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亘蹖爻鬲 讴賴賳鈥屫з勞堐� 倬蹖乇賳诏
亘蹖爻鬲 讴賴賳 丕賱诏賵蹖 倬蹖乇賳诏 鬲乇噩賲賴鈥屫й� 丕爻鬲 丕夭 讴鬲丕亘蹖 亘丕 毓賳賵丕賳 20Master Plots 讴賴 丿乇 丌賳 亘蹖爻鬲 丕賱诏賵蹖 倬蹖乇賳诏 (倬賱丕鬲) 丌賲丿賴 賵 亘乇丕蹖 賴乇 蹖讴 丕夭 丌賳鈥屬囏� 毓賱丕賵賴 亘乇 丕乇丕蹖賴 賲孬丕賱 賵 鬲丨賱蹖賱 丌賳貙 爻丕禺鬲丕乇 賲賳丕爻亘 亘乇丕蹖 丕爻鬲賮丕丿賴 丕夭 丌賳 倬蹖乇賳诏 丌賲丿賴 丕爻鬲.
賴丿賮 丕蹖賳 讴鬲丕亘 丌卮賳丕 讴乇丿賳 賲禺丕胤亘 亘丕 卮讴賱 讴賱蹖 倬蹖乇賳诏鈥屬囏� 賵 丕乇丕蹖賴 丿爻鬲賵乇丕賱毓賲賱蹖 亘乇丕蹖 亘毓囟蹖 丕夭 賲鬲丿丕賵賱鈥屫臂屬� 讴丕乇亘乇丿賴丕蹖 倬蹖乇賳诏鈥屬囏й� 丕氐賱蹖 賲毓乇賮蹖 卮丿賴 丕爻鬲 賵 丿乇 鬲賵囟蹖丨丕鬲 讴鬲丕亘 丌賲丿賴: 芦丕蹖賳 讴鬲丕亘 亘賴 賴蹖趩 賵噩賴 卮賲丕 乇丕 丕夭 鬲禺胤蹖 丕夭 丕氐賵賱 丕爻丕爻蹖 賴乇 讴丿丕賲 丕夭 倬蹖乇賳诏鈥屬囏� 賲賳毓 賳賲蹖鈥屭┵嗀�. 賮讴乇 賳讴賳蹖丿 讴賴 亘丕蹖丿 丨鬲蹖 讴賵趩讴鈥屫臂屬� 噩夭卅蹖丕鬲 丕蹖賳 讴鬲丕亘 乇丕 讴倬蹖 讴賳蹖丿. 倬蹖乇賳诏 蹖讴 乇賵賳丿 丕爻鬲 賳賴 蹖讴 賴丿賮.禄
賲胤丕賱亘 丕蹖賳 讴鬲丕亘 丿乇 鄄鄱 賮氐賱 賳賵卮鬲賴 卮丿賴 賵 丿爻鬲賵乇丕賱毓賲賱蹖 丕夭 賲鬲丿丕賵賱鈥屫臂屬� 讴丕乇亘乇丿賴丕蹖 倬蹖乇賳诏鈥屬囏й� 丕氐賱蹖 丕乇丕蹖賴 賲蹖鈥屫囏�. 賳賵蹖爻賳丿賴 讴鬲丕亘 丿乇 倬蹖 丌賳 丕爻鬲 讴賴 亘賴 賲禺丕胤亘丕賳卮 讴賲讴 讴賳賳丿 鬲丕 亘鬲賵丕賳賳丿 丿丕爻鬲丕賳鈥屬囏й屰� 丕夭 夭賳丿诏蹖 乇賵夭賲乇賴 亘蹖乇賵賳 亘蹖丕賵乇賳丿 賵 倬蹖乇賳诏 乇丕 丿乇 禺丿賲鬲 禺賵丿 亘诏蹖乇賳丿.
鬲賵亘蹖丕爻 丿乇 跇丕賳乇賴丕蹖 賲禺鬲賱賮蹖 賲丕賳賳丿 丿丕爻鬲丕賳 讴賵鬲丕賴貙 丌孬丕乇 丿丕爻鬲丕賳蹖 賵 睾蹖乇 丿丕爻鬲丕賳蹖 賵 賴賲趩賳蹖賳 爻丕禺鬲 賮蹖賱賲鈥屬囏й� 賲爻鬲賳丿 鬲賱賵蹖夭蹖賵賳蹖 賮毓丕賱蹖鬲 讴乇丿賴 賵 丕爻鬲丕丿 诏乇賵賴 鬲卅丕鬲乇 丿丕賳卮诏丕賴 丕蹖丕賱鬲蹖 賲賵賳鬲丕賳丕爻鬲. 倬蹖卮 丕夭 丕蹖賳 賳蹖夭 鬲乇噩賲賴 讴鬲丕亘 丿蹖诏乇蹖 丕夭 賵蹖 亘丕 毓賳賵丕賳 芦丿乇賵賳賲丕蹖賴 丿乇 丿丕爻鬲丕賳禄 賲賳鬲卮乇 卮丿賴 亘賵丿.
賴丿賮 丕蹖賳 讴鬲丕亘 丌卮賳丕 讴乇丿賳 賲禺丕胤亘 亘丕 卮讴賱 讴賱蹖 倬蹖乇賳诏鈥屬囏� 賵 丕乇丕蹖賴 丿爻鬲賵乇丕賱毓賲賱蹖 亘乇丕蹖 亘毓囟蹖 丕夭 賲鬲丿丕賵賱鈥屫臂屬� 讴丕乇亘乇丿賴丕蹖 倬蹖乇賳诏鈥屬囏й� 丕氐賱蹖 賲毓乇賮蹖 卮丿賴 丕爻鬲 賵 丿乇 鬲賵囟蹖丨丕鬲 讴鬲丕亘 丌賲丿賴: 芦丕蹖賳 讴鬲丕亘 亘賴 賴蹖趩 賵噩賴 卮賲丕 乇丕 丕夭 鬲禺胤蹖 丕夭 丕氐賵賱 丕爻丕爻蹖 賴乇 讴丿丕賲 丕夭 倬蹖乇賳诏鈥屬囏� 賲賳毓 賳賲蹖鈥屭┵嗀�. 賮讴乇 賳讴賳蹖丿 讴賴 亘丕蹖丿 丨鬲蹖 讴賵趩讴鈥屫臂屬� 噩夭卅蹖丕鬲 丕蹖賳 讴鬲丕亘 乇丕 讴倬蹖 讴賳蹖丿. 倬蹖乇賳诏 蹖讴 乇賵賳丿 丕爻鬲 賳賴 蹖讴 賴丿賮.禄
賲胤丕賱亘 丕蹖賳 讴鬲丕亘 丿乇 鄄鄱 賮氐賱 賳賵卮鬲賴 卮丿賴 賵 丿爻鬲賵乇丕賱毓賲賱蹖 丕夭 賲鬲丿丕賵賱鈥屫臂屬� 讴丕乇亘乇丿賴丕蹖 倬蹖乇賳诏鈥屬囏й� 丕氐賱蹖 丕乇丕蹖賴 賲蹖鈥屫囏�. 賳賵蹖爻賳丿賴 讴鬲丕亘 丿乇 倬蹖 丌賳 丕爻鬲 讴賴 亘賴 賲禺丕胤亘丕賳卮 讴賲讴 讴賳賳丿 鬲丕 亘鬲賵丕賳賳丿 丿丕爻鬲丕賳鈥屬囏й屰� 丕夭 夭賳丿诏蹖 乇賵夭賲乇賴 亘蹖乇賵賳 亘蹖丕賵乇賳丿 賵 倬蹖乇賳诏 乇丕 丿乇 禺丿賲鬲 禺賵丿 亘诏蹖乇賳丿.
鬲賵亘蹖丕爻 丿乇 跇丕賳乇賴丕蹖 賲禺鬲賱賮蹖 賲丕賳賳丿 丿丕爻鬲丕賳 讴賵鬲丕賴貙 丌孬丕乇 丿丕爻鬲丕賳蹖 賵 睾蹖乇 丿丕爻鬲丕賳蹖 賵 賴賲趩賳蹖賳 爻丕禺鬲 賮蹖賱賲鈥屬囏й� 賲爻鬲賳丿 鬲賱賵蹖夭蹖賵賳蹖 賮毓丕賱蹖鬲 讴乇丿賴 賵 丕爻鬲丕丿 诏乇賵賴 鬲卅丕鬲乇 丿丕賳卮诏丕賴 丕蹖丕賱鬲蹖 賲賵賳鬲丕賳丕爻鬲. 倬蹖卮 丕夭 丕蹖賳 賳蹖夭 鬲乇噩賲賴 讴鬲丕亘 丿蹖诏乇蹖 丕夭 賵蹖 亘丕 毓賳賵丕賳 芦丿乇賵賳賲丕蹖賴 丿乇 丿丕爻鬲丕賳禄 賲賳鬲卮乇 卮丿賴 亘賵丿.
416 pages, Paperback
First published September 15, 1993
417 people are currently reading
2556 people want to read
About the author
Ronald B. Tobias
10听books15听followersRonald B. Tobias has spent his career as a writer moving from genre to genre, first as a short story writer, then as an author of fiction and nonfiction books and finally as a writer and producer of documentaries for public television. He is currently a professor in the Department of Media and Theatre Arts at Montana State University.
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Displaying 1 - 30 of 243 reviews
August 27, 2012
Published in 1993. The politics and world-view is dated, and the overt homophobia and ingrained Judeo-Christian moral sensibility are a little surprising. Likewise, the race and class issues are rampant, but the determined use of female and male pronouns in his examples is both welcome and sort of adorable in that "awww, early 90s! Look at you being inclusive!" way.
The plot examples from literature and film are very good. The world has changed a fair bit in 19 years, however, so the way he describes relationship dynamics reads as overly simplistic to me.
I do wish he'd addressed multiple plot. Yes, there needs to be a main plot, but subplots are essential for a story to have depth and wrangling them successfully can be difficult. I suppose that was beyond the scope of this book, sadly.
The plot examples from literature and film are very good. The world has changed a fair bit in 19 years, however, so the way he describes relationship dynamics reads as overly simplistic to me.
I do wish he'd addressed multiple plot. Yes, there needs to be a main plot, but subplots are essential for a story to have depth and wrangling them successfully can be difficult. I suppose that was beyond the scope of this book, sadly.
October 30, 2011
There are dozens of books that promise to list out all of the plots possible. From Heinlien's famous three to George Polti's
, writers have been attempting to codify what makes a plot a plot.
Tobias' contribution is certainly in that same vein, but this is probably one of the weaker books in my "how to write" collection. The first hint that something is amiss is the cover, which has scenes from movies rather than books (although how you would illustrate a cover with "scenes from books" does, I admit, present a bit of a challenge). The book lists 20 common plots (Quest, Adventure, Riddle, Rivalry, Forbidden Love, etc...) and where to use them. "Riddles" are for mysteries is the grand Poirot, Agatha Christie flavor, and "Forbidden Love" is a common theme of lots of modern Human/Faery/Vampire urban fantasies.
It's certainly a worthwhile catalog, but for most part these aren't plots, really. They're meta-plots. They're ideas about plots. Even if your character is on a quest, how do you make his or her life hard between here and there? How do you reach the "all is hopeless" moment, and how does your character overcome it? You, the writer, must still invent that, write it, revise it, and make it meaningful to the overall arc of the story.
Most writers know the story they want to tell. 20 Master Plots might have some ideas, but not enough to get you over the hump. You're still gonna have to write that book on your own.
Tobias' contribution is certainly in that same vein, but this is probably one of the weaker books in my "how to write" collection. The first hint that something is amiss is the cover, which has scenes from movies rather than books (although how you would illustrate a cover with "scenes from books" does, I admit, present a bit of a challenge). The book lists 20 common plots (Quest, Adventure, Riddle, Rivalry, Forbidden Love, etc...) and where to use them. "Riddles" are for mysteries is the grand Poirot, Agatha Christie flavor, and "Forbidden Love" is a common theme of lots of modern Human/Faery/Vampire urban fantasies.
It's certainly a worthwhile catalog, but for most part these aren't plots, really. They're meta-plots. They're ideas about plots. Even if your character is on a quest, how do you make his or her life hard between here and there? How do you reach the "all is hopeless" moment, and how does your character overcome it? You, the writer, must still invent that, write it, revise it, and make it meaningful to the overall arc of the story.
Most writers know the story they want to tell. 20 Master Plots might have some ideas, but not enough to get you over the hump. You're still gonna have to write that book on your own.
November 21, 2020
銆娯ㄛ屫池� 讴賴賳鈥屫з勞堐� 倬蹖乇賳诏銆� 亘賴鬲賵賳 賮蹖賱賲賳丕賲賴鈥屬嗁堐屫驰� 蹖丕丿 賳賲蹖鈥屫囏� 丕賲丕 賲鬲丿丕賵賱鈥屫臂屬� 倬蹖乇賳诏鈥屬囏й� 賮蹖賱賲賳丕賲賴 丿丕爻鬲丕賳蹖 賵 噩夭卅蹖丕鬲卮 乇賵 蹖丕丿 賲蹖鈥屫�. 賳讴鬲賴 賲賴賲 丿乇亘丕乇賴 丕蹖賳 讴鬲丕亘 丕蹖賳賴 讴賴貙 丕賵賳 賲賮賴賲賵賲 馗乇賮鈥屸€屬呚з嗁嗀� 讴賴 亘乇丕蹖 倬賱丕鬲 亘蹖丕賳 賲蹖鈥屫促� 乇賵 讴丕賲賱丕 丿乇 匕賴賳 噩丕 賲蹖鈥屬嗀ж操囏� 賵 亘賴 賳馗乇賲 丿爻鬲丕賵乇丿 亘夭乇诏蹖賴.
鬲乇噩賲賴 丌賯丕蹖 乇丕賴賳卮蹖賳 亘賴 卮丿鬲 乇賵丕賳賴貙 丕賲丕 蹖賴 趩蹖夭蹖 丕匕蹖鬲賲 賲蹖鈥屭┴必� 丕賵賳賲 亘賴 讴丕乇 亘乇丿賳 讴賱賲賴 "囟丿賯賴乇賲丕賳" 亘賴 噩丕蹖 賴乇 賵丕跇賴鈥屰� "丌賳鬲丕诏賵賳蹖爻鬲" 賵 "丌賳鬲蹖鈥屬囒屫辟�" 亘賵丿. 毓夭蹖夭丕賳蹖 讴賴 爻乇乇卮鬲賴 丿丕乇賳 賲蹖鈥屫堎嗁� 讴賴 丿乇 丕丿亘蹖丕鬲 賮蹖賱賲賳丕賲賴鈥屬嗁堐屫驰� 丕蹖賳 賵丕跇诏丕賳 賲毓賳丕蹖 讴丕賲賱丕 賲鬲囟丕丿蹖 丿丕乇賳.
鬲乇噩賲賴 丌賯丕蹖 乇丕賴賳卮蹖賳 亘賴 卮丿鬲 乇賵丕賳賴貙 丕賲丕 蹖賴 趩蹖夭蹖 丕匕蹖鬲賲 賲蹖鈥屭┴必� 丕賵賳賲 亘賴 讴丕乇 亘乇丿賳 讴賱賲賴 "囟丿賯賴乇賲丕賳" 亘賴 噩丕蹖 賴乇 賵丕跇賴鈥屰� "丌賳鬲丕诏賵賳蹖爻鬲" 賵 "丌賳鬲蹖鈥屬囒屫辟�" 亘賵丿. 毓夭蹖夭丕賳蹖 讴賴 爻乇乇卮鬲賴 丿丕乇賳 賲蹖鈥屫堎嗁� 讴賴 丿乇 丕丿亘蹖丕鬲 賮蹖賱賲賳丕賲賴鈥屬嗁堐屫驰� 丕蹖賳 賵丕跇诏丕賳 賲毓賳丕蹖 讴丕賲賱丕 賲鬲囟丕丿蹖 丿丕乇賳.
January 3, 2025
蹖賴 讴鬲丕亘 禺蹖賱蹖 禺賵亘 亘乇丕蹖 賳賵蹖爻賳丿賴鈥屬囏�.
賴賲 丿丕爻鬲丕賳鈥屬嗁堐屫斥€屬囏� 賵 賴賲 賮蹖賱賲賳丕賲賴鈥屬嗁堐屫斥€屬囏�.
馃枈 賲丕噩乇丕蹖 倬蹖乇賳诏 亘丕 丕蹖丿賴 讴賲蹖 賲鬲賮丕賵鬲賴. 诏乇趩賴 鬲丕丨丿賵丿蹖 賳夭丿蹖讴 賵 賲乇鬲亘胤 賴爻鬲賳.
禺蹖賱蹖 丕夭 丿丕爻鬲丕賳鈥屬囏� 賲蹖鈥屫堎嗁� 倬蹖乇賳诏 賲卮丕亘賴鈥屫й� 丿丕卮鬲賴 亘丕卮賳.
亘賴 毓賳賵丕賳 賲孬丕賱 氐丿賴丕 丿丕爻鬲丕賳 賲蹖鈥屫堎嗁� 亘丕 倬蹖乇賳诏 "賲丕噩乇丕噩賵蹖蹖" 蹖丕 "丕賳鬲賯丕賲" 賳賵卮鬲賴 亘卮賴. 丕賲丕 丕蹖丿賴鈥屸€� 賵 倬乇丿丕禺鬲卮賵賳 亘丕蹖丿 賲鬲賮丕賵鬲 亘丕卮賴.
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賮賯胤 賱丕夭賲賴 卮賳丕禺鬲 讴丕賮蹖 蹖丕 賳爻亘蹖 丿丕卮鬲賴 亘丕卮賴.
丕蹖賳 讴鬲丕亘 丿賯蹖賯丕 亘賴 賴賲蹖賳 賲賳馗賵乇 賳賵卮鬲賴 卮丿賴 鬲丕 賳賵蹖爻賳丿賴鈥屬囏� 乇賵 亘丕 亘蹖爻鬲 賲賵乇丿 丕夭 賲賴賲鈥屫臂屬� 賵 乇丕蹖噩鈥屫臂屬� 倬蹖乇賳诏鈥屬囏й� 丿丕爻鬲丕賳蹖 丌卮賳丕 讴賳賴.
賵 丿乇 讴賳丕乇 丕蹖賳 賲賵囟賵毓貙 賲乇賵乇蹖 讴賵鬲丕賴 賴賲 亘賴 倬蹖乇賳诏 賵 賳賯卮卮 丿乇 丿丕爻鬲丕賳 賲蹖鈥屭┵嗁�.
賴賲 丿丕爻鬲丕賳鈥屬嗁堐屫斥€屬囏� 賵 賴賲 賮蹖賱賲賳丕賲賴鈥屬嗁堐屫斥€屬囏�.
馃枈 賲丕噩乇丕蹖 倬蹖乇賳诏 亘丕 丕蹖丿賴 讴賲蹖 賲鬲賮丕賵鬲賴. 诏乇趩賴 鬲丕丨丿賵丿蹖 賳夭丿蹖讴 賵 賲乇鬲亘胤 賴爻鬲賳.
禺蹖賱蹖 丕夭 丿丕爻鬲丕賳鈥屬囏� 賲蹖鈥屫堎嗁� 倬蹖乇賳诏 賲卮丕亘賴鈥屫й� 丿丕卮鬲賴 亘丕卮賳.
亘賴 毓賳賵丕賳 賲孬丕賱 氐丿賴丕 丿丕爻鬲丕賳 賲蹖鈥屫堎嗁� 亘丕 倬蹖乇賳诏 "賲丕噩乇丕噩賵蹖蹖" 蹖丕 "丕賳鬲賯丕賲" 賳賵卮鬲賴 亘卮賴. 丕賲丕 丕蹖丿賴鈥屸€� 賵 倬乇丿丕禺鬲卮賵賳 亘丕蹖丿 賲鬲賮丕賵鬲 亘丕卮賴.
亘賴 毓亘丕乇鬲蹖 賳賵蹖爻賳丿賴 丌夭丕丿賴 丕夭 賴乇 倬蹖乇賳诏蹖 讴賴 丿賱卮 禺賵丕爻鬲 丕爻鬲賮丕丿賴 讴賳賴.
賮賯胤 賱丕夭賲賴 卮賳丕禺鬲 讴丕賮蹖 蹖丕 賳爻亘蹖 丿丕卮鬲賴 亘丕卮賴.
丕蹖賳 讴鬲丕亘 丿賯蹖賯丕 亘賴 賴賲蹖賳 賲賳馗賵乇 賳賵卮鬲賴 卮丿賴 鬲丕 賳賵蹖爻賳丿賴鈥屬囏� 乇賵 亘丕 亘蹖爻鬲 賲賵乇丿 丕夭 賲賴賲鈥屫臂屬� 賵 乇丕蹖噩鈥屫臂屬� 倬蹖乇賳诏鈥屬囏й� 丿丕爻鬲丕賳蹖 丌卮賳丕 讴賳賴.
賵 丿乇 讴賳丕乇 丕蹖賳 賲賵囟賵毓貙 賲乇賵乇蹖 讴賵鬲丕賴 賴賲 亘賴 倬蹖乇賳诏 賵 賳賯卮卮 丿乇 丿丕爻鬲丕賳 賲蹖鈥屭┵嗁�.
February 26, 2017
There's something unreadable about this book. I don't hate it, but I've DNF'd this twice as a library book. I bought Aaron Allston's Plot Book instead. A new version or cover came out this year, maybe they improved the latest addition.
#1
I liked it, but between "Plot" and this book, I feel there must be a better book on the subject. If it was great I would have poured over it again and again, instead I ran out of library time without revisiting it.
#1
I liked it, but between "Plot" and this book, I feel there must be a better book on the subject. If it was great I would have poured over it again and again, instead I ran out of library time without revisiting it.
October 8, 2021
This book helps writers learn how to craft a plot. My Literary Agent recommended this book to me and I recommend it for other writers.
June 7, 2020
Wer mich kennt, wei脽, dass mir Originalit盲t wichtig ist, auch und besonders beim Schreiben. Im Herzen bin ich eine kleine Regelbrecherin. ;-)
Aber um die Regeln brechen zu k枚nnen, muss man sie nat眉rlich erst einmal kennen. Und da kommt "20 Masterplots" von Ronald B. Tobias ins Spiel. In seinem Buch stellt der Schriftsteller, Drehbuchautor und Medien-Professor nach einer l盲ngeren Einleitung 眉ber die Grundprinzipien des Schreibens 20 Masterplots. Zu jedem der Plots gibt er Beispiele aus der Literatur und aus dem Film, die auf diesem Plot basieren und analysiert anhand von einem oder mehreren Beispielen die wichtigsten Plotelemente in Einleitung, Mittelteil und Ende jeder Geschichte. Abgerundet wird das Ganze mit einer Checkliste, die zus盲tzlich als Zusammenfassung jedes Kapitels und Masterplots dient. Autoren und Schreibanf盲nger k枚nnen beim Plotten ihrer Geschichten auf die Checklisten zur眉ckgreifen, um so einen handwerklich soliden Plot zu erstellen - und sie k枚nnen entscheiden, an welcher Stelle sie wom枚glich vom Masterplan abweichen m枚chten. :)
Das Gute ist, Ronald B. Tobias predigt nicht. Er wei脽, dass Autoren unterschiedlich ticken, dass andere Autoren auf eine andere Anzahl von Masterpl盲nen kommen, dass nicht jedes Buch sich 1:1 auf einen Masterplot runterbrechen l盲sst. Das empfiehlt er auch nicht. Stattdessen m枚chte er bekannte Muster aufzeigen, bei der Entwicklung von Plots helfen und M枚glichkeiten aufzeigen. Damit schafft er es zu inspirieren.
Ich hatte w盲hrend der Lekt眉re das ein oder andere Aha-Erlebnis, was mein eigenes Schreiben betrifft, aber auch meine eigenen Lesegewohnheiten. Ich wei脽 jetzt, welche Plots ich bevorzuge, kann meine eigenen Romane zum jeweiligen Masterplot zuordnen und habe Ideen f眉r neue Geschichten, die auf Masterplots beruhen, die ich selbst noch nicht angewendet habe. Mehr kann ein Schreibratgeber doch gar nicht leisten, daher gibt es von mir auch 5 Sterne.
Aber um die Regeln brechen zu k枚nnen, muss man sie nat眉rlich erst einmal kennen. Und da kommt "20 Masterplots" von Ronald B. Tobias ins Spiel. In seinem Buch stellt der Schriftsteller, Drehbuchautor und Medien-Professor nach einer l盲ngeren Einleitung 眉ber die Grundprinzipien des Schreibens 20 Masterplots. Zu jedem der Plots gibt er Beispiele aus der Literatur und aus dem Film, die auf diesem Plot basieren und analysiert anhand von einem oder mehreren Beispielen die wichtigsten Plotelemente in Einleitung, Mittelteil und Ende jeder Geschichte. Abgerundet wird das Ganze mit einer Checkliste, die zus盲tzlich als Zusammenfassung jedes Kapitels und Masterplots dient. Autoren und Schreibanf盲nger k枚nnen beim Plotten ihrer Geschichten auf die Checklisten zur眉ckgreifen, um so einen handwerklich soliden Plot zu erstellen - und sie k枚nnen entscheiden, an welcher Stelle sie wom枚glich vom Masterplan abweichen m枚chten. :)
Das Gute ist, Ronald B. Tobias predigt nicht. Er wei脽, dass Autoren unterschiedlich ticken, dass andere Autoren auf eine andere Anzahl von Masterpl盲nen kommen, dass nicht jedes Buch sich 1:1 auf einen Masterplot runterbrechen l盲sst. Das empfiehlt er auch nicht. Stattdessen m枚chte er bekannte Muster aufzeigen, bei der Entwicklung von Plots helfen und M枚glichkeiten aufzeigen. Damit schafft er es zu inspirieren.
Ich hatte w盲hrend der Lekt眉re das ein oder andere Aha-Erlebnis, was mein eigenes Schreiben betrifft, aber auch meine eigenen Lesegewohnheiten. Ich wei脽 jetzt, welche Plots ich bevorzuge, kann meine eigenen Romane zum jeweiligen Masterplot zuordnen und habe Ideen f眉r neue Geschichten, die auf Masterplots beruhen, die ich selbst noch nicht angewendet habe. Mehr kann ein Schreibratgeber doch gar nicht leisten, daher gibt es von mir auch 5 Sterne.
January 22, 2020
芦丕诏乇 亘乇丕蹖 賲賯丕蹖爻賴 丕夭 賳賯丕卮蹖 丕爻鬲賮丕丿賴 讴賳蹖賲貙 賵丕囟丨鈥屫� 禺賵丕賴丿 亘賵丿. 乇賳诏 賴賲丕賳 乇賳诏 丕爻鬲 賵 丿乇 胤賵賱 賯乇賳鈥屬囏� 鬲睾蹖蹖乇 夭蹖丕丿蹖 賳讴乇丿賴 丕爻鬲. 丕賲丕 亘賴 讴丕乇鈥屬囏й屰� 讴賴 賳賯丕卮鈥屬囏� 亘丕 乇賳诏 讴乇丿賴鈥屫з嗀� 賳诏丕賴 讴賳蹖丿. 亘蹖丕賳貙 亘蹖丕賳賽 噩丿蹖丿蹖 丕爻鬲 丕賲丕 丕亘夭丕乇丌賱丕鬲 亘賳蹖丕丿蹖 鬲睾蹖蹖乇蹖 賳賲蹖鈥屭┵嗁嗀�. 讴賱賲丕鬲 賴賲丕賳 讴賱賲丕鬲鈥屫з嗀�. 丕賲丕 亘亘蹖賳蹖丿 讴賴 趩賴 讴丕乇鈥屬囏й屰� 賲蹖鈥屫促堌� 亘丕 丌賳鈥屬囏� 讴乇丿!禄
May 5, 2019
There are a lot of books trying to tell you how many plotlines there are in the world. There's the 36 Dramatic Situations, the three in the Basic Patterns of Plot, and the Seven Basic Plots. A wiki search could tell you about any one of these theories without having to buy the books.
Essentially, even though this book states intriguingly that there are 20 plot types, the author posits there are only 2: Mind versus Body, Character versus action. For example, the first two plotlines he gives is that of a quest versus that of adventure. A quest would be Don Quixote on his way to prove something to his friends and ultimately to himself. An adventure would be Indiana Jones on any of his regular outings. In the mind/quest plot, the protagonist seeks something that ultimately changes him in some profound way, while in an adventure, the plot is simply one for fun, and nobody changes too much afterwards.
There are 26 chapters in all, and like many reviewers said, the book is pretty good for about the first half. The plots start in at chapter 8, and the author has some interesting insights about plot structure before that, about character relationships and interactions, and reader expectations in determining how to set up your plot.
Each chapter also poses a few examples in which he lays out the three points inside that specific plot structure and how it usually plays out. He ends with a checklist so that you can stay on track.
This book sort of falls apart in the "love" and "forbidden love" chapters. I'm primarily a romance reader, so the way that these sections were written clearly showed that he was fairly unaccustomed to these plotlines and a bit dismissive of the genre. That's okay; it's not for everyone. On the other hand, other reviewers also thought the book started to lose steam towards the second half as well.
He has a lot of interesting things that he posits at the beginning, probably because he reads a lot of scripts on a daily basis as a TV producer (? he mentioned his job but I can't remember now). Essentially, he worked at a TV station and knows about what news stories get presented and how soon after some news story goes viral that a TV movie then comes along with the exact same storyline. He discusses which stories are not interesting stories and which are, and he does say that, after a long career of doing this, that he finds the mind stories more interesting than the body stories.
An okay read. He's a very clear writer. It's not what I would call a self-help book, but it reads fast and is like a pop-textbook.
Essentially, even though this book states intriguingly that there are 20 plot types, the author posits there are only 2: Mind versus Body, Character versus action. For example, the first two plotlines he gives is that of a quest versus that of adventure. A quest would be Don Quixote on his way to prove something to his friends and ultimately to himself. An adventure would be Indiana Jones on any of his regular outings. In the mind/quest plot, the protagonist seeks something that ultimately changes him in some profound way, while in an adventure, the plot is simply one for fun, and nobody changes too much afterwards.
There are 26 chapters in all, and like many reviewers said, the book is pretty good for about the first half. The plots start in at chapter 8, and the author has some interesting insights about plot structure before that, about character relationships and interactions, and reader expectations in determining how to set up your plot.
Each chapter also poses a few examples in which he lays out the three points inside that specific plot structure and how it usually plays out. He ends with a checklist so that you can stay on track.
This book sort of falls apart in the "love" and "forbidden love" chapters. I'm primarily a romance reader, so the way that these sections were written clearly showed that he was fairly unaccustomed to these plotlines and a bit dismissive of the genre. That's okay; it's not for everyone. On the other hand, other reviewers also thought the book started to lose steam towards the second half as well.
He has a lot of interesting things that he posits at the beginning, probably because he reads a lot of scripts on a daily basis as a TV producer (? he mentioned his job but I can't remember now). Essentially, he worked at a TV station and knows about what news stories get presented and how soon after some news story goes viral that a TV movie then comes along with the exact same storyline. He discusses which stories are not interesting stories and which are, and he does say that, after a long career of doing this, that he finds the mind stories more interesting than the body stories.
An okay read. He's a very clear writer. It's not what I would call a self-help book, but it reads fast and is like a pop-textbook.
May 15, 2014
I was considering rating this book three stars, but the pretty egregious misreading of The Sound and the Fury towards the end of the book changed my mind. Tobias clearly missed the point of more than one of his examples, which led me to question expertise.
Otherwise, the book is a pretty pedestrian introduction to plotting, with little consideration given to non-linear plots or character driven writing. He mentions it, of course, but he clearly is much more comfortable in the realm of your linear, action driven plots. Following Tobias' "rules" will undoubtedly lead to basic, bland fiction. Imagine if Alexander Dumas had stuck to the "only pick one plot rule" when writing The Count of Monte Cristo, or George R.R. Martin had opted for the "four major characters or less" rule when crafting his A Song of Fire and Ice novels. These rules might work for an average episode of Murder She Wrote or Full House, but they're not great advice for anyone hoping to craft something deeper.
If you're looking for a very basic introduction to plotting generic network TV, by all means, read this book. But if you're looking for a more analytic, scholarly approach to writing, look elsewhere. There's nothing profound about anything in this book. You're better off looking for inspiration from the books Tobias has used as examples than relying on anything contained in this volume.
Otherwise, the book is a pretty pedestrian introduction to plotting, with little consideration given to non-linear plots or character driven writing. He mentions it, of course, but he clearly is much more comfortable in the realm of your linear, action driven plots. Following Tobias' "rules" will undoubtedly lead to basic, bland fiction. Imagine if Alexander Dumas had stuck to the "only pick one plot rule" when writing The Count of Monte Cristo, or George R.R. Martin had opted for the "four major characters or less" rule when crafting his A Song of Fire and Ice novels. These rules might work for an average episode of Murder She Wrote or Full House, but they're not great advice for anyone hoping to craft something deeper.
If you're looking for a very basic introduction to plotting generic network TV, by all means, read this book. But if you're looking for a more analytic, scholarly approach to writing, look elsewhere. There's nothing profound about anything in this book. You're better off looking for inspiration from the books Tobias has used as examples than relying on anything contained in this volume.
April 12, 2017
As someone currently struggling with plotting a novel (quite different from plotting a short story, turns out), this book is quite useful. I found the introductory discussion clarifying and will be referencing the section outlining various flavors of plots for years to come.
January 17, 2016
I remember the first quarter of this book was pure gold (it didn't talked about any master plot yet).
But when said 20 master plots enter the fray, it doesn't work for me, because it's pretty much a checklist of strict rules. And nowadays many authors are just blending many plots in the main story, even if one of them gets the central stage. Also, sub-plots.
And some of the said plots didn't felt really unique or even different from another. This could've been worked much better. Some articles on the Internet felt much more useful. The examples weren't great either, you probably saw them everywhere else.
Also felt too short and without much details.
But when said 20 master plots enter the fray, it doesn't work for me, because it's pretty much a checklist of strict rules. And nowadays many authors are just blending many plots in the main story, even if one of them gets the central stage. Also, sub-plots.
And some of the said plots didn't felt really unique or even different from another. This could've been worked much better. Some articles on the Internet felt much more useful. The examples weren't great either, you probably saw them everywhere else.
Also felt too short and without much details.
November 6, 2013
Update: I had to give up on this book. It seems aimed at writers of movie scripts and genre fiction. That's not to say the information isn't useful, but there's not as much as there should be and it is buried in a dross of simplistic statements such as these.: "As you develop a character, keep in mind your character's motivations." This book could be at minimum half its current length. The page count comes from blow by blow breakdowns of movies like Ben-Hur, Casablanca, and High Noon.
February 13, 2015
Fantastic. Simple, but inspiring. Great examples.
January 20, 2025
Trying to consolidate and categorize the entirety of human fiction into a handful of neatly-defined archetypes has been attempted multiple times, but that doesn't mean it's an easy task. Rudyard Kipling thought there were sixty-nine. Carlos Gozzi thought there were thirty-six. Aristotle argued there were only two. Why does this book land on twenty? Well, why not?
The "Master Plots" as they're laid out are logical and defended in a fair manner with lots of examples, both from literature and screenplays and movies. I was well past the halfway point when I noticed that all of the examples being given seemed oddly dated and nothing past the 80's was being referenced, and it was only then that I clocked that this was published in 1993. I think that goes a long way into explaining why a lot of the suggestions and guidelines provided here felt strangely conservative to me.
Nothing terribly groundbreaking here, but I enjoy occasionally reading something meta-level about fiction, and I'm sure I'm gonna start fitting these "Master Plots" to whatever books I read next, seeing how neatly they line up with the tried and true approaches.
The "Master Plots" as they're laid out are logical and defended in a fair manner with lots of examples, both from literature and screenplays and movies. I was well past the halfway point when I noticed that all of the examples being given seemed oddly dated and nothing past the 80's was being referenced, and it was only then that I clocked that this was published in 1993. I think that goes a long way into explaining why a lot of the suggestions and guidelines provided here felt strangely conservative to me.
Nothing terribly groundbreaking here, but I enjoy occasionally reading something meta-level about fiction, and I'm sure I'm gonna start fitting these "Master Plots" to whatever books I read next, seeing how neatly they line up with the tried and true approaches.
September 28, 2015
"So the point of this book isn't so much to give you a rundown of twenty master plots, but to show you how to develop plots in fiction." Page 7, Kindle edition.
That quote pretty much sums up this book for me, and I think the author did a good job of providing his claimed intention. While I read a lot of criticism about this book saying that it was too narrowly defined or there were too many examples or other such things. The author goes out of his way to remind the reader that there are not a finite number of plots.
Personally, I liked the examples, for it allowed me to see the plots being used, and since there were a few plots that varied slightly from each other in terms of definition, it helped to have an example of both which I could compare to each other.
But "Plot is a slippery thing, and no one can hold onto it for long." Page 11, Kindle edition.
Plot is a starting point, not the finishing touch. Until you know your plot and begin to understand what your readers will expect by your plot, you can't write a perfectly plotted novel.
Although this book had great tips for developing plot, I didn't feel that it a book to help me during the writing of my novel--rather it would help me plot it before hand. That's a great resource to have though, and can help immensely during the outlining of a novel, whether that pre- or post-first draft.
It's not one that I think I would purchase and add to my shelf of writing books, but I will keep it in my Kindle to refer back to for future works perhaps. It's not a book I regret spending my time on, as seeing how having a solid plot gives you a heads up in terms of writing your story well.
After each of the 20 plots mentioned, the author gives a reference checklist for that plot, allowing you to probe how your character arcs and plot line should be applied for the given plot. While he does mention that these plots are not set in stone, he warns against deviating too far from the traditional plot. He also does state that these are not the only plots in the world, but simply 20 of the major ones.
Definitely a book I consider worth reading, but maybe check it out from the library or the Kindle Unlimited program.
3.5/5 鉂呪潊鉂�
Also posted on my blog:
That quote pretty much sums up this book for me, and I think the author did a good job of providing his claimed intention. While I read a lot of criticism about this book saying that it was too narrowly defined or there were too many examples or other such things. The author goes out of his way to remind the reader that there are not a finite number of plots.
Personally, I liked the examples, for it allowed me to see the plots being used, and since there were a few plots that varied slightly from each other in terms of definition, it helped to have an example of both which I could compare to each other.
But "Plot is a slippery thing, and no one can hold onto it for long." Page 11, Kindle edition.
Plot is a starting point, not the finishing touch. Until you know your plot and begin to understand what your readers will expect by your plot, you can't write a perfectly plotted novel.
Although this book had great tips for developing plot, I didn't feel that it a book to help me during the writing of my novel--rather it would help me plot it before hand. That's a great resource to have though, and can help immensely during the outlining of a novel, whether that pre- or post-first draft.
It's not one that I think I would purchase and add to my shelf of writing books, but I will keep it in my Kindle to refer back to for future works perhaps. It's not a book I regret spending my time on, as seeing how having a solid plot gives you a heads up in terms of writing your story well.
After each of the 20 plots mentioned, the author gives a reference checklist for that plot, allowing you to probe how your character arcs and plot line should be applied for the given plot. While he does mention that these plots are not set in stone, he warns against deviating too far from the traditional plot. He also does state that these are not the only plots in the world, but simply 20 of the major ones.
Definitely a book I consider worth reading, but maybe check it out from the library or the Kindle Unlimited program.
3.5/5 鉂呪潊鉂�
Also posted on my blog:
December 2, 2017
The title of this book made it seem prosaic and formulaic but wow, this is one of the best writing craft books I've read. It gave me great new insights into the difference between character-driven and plot-driven stories, and why some stories naturally fit more into a "literary" genre while others are naturally more "commercial." He goes into detail on the basics of the 20 major plots themselves, taking care to point out what the reader is likely to expect, and which story aspects to focus on for this type of plot, and why. That is so much more useful than the generic "presumably good for all novels" advice I see in most craft books, because I can always think of exceptions -- which now makes sense, if those exceptions were different kinds of plots. A-HA!
Tobias admits that there are an infinite number of ways you can count up plots, and that this list isn't exhaustive. I'm glad he didn't include more, because that would have meant less detail for those he included here. I'm still working out how to fit some of my WIP's and novel ideas into one plot or another, but others fit more clearly.
The book is a great inspiration, too. For a few master plots, I could see right away I'm not interested in writing that type of story. But for others, when I couldn't think of a story idea I already have that fit, it inspired me to come up with new novel ideas on the spot!
I will definitely keep going back to this book again and again.
Tobias admits that there are an infinite number of ways you can count up plots, and that this list isn't exhaustive. I'm glad he didn't include more, because that would have meant less detail for those he included here. I'm still working out how to fit some of my WIP's and novel ideas into one plot or another, but others fit more clearly.
The book is a great inspiration, too. For a few master plots, I could see right away I'm not interested in writing that type of story. But for others, when I couldn't think of a story idea I already have that fit, it inspired me to come up with new novel ideas on the spot!
I will definitely keep going back to this book again and again.
September 16, 2022
鬲賵蹖 丨賵夭賴鈥屰� 丿丕爻鬲丕賳鈥屬嗁堐屫驰屫� 讴鬲丕亘 賲鬲賮丕賵鬲蹖 亘賵丿. 爻丕禺鬲丕乇賲賳丿 賵 亘丕 丕蹖賳鈥屫з� 亘蹖鈥屬傌ж关�! 禺賵丿 賳賵蹖爻賳丿賴 賲蹖鈥屭� 倬蹖乇賳诏 賲孬賱 鬲賵丿賴鈥屫й� 丕夭 禺丕讴 乇購爻賴 讴賴 賳蹖丕夭 亘賴 賯丕賱亘鈥屭屫臂� 丿丕乇賴. 匕丕鬲 丕賳爻丕賳鈥屬囏� 毓賵囟 賳賲蹖鈥屫促囏� 賲丕賴蹖鬲 夭賳丿诏蹖 亘丕 诏匕乇 夭賲丕賳 鬲睾蹖蹖乇 賳賲蹖鈥屭┵嗁�. 乇賳诏鈥屬囏� 亘丕 賲乇賵乇 夭賲丕賳 毓賵囟 賳賲蹖鈥屫促� 賵 賮賯胤 卮讴賱 賳賯丕卮蹖鈥屬囏� 鬲睾蹖蹖乇 賲蹖鈥屭┵嗁�. 讴賱賲丕鬲 毓賵囟 賳賲蹖鈥屫促� 丕賲丕 賲蹖鈥屫促� 亘賴 亘蹖鈥屬嗁囏й屫� 卮蹖賵賴鈥屰� 賲禺鬲賱賮 讴賳丕乇 賴賲 賯乇丕乇卮賵賳 丿丕丿. 趩蹖夭蹖 讴賴 丕蹖賳 讴鬲丕亘 賲蹖鈥屫堌ж� 亘诏賴 賴賲 賴賲蹖賳賴貨 賳賲蹖鈥屫促� 賴賲賴鈥屰� 丿丕爻鬲丕賳鈥屬囏й� 賲賲讴賳 乇賵 鬲賵蹖 鄄郯 倬蹖乇賳诏 禺賱丕氐賴 讴乇丿 蹖丕 賴賲賴鈥屰� 丿丕爻鬲丕賳鈥屬囏� 賮賯胤 蹖讴 倬蹖乇賳诏 賳丿丕乇賳. 賵賱蹖 丕蹖賳鈥屭┵� 丿乇 賲賵乇丿卮賵賳 亘丿賵賳蹖賲 讴賲讴 賲蹖鈥屭┵嗁� 讴賴 丿丕爻鬲丕賳 賴丿賮賲賳丿鬲乇 賵 丿乇 毓蹖賳 丨丕賱 毓賲蹖賯鈥屫臂� 亘賳賵蹖爻蹖賲. 丕乇噩丕毓丕鬲 夭蹖丕丿 丕蹖賳 讴鬲丕亘 丕夭 賮蹖賱賲鈥屬囏ж� 乇賲丕賳鈥屬囏� 賵 賳賲丕蹖卮賳丕賲賴鈥屬囏� 乇賵 禺蹖賱蹖 丿賵爻鬲 丿丕卮鬲賲 賵 丕丨鬲賲丕賱丕賸 亘丕乇賴丕 亘賴卮賵賳 亘乇诏乇丿賲 賵 丕夭卮賵賳 丕爻鬲賮丕丿賴 讴賳賲. 亘禺卮 丕賵賱 讴鬲丕亘 (賯亘賱 丕夭 賲毓乇賮蹖 倬蹖乇賳诏鈥屬囏�) 賴賲 賲賮蹖丿 亘賵丿 賵 賲孬賱 乇丕賴賳賲丕蹖蹖 亘乇丕蹖 賲胤丕賱毓賴鈥屰� 亘禺卮 丿賵賲 毓賲賱 賲蹖鈥屭┴必�. 爻胤丨 讴鬲丕亘 鬲丕 丨丿蹖 倬蹖卮乇賮鬲賴 賵 丨乇賮賴鈥屫й� 亘賵丿 賵 賳賵蹖爻賳丿賴 賮乇囟 乇賵 亘乇 丕蹖賳 诏乇賮鬲賴 亘賵丿 讴賴 卮賲丕 丕夭 賯亘賱 丌卮賳丕蹖蹖 賳爻亘鬲丕賸 禺賵亘蹖 丕夭 毓賳丕氐乇 丿丕爻鬲丕賳 丿丕乇蹖丿. 倬爻 賮讴乇 賳讴賳賲 亘乇丕蹖 卮乇賵毓 讴鬲丕亘 賲賳丕爻亘蹖 亘丕卮賴貙 丕賲丕 亘賴 毓賳賵丕賳 蹖讴 爻胤丨 亘丕賱丕鬲乇 丕夭 丌賲賵夭卮鈥屬囏й� 賲毓賲賵賱鈥� 丿丕爻鬲丕賳鈥屬嗁堐屫驰屫� 讴鬲丕亘 禺蹖賱蹖 禺賵亘蹖 賲蹖鈥屫堎嗁� 亘丕卮賴.
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February 5, 2019
Although I enjoyed this book, I would actually recommend reading Plot and Structure by James C. Bell. In Bell鈥檚 book, he鈥檚 gets down to the nitty gritty. Once you read that, this book on Master Plots would be a supplement.
Tobias does not go into details about some things regarding plot elements. However, he does a great job with giving a bunch of examples of various type of plots.
One thing I appreciated after reading this book was that plot patterns were impressed into my brain so when I sat down to outline my plot, my ideas seemed to come out fluently.
I don鈥檛 recommend this book if you are relying on it to teach you everything you need to know about plot and structure. However, I highly recommend it for the reason that it will give you lots of ideas to get the juices flowing.
Tobias does not go into details about some things regarding plot elements. However, he does a great job with giving a bunch of examples of various type of plots.
One thing I appreciated after reading this book was that plot patterns were impressed into my brain so when I sat down to outline my plot, my ideas seemed to come out fluently.
I don鈥檛 recommend this book if you are relying on it to teach you everything you need to know about plot and structure. However, I highly recommend it for the reason that it will give you lots of ideas to get the juices flowing.
April 12, 2010
A simple breakdown of the phases of different types of plots and the different elements and types of characters one needs for each. As with many Writer's Digest books, the amount of content is skimpy for the price. However, I've never seen this material laid out in this way before, so the price was worth it to me.
May 9, 2020
亘賴 賳馗乇賲 蹖讴 讴鬲丕亘 毓丕賱蹖 亘乇丕蹖 蹖丕丿诏蹖乇蹖 倬鬲乇賳 賴丕蹖 丿丕爻鬲丕賳 丕爻鬲
March 28, 2022
This review contains no spoilers (there really are none for this book).
I wrote a story last year and let it sit for a while. Then I went to my shelf of writing guides and pulled this one out to see if it could give me any thoughts on how to fine-tune my story to really make it work before I try to send it off for consideration. I found that it did give me some good inspiration for revision, but - interestingly - I don't feel like the story aligns very well with any of the 20 plots provided. I did find the breakdown of all these plots very insightful, however, and I can envision using this book as a helpful reference in future.
My suggestion for how to use this book as an effective writing guide is to read it once and then refer back to the specific plots you might use for your own writing when it makes sense. If you don't have time to read the whole thing, I don't think it matters terribly. Reading the introductory chapters that precede the 20 master plots should also be sufficient, then you can just read the relevant chapters when necessary.
My main complaint with the structure of this book is, ironically, one of its underlying strengths. For the most part, the chapters are laid out similarly so you have a good idea of how to build your stories to match that plot. Reading them all straight through, however, lends a sort of monotony to the read. I did, however, like the many relevant examples the author cited to clarify how each plot worked.
My other issue was that some of the differences between the plots were pretty esoteric, and while the author did work hard to clarify the distinctions, it didn't always work for me. And by the end of the book, the last several plots felt like they were tacked on to reach 20. They definitely felt lighter and less helpful in terms of the "how to" instructions. I wondered at one point if they were bolted on to give the book a tad more heft.
Overall, this one could be helpful for writers who want to understand the mechanics of some great plots. Just strategize how you want to make use of it, and don't feel like you have to "over-read" it if your schedule doesn't permit it or if your interest starts to wane.
I wrote a story last year and let it sit for a while. Then I went to my shelf of writing guides and pulled this one out to see if it could give me any thoughts on how to fine-tune my story to really make it work before I try to send it off for consideration. I found that it did give me some good inspiration for revision, but - interestingly - I don't feel like the story aligns very well with any of the 20 plots provided. I did find the breakdown of all these plots very insightful, however, and I can envision using this book as a helpful reference in future.
My suggestion for how to use this book as an effective writing guide is to read it once and then refer back to the specific plots you might use for your own writing when it makes sense. If you don't have time to read the whole thing, I don't think it matters terribly. Reading the introductory chapters that precede the 20 master plots should also be sufficient, then you can just read the relevant chapters when necessary.
My main complaint with the structure of this book is, ironically, one of its underlying strengths. For the most part, the chapters are laid out similarly so you have a good idea of how to build your stories to match that plot. Reading them all straight through, however, lends a sort of monotony to the read. I did, however, like the many relevant examples the author cited to clarify how each plot worked.
My other issue was that some of the differences between the plots were pretty esoteric, and while the author did work hard to clarify the distinctions, it didn't always work for me. And by the end of the book, the last several plots felt like they were tacked on to reach 20. They definitely felt lighter and less helpful in terms of the "how to" instructions. I wondered at one point if they were bolted on to give the book a tad more heft.
Overall, this one could be helpful for writers who want to understand the mechanics of some great plots. Just strategize how you want to make use of it, and don't feel like you have to "over-read" it if your schedule doesn't permit it or if your interest starts to wane.
April 16, 2023
Interessante Hintergr眉nde welche Plots sich in B眉chern und Filmen verbergen.
Es gibt 20 Masterplots, die eingehend beleuchtet werden. Zun盲chst immer eine Zusammenfassung, um was es in dem jeweiligen Plot geht. Danach in einer 3 Akte Struktur der Aufbau des Plots erkl盲rt. Sehr interessante Lekt眉re und sehr empfehlenswert!
Es gibt 20 Masterplots, die eingehend beleuchtet werden. Zun盲chst immer eine Zusammenfassung, um was es in dem jeweiligen Plot geht. Danach in einer 3 Akte Struktur der Aufbau des Plots erkl盲rt. Sehr interessante Lekt眉re und sehr empfehlenswert!
January 27, 2016
'20 Master Plots: And How to Build Them' is a well thought out idea that falls a little short in it's delivery, but in the end saves itself through originality.
The first chapter, titled 'Invisible Fiction', sets the mood for what's to come. The author expresses his opinions on plots and the many forms, how they all originate from a top three to be broken down into a 'top 20' for easier following. Chapter two, ' The Lowest Common Plot Denominators', discusses building tension through opposition, the three sections of a story (beginning, middle, and end), and other crucial things a plot requires to stay alive. Chapter 3, 'The Strong Force', is short in length, basically informing the reader what a 'character driven plot is' versus a 'plot driven' one.
Chapter four, 'Deep Structure', focuses on themes and moral arguments, while chapter five, 'Triangles', is an interesting, unique way to see characters and how they interact with each other.
After this, we finally begin the '20 plots', each divided by chapter. Each goes through all three 'acts' of the plot (again: beginning, middle, end), ending with a checklist to recap all that has been learned.
The wrap up chapter, 'Parting Shots', reminds you that the book is not a guide etched in stone and that rules are made to be broken. It's also stated that many times a plot is a mixture of two or more basic '20 Master Plots'.
At 232 pages, this book covers quite a bit. I was enthused as the sections, and recognized many of the 'patterns', but was left wanting in other areas. The information was useful, but if you read it straight through, many of the plot types repeat the same thing and it becomes redundant and dull. Also, some held examples of other novels and stories to illustrate what the author meant. I loved this; it enabled me to get a firmer grasp on things. Unfortunitely many of the plots don't have as many examples, or none at all, and I missed it when they did.
Wrapping up, this is a great resource guide for writers. If you have trouble with plotting, pick this up for a reasonable price. Heck, even if you don't, still pick it up for there are things out there you may not know about yet. On the downside it wasn't the most interesting thing to read, was a bit redundant, other times not being consistent enough.
The first chapter, titled 'Invisible Fiction', sets the mood for what's to come. The author expresses his opinions on plots and the many forms, how they all originate from a top three to be broken down into a 'top 20' for easier following. Chapter two, ' The Lowest Common Plot Denominators', discusses building tension through opposition, the three sections of a story (beginning, middle, and end), and other crucial things a plot requires to stay alive. Chapter 3, 'The Strong Force', is short in length, basically informing the reader what a 'character driven plot is' versus a 'plot driven' one.
Chapter four, 'Deep Structure', focuses on themes and moral arguments, while chapter five, 'Triangles', is an interesting, unique way to see characters and how they interact with each other.
After this, we finally begin the '20 plots', each divided by chapter. Each goes through all three 'acts' of the plot (again: beginning, middle, end), ending with a checklist to recap all that has been learned.
The wrap up chapter, 'Parting Shots', reminds you that the book is not a guide etched in stone and that rules are made to be broken. It's also stated that many times a plot is a mixture of two or more basic '20 Master Plots'.
At 232 pages, this book covers quite a bit. I was enthused as the sections, and recognized many of the 'patterns', but was left wanting in other areas. The information was useful, but if you read it straight through, many of the plot types repeat the same thing and it becomes redundant and dull. Also, some held examples of other novels and stories to illustrate what the author meant. I loved this; it enabled me to get a firmer grasp on things. Unfortunitely many of the plots don't have as many examples, or none at all, and I missed it when they did.
Wrapping up, this is a great resource guide for writers. If you have trouble with plotting, pick this up for a reasonable price. Heck, even if you don't, still pick it up for there are things out there you may not know about yet. On the downside it wasn't the most interesting thing to read, was a bit redundant, other times not being consistent enough.
April 17, 2017
Excellent overview of different types of plot with good instructive examples. Interesting for both beginners and advanced writers, as well as for anyone who wants to know more about the kinds of stories they have encountered. A must-read for anyone who wants to understand the history and uses of various story plots.
January 4, 2023
I mostly skimmed this book. I liked how each plot was boiled down to its essentials, with examples from master texts, although I wish this had been done more consistently throughout. Most of the plots had a 3-act structure spelled out, with a checklist at the end of the basics, but some did not even when the checklist mentioned each act. This isn't necessarily a book that will help you outline or prewrite a story, but I think it would be useful as a tool once you know what type of story you're writing and know whether you've hit the major components for each act. An example: I wrote a revenge story that didn't seem to work, and now I see why. This does paint the plots in the broadest of strokes - you might use for a deeper dive on beats within each act and for trying to outline.
December 19, 2021
Great book for the Monday morning book reviewer. Ie those, like me, who love to review but have never 鈥榙one the work鈥�.
So if you love fiction why not try to write something?? After 100鈥檚 of books that鈥檚 what I think so I am reading and learning as much as I can to make a first attempt at something I am told will be terrible. I鈥檓 fine with that. I mean, I golf, so I get it. I can KNOW a lot about something and still be terrible. Lol.
For the beginning writer I find this book to be excellent. If there is an idea in your head see if it fits one of these structures and you will have a better idea what works from a plot standpoint. You will also learn the difference between story and plot.
So if you love fiction why not try to write something?? After 100鈥檚 of books that鈥檚 what I think so I am reading and learning as much as I can to make a first attempt at something I am told will be terrible. I鈥檓 fine with that. I mean, I golf, so I get it. I can KNOW a lot about something and still be terrible. Lol.
For the beginning writer I find this book to be excellent. If there is an idea in your head see if it fits one of these structures and you will have a better idea what works from a plot standpoint. You will also learn the difference between story and plot.
April 26, 2025
It's OK. Nothing new here. Serves as a decent overview of some possible ways to structure your story. I didn't find any revelations in this book. It doesn't talk about tropes but rather reads like a laundry list. Could be handy if you don't know what kind of story you want to write, or if you have a vague idea but don't know how to organize it into a plot.
January 7, 2024
Jag hade f枚rv盲ntat mig n氓got mer matnyttigt "g枚r s氓 h盲r". Det kanske 盲r f枚r att det mest var karakt盲rsdrivna intriger och jag skriver h盲ndelsedrivet.
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