By Fred Fernando
The underlying structure of a story or plot is not one that is immediately visible to an audience. But it exists, however unseen, like the foundation of a building; the fabric of the film’s reality. Most of the films we watch adhere to some sort of story or narrative structure.
Last week, we somewhat hinted at narrative structures serving as a pathway for a character to navigate obstacles and achieve their goals. And that’s essentially its purpose. Now we’re not going to make this a lesson in film theory, but what is narrative structure? Why do writers employ a “structure” for storytelling?
Narratives are everywhere
Narratives are essentially the stories we tell. It is the unique manner in which a story is woven so that an audience can consume and enjoy it. In film, the story is presented via visual and auditory means. But like in any other narrative, cause and effect are two key components that decide the course of events. One thing happens due to another event that precedes it. And the various frameworks utilised to order such events and present them are called narrative structures.
Structures make it easier to progress
Sometimes writers can get stuck, not knowing where to take the story. Referring to a narrative structure can sometimes aid the writer in deciding what choices their protagonist can make to navigate the path to achieving a specific goal. Structures can be linear, non-linear, circular, and maybe even interactive at times (eyes on you Black Mirror: Bandersnatch!) While there are no rules, referring to these structures should not be restrictive either. They simply exist as guides.
Types of plot structures
Plot is basically the sequence of events in which a story unfolds. Films sometimes order the events in various styles. Here are a few:
- Linear: Chronologically, in the precise order in which events happen (Jurassic Park, Braveheart)
- Non-linear: Events are organised and presented out of chronological order but tied up in the audience’s mind once the story is completed (Pulp Fiction, Kill Bill, Babel)
- Parallel: Multiple storylines unfolding simultaneously (Crash, Love Actually, Sin City)
- Circular: The narrative starts and ends in the same place, sometimes in a loop (Predestination, Triangle, Timecrimes)
- Interactive: The audience decides the storyline (Black Mirror Bandersnatch, A Heist with Markiplier)
Acts
Everyone has pretty much heard of the three-act structure – beginning, middle, and end. In film, we rename the acts as set-up, conflict, and resolution, respectively. While the three-act structure has been first described by Greek philosophers such as Aristotle and Plato, its usage probably predates them.
As simple as it is, the three-act structure provides a simple guideline as to how writers may order the events that befall their protagonist. Further structures such as the five-act and nine-act exist, and are mostly utilised in structuring feature films.
Not all films follow established structures
Author Christopher Booker actually stated, and went on to later write a book on the idea, that there are seven basic plots that are rehashed in different ways. But whilst most flicks that come out of Hollywood stick to templates that have been employed so many times before, not all movies adhere to structures. Certain arthouse movies, experimental films, and short movies may not have a structure – and that’s okay.
Obeying any specific story structure isn’t essential to crafting a good story. While it can certainly be helpful, most filmmakers prefer their films to primarily entertain an audience. And with a creative spectrum as broad as film, there is no right or wrong way to construct a flick.
With the amount of content most people consume, their subconscious pretty much stores the structural framework and most of the stories we come up with are unknowingly placed within a structure. Either way, awareness on narrative structure can be beneficial for any filmmaker, as it can serve as a potential roadmap to narrating a story, much like a guide to a protagonist on a quest.
This weekend, Junkyard Theory will be conducting its first-ever three-day online course on basic screenwriting where it will cover the elementary tenets of developing a story and writing a screenplay. American filmmaker David Worth will be joining as a guest speaker on the third day as an interactive session unfolds. To join, or for more info, call or WhatsApp 076 552 5380.
In 2015, filmmaking collective High School Junkies started creating short films out of passion and soon gained momentum as a film production house that championed frugal filmmaking. Their second short, EIDETIC, became the first-ever Sri Lankan film to be screened at the San Diego Comic-Con, and has subsequently been screened all over the world. They host guests from Hollywood on their webinar, Junkyard Theory.
