstacle—situations which are to be combined with other situations. For instance:
“A, in love with B, is not favored by F-B, father of B.” Here is the
implied Purpose, “To Achieve Happiness in Love,” meeting an Obstacle bluntly
expressed.
Purpose and Obstacle give concrete exemplification of the Theme in every
form of fictional narrative, whether short story, novelette, or novel.
THE SHORT STORY. Purpose and Obstacle at grips in one dramatic situation will define
the short story, since it is calculated to leave a single dominant
impression upon the reader’s mind. Ordinarily, this form of narrative fiction will be
woven about a plot of the simplest construction. There will be the main situation
as suggested by a chosen Conflict, the Conflict leading up to it and the Conflict
carrying on and terminating the action. These three Conflicts may be reduced to
two, if the main Conflict should in itself possess the qualities of a terminal Conflict.
Conflicts too long, or too involved, for short story purposes will usually be
found to be broken Conflicts. When such a Conflict is selected for the main situation,
it is possible to use only that part of it which contains the most dramatic
appeal.
THE NOVELETTE. This form of narrative fiction may be considered as a
long short story, or as a short novel. If the former, the Conflict suggesting the
situation will be elaborated with dramatic material concerned with the Purpose
and Obstacle. If, on the other hand, the novelette partakes of the character of
a short novel, the Paramount Purpose and Obstacle will involve subordinate Purposes
and Obstacles all cumulative in power and bearing upon the story’s climax
or crisis. Here, as everywhere, the imagination must exercise constructive judgment.
-- page 3
THE NOVEL. The full-fledged novel may be considered as consisting of
several short stories all leading up to, and intimately bound up with, the Paramount
Purpose and Obstacle that give the complete story its unity. Construction here
plays its most discriminating role, for the subordinate situations must grow toward
a single, decisive crisis. The effect must be cumulative. If the main Conflict
shall involve the crisis—and it should—all the subordinate situations dealing with
the Theme will be so selected as to grow naturally in dramatic strength toward the
climax. Here no rules of construction will take the place of taste and discrimination.
The constructive imagination, properly exercised, will deal capably with
the situations, and the creative imagination will work a miracle of dramaturgic
power.
ORIGINALITY. The Conflicts all come from the vast storehouse of Human
Nature. They are there, millions upon millions of them, waiting for the imagination
to select them and group them in an original combination. For there is “nothing
new under the sun.” Originality in creative work comes from our own individual use
of the tools so bountifully provided by the Divine Creator. All that
is possible to a mortal craftsman is the combining of old material into something
new and different.
Originality is the ideal of the Plotto Method; and it is realized by disregarding
the references prefixed and affixed to the Conflicts and (or) interpreting the Specific
as well as the General, Conflicts in terms of the Plottoist’s own experience. Nothing
in the Specific Conflicts will be used literally, but the concrete exemplification
in such Conflicts will serve as a suggestion, lending wings to the creative imagination
for its own high flight.
For original combinations of Conflicts the Classification by Symbols will be
found a treasure-trove of suggestions. If the main Conflict selected is built around
A, or B, alone, the A or B group should be scanned; if around A and B alone, the
A and B group will yield suggestions, or the A or B group may be found to serve;
or, if several characters are involved in the main Conflict, reference may be had to
that particular group of symbols. If a certain group of symbols proves too limited,
drop one of the lesser character symbols and consult the group represented by those
remaining. This course may be followed, in the search for original combinations,
until only the protagonist remains in the situation. Somewhere along the line of
search the imagination is certain to find exactly what it is looking for.
CONFLICT GROUPS AND SUB-GROUPS. The Conflicts in Plotto are
classified in three main groups:
-- FORMAT_END
-- FORMAT_LINES:bodylist
1. Conflicts in Love and Courtship.
2. Conflicts in Married Life.
3. Conflicts in Enterprise.
-- FORMAT_BEGIN:bodytext
The Conflicts in Love and Courtship are re-grouped as follows:
-- FORMAT_END
-- FORMAT_LINES:bodylist
Conflicts in Love’s Beginnings.
Conflicts in Love’s Misadventures.
Conflicts of the Marriage Proposal.
Conflicts in Love’s Rejection.
Conflicts of Marriage.
-- FORMAT_BEGIN:bodytext
All the sub-groups are classified, for convenience of reference, under the middle.
or “B,” Clauses of the Masterplots; and these form the only subdivisions of the
-- page 4
main group, “Married Life.” Conflicts of the third group, “Enterprise,” fall into
the following general classifications:
-- FORMAT_END
-- FORMAT_LINES:bodylist
Conflicts in Misfortune.
Conflicts in Mistaken Judgment.
Conflicts in Helpfulness.
Conflicts in Deliverance.
Conflicts in Idealism.
Conflicts in Obligation.
Conflicts in Necessity.
Conflicts in Chance.
Conflicts in Personal Limitations.
Conflicts in Simulation.
Conflicts in Craftiness.
Conflicts in Transgression.
Conflicts in Revenge.
Conflicts in Mystery.
Conflicts in Revelation.
-- FORMAT_BEGIN:bodytext
Inasmuch as dramatic situations are a product of the emotions, and the emotions,
by reason of their complexity, have defied a hard and fast classification, it
follows naturally that the Conflicts themselves will defy a rigid classification. The
groupings noted above are more or less arbitrary, yet they will be bound to serve.
Some Conflicts in Misfortune might easily fall into the sub-groups, Mistaken Judgment,
Simulation, etc., and Conflicts in other sub-groups might logically be re-classified.
Nevertheless, the classification in each case will exemplify in the Conflict
the particular sub-group in which it has been placed.
MECHANICAL STRUCTURE. There is, of course, a mechanical structure
underlying every properly constructed story. There are some very intelligent
people who believe in the “divine afflatus” as something apart from hard, consistent,
carefully calculated effort. Overlooking the old adage that “Genius is an infinite
capacity for taking pains,” these wise ones will have their back-handed slap at
anything mechanical in its application to Art.
It remains, however, that a good story must have a carefully developed plot for
its framework; and the plot in itself, is purely mechanical. It is the logical devising
of means to an end, a motivating of all the parts into a harmonious whole. A plot
may be simple, or it may be complex, but an interesting story without some sort
of plot is inconceivable. This machinery must not creak or complain as the story
advances. A discriminating imagination must oil it so well with logic and plausibility
that the god in the machine shall not be ruffled by the turning wheels. Plausibility
is attained when fine discrimination, true judgment and a facility with words
so cover the necessary mechanism that it does not intrude at any point upon the
completed work. And therein lies the art of the story teller. Plotto, at least,
holds this to be true; and, as a corollary of the position thus taken, exalts the
imagination as the greatest force in the world.
IMAGINATION. If a story is a skeleton structure of plot, overlaid with a
felicity of thought and phrase that may be called the flesh, then the pulsing heart
of the creation, the one factor that gives it life and beauty, is the imagination. But
this imagination must be rightly controlled.
The demands of fictional narrative would seem to predicate an imagination of
three types: Mediocre, Constructive and Creative. A mind positively brilliant
in its mastery of scientific research, or of the pursuit of trade, might be hopeless in
-- page 5
meeting the demands of fictional narrative. Nevertheless, Plotto believes sincerely
that a desire to write successful fiction is predicated upon the ability to write
successful fiction; and that, given the technical requirements of experience and a
fair education, not often will the mediocre imagination be found hopeless. Intensive
training should develop constructive power; and it is but a step, in the
interpretation of suggestion, from the constructive to the creative. Originality is
the soul of creative art, and originality is nothing more than the interpretation of
suggestion in terms of individual experience.
Each life is the sum of many experiences, and character indicates the reaction
of those experiences upon the soul. In other words, life is a combination of situations,
or Conflicts, with a spiritual signification drawn from the Conflicts themselves.
So a story plot, which holds the mirror up to life, is a combination of Conflicts,
selected to the pattern of a single Theme, or Masterplot. Life, with
its multitude of experiences, is general; the imagination, dealing with a cross-section
of life, makes the story plot particular. And imagination does this through the
interpretation of suggestion.
SUGGESTION. The ideal of the Plotto Method, as stated elsewhere, is the
interpretation of Conflict suggestions in terms of individual experience. Some of
the Conflicts are General. Thus, Conflict No. @{31} reads: “B, rescued from an
accident by A, whom she does not know, falls in love with him.” The nature of
the accident, and the character of B and of A, are circumstances left to the constructive
imagination. In dealing with these circumstances, references to other
Conflicts, prefixed and affixed to this general suggestion, will offer further suggestions
for inventing the circumstances.
Many of the Conflicts are Specific. Thus, to quote Conflict No. @{647}: “B, a
respectable working girl seeking employment, follows the advice of a supposed
friend. A-5, and finds herself in an immoral dance hall where she is compelled to
dance with patrons and serve drinks.” References to other Conflicts will suggest
the cause of B’s necessity for seeking employment, and other references will suggest
a finale for B’s unhappy plight. The constructive imagination might use Conflict
No. @{647} literally, but Plotto would not approve of such literal use. The ideal
method is for the imagination to use the dance hall merely as a suggestion for something
equally pertinent to the situation; in other words, use the concrete example
in interpreting an equivalent for this specific suggestion as to B’s misfortune.
Herein lies the opportunity for originality, and the way to creative work.
DEVELOPING THE PLOT FROM A MASTERPLOT. For purposes of illustration,
we will select a Masterplot from the Masterplot Chart and build up a
short story plot in tabloid form.
-- FORMAT_END
-- FORMAT_LINES:bodylist
A 11 A Person Swayed by Pretense,
B 11 (49) Assuming a fictitious character when embarking upon a certain enterprise,
C 2 Emerges happily from a serious entanglement.
-- FORMAT_BEGIN:bodytext
The B Clause “originates and carries on the action.” Prefixed to this B Clause
in parentheses is the number, (49). On the back of the Masterplot Chart, we find
that No. (49) refers us to a sub-group of Conflicts beginning with Conflict No. @{1173},
this particular B Clause serving as a title for the sub-group:
-- FORMAT_END
-- FORMAT:conflictid
1173
-- FORMAT_LINKS:prelinks indent
(2b, c, d, e, g, h) (1187; 2f)
-- FORMAT_BEGIN:desc indent
A, a pretender, encounters B, who is also a pretender * A and B are pretenders,
-- page 6
yet neither knows the other is not what he or she seems to be **
-- FORMAT_END
-- FORMAT_LINKS:postlinks indent
(773; 772 ch A to B & A-4 to A) (806 ch B-4 to B) (1462)
-- FORMAT_BEGIN:bodytext
The reference numbers prefixed to this Conflict offer lead-up suggestions.
Numbers @{1187} and @{2f} form a complementary suggestion, or a combination of two
Conflicts appropriate to the main situation.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{1187}. A is a poor clerk who, with a limited capital, dons a dress suit and takes
a “fling” in high society.
@{2f *-**}. B, poor and humble but pretending to be wealthy and aristocratic, meets
rich and influential A, and they fall in love.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
Thus we have our two pretenders, neither knowing that the other is not what
he or she seems to be. No. @{2f} has a carry-on suggestion:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{1461a}. B fights a hard battle with her conscience; she finds it a losing battle
and makes an important revelation in order that she may achieve peace of mind.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
A and not B is the protagonist of @{1461a}, but we manipulate the Conflict by
changing A to B. This Conflict has a reference, No. @{358 **-***}:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{358 **-***}. A, in order to win B, is compelled to confess his true rank and station.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
We can now eliminate our main suggestion. Conflict @{1173}, so that our tabloid
plot will read:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{2f *-**}. B, poor and humble but pretending to be wealthy and aristocratic, meets
rich and influential A, and they fall in love.
@{1187}. A is a poor clerk who, with a limited capital, dons a dress suit and takes a
“fling” in high society.
@{1461a}. B fights a hard battle with her conscience; she finds it a losing battle, and
makes an important revelation in order that she may achieve peace of mind.
@{358 **-***}. A, in order to win B, is compelled to confess his true rank and station.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
We have manipulated the combination Conflict by allowing @{2f *-**} to precede
@{1187}; and if we keep the reader in ignorance of the fact that A and B are pretenders
and allow the revelation to come at the end of the story, we shall achieve a double
surprise and find ourselves with the plot of O. Henry’s story, “Transients in Arcadia.”
Yet any number of stories, true to the Masterplot, may be built around
these suggestions.
By changing the first two situations and selecting different Conflicts, the plot
will develop along criminal lines:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{2h}. B, a criminal, assumes an alias and makes use of stolen funds in evading
the law * B, a criminal in disguise, meets A, and they fall in love **
@{1c}. A, a crook, pretends to be an honest man in order to forward his love affair
with B.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
Or, we could make our plot more dramatic by having the second situation read:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{3a}. A is a judge, and B is a fugitive from justice posing as a woman of wealth and
fashion * A, a judge, falls in love with B, a criminal **
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
This might be followed with:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{1292}. B seeks happiness as a reformed transgressor * B, seeking happiness as a
reformed transgressor, has her old transgression discovered **
@{727}. A, a judge presiding at a murder trial, finds himself unexpectedly confronted
with a circumstance that makes his work a torture to his soul.
-- FORMAT_END
-- page 7
-- FORMAT_BEGIN:bodytext
These changes in the plot would make necessary a change in the C clause of
the Masterplot:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
C (1). Pays a grim penalty in an unfortunate undertaking.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
CONFLICT MANIPULATIONS. Characters in the Plotto Conflicts are
represented by symbols (see “The Plotto Character Symbols,” page 17). These
symbols may be readily changed or transposed, as an aid in manipulating the Conflict
suggestions. Thus, “@{261 ch A-3 to A},” indicates that A-3 in the Conflict is
to be changed to A; and, “@{578b tr B & B-3},” indicates a transposition in which
B-3 takes the place of B and B of B-3.
The character symbols are changed, or transposed, in the auxiliary Conflicts
to agree with the character symbols of the Conflict whose ramifications are being
studied.
In many instances the Conflicts are “broken”—that is, divided into two or
more parts. The end of the first part is marked with a star (*), of the second part,
with a double star (**), of the third part with a triple star (***), etc. Thus, “-*”
indicates that the Conflict is to be used up to the first star; “*-**” indicates that
the first part of the Conflict is not to be used, but only that part between the first
star and the double star; “-**” indicates that all of the Conflict is to be used up
to the double star, etc.
DEVELOPING THE PLOT FROM A SELECTED SITUATION. The
most practical way to illustrate the Plotto Method of developing a plot from a
single situation, or Conflict, will be to select a Conflict and follow the Method
through, step by step. For this purpose, the first Conflict, @{1a}, may be used:
-- FORMAT_END
-- FORMAT:conflictid
1
-- FORMAT_LINKS:prelinks indent
(a) (112) (117) (148) (656)
-- FORMAT_BEGIN:desc indent
A, poor, is in love with wealthy and aristocratic B * A, poor, in love with wealthy
B, pretends to be a man of wealth **
-- FORMAT_END
-- FORMAT_LINKS:postlinks indent
(209) (187)
-- FORMAT_BEGIN:bodytext
The simplest combination will consist of three Conflicts—the Conflict selected
as the working basis for the plot, the one Conflict leading up to it, and the third
Conflict terminating the action, both auxiliary Conflicts taken from the references
prefixed and affixed to the main, or basic, situation. For example, as a lead-up
Conflict No. @{112} may be used, followed by @{1a}, and this in turn followed by No. @{209}.
It develops, however, that the second part of the broken Conflict, @{1a}, may be
eliminated; and that, with this elimination, @{1a -*} may logically precede Conflict @{112},
giving the three-Conflict plot as follows:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{1a -*}. A, POOR, IS IN LOVE WITH WEALTHY AND ARISTOCRATIC B.
@{112}. A loves B; and B’s father, F-B, promises him B’s hand in marriage if he will
successfully carry out an enterprise of great difficulty and danger.
@{209}. A carries out successfully a very difficult enterprise when promised the hand
of B in marriage by F-B, father of B * A, discovering secretly that B loves a rival,
A-3, refuses to hold B to a promise of marriage made by her father, F-B **
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
Nobility of character on the part of A is suggested by this heroic renunciation.
The character of B, of F-B and of A-3, as well as the “enterprise of great difficulty
and danger,” may be left to the creative imagination.
Again using Conflict @{1a} for our main suggestion, we might begin with Conflict
@{656} for a lead-up:
-- FORMAT_END
-- page 8
-- FORMAT:conflictid
656
-- FORMAT_LINKS:prelinks indent
(751) (961) (1000) (1079)
-- FORMAT_BEGIN:desc indent
A’s ancestral acres have been heavily mortgaged and he is about to lose the
property * A, by hook or crook, seeks to save his mortgaged paternal acres
from foreclosure **
-- FORMAT_END
-- FORMAT_LINKS:postlinks indent
(500) (860) (874) (1029)
-- FORMAT_BEGIN:bodytext
Reaching backward into the causes of A’s unfortunate condition, we will select
lead-up suggestion No. @{1079}. Many other Conflicts in Personal Limitations,
Misfortune, or, some of the other groups would serve us equally well, or better;
but we will content ourselves with
-- FORMAT_END
-- FORMAT:conflictid
1079
-- FORMAT_LINKS:prelinks indent
(127a) (656)
-- FORMAT_BEGIN:desc indent
A’s character weakness is betting; and he seems unable to conquer the failing
although he invariably suffers loss
-- FORMAT_END
-- FORMAT_LINKS:postlinks indent
(367a) (524a) (902)
-- FORMAT_BEGIN:bodytext
Here we have a suggestion as to the character weakness which caused A to
squander his fortune and mortgage his ancestral estates. We shall assume now
that none of the references prefixed or affixed to @{1079} appeals to our imagination,
so we shall proceed on our own initiative—a course which Plotto earnestly recommends
to the Plottoist in the working out of every plot. A further study of Personal Limitations suggests
-- FORMAT_END
-- FORMAT:conflictid
1075
-- FORMAT_LINKS:prelinks indent
(a) (850b) (902)
-- FORMAT_BEGIN:desc indent
A, struggling hopelessly against a character weakness, forms a platonic friendship
for B
-- FORMAT_END
-- FORMAT_LINKS:postlinks indent
(838 ch A to B & A-2 to A) (850a, b) (364d) (1075b)
-- FORMAT_BEGIN:bodytext
Thus we have A, struggling hopelessly against a character weakness that has
wrecked him financially, forming a platonic friendship for B. If we consider it
expedient to bring about a dramatic first meeting of A with B, the Conflicts are
brimming with such suggestions. But we will not go into that in this skeleton
plot, our object being to simplify the references as much as possible. Conflict
@{1075b}, a reference appended to @{1075a}, offers this suggestion as to B’s influence
-- HER obj
over A: “A’s admiration for his friend B, and his desire to please her, inspires him
to bring out the best in his nature.” Also appended to @{1075a} is a reference to
Conflict @{364d}, which seems quite apropos at this point:
-- FORMAT_END
-- FORMAT:conflictid
364
-- FORMAT_LINKS:prelinks indent
(d) (850a, b) (1075a, b)
-- FORMAT_BEGIN:desc indent
A, with the help of B, overcomes an ignoble weakness * A’s gratitude to B blossoms
into love; and, when A is sure he has rehabilitated his character, he proposes
marriage to B and is accepted **
-- FORMAT_END
-- FORMAT_LINKS:postlinks indent
(826) (828)
-- FORMAT_BEGIN:bodytext
This Conflict may be called a terminal Conflict, in the sense that it brings our
love story plot to marriage, the finale of most such plots. But we are not ready,
as yet, to close the action, inasmuch as we are merely leading up to the main situation,
@{1a}; so we shall use only the first part of this broken Conflict: “A, with the
help of B, overcomes an ignoble weakness.”
At last we have the female protagonist, B, firmly fixed in the plot, and we need
not go back further into the lead-ups.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{1079}. A’s character weakness is betting, and he seems unable to conquer the
failing although he invariably suffers loss.
@{656}. A’s ancestral estates have been heavily mortgaged and he is about to lose
the property * A, by hook or crook, seeks to save his paternal acres from foreclosure **
-- page 9
@{1075a}. A, struggling hopelessly against a character weakness, forms a platonic
friendship for B.
-- HER obj
@{1075b}. A’s admiration for his friend B, and his desire to please her, inspires him
to bring out the best in his nature.
@{364d -*}. A, with the help of B, overcomes an ignoble weakness.
@{1a}. A, POOR, IS IN LOVE WITH WEALTHY AND ARISTOCRATIC B * A,
POOR, IN LOVE WITH WEALTHY B, PRETENDS TO BE A MAN OF
WEALTH **
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
From this, it is manifest that A’s platonic association with B has gone the way
of most platonic associations (see Conflicts @{9a, b, c}). and his gratitude has blossomed
into love. A, by inference, is so deeply in love with B that the best in his
nature is, for the time, eclipsed by his desire to win B. He resorts to simulation
in forwarding his suit—thinking less of saving his ancestral acres by a wealthy
marriage than he is of his own future happiness. Conflict @{1a} has a reference to
Conflict @{187} for carrying on the action:
-- FORMAT_END
-- FORMAT:conflictid
187
-- FORMAT_LINKS:prelinks indent
(145) (956 -*) (1105) (1119)
-- FORMAT_BEGIN:desc indent
A, in love with B and wishing to propose marriage, finds it impossible because B
-- HER obj
is so busy he can never find her alone. He seeks to make an opportunity by stratagem.
-- FORMAT_END
-- FORMAT_LINKS:postlinks indent
(163; 91) (352a)
-- FORMAT_BEGIN:bodytext
We will discard this suggestion, for the reason that it will plunge A deeper into
the questionable methods into which his ardor has already lured him. He is pretending
to be a man of wealth when he is almost a bankrupt; but he has overcome
-- HUSBAND verb
his passion for gambling, thanks to B’s influence, and he is ready to husband his
remaining resources and save what he can from the wreck of his material fortunes.
A carry-on suggestion appended to Conflict @{187} is a two-Conflict combination,
@{163; 91}:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{163}. B learns that her lover, A, has fallen into desperate misfortunes.
@{91}. B, in love with A. seeks to save A from disaster.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
We are now approaching the climax of the action. A’s pretensions to wealth,
B secretly discovers, are a hollow mockery. She learns that he is faced with disaster;
and the Conflicts, if desired, will offer suggestions as to just how she discovers
this secret. B is in love with A and ready to overlook his shortcomings, so she
hastens to his rescue. We will depart, at this point, from the references and show
B, on her own part, indulging in a bit of simulation. Turning to the sub-group.
Simulation, we select Conflict,
-- FORMAT_END
-- FORMAT:conflictid
1155
-- FORMAT_BEGIN:desc indent
B, the friend of A, learns that A is desperately involved in debt * B, unknown to A.
settles with A’s creditors and frees him from debt **
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
This happy turn of affairs, naturally, cannot long remain unknown to A. If he
has pride, let him pocket it; or let his pride be humbled by B’s proof of her great
love for him. If this course cannot be made to serve, the Conflicts will offer many
suggestions for estrangement and reconciliation; but, in our plot, we will not have
A a cad. Of the thousands of changes possible in such a series of actions as we are
studying, we could eliminate the Conflicts from @{163}, inclusive, onward and place
A in a better light by using this suggestion from Revelation:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{1451a}. A fights a hard battle with his conscience; he finds it a losing battle, and
makes an important revelation in order that he may achieve peace of mind.
-- FORMAT_END
-- page 10
-- FORMAT_BEGIN:bodytext
But we will not make the change. We will proceed to close the action with
Conflict @{364d *-**}: “A’s gratitude to B blossoms into love; and when A is sure he
has rehabilitated his character, he proposes to B and is accepted.”
The nature of the Conflicts, and their pliability, often calls for useless repetition.
The statement in @{364d} that “A’s gratitude to B has blossomed into love,” is redundant.
That fact has been known for some time, and has formed the basis for much
of the action; and we simply ignore it here.
The latter part of this love story plot would stand as follows:
-- FORMAT_END
-- FORMAT_BEGIN:bodytext indent
@{1a}. A, POOR, IN LOVE WITH WEALTHY AND ARISTOCRATIC B, PRETENDS TO BE A MAN OF WEALTH.
@{163}. B learns that her lover, A, has fallen into desperate misfortunes.
@{91}. B, in love with A, seeks to save A from disaster.
@{1155}. B, in love with A, learns that A is desperately involved in debt * B
unknown to A, settles with A’s creditors and frees him from debt **
@{364d *-**}. A’s gratitude to B blossoms into love; and when A is sure he has
rehabilitated his character, he proposes to B and is accepted.
-- FORMAT_END
-- FORMAT_BEGIN:bodytext
In the Classification by Character Symbols, all terminal Conflicts are marked
by the parentheses number of the C Clauses. For instance, @{364d} exemplifies C
Clause (9), “Achieves success and happiness in a hard undertaking.” This Conflict,
@{364d}, will be found, marked “9”, under the A and B symbols of Conflicts in
Marriage in the Classification by Symbols. An elusive terminal situation may be
run down by consulting this Classification.
-- FORMAT_END
-- HR
-- FORMAT_BEGIN:bodytext
INDIVIDUALIZING PLOTTO. It is possible for the Plottoist to individualize his Plotto
by adding material of his own. Every writer has newspaper
clippings or other memoranda filed away for possible use. Let all this be catalogued
in a loose-leaf book under the Conflict numbers to which each bit of material applies,
and a notation to that effect penciled opposite the Conflicts thus amplified. This
will broaden the usefulness of Plotto, often with concrete exemplifications of the
Conflicts from real life.
-- FORMAT_END
-- page 11
-- HR
Copyright, 1927, by William Wallace Cook
Patent applied for.
-- FORMAT:book_title
Plotto Chart
-- FORMAT:book_subtitle
Masterplots with Interchangeable Clauses
-- FORMAT:title
NOTE
-- FORMAT_BEGIN:bodytext
A Plotto Masterplot consists of three clauses: An “A” Clause,
a “B” Clause and a “C” Clause.
-- FORMAT_END
-- FORMAT_LINES:bodylist
The A Clause is the Protagonist Clause.
The B Clause originates and carries on the action.
The C Clause carries on and terminates the action.
-- FORMAT_BEGIN:bodytext
Any A Clause may be used in conjunction with any B Clause
and with any C Clause. For the purpose of bringing all the B
Clauses in juxtaposition with all the A and C Clauses, it is merely
necessary to turn the narrow page.
Suggestions for evolving a plot to the pattern of the Masterplot
selected will be found in the Plotto Conflicts. The Conflicts are
listed in sub-groups; and each sub-group is listed under the full
text of the B Clause which the sub-group exemplifies.
On the page immediately following the Masterplot pages will
be found an index of the respective Conflict sub-groups under the
parentheses number of the B Clause.
The C, or Terminal, Clauses are also numbered in parentheses;
and Conflicts suggesting these terminations will be found opposite
the C Clause numbers in the Classification by Symbols.
-- FORMAT_END
-- page 12-15
-- FORMAT:subtitle
-- ID:a-clauses
“A” Clauses
-- FORMAT_LINES:bodylist
1. A Person in Love,
2. A Married Person,
3. A Lawless Person,
4. An Erring Person,
5. A Benevolent Person,
6. A Protecting Person,
7. A Person of Ideals,
8. A Person Influenced by an Obligation,
9. A Person Subjected to Adverse Conditions,
10. A Resentful Person,
11. A Person Swayed by Pretense,
12. A Subtle Person,
13. A Person Influenced by the Occult and the Mysterious,
14. A Normal Person,
15. Any Person,
-- FORMAT:subtitle
-- ID:b-clauses
“B” Clauses
-- FORMAT_LINES:bodylist
(1) Engaging in a difficult enterprise when promised a reward for high achievement,
(2) Falling in love at a time when certain obligations forbid love,
(3) Seeking to demonstrate the power of love by a test of courage.
(4) Being impelled by inordinate fancy to exercise mistaken judgment in a love affair
(5) Becoming involved in a hopeless love affair, and seeking to make the best of a disheartening situation,
(6) Challenging, in a quest of love, the relentless truth that “East is East, and West is West, and never the twain shall meet,”
(7) Becoming involved in a love affair that encounters unforeseen obstacles,
(8) Confronting a situation in which wealth is made conditional upon a certain course of action in a love affair,
(9) Being put to a test in which love will be lost if more material fortunes are advanced,
(10) Suffering an estrangement due to mistaken judgment,
(11) Confronting a situation in which courage and devotion alone can save the fortunes of one beloved,
(12) Falling into misfortune through disloyalty in love,
(13) Seeking by craftiness to escape misfortune,
(14) Falling into misfortune through the wiles of a crafty schemer,
(15) Finding a sustaining power in misfortune,
(16) Being delivered from misfortune by one who, in confidence, confesses a secret of transgression,
(17) Bearing patiently with misfortunes and seeking to attain cherished aims honorably,
(18) Rebelling against a power that controls personal abilities and holds them in subjection.
(19) Meeting with misfortune and being cast away in a primitive, isolated and savage environment,
(20) Becoming involved with conditions in which misfortune is indicated,
(21) Falling into misfortune through mistaken judgment,
(22) Following a wrong course through mistaken judgment,
(23) Becoming involved in a complication that has to do with mistaken judgment and suspicion,
(24) Becoming the victim of mistaken judgment in carrying out an enterprise,
(25) Seeking to save a person who is accused of transgression,
(26) Seeking secretly to preserve another from danger,
(27) Refusing to betray another’s secret and calmly facing persecution because of the refusal,
(28) Facing a situation in which the misfortunes of one greatly esteemed call for courage and sagacious enterprise,
(29) Aiding another to hide from the world a fateful secret,
(30) Enlisting whole-heartedly in the service of a needy unfortunate and conferring aid of the utmost value,
(31) Living a lonely, cheerless life and seeking companionship
(32) Seeking to conceal identity because of a lofty idealism,
(33) Resisting secretly and from an honorable motive a mandate considered discreditable,
(34) Embarking upon an enterprise of insurrection in the hope of ameliorating certain evil conditions,
(35) Becoming involved in a complication that challenges the value of cherished ideals,
(36) Undergoing an experience that results in a remarkable character change,
(37) Seeking against difficulties to realize a cherished ideal.
(38) Committing a grievous mistake and seeking in secret to live down its evil results,
(39) Forsaking cherished ambitions to carry out an obligation,
(40) Embarking upon an enterprise in which one obligation is opposed by another obligation.
(41) Finding an obligation at variance with ambition, inclination or necessity,
(42) Falling into misfortune while seeking honorably to discharge an obligation,
(43) Seeking to overcome personal limitations in carrying out an enterprise,
(44) Seeking by unusual methods to conquer personal limitations.
(45) Seeking to forward an enterprise and encountering family sentiment as an obstacle.
(46) Seeking retaliation for a grievous wrong that is either real or fancied,
(47) Finding (apparently) an object greatly coveted, and obtaining (apparently) the object,
(48) Assuming the character of a criminal in a perfectly honest enterprise.
(49) Assuming a fictitious character when embarking upon a certain enterprise,
(50) Being impelled by an unusual motive to engage in crafty enterprise,
(51) Devising a clever and plausible delusion in order to forward certain ambitious plans,
(52) Encountering a would-be transgressor and seeking to prevent a transgression,
(53) Opposing the plans of a crafty schemer,
(54) Becoming involved in a puzzling complication that has to do with an object possessing mysterious powers,
(55) Becoming involved in a mysterious complication and seeking to make the utmost of a bizarre experience,
(56) Seeking to test the value of a mysterious communication and becoming involved in weird complexities,
(57) Seeking to unravel a puzzling complication,
(58) Engaging in an enterprise and then mysteriously disappearing,
(59) Engaging in an mysterious enterprise and becoming involved with the occult and the fantastic.
(60) Becoming involved, through curiosity aroused by mystery, in a strange enterprise.
(61) Becoming aware of an important secret that calls for decisive action,
(62) Becoming involved in any sort of complication,
-- FORMAT:subtitle
-- ID:c-clauses
“C” Clauses
-- FORMAT_LINES:bodylist
(1) Pays a grim penalty in an unfortunate undertaking,
(2) Emerges happily from a serious entanglement.
(3) Foils a guilty plotter and defeats a subtle plot.
(4) Undertakes a role that leads straight to catastrophe.
(5) Emerges from a trying ordeal with sorely garnered wisdom.
(6) Makes the supreme sacrifice in carrying out an undertaking.
(7) Reverses certain opinions when their fallacy is revealed.
(8) Achieves a spiritual victory
(9) Achieves success and happiness in a hard undertaking.
(10) Meets with an experience whereby an error is corrected
(11) Discovers the folly of trying to appear otherwise than as one is in reality.
(12) Rescues integrity from a serious entanglement.
(13) Comes finally to the blank wall of enigma.
(14) Achieves a complete and permanent character transformation
(15) Meets any fate, good or evil.
-- HR
-- page 16
-- FORMAT:subtitle
-- ID:index-b-clause-conflicts
Index of Conflicts Grouped Under the “B” Clauses
-- FORMAT_LINES:bodylist
(1) Love and Courtship @{110}
(2) Love and Courtship @{16}, @{119}, @{271}
(3) Love and Courtship @{175}
(4) Love and Courtship @{148}
(5) Love and Courtship @{168}, @{313}
(6) Love and Courtship @{331}
(7) Love and Courtship @{333}
(8) Love and Courtship @{117}
(9) Love and Courtship @{116}
(10) Love and Courtship @{105}; Married Life @{369}, @{386}, @{391}, @{399}, @{418}
(11) Love and Courtship @{179}; Married Life @{545}; Revelation @{1462}
(12) Love and Courtship @{337}; Married Life @{547}
(13) Love and Courtship @{96}, @{244}; Married Life @{457}; Misfortune @{650}; Craftiness @{1247}; Mystery @{1373}
(14) Married Life @{471}; Craftiness @{1260}; Misfortune @{660}
(15) Love and Courtship @{12}, @{106}, @{265}, @{360}; Married Life @{496}; Helpfulness @{815}; Deliverance @{874}; Chance @{1051}
(16) Helpfulness @{831}
(17) Idealism @{934}
(18) Misfortune @{674}
(19) Misfortune @{685}
(20) Love and Courtship @{24}, @{153}, @{196}, @{280}, @{365}; Married Life @{571}; Idealism @{956}; Necessity @{1026}; Chance @{1036}; Personal Limitations @{1122}; Transgression @{1295}; Misfortune @{695}; Mistaken Judgment @{793}; Deliverance @{887}; Obligation @{997}; Craftiness @{1285}; Mystery @{1438}; Revelation @{1460}
(21) Love and Courtship @{40}, @{182}, @{205}, @{342}; Married Life @{369}; Misfortune @{595}; Mistaken Judgment @{747}; Helpfulness @{804}; Deliverance @{851}; Idealism @{897}; Obligation @{979}; Necessity @{1023}; Chance @{1034}; Personal Limitations @{1057}; Transgression @{1290}; Revenge @{1310}; Mystery @{1330}
(22) Love and Courtship @{255}; Married Life @{484}; Mistaken Judgment @{768}
(23) Love and Courtship @{21}, @{177}, @{328}, @{365}; Married Life @{538}; Mistaken Judgment @{786}
(24) Mistaken Judgment @{794}
(25) Love and Courtship @{122}; Helpfulness @{820}; Deliverance @{894}
(26) Married Life @{558}; Helpfulness @{825}; Misfortune @{671}
(27) Helpfulness @{824}
(28) Love and Courtship @{125}; Helpfulness @{836}
(29) Love and Courtship @{147}; Married Life @{537}; Misfortune @{667}; Personal Limitations @{1070}; Simulation @{1160}
(30) Helpfulness @{845}
(31) Idealism @{910}
(32) Idealism @{917}
(33) Idealism @{958}
(34) Idealism @{949}
(35) Love and Courtship @{292}; Idealism @{922}
(36) Love and Courtship @{152}; Misfortune @{680}; Idealism @{963}
(37) Married Life @{563}; Idealism @{965}; Personal Limitations @{1107}
(38) Obligation @{987}
(39) Love and Courtship @{123}, @{282}; Married Life @{508}; Obligation @{989}
(40) Love and Courtship @{287}; Married Life @{517}; Obligation @{1011}
(41) Love and Courtship @{19}, @{127}, @{294}; Married Life @{521}; Obligation @{1000}
(42) Obligation @{1018}
(43) Helpfulness @{835}; Personal Limitations @{1071}
(44) Love and Courtship @{191}; Personal Limitations @{1101}
(45) Personal Limitations @{1138}
(46) Married Life @{567}; Revenge @{1312}
(47) Simulation @{1165}
(48) Simulation @{1167}
(49) Simulation @{1173}
(50) Love and Courtship @{1}, @{66}, @{185}, @{230}, @{347}; Married Life @{419}; Helpfulness @{813}; Deliverance @{863}; Idealism @{932}: Simulation @{1141}; Craftiness @{1209}; Mystery @{1365}
(51) Craftiness @{1277}