Foundation or Facade? Peeling Back the Layers on Storytelling's 'Pillars'
Explore the power trio of storytelling – character, plot, and world – and unravel the contentious role of Theme: indispensable backbone or just a sprinkle of narrative spice?
In the world of storytelling, particularly in fiction, understanding the structural components that make a story stand is crucial. This exploration delves into the 'Pillars' and 'Buttresses' of storytelling.
Certain elements are fundamentally essential in fiction, while others enhance and support the narrative structure. We often hear about the importance of character, plot, and world – the three storytelling mainstays or 'Pillars.' However, elements like Theme, point of view (POV), voice, and tone – though critical – act more like 'Buttresses,' supporting the story but not necessarily being existential to its structure.
The Three Pillars of Storytelling
Character: The Heart of Subtext. Every story needs a character – someone or something for the audience to connect with. Characters drive the narrative forward and provide the subtext. As John Truby emphasizes, characters are the story's emotional core, giving depth and relatability. They embody the human element, making stories resonate on a deeper level.
Plot: The Spine of Text. The plot is the sequence of events that unfold in a story – the text. As Robert McKee argues, the plot is the writer's means of exploring how and why the characters behave the way they do. It's the framework for the narrative, offering structure and direction. Simply put, the plot is what happens; it's the action. No plot = No movement. Ask a shark how that works out.
World: The Canvas of Context. The world or setting of a story provides the context. It's where the narrative takes place, offering a backdrop that influences the plot and character. As Eric Edson notes, the world can often become a character in its own right, providing a rich tapestry that adds layers to the storytelling. It becomes a backdrop that offers narrative contrast to better understand the characters and their behavior in light of all the conflict and drama they face. I consider the World to be the anvil that the hammer of the Plot forges Character against.
The Buttresses of Storytelling
Theme. While some experts, like Orson Scott Card in his MICE Quotient, argue that Theme is a central type of story, I still argue that it is tangential. His MICE Quotient posits that all stories can be categorized into four types: Milieu (World), Idea (Theme), Character, and Event (Plot). Theme, as it is more broadly understood by other experts is something that offers a unifying or underlying message. Still, a story can persist even if its Theme is disjointed or, dare I say, invisible. A narrative can exist with a hidden theme. Hell it might even survive without one. But still, a powerful, compelling, or intriguing theme elevates a story, providing space for reflection and a stage for profundity. I am not anti-theme, but I am anti-preaching.
Point of View, Voice, and Tone. These elements, often intertwined, give a story its unique flavor. POV determines through whose eyes the story is told, while voice and tone dictate how it's expressed. As Joseph Campbell and Christopher Vogler suggest, these elements are critical in shaping the narrative's delivery and style, yet they support rather than define the structure of a story. As a writer, you will express POV, Tone, and Voice even if you haven't deliberately intended to do so. I have. My journey of discovery has just started on these three writing components.
Making the Case
Each pillar of storytelling – character, plot, and world – aligns with a fundamental aspect of writing: subtext, text, and context, respectively. These elements are indispensable for a story's foundation and coherence. In essence, all writing encompasses text (action), subtext (emotion), and context (setting). While elements like theme, point of view, voice, and tone – the 'buttresses' of a story – are not existential, they significantly enhance the narrative, adding depth, strength, and resonance.
Theme as a Pillar: A Counter-Argument
Many storytelling experts argue for elevating Theme to the status of a Pillar in narrative construction. Robert McKee, for instance, regards Theme as the story's central idea, a lens through which every narrative element is viewed and interpreted. It's the intellectual and moral compass guiding the story's direction. Similarly, Linda Aronson sees Theme as integral, providing the narrative with complexity, sophistication, and resonance. It gives a story significance and weight, transcending mere events and characters to comment on the depth of human experience or broader societal issues. In this view, Theme is not just an add-on but the very soul of the story, giving it purpose and meaning beyond the superficial layers of plot, character, and world.
I disagree on this point. Hubris? Perhaps, but hear me out. While Theme is a significant enriching element, it functions more effectively as a 'buttress' than a foundational pillar.' This distinction is crucial; a pillar is an existential necessity integral to the structure's very existence, whereas a buttress, though needed, supports and enhances without being fundamental.
Theme undoubtedly adds richness and depth, influencing the narrative's resonance and impact. I constantly scour my stories for themes. However, unlike the indispensable pillars of character, plot, and world, a story can exist in its absence or obscurity. Narratives can unfold compellingly through characters and events set against a vivid backdrop, even when a unifying theme is not explicitly present or consciously woven by the author. Theme is a vehicle for adding layers and complexities, not a prerequisite for narrative existence. Some view it as the crucial undercurrent that implicitly guides the narrative, shaping character motivations and plot directions, thereby qualifying as existential. However, I still maintain that its role is more about enrichment than existence. Stories can engage, entertain, and fulfill their purpose even when its theme is ambiguous, never explicitly stated, or just hidden in the bushes, impossible to pin down.
While a theme's presence can profoundly affect a story's depth and audience impact, classifying it as a buttress rather than a pillar acknowledges its enriching role without overstating its necessity. Literary Critics and Story Analysts will always search for the core themes; they consider it their job. But as creators, we can be more flexible in our approach. We can let themes naturally emerge, percolating upward from the natural flow of the story, and evolve without allowing them to exert dictatorial control over the narrative's core structure.
To Wrap It All Up
In fiction, understanding the distinction between what is essential and what is supportive in storytelling is vital. While experts debate the role of Theme, recognizing the fundamental importance of character, plot, and world, alongside the supporting roles of Theme, POV, voice, and tone, provides a valuable framework for crafting compelling narratives. As George Box proclaimed, "Remember that all models are wrong; the practical question is how wrong do they have to be to not be useful."
My aim here is utility, not Platonic Truth. I'd love to hear your thoughts on this. cmerritthoughton at gmail–whenever you've got the time or inclination.
Charles Merritt Houghton
05 January 2024