Examining two approaches to "A" and "B" stories
Navigating the world of plot creation, one inevitably encounters the concept of "A" stories and "B" stories. This narrative stratification forms an integral part of story architecture, where the "A" story is your primary plotline, and the "B" story constitutes your subplots or secondary narratives. Understanding how these narrative elements interplay can significantly enhance your storytelling prowess. This article explores two perspectives on framing "A" and "B" stories within your narrative.
Approach 1: The genre-oriented perspective - Shawn Coyne's view
In his narrative conceptualization, Shawn Coyne aligns the "A" and "B" stories with the external and internal genres of the story, respectively.
In Coyne's framework, the "A" story signifies your story's external genre, focusing on the tangible conflicts and challenges your main characters encounter. For instance, the "A" story in a thriller would be the quest to solve a mystery or prevent a catastrophe.
Meanwhile, the "B" story typically represents the internal genre, showcasing your characters' emotional journey and personal transformation. While not always front and centre, this subplot shapes your characters' motivations and responses to the "A" story's events.
Approach 2: The character journey perspective - Chuck Wendig's approach
Chuck Wendig offers an alternative interpretation of "A" and "B" stories, centring on the characters' personal journeys and problems rather than genre-based differentiation.
In Wendig's approach, the "A" story is your characters' main journey to solve a core problem or achieve an important goal. It's the central narrative arc that your characters navigate, grappling with hurdles and making vital decisions.
The "B" story, or the subplot in Wendig's model, represents your characters' smaller journeys in addressing their individual problems. Rather than viewing these as separate plotlines, Wendig sees these as threads intricately woven into the story's fabric, each contributing to the overall narrative.
Balancing "A" and "B" stories: From genres to personal journeys
These two approaches to structuring "A" and "B" stories offer unique perspectives on narrative construction. While Coyne's genre-focused model can provide a structured roadmap for creating distinct external and internal narratives, Wendig's approach encourages a more character-centric exploration, allowing for dynamic and personalized subplots.
Regardless of your approach, it's crucial to ensure a harmonious interplay between your "A" and "B" stories. Remember that these layers contribute to your story's richness, creating a captivating narrative blend that engages readers and viewers alike.
The final draft: Choosing your approach to "A" and "B" stories
Whether you align with Coyne's genre-oriented perspective or Wendig's character journey approach, understanding the concept of "A" and "B" stories is fundamental to crafting compelling narratives. Recognize that each approach offers unique insights and can inform your storytelling differently. Choose the approach that resonates most with your storytelling style, and let your "A" and "B" stories breathe life into your narrative.
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References
- Coyne, Shawn. 2015. The Story Grid. New York, NY: Black Irish Entertainment.
- Wendig, Chuck. 2017. Damn Fine Story. Cincinnati, Ohio: Writer's Digest Books.
