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Keys
to story writing (pt 2)
Natasha Thomas-Francis, Contributor
Hello,
class! Last week we began our discussion
on story writing. We looked at examples
of character and setting descriptions.
I hope that you reread those descriptions
and took note of how the writers brought
those descriptions to life. Of course,
in a story, you cannot merely describe
characters and setting without putting
them in the context of a plot. So,
this week, we shall take a journey
into story land by focusing on plot
development.
In
addition to characterisation and setting,
narrative plot is a very important
element of story writing. The plot
is a series of incidents or the design
of a story. A story may be written
in chronological order. However, some
skilful writers employ the flashback
technique (this we will discuss in
another lesson). Most plots contain
the following key aspects:
The
beginning or introduction which includes
the scene or setting and the introduction
of characters.
This
starts the plot moving. It introduces
the conflict.
This
is a moment of difficulty or danger
which the main character experiences.
There may be more than one in a story.
However, in a short story, there should
not be too many.
The
point at which the story reaches its
highest point of interest, or the
moment of highest tension for the
reader.
The
point at which the events (conflict)
is resolved. The outcome might be
either happy or disappointing.
This
is the basic framework/structure of
any story. It is important that your
story contains all of these elements
if you wish to receive a good mark
in the examination. One weakness highlighted
in the 2008 English A CXC report was
that weak students tended to write
a report of events rather than a story.
Therefore, you must pay keen attention
to plot structure when writing your
own stories.
I
want you to read part one of a short
story titled 'Journey by Night'.
I consider it to be a very good example
of plot development. Can you identify
the exposition and initiating event?
He
stood alone, leaning against a post,
and shifting his weight from one foot
to the other. It was late, and the
taxi-stand was empty. The street was
silent. He looked up and down, hoping
that some vehicle would come in sight,
for he wanted to get home. But none
came.
The
silence began to pall. He started
to whistle, but there was no mirth
in it, and soon he stopped. Midnight,
ten miles away from home! What was
he to do? To begin to walk that distance
was out of the question.
A
dark cloud passed across the sky,
hiding the few pale stars that had
been there. The noise of a falling
dust-bin reached his ear. Some dog
must have been scattering its contents.
Instinctively, his hand felt for his
wallet. Yes, it was still there. If
only he had a stick! But he had nothing
with which he might protect himself.
He began to walk up and down, up and
down. What was that in the distance?
At last two headlights were drawing
near. He stepped into the middle of
the street and held up his hand, and
the car stopped.
"Taxi?"
he asked. "Valencia?"
"Get
in," said the driver, opening
the door.
He
sat beside the driver, glad to be
on his way home at last. He had felt
so lonely while he had been waiting.
If only someone would say something!
In the semi-darkness of the car he
turned to look at the other passengers,
but no one else was there.
The
driver said nothing to him as the
car sped along. Suppose ...
I'm
sure you were able to identify the
characters and setting in the introduction
(exposition) of this story. The main
character is a man who is stranded
and wishes to get a ride so he can
go home (to Valencia). The other character
in the story is a somewhat mysterious
taxi driver. The setting is a dark,
empty taxi stand. It is midnight,
and the main character is rather fearful.
Does the writer do a good job in depicting
a terrifying mood?
The
initiating event is that the main
character, this man, is alone on a
dark street and is having difficulty
getting home. When the taxi driver
approaches, the man is relieved. However,
this relief is short-lived as the
man now finds himself in a taxi, alone
with the driver, and thus, becomes
fearful again. This is a crisis point
in the story. The crisis is indicated
by the ellipsis (...) The ellipsis
suggests that the man does not trust
the taxi driver and thus, he is thinking
of the worst.
Like
with any good suspense though, you
will have to 'tune in' next week to
read part two. In part two, you will
find the climax, as well as the resolution.
So, see you next week.
Have
a blessed and productive week!
Natasha
Thomas-Francis teaches at Glenmuir
High School. Send questions and comments
to kerry-ann.hepburn@gleanerjm.com
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