Understanding structure genres (arch, mini, anti-plot)

Ready to traverse the treacherous territories of the arch-plot, the perplexing paths of the mini-plot, and the anarchic alleyways of the anti-plot? Remember, the right path will depend on the story you want to tell and the characters leading the way. So, let's get cracking.

Peering into the arches of the arch-plot

When you think of the classic story form, the quest story, your mind is likely meandering around the arch-plot structure. Most commercial stories happily pitch their tents in this familiar territory. The arch-plot is like a well-trodden path – it's comfortable, predictable, and readers find it delightfully irresistible.

Key features of the arch-plot

• A singular active protagonist at the helm, like Harry Potter in J.K. Rowling's Harry Potter series.
• A clearly defined object of desire that the lead character chases after – think Frodo and the One Ring in The Lord of the Rings.
• Primarily, the lead character grapples with external forces of antagonism. Internal struggles are kept to a sprinkle, much like Harry's battle with Voldemort, with his own self-doubt only playing a supporting role.
• An absolute and irreversible change in the protagonist's life by the end of the story, like Katniss Everdeen in The Hunger Games.
• A linear narrative line that follows the straight path from A to B to C.
• Conflict is at the core of the arch plot story – it's the spicy jalapeno in your storytelling nachos.

Remember, with an arch-plot, you're mostly dealing with external antagonism. The internal struggle is akin to a cameo role in a blockbuster film – present, but not the star of the show.

Meandering through the mini-plot

The mini-plot structure is like a sophisticated wine – an acquired taste, favoured by the more literary connoisseur. It's about the internal tussles of the mind, those pesky little demons that refuse to be silenced.

Key features of the mini-plot

• Internal antagonism takes centre stage – think Holden Caulfield's mental struggles in J.D. Salinger's The Catcher in the Rye.
• Multiple protagonists often share the limelight, like the ensemble cast of The Great Gatsby.
• Lead characters often avoid external conflicts, like a cat avoids a cold shower.
• The story ends are often left open for interpretation – no tied-up bows of happily-ever-afters or victorious justice. It's more of a 'To Be Continued...'
• Time can do the tango here – the story does not need to be linear.

With a mini-plot, you're delving into the murky depths of the mind, exploring inner battles and leaving the readers with more questions than answers. The narrative is as fluid as time itself, bending and curving in ways that may defy expectations.

Anarchy of the anti-plot

Then there's the rule breaker, the rebel without a cause – the anti-plot. This is where you tear up the rulebook and dance on its ashes. Time, change, consistent reality, none of it matters in this audacious avenue.

Key features of the anti-plot

• There is no requirement for a consistent reality – enter the world of Lewis Carroll's Alice in Wonderland.
• No adherence to the concept of causality – effects may not follow causes, like in Kurt Vonnegut's Slaughterhouse-Five.
• Time is a mere construct that can be messed around with – think Christopher Nolan's Inception.
• The protagonist remains unchanged by the end of the story – like James Joyce's characters in Dubliners.
• There's no mandatory battle against internal or external antagonistic forces.

An anti-plot structure is akin to a funhouse mirror – it warps and bends and distorts, and at the end of the ride, the protagonists may not have changed one bit. And that's perfectly fine.

The quest at the core of structure genres

Whether you're working with an arch-plot, a mini-plot, or an anti-plot, remember this – there's always a quest at the heart of your story. This quest requires an external object of desire (what your characters want), and an internal object of desire (what your characters need). The anti-plot might let you off with just the internal object of desire, but the others need both.

It's like the difference between wanting a hot cup of tea (external object of desire) and needing the comfort it brings on a rainy day (internal object of desire). Your characters, regardless of the plot structure, need their cuppa and the comfort it brings.

Wrapping up our narrative journey

There's no one-size-fits-all when it comes to storytelling. Whether you choose to wander the comfortable roads of the arch-plot, dive deep into the psychological tunnels of the mini-plot, or run wild in the lawless land of the anti-plot, always remember this – you're the master builder, the author at the helm. Let your imagination take the reins!

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References

1. Coyne, Shawn. 2015. The Story Grid. New York, NY: Black Irish Entertainment.

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