Plot Fiction like the Masters: Ian Fleming, Jane Austen, Evelyn Waugh and the Secrets of Story-Building, by Terry Richard Bazes
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Plot Fiction like the Masters: Ian Fleming, Jane Austen, Evelyn Waugh and the Secrets of Story-Building, by Terry Richard Bazes
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Plot Fiction like the Masters is an exercise in reading like a writer - reading with the purpose of figuring out how the plots of a few recognized masterpieces succeed in making readers turn the page. The reason for proposing this as a way of learning plot-making is my own experience as a writer -- that the most accomplished novelists are the greatest teachers and that their lessons may be drawn from a close study of their work. The three novels under consideration - Ian Fleming's Dr. No, Jane Austen's Pride and Prejudice and Evelyn Waugh's A Handful of Dust - have all achieved astonishing success. They are all not only recognized masterpieces of their very different genres but have also won the glittering prizes - fame, fortune, movie deals -- for which many a haggard writer would sell his or her soul to the Devil. There are, of course, many other books for sale about the art and craft of story-building. But this book is different from the others, because its plotting lessons are not formulaic but concrete and practical - drawn from a close reading of successful books. For unless theories are informed by the specifics of successful stories, they are (for me, at least) of limited value. That is why this book is not about how plots should be made - but how, in three extraordinary novels, they actually were made. A great plot is a page-turning machine. The reader is immediately grabbed by it and then pulled along by an ever-changing, propulsive dynamic of suspense, curiosity and surprise. All three of these very different novels -- a James Bond thriller, a prototypical "Regency Romance" and a scathing 20th-century black comedy - are driven forward by this kind of engine. One of the chief objectives of this book is - not only to examine the parts of this engine as it moves along, but also to discover the secret of the energy that propels it forward. Learning to Plot Fiction from the Masters is comprised of five chapters, entitled: Introduction; The Case of James Bond; Pride, Prejudice and Plotting; Waugh and the Architecture of Dark Comedy; and Conflict and the Logic of Story-building. Ben Cheever (the author of several fine novels) has written a foreword.
- Sales Rank: #3844142 in Books
- Published on: 2015-09-01
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .25" w x 5.98" l, .37 pounds
- Binding: Paperback
- 106 pages
Review
Although 'Plot Fiction Like The Masters' illustrates fine ways of reading like a writer, the spontaneity of Terry's style makes this book no less than the masterpieces he has written about. Attempts have earlier been made to dissect novels and famous works as many authors wrote critical, analytical and anatomical thesis not to serve any purpose but to manifest their scholarly precision. This one is beyond this and truly proves to be a guide to writers. -- Onkar Sharma, The Literary Yard
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2 of 2 people found the following review helpful.
Excellent guide to plotting for the aspiring novelist
By Patrick Murtha
The title of this small, valuable book immediately suggests its intended audience - aspiring fiction writers - although intense fiction readers would also find it worth their time. It is pitched closer to literary criticism than a "how to" manual, so it is not like one of those screenwriting guides that tells you that you must concoct a sub-crisis on page 46 of your script. (And thank heaven for that, because those screenwriting books are a scourge against creativity in Hollywood. If you ever wonder why all the big-budget movies you see seem vaguely the same no matter what their genre, it's because they are.)
Terry Richard Bazes, a novelist himself, and the holder of a PhD in English Literature, is more sensitive than that, and less prescriptive. He is putting forward neither a General Theory of Fiction (again, thank heaven) nor a writing formula. Rather, he is looking at three acknowledged classics of their genres - Ian Fleming's Dr. No, Jane Austen's Pride and Prejudice, and Evelyn Waugh's A Handful of Dust - and extrapolating certain similarities of approach in their plotting, which center on the notion of plotting backward from climaxes so that each step that leads up to them is effective, and false ends that do not lead up to them are eliminated.
Now, this analysis would not work for every good novel, or at least not in so bald a way. Since this is a book about plotting, it privileges plot as the key element in fiction-writing: "A great plot is a page-turning machine." That is true as far as it goes, but readers whose interests in fiction go beyond plot may feel that Bazes is giving short shrift to characterization, atmosphere, prose, and so on. I felt this specifically when Bazes discussed "minor characters," whom he tends to see as purely functional. I don' think that the minor characters in Austen, for one, read quite so mechanistically as that.
Still, one can't complain that a short book is focussed on what its title says it will be focussed on, especially when there is such abundant good sense and sharp close-reading technique along the way. A lot of the basic ideas here go back to Aristotle's Poetics, although Bazes relies more heavily on Gustav Freytag's famous pyramid of plot structure. I have always had an issue with how Freytag's ideas are diagrammed, which I wish that Bazes had dealt with. A typical Freytag pyramid is shaped like a perfect triangle with a rising action leading to a climax, and a falling action that drops away it. This gives the impression that the climax takes place at the mid-point of the narrative, and the rising and falling actions are given equal space. But that is very seldom the case. More typically, the rising action is gradual and takes up 75% of the story or more; the falling action is precipitous and swift and takes up 25% of the story or less. The tendency in movies especially - and now popular novels follow movies' lead - is to compress post-climactic action ruthlessly.
A particular strength of Bazes' essay is the deliberate disparity among the three texts he analyzes. You can't get much more different than Dr. No and Pride and Prejudice! Bazes wants that strong contrast between an action-oriented text with virtually no internal characterization and a psychologically-oriented text with deep characterization, in order to demonstrate that notwithstanding their immense differences, the two novels use plenty of the same plotting techniques. The contrast is indeed an effective one, although it must be said that although it is easy to follow Bazes' analysis of Dr. No whether you have read the book or not, it is much less easy to follow the discussion of Pride and Prejudice if you have not gotten that book under your belt (and recently at that).
Tossing in A Handful of Dust, a comic novel with a cruel edge and a nasty resolution, is a cheeky move and also works to the book's benefit. As with Dr. No, the discussion of this book is crystalline whether you have read it or not (and if you haven't, you'll want to afterwards).
Plot Fiction like the Masters deserves a place in the budding novelist's arsenal.
2 of 2 people found the following review helpful.
A Masterful Novelist Writes about the Plotting Architecture of Three Other Masters of the Novel
By Wordsworth
One of many literary strengths in the novels of Terry Richard Bazes and clearly evident in "Goldsmith's Return" and "Lizard World" is his uncanny gift for compelling, original and realistic plotting. Few novelists possess the native talent to weave the plot of a novel in such a truly original fashion as if it were the revelation of a magnificent tapestry of unexpected beauty in its construction by looking at the weaving of its underside. In "Plot Fiction like the Masters" we find that Bazes has deconstructed the art of the plot to provide insight of great value not only to novelists but also to their readers. In so doing Bazes' work heightens an appreciation of the value of the art of the novelist to serve both parties. He accomplishes his literary objective by means of deconstructing the plots of Ian Fleming in "Dr. No", Jane Austen in "Pride and Prejudice" and Evelyn Waugh in "A Handful of Dust." After all, it is the plot which sells the novel, isn't it, and brings it to a wider audience. "A great plot is a page-turning machine," Bazes writes. Clearly, these three masters of the plot are among the most prolific sellers of novels in the history of the genre. "Pride and Prejudice" is perpetually atop lists of favorite novels on Goodreads and Fleming's popular books and movies have made hundreds of millions in a fortune for Fleming. Evelyn Waugh is highly regarded for his overall literary merit as a serious novelist with an undisputed ability to blend beautiful literary style with convincing, original plot lines. Bazes presents us with Gustave Freytag's famous pyramid for plotting and walks us through how these three novelists take their readers up and down this pyramid metaphor in their novels. Each of these three novels shares a story of conflict and the plot points delineate the serious stages in the life cycle of the central conflict. In each novel it is the characterization of the antagonists which govern the architecture of the stages in the life cycle of the central conflict in the introduction, build-up of a central crisis and final resolution of the conflict per Freytag's Plotting Pyramid. It is the advance planning of the plotlines which enables the novelists to design and build characters whose roles serve the purposes of introducing, increasing or resolving a central crisis. "For all three novelists the choice of a conflict and the characterization of the antagonists comprise the very first steps of the story building process," Bazes astutely observes. Secondary characters serve as satellites who come into being to serve to make the stages of the conflict unfold. "It is conflict, like flint against steel, that gives the gift of fire," Bazes writes. Here is why the study of the architecture of conflict matters: it provides not only a roadmap to novelists in the creation of compelling conflict in their work but also gives readers useful instruction in how fictional conflict may well build and resolve also in reality. Do you know of anyone who may stand to benefit from a better understanding of the subject of how conflict increases and can be resolved? The course of life itself is driven by the management of conflict, is it not? Is history no less than the sum total of the great successes and abysmal failures of humanity in the rise and fall of major conflicts? On a grand scale doesn't the destiny of great conflict proximate to our lives govern how we conduct ourselves to resolves their impacts upon our lives? Do we not judge each other and ourselves based upon the criteria of our integrity in managing conflict resolution? Certainly the lives of the two main protagonists in "Pride and Prejudice" were governed by the ways that love overcome the conflicts dividing them because of their respective pride and prejudice. Is this fiction not instructive to us in fact? In his sagacious focus upon the methodologies used by three masters of fiction, Bazes has performed a great service to every novelist and every reader by illuminating how conflict builds into crisis and how conflict is resolved not only in literature but also in the entirety of literature how humanity may invent or discover possible options for solutions to one of its most eternally vexing conundrums. Bazes is expert in his insight because in his novels he both talks the talk and walks the walk: he is the real thing and his own novels attest to his manifest gifts for plotting. The twin subjects of conflict escalating to crisis and its resolution could hardly wish for a more articulate literary novelist to shed new light upon them for both readers and writers with his practical experience and luminous insight than Terry Bazes.
1 of 1 people found the following review helpful.
A Must Read For Authors and Aspiring Authors
By lily
Terry Richard Bazes's Plot Fiction like the Masters: Ian Fleming, Jane Austen, Evelyn Waugh and the Secrets of Story-Building is not a step-by-step formula for writing a novel but rather, as mentioned in the Introduction, it is “an exercise in reading like a writer.” Using as examples, Ian Fleming's Dr. No, Jane Austin's Pride and Prejudice and Evelyn Waugh's A Handful of Dust, Bazes meticulously illustrates how the plots of these three novels succeed in captivating their readers. We are shown how the writing of these novels was vivid and memorable, how these authors set themselves apart from others, and how they wrote with a unique style. It should be pointed out that the book is not about how plots should be crafted but rather how they were actually shaped.
To understand how a good plot works, Bazes refers to Gustave Freytag's famous pyramid which has become a seminal work for writers of literature. Freytag was a German playwright and novelist and in his Die Technik des Dramas (Technique of the Drama-1863) states that a drama is constructed like a pyramid. Consequently, the story is divided into five component parts: 1) the introduction, 2)the rise, 3) the climax, 4) the fall and 5) the catastrophe. Freytag also gave his pyramid three steps or dramatic moments-only one of which he considered to be essential to every play. He termed this the “necessary” step or the “exciting moment” and this was placed on his pyramid in between the introduction and the rise.
Bazes uses the pyramidal pattern (“the way their plots have been designed as a consecutive series of incidents that introduce a conflict, built it to a crisis of incidents and finally bring it to closure”) as his model in dissecting the plots of the three novels. To drive home his point, he succinctly pulls apart and examines the plots of the three novels and demonstrates how all employ the same techniques although their plots widely differ. He maintains that the three novelists, Fleming, Austen and Waugh did not blindly begin on page one and fumble their way into a plot. What they did is to craft a plot where “each one of the moments of dramatic change in each one of the novels-each of the so-called 'plot points'-is a stage in the evolution of a central conflict.” In other words, as Bazes confirms and what is important is that in the three plots each incident serves either to introduce a conflict, increase a conflict, bring it to a crisis or give it closure. Without doubt, the choice of a conflict and characterization of the antagonists for all three novels comprised the first step of the building process.
If you are an author or an aspiring one, Bazes's Plot Ficton like the Masters is a must read particularly if you wish to understand how Freytag's pyramid has provided us with an excellent template that will no doubt help us in writing our novel. There is a great deal to chew on in this book, however, I must thank Terry Bazes for showing us how three outstanding novelists have attained the perfect combination of elements in their stories using as their guideline the pyramid. Keep in mind that the applicability of Freytag’s pyramid is used not only in examining novels, but also in short stories, plays, screenplays and even narrative poems.
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