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20 Master Plots: And How to Build Them Paperback – January 12, 2012
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- Print length287 pages
- LanguageEnglish
- PublisherPenguin Publishing Group
- Publication dateJanuary 12, 2012
- Dimensions5.5 x 0.72 x 8.44 inches
- ISBN-101599635372
- ISBN-13978-1599635378
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- Publisher : Penguin Publishing Group; Third edition (January 12, 2012)
- Language : English
- Paperback : 287 pages
- ISBN-10 : 1599635372
- ISBN-13 : 978-1599635378
- Item Weight : 12 ounces
- Dimensions : 5.5 x 0.72 x 8.44 inches
- Best Sellers Rank: #113,002 in Books (See Top 100 in Books)
- #124 in Authorship Reference
- #248 in Writing Skill Reference (Books)
- #458 in Fiction Writing Reference (Books)
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This entire volume suffered from a lack of editing. I don't mean grammar or nit-picky stuff. I mean, it was disjointed. Sometimes he switched gears without titling a new header, there were often no transition sentences between paragraphs to make things read smoothly, and he included things that made the reader wonder where that came from or why it was in that place (particularly in the six chapters preceding those covering master plots).
Not that I mind it since he is a screen writer, but he frames his discussion of the three-act structure primarily around examples from screen, giving marginal attention to either classic or contemporary literature. What I did mind is that he showed his screen bias so obviously (more than once). He prefers plot-driven commercial plots rather than character-driven literary plots. He said they don't require as much thinking and that he doesn't like to feel "lectured" by moral characters in literary stories. He also dares to speak for most of America with this particular opinion, citing market trends. I completely disagree with him. Readers are actually trending toward stories with deep individual characters and their individual situations more than generic action plots "on autopilot" that you could plug any stock character into.
I liked a few points he made though. He likened the writer to being a referee for her characters, demanding a certain level of fairness to all of them. He said showing clear bias [toward your protagonist] without meaningful opposition is propaganda. He's right. A good writer should be able to argue both sides convincingly, even if the winner is already decided in the author's mind. Perhaps Tobias should create opposition to his own plot biases by highlighting the role of character more in each of these plots. It barely got a nod toward the end of each chapter.
Edited April 10, 2016: I have changed my rating of this book from 3 stars to 4. Time and work have proven this to be an excellent brainstorming reference. My initial frustration stemmed from being stuck in the middle of a project that needed in-depth, emergency help to salvage the mess I had made of it. While I still don't think this is an adequate how-to, and it IS repetitive with a screen bias, it's a good launching pad for ideas. I was well past the launching pad stage when I needed help, so this book, at that time, wasn't helpful. It has been helpful at the beginning stages, though. Browsing this volume again, I remembered the critical review I wrote years ago and felt hypocritical not amending it given the number of times it has been used.
Being selective for most of my reading life and favoring the classics or what is termed literary fiction, I suspect I am well into appreciating the craft required. However, what has troubled me about most guides to fiction writing is the continued emphasis on conflict in plot structure. Most conflicts bewilder me into wondering why I should care about the characters. Tobias makes clear that action plots drive most popular fiction today; the rest are character-driven plots. He uses as an alternative expression to conflict the prospects from tension in the story. This may be a subtly semantic difference, but it promises greater complexity and subtlety in story-telling than the out and out razzle-dazzle of action plots.
Tobias hits the mark when he says, quoting Picasso, that the creator must first know the rules before setting out to break them. Okay, let's start with action and character examples of the most common plot usages. This he does with pinpointed relevance and incisive clarity. Also practically useful are the lists of check questions along the way. In short, did you learn the lesson?
I've read enough novels over my lifetime to learn that in the few hundred years of novel development, authors have exercised a great deal of experiment not only in plot, but in style. What appeals to me as a reader spending his limited time on a novel is the author whose delivery shows a pertinent sentiment that no other writer reveals. Plot unravels the life of the protagonist or characters; and characters can propel the plot. Tobias shows why and how.
At the end of the week, I answered "A Final Checklist" of all twelve questions that shows my grasp of the story on which I am presently centered - two pages of responses. No other writing guide has given me the challenge and confidence to go forward as this one has.
Thank you, Mr. Tobias.
With plot number 8, Rivalries, I find his definition falls apart. He should have called it Obstructionists.
His definition is a strict dictionary definition but doesn't exactly fit the great plots which contain rivalries.
"Whenever two people compete for a common goal, you have a rivalry."
"A rival is a person who competes for the same object or goal of another."
These definitions work for love triangles, sports, and wars, but there are so many other types of stories where the rivals have distinct goals.
The focus is not on similar goals but on the person who is obstructing another's goal. I'm trying to think of other ways to describe it. A struggle occurs when one person perceives another person is in the way. It is not the goal but rather the personified blockage to any goal which defines the story. This conflict is often, but not always, amplified when both see the other as an obstruction.
Characters in Amadeus and The Duelist are good examples of "rivals" (obstructionists) with differing goals. Even in his primary example of Ben Hur I think the protagonist and antagonist's goals are different.
Still I give him kudos for helping have a deeper understanding of a particular plot. I just wish that chapter was better thought out and written. Hopefully, he will revise because I think we need more writing books that are par with Swain's.
These twenty plots are the bread and butter of storytelling in Western Civilization. Studying each, to the point of memorization will repay you enormously. Watching a movie or reading a novel, you'll come to see, quickly, which plot paradigm the author is using. However, being able to see the wheels turning absolutely won't ruin a story for you. There's nothing mechanical about using these templates -- no, no! The templates are there, whether you can see them or not. I think the empowerment that comes from an awareness of the story's plot paradigm can only free you to create a better novel or movie or play. Ronald Tobias is a master - learn from him. Get this book -- or maybe get two!
One could take issue with the categories, and which stories fit in exactly which category, but that's all beside the point. The point is that Mr. Tobias illustrates a number of different types of plot, and cites examples of each, and if one disagrees, well, it hardly detracts from Tobias's point, at all. The reader is clearly entitled to their own opinion.
It seems a very practical how-to book for writers. If the story you're writing fits into one of his categories, see to it hat you hit the check boxes on his lists for each type, and you'll have a recognizable plot, that is, a plot your readers will recognize. That's worth something.
"20 Master Plots" is a must-read guideline for not only the most compelling plot structures but also for other advice that will help refine the writer's craft. I have ordered several extra copies of this book to give to other aspiring writers. I believe that when you review your favorite movies in light of this book's content, you'll have an "ah ha!" moment.
The truth is, your story may be applicable to a few plots; that's the genius of it. It allows you to see some really cool ways if telling it. There's always more than one. You may even find a few plots in there that you would have never thought of using but, after reading its dedicated chapter, find yourself curious enough to explore......
Chase your intuition. As a said before, it's a good supplement, certainly worth it's price.








