Exposition, plot, development of action. Compositional solution for the play Climax: The Snow Maiden's release from captivity

Composition - this is a comparison, co-location of individual parts of a work (play, script, performance). That is, the composition is “responsible” for the construction of the work, taking direct part in this process.

Each work has its own “order of construction.” It is determined by the generally accepted, known to us, conditional division into “main moments of the action”: the beginning (where the initial event is), the climax (where the main event is), the denouement (where the final “resolution” of the end-to-end action/plot occurs).

The composition establishes certain patterns of connection between the individual parts of the work - the main moments of action, episodes, scenes and, if necessary, within them. That is, the establishment of a certain relationship and interdependence between previous and subsequent actions, events - how and with what they influence each other - this is “the establishment of patterns of connection between the individual parts of the work,” which should be the main “concern” of the composition.

In the classical version of dramaturgy, the following parts of a work of art are distinguished: prologue, exposition, plot, development, climax, epilogue.

This list and order are not mandatory. The prologue and epilogue may not be present in the narrative, and the exposition can be located anywhere and not necessarily in its entirety.

Subjects modern works are often built according to a simplified scheme: plot - development of action - climax - denouement, or according to an even more simplified plot - action - climax (also known as denouement).

Prologue - the introductory (initial) part of a literary and artistic work, which anticipates the general meaning, plot-plot basis or main motives of the work, or briefly outlines the events that precede the main content.

Prologue function - convey the events that prepare the main action. However, the prologue is not the first episode of the narrative that is forcibly cut off from it.

The events of the prologue should not duplicate the events of the initial episode, but should generate intrigue precisely in combination with it.

Exposition - depiction of the arrangement of characters and circumstances immediately preceding the unfolding of the plot action.

Exposure functions:

Determine the place and time of the events described;

Introduce the characters;

Show the circumstances that will be the prerequisites for the conflict.

The beginning - the moment from which the plot begins to move. The beginning is the first clash between the conflicting parties.

The event may be global or small, or the hero at the first moment may not appreciate its importance at all, but in any case, the event changes the lives of the heroes. The characters begin to develop according to the idea of ​​the work.

Climax - the pinnacle of the plot, the highest point of the conflict of the work, the point of its resolution.

Plot resolution - outcome of events, resolution of plot contradictions.

Epilogue - the final part added to the finished work of art and not necessarily connected with it by the inextricable development of the action.

Just as the prologue introduces the characters before the action begins or reports what preceded it, so the epilogue introduces the fate of the characters who interested him in the work.

M.A. Chekhov defined the composition of the play as a three-member whole. “You will experience the beginning as a seed from which a plant develops; the end is like a ripe fruit, and the middle is like the process of turning a grain into a mature plant, the beginning into an end.” He argued that “in a well-constructed play (or performance) there are three climaxes, corresponding to the three main parts. They are in the same relationship with each other as these parts themselves (commencement, development, denouement).” Then each of the three main parts of the whole can be subdivided into any number of smaller ones with their own auxiliary culminations. In addition, in other tense moments it is necessary to place accents that allow the director not to deviate from the main idea and at the same time implement his own directorial plan.

Composition is the main thing that distinguishes the work of one director from another. The composition should never be artificially composed, a kind of fictitious microcircuit. This is the biography of space, emerging from the actors, from the air, and from the specific scene, from the relationships around the performance. The composition is a mass of incarnations in real circumstances.

Composition of the play “Masha and Vitya against the Wild Guitars”:

Exposition: The sorceress begins to tell, “create” a fairy tale.

She introduces the audience to the main characters - Masha, who believes in fairy tales, and Vitya, who does not believe in them. The guys have an argument, as a result of which Masha decides to prove that she is right - the fairy tale exists.

Plot: Masha and Vitya learn about the abduction of the Snow Maiden.

Santa Claus tells the children that Koschey stole the Snow Maiden and now the New Year will never come. Primary school students decide to go to the fairytale forest and, at all costs, save the granddaughter of Santa Claus.

Plot development: schoolchildren, having found themselves in a fairy-tale forest, encounter evil spirits, which they are helped to cope with by friendship and courage.

Having learned that the guys are going to rescue the Snow Maiden, the evil spirit decides to separate them and defeat them one by one. Their main task is to prevent the guys from finding the Kingdom of Koshchei. However, forest dwellers offended by evil spirits come to the aid of Masha and Vita, who are rescued by students along the way. In gratitude for their salvation, the “good heroes” help the children find their way to Koshchei.

Climax: The Snow Maiden's release from captivity.

Masha, having arrived in Koshcheevo’s Kingdom, makes a deal with the main villain - she exchanges a “magic” recipe for toothache (Koshchey has been “struggling” with his teeth for a long time) for the Snow Maiden.

Denouement: Victory over evil spirits.

Vitya, saving Masha from the clutches of Koshchei, enters into a fight with him, in which he wins. Baba Yaga, Leshy, Wild Cat Matvey and other evil spirits set off in pursuit of the children. The Sorceress and the auditorium come to the aid of the children.

Epilogue: The children return to school, where Father Frost and Snow Maiden are waiting for them.

The performance ends with general joy - the New Year has come.

Prologue involves preparing children for the upcoming content of the lesson, putting them in a certain emotional state. Translated into the language of choral performance, we can say it this way: the task of the prologue is to lead to a general tone, i.e. set the tonality, sound properties, make an aftertaste.

Dramatic plot gives the most important impetus to action, determines the course, pace, activity of all acting heroes. At the outset of the lesson, its main objectives are set, the material to be worked with and the methods of action of all subjects are determined, the students’ readiness for the upcoming activity or direct involvement in the activity is organized.

Further, according to artistic dramaturgy, there are certain events that force specific actions to be taken. There are many techniques for developing action: repetition of the main idea, contrastive juxtaposition, comparison, variation.

The result of development is a culmination. Climax- the highest point of experience. Experiences are always associated with emotions.

Action interchanges built on a generalization, conclusion, statement of the main idea. In the denouement, the main points of the content are emphasized, new methods of action are consolidated, and control is exercised. The denouement in the lesson completes the work with the subject content. If the lesson was related to the disclosure of the topic, then the denouement means the moment of completion of the disclosure of the topic.

Epilogue occurs after all events have already happened. The actions of the epilogue can be associated with assessment, analysis of self-feelings, etc.

Thus, according to the laws of dramatic development, the content of a music lesson unfolds as an immersion in a topic, problem, image, or the creative process of creating a musical work.

ORGANIZATIONAL DIRECTION

Associated with the purposeful actions of the teacher in planning and organizing the educational process. This is selection educational material, organization various forms educational and educational work, planning one’s own actions and those of students during music lessons and in extracurricular activities.

ORGANIZATION OF THE EDUCATIONAL PROCESS IN A MUSIC LESSON INCLUDES.

1. Efficiency of organization of entry and exit. Greetings. Working with the magazine. Working with student diaries. Working with diaries of musical impressions.

2. Organization of knowledge testing and homework.

3. Efficiency of using the classroom and lesson materials.

4. Fulfillment of psychological and hygienic requirements for the lesson.

4. Organization of students’ cognitive activity in the lesson: listening to music, analyzing it; improvisation;

5. Implementation various types practical work students in the lesson: singing of voles; singing from notes; motor-rhythmic activity; elements of choreography, plastic intonation; listening to music, role-playing games; improvisation, composing music; written work with various tasks.

6. Organizing students’ independent activities: writing reflections on music, performing creative tasks etc.

7. Organization of control of acquired knowledge in the lesson.

8. A combination of collective and individual work in the lesson, a differentiated approach.

8. Preparing for homework.

In constructing a lesson, flexibility and a creative approach to the choice of paths, means, and methods are required, with constant reliance on general didactic principles and on the principles of the unity of the emotional and conscious, artistic and technical.

part three

It is more difficult for a writer to describe the everyday
life than an exclusive situation.
Ilya Shevelev

According to the laws of literature, the plot of any work must be completed

In the classical version, a plot is considered such if it contains five components: exposition (and plot), development of action, climax, winding down of action And denouement. The plots of modern works are often constructed according to a simplified scheme: plot – development of action – climax – denouement or even more simplified plot – action – climax (aka denouement).

The classical scheme is more suitable for solid, slowly developing plots; it is used when writing thick books, scripts for plays, and thoughtful films. The lightweight design is better suited to our high-speed world; it is used to write scripts for cartoons and action films, as well as for all kinds of comics and others. graphic works, where such quality of the plot as its rapid development is important.

Which scheme you prefer is up to you to decide. Below I will show you different options for developing the action and give you a couple of tips on how to build a plot depending on the genre of the work. But first, first things first.

1.Exposition.

First of all, we inform the reader about where and at what time the action takes place, introduce the characters, briefly tell their story, and introduce the reader to them. There is no conflict here yet, as such, but the prerequisites for it can be identified.
Lorraine moves to a new apartment, meets neighbors, calls her friend– this is our exposition: we introduced the reader to the main character, indicated the time and place of action, and indirectly talked about the other characters. The beginnings of the conflict here can be shown through the peculiar relationships of the girls, on the basis of which the shoots of misunderstanding and jealousy will soon arise.
How long the exposition will be depends entirely on the author and his intention. For works with a fast-paced plot, a couple of lines are enough to introduce the reader to the essence of the matter; for works with a drawn-out plot, the introduction is usually made larger. Try not to overdo it, not to stretch the tie and at the same time not to crumple it too much.

2. The beginning.

Not to be confused with exposure! Actually plot– this is the event from which it all begins. We can say this: if a conflict is the cause of a war, then the beginning is a reason for it, like a violation of a peace treaty.
And in our story, what will serve as a “trigger” for the development of the plot, what event? I think that the action will begin with the acquaintance of our heroines with the handsome Dave, because it is after this that everything will start spinning and spinning. This means that in our case, the beginning of the plot can be considered the dating scene.
Usually the plot is the moment when the hero is given an important task that he must complete, or he, the hero, must make his choice. The author usually uses this situation to define the conflict, to show exactly what the differences between the hero and the villain are, to describe exactly how each of them perceives the problem facing them, and to subtly hint at what each of them intends to do next.

Now, a young man appeared in the girls’ field of vision, whom they both liked, but he liked Lorraine more, and Inga was infuriated by this. Lorraine is embarrassed that this happened, but she likes the guy and intends to continue their acquaintance. Inga is annoyed, but is not going to do anything yet; she chose to step aside and let her friend do whatever she sees fit.

At the same time, the writer, having ensured that the reader is clearly interested in his story, slowly begins to unwind his intrigue (who will win and who will be left with his nose? How will it end?) and at the same time, gradually presenting to us the main idea of ​​the work (“friendship and love will win all" or, conversely, "no friendship, even the strongest, can withstand betrayal").
There doesn't have to be just one premise; In serious works, authors usually put many plot lines at once - love line, family, detective, political and other, other. The authors of series usually limit themselves to one single line, but no one is stopping you from making several of them. So, as many storylines as there will be, there will be as many ties; they can be scattered throughout the text, but don’t forget: every situation must have a logical conclusion, which means that every tying will have a continuation and denouement. There should be no storylines started but not completed.

3. Development of action in an ascending manner.

This is where the unlimited flight of fantasy begins! The author invents the most incredible plot moves, places the heroes in various difficult situations, describes their experiences about this and tells us how trials strengthen the characters’ characters, what lessons they learn for themselves.

Heroes must change, this is very important! If the character has not changed at all from the first to the last episode, if he is still the same and perceives the world the same way as before, if he has not learned any valuable lessons for himself, then you have not fulfilled your task as a writer. Why did this story need to be told? What was its deep meaning? What did the author want to tell us? It turns out that there was no point in anything, I didn’t want to say anything, and, in general, there was nothing to talk about.

The action should not be incoherent: here our heroes were caught by a maniac, but they, incomprehensibly escaping from the tormentor, find themselves at an abandoned nuclear station for no reason. Plot moves should “cling” to each other, like loops in knitting, then you will get a solid sock, that is, excuse me, a story.
It would be best if, before describing any move, you slightly “reveal your cards” in advance and give a modest, imperceptible hint that, very possibly, such and such will happen soon. Just a hint, nothing more. For example, if you planned that in an episode or two your hero will threaten someone with a pistol, it would be nice to inform now that this nice young man is a happy owner of a firearm or has the habit of going to a shooting range, where he was noticed as a good shooter. At least, when the reader sees that your Cool Walker is taking aim at his opponent and threatening to shoot off an important part of the poor fellow’s body, he will not have the feeling that he, the reader, was hit in the head with a log. On the contrary, he will be pleased with himself: wow, in the last episode I guessed what to expect from this ranger!

Everything you hinted at in the opening should be developed and fleshed out. The conflict must grow steadily. Let the characters show themselves from different sides, let new participants be involved in the conflict, let those who initially remained silent speak out.

Take, for example, our conflict, which we have already outlined. Two friends quarreled over a guy and are trying to share him, and at the same time maintain friendly relations. And the guy? How does he feel in such a situation? What does he want? What are his intentions regarding each of the girls? Or maybe he doesn't care?

Develop steadily storyline from series to series. If there are several storylines, it is even more interesting, let them intersect, intertwine, “push” each other. The heroine is more likely to commit suicide if her friend betrayed her, she ran out of money, and she had problems at work than if any of these troubles occurred.
So, gradually building up the tension, we bring the heroes step by step to the most important stage in the entire story. This climax.

Composition is the arrangement, alternation, relationship and interconnection of parts literary work, serving the most complete embodiment of the artist’s plan

Composition is one of the formal aspects of a literary work: the appropriate arrangement of details in large parts of the text and their mutual relationship. The laws of composition refract the most important properties of artistic consciousness and the direct connections of various phenomena. At the same time, the composition has substantive significance; its techniques significantly enrich the meaning of what is depicted. It is a system of comparisons either by similarity or by contrast. The composition of a literary work includes a peculiar arrangement of characters, events and actions of heroes, methods of narration, details of the situation, behavior, experiences, stylistic devices, inserted short stories and lyrical digressions. The most important aspect of composition is the sequence of introduction of what is depicted into the text, which contributes to the development of artistic content. The temporal organization of a work is based on certain patterns. Each subsequent link in the text should reveal something to the reader, enrich him with some information, disturb his imagination, feeling, thought that did not cause one or another reaction to what was said earlier. Essential parts of the composition are repetitions and variations. In the literature of the 19th and 20th centuries, there is a noticeable tendency towards complicated construction, requiring close reader attention. These are the works of F.M. Dostoevsky, N.S. Leskova, M.E. Saltykova-Shchedrina, L.N. Tolstoy, A.P. Chekhova, M.A. Bulgakova, M.A. Sholokhova, L.M. Leonov and a number of other writers.

Expressive means of composition

· Repeat

Repetition is an important quality of speech. Repetition sets the rhythm in speech. Repetition in prose works differs from repetition in poetic works. This difference lies within the framework of clarifying the nature of prose and poetic speech (see also Poetry and prose). For poetic speech, repetitions are important that are unimportant in prose. Repetitions come at different levels of a literary work:

Types of repetitions

1. Linguistic level of a literary work:
   • Phonetic
   • Morphological
   • Syntactic
2. Subject-shaped level of a literary work:
3. The character level of a literary work.
4. The plot and compositional level of a literary work.

Subtypes of repeat

1. Literal repeat
2. Variable repeat

· Motive

· Detailing of what is depicted, summarizing designation. Default

· Subjective organization: "Point of view"

Compare and contrast

· Installation

Temporal organization of text

Plot-compositional center the works consist of the main characters or
items. The remaining elements and parts of the work are subordinate to it and serve more
expressive identification of ideological content.

• (from the French subjet - “subject”) - a series of events occurring in work of art and built for the reader according to certain rules of demonstration. The plot is the basis of the form of the work.

Exposition– information about the life of the characters before the events began. This is an image of the circumstances that form the background of the action. The exposure can be direct, i.e. follow until the beginning, or delayed, i.e. go after the junction.

• - an event from which contradictions intensify or arise, leading to conflict.

this is the event from which it all begins. We can say this: if a conflict is the cause of a war, then the beginning is a reason for it, like a violation of a peace treaty.

action development- a structural element of the plot: a system of events arising from the plot. As the R.D. progresses, the conflict intensifies, and the contradictions between actors deepen and intensify. The most important component of artistic conflict; the concept characterizes the way of movement of artistic action, passing through the points of initiation, culmination and denouement. The development of the action can be carried out in different compositional rhythms and have a different number of climax points.

climax(from Lat. culmen, Gen. Pad. culminis - peak) - the moment of highest tension in the development of the action of a literary work, when a turning point occurs, a decisive clash of the depicted characters and circumstances, after which the plot of the work moves towards completion. A literary work can have several climactic moments.

Denouement- resolution of conflict in a literary work, outcome of events. Usually given at the end of the work, but can also be at the beginning ("The Viper" by A.N. Tolstoy); may also be combined with a climax. R. completes the struggle of contradictions that make up the content dramatic work. By resolving their conflict, R. marks the victory of one side over the other.

Most letters come from very young aspiring writers, so I decided to answer all the questions, focusing specifically on this audience.

Let's talk about how they are created fascinating stories, but I’ll warn you right away - in literature there are certain rules that a writer must follow if he wants his creation to be successful.

So let's get started.
In front of you is a blank sheet of paper. And you are burning with the desire to create something amazing. Where to start?

First of all, don’t think that suddenly an inspiration will descend on you and the pen will start writing by itself, producing a brilliant text line by line. The muse (aka insight) does not come to an empty head. You must clearly know what you want to write about. At least the outlines of the plot must already be mature in your head, otherwise nothing will work out. You will sit for hours at a blank sheet of paper and try to “cook up” at least the beginning, thinking that the text will go on by itself, and the plot will build up during the writing process. This is a big mistake. Nothing will go and nothing will line up!

It is best to sketch out an outline of your work on this blank sheet of paper, draw out the characters, decide on the world of their existence, and come up with a plot (the main intrigue).

When it comes together in my head certain picture, sit down and start creating. And here you may well be visited by Her Majesty the Muse, so unexpectedly and for a long time that the text will “flow” as if from a cornucopia. Moreover, it also happens that by the middle of the book you suddenly feel that you want to develop the action in a completely different direction and make the outcome different from what you originally planned. That's why she is the Muse, sudden, contradictory, to burst into your creative world and give a new impetus to your talents, Muse, no doubt, loving and helping only those who are worthy and hardworking. Yes, exactly hardworking.

Remember the famous chemist Mendeleev. After all, a poet or, say, a baker did not dream about the periodic table of chemical elements. Her Majesty the Muse suggested a table to a man who worked carefully in his field. And the violinist Giuseppe Tartini? The insight came to him in a dream, and he composed his “Devil's Sonata,” admitting later that it was his best thing. There are many examples. They were all completely devoted to their favorite work, and the Muse did not ignore them.

But let’s return to our blank slate and to the plot already matured in our heads. While the Muse is watching you, we will do a little work. So let's begin.

You already know what you will write about and have already outlined the plot. But how to structure it correctly, so that it is interesting and captivates the reader? The classic scheme is not that complicated.

Exposition – plot – ascending action – climax – descending action – denouement – ​​finale.

Don't be alarmed. These are not such terrible words. You probably thought that you can write literature “as you please”, the main thing is to twist the plot smartly? Well, if you want, try not to follow this classical scheme, but I warn you right away - it is possible that then you will simply write a kaleidoscope of episodes in themselves, perhaps interesting, but falling apart like a house of cards when the wind blows, and not adding up to the overall intriguing composition.

But you and I want to write a good work, or, as critics now like to say, “readable,” right? Then it's worth studying a little. And I assure you, it is not boring at all.

1. Exposition.

This is simply an introduction: introducing the characters, place and time of action.
Let’s take for example the simple fairy tale “Kolobok”. It is built, by the way, clearly according to the classical scheme.
Here's the exposition:

“Once upon a time there lived an old man with an old woman. The old man asks: “Bake a bun, old woman.” - “What to bake from? There’s no flour.” - “Eh-oh, old woman! Scratch the box, mark the bottom of the barrel; maybe you’ll get some flour.”
The old woman took the wing, scraped it along the box, broomed it along the bottom, and collected about two handfuls of flour. I kneaded it with sour cream, fried it in oil and put it on the window to cool.”

Well, all the characters are represented: the old man, the old woman, and the bun. The place where the action will begin to develop is also presented. Moreover, everything is presented so succinctly that in just two sentences it is clear that the old people are poor people, but despite this, they still made a good bun, with sour cream and butter (a hint that it turned out delicious and that’s how you guessed it, a topic for a future plot).

So, the exposition introduces the reader to the story, outlines (only in general terms) the main character, hints whether he is good or bad. But remember - in no case does it reveal his image to the end. Firstly, talking a lot about the hero at the very beginning is boring and long. It’s as if the reader will find himself in a swamp and drown in multi-page descriptions of a completely uninteresting and unknown person.

Secondly, you immediately cut off your main trump card in the overall plot structure - gradual development character of the hero. If you have thoroughly described a character at the very beginning, he will no longer be interesting to the reader, since it will not be difficult to calculate the hero’s actions. As a result, the “most terrible evil” for the work being created arises - the predictability of the plot. Why read something that is already known in advance?

Now let's move on to the work you have planned. How to imagine the characters and the world in which they will exist? What's the best way to write an exposition?

Here everything depends on the taste of the writer and... sadly, on fashion. Nowadays it is fashionable to write works where the action develops rapidly. This means that the exposition should begin with a dynamic and exciting scene, where your main character(s) will be involved.

For example, in a detective story it usually starts with a murder (kidnapping, etc.). The main character (investigator) goes to the crime scene and begins an investigation. In just a few strokes you can describe the hero: how insightful he is (remembering a recently solved crime), and, of course, his appearance, emphasizing some features that will distinguish him from others minor characters(for example, “the piercing gaze of blue eyes”, “a scar crossing the face”, an unusual voice, in a word, something memorable).

Even if he is a completely ordinary person, like Chichikov. But Gogol, deftly “scratching” his appearance (“not handsome, but not bad-looking, not too fat, not too thin; one cannot say that he is old, but not that he is too young”), makes it clear to the reader about the extraordinary the hero’s adaptability to circumstances, and we are already picturing a kind of chameleon-like man in our imagination.

In an action film, the exposition can begin with a fight scene - a sword fight between the main character, a fist fight, a fight, in the end, etc. In science fiction, from the scene of, say, the landing of a flying saucer, which is observed by the main character.

There are many options for imagination. The main thing is to captivate the reader from the very beginning, to give him the opportunity to begin to empathize with the main character (heroes). But be careful! Having managed to capture the reader’s attention, “leave all your trump cards up your sleeve” for now, and do not reveal the intrigue.

Of course, an exposition can begin with calm, descriptive scenes, but this requires a certain skill and experience. Examples of this are the classics of literature: L.N. Tolstoy, F.M. Dostoevsky and others. Having calmly begun the work, without unnecessary fuss, running around and action, so beloved by our contemporaries, they hold the reader with their mastery of words, sophistication of style and captivating descriptions. And it's worth a lot!

But since you are just beginning writers, it is better to start the work with active action.

What part does the exposition take up? It can be short and long. From one paragraph (as in “Kolobok”) to several chapters. It all depends on the size of the work.

Why am I taking so long to talk about the exhibition? Yes, because this is the very beginning of your work, and if you can write the introductory part correctly, then consider the reader already yours, he will not close the book on the second page, and this means that he is interested in your hero and the world you created.

So, we're done with the exposition. I hope you are not bored. Then let's move on to the next stage - the beginning.

2. Tie

The beginning is the first clash between the conflicting parties. In other words, an important event where the hero is given a certain task that he must (force) complete.

What kind of event this will be depends on the genre of the work. Here are some of the options (in the science fiction genre, for example): aliens kidnap the hero, or a universal apocalypse is coming (a comet is moving towards Earth), or some valuable item is stolen from the main character or his friend (an ancient manuscript, artifact), or our hero finds something unusual (a magic sword, a mysterious manuscript), or gets into parallel world, or suddenly acquires amazing abilities...

Actually, in the beginning you should present your key idea and begin to develop intrigue.

I’ll say right away that the key idea (aka the plot) is mostly banal. Coming up with something original is very, very difficult (it seems that the writers have already come up with everything that is possible).

Each genre has its own cliches and hackneyed techniques. Either universal Evil falls on humanity, then a vampire emerges from the grave... And what will happen next (in ascending action) is generally clear. The hero will begin to save the world, destroy presumptuous vampires...

But, dear friends, cliches are cliches, but you can play up a typical plot in such a way, spin the intrigue in such a way that a banal idea will turn into a mega-genius one. Here, dear Mr. Stephen King, is a master in this area.

By the way, there may be more than one plot if you have several storylines. And these hooks can be scattered throughout the text, depending on when you introduce a new storyline. But, remember, they all must have their continuation, and not “hang in the air.”

For example, in the process of our hero saving the world from universal Evil, he meets a girl and falls in love with her. This meeting will be considered another tie. In other words, you open a second storyline, where you go through all the phases again from exposition to denouement. And if you break off this storyline (a relationship seems to have begun, but the girl never appears further in the book), then you are worthless as a writer.

Or it happens like this. The main character met someone, had a beautiful sword fight, but gained and lost nothing; in a word, you described this episode for the sake of a spectacular scene. This means that your new hook is a dummy, the abandoned hook didn’t catch anything, you just fooled the reader. But the reader doesn’t like that!

So, the main thing: all presented ties must have their continuation and end with a denouement.

However, we forgot about our “Kolobok”. There is only one storyline in the fairy tale, so this example is easy to understand the literary canons. So where is the connection? I think you've already guessed it.

“The gingerbread man lay there and lay there, and suddenly he rolled - from the window to the bench, from the bench to the floor, along the floor and to the doors, jumped over the threshold into the entryway, from the entryway to the porch, from the porch to the yard, from the yard through the gate, further and further."

3. Development of action in an ascending manner.

This is where, dear friends, the flight of fancy begins, and it is at this stage that Her Majesty the Muse can visit you.

From a banal premise (if you haven’t shown off your originality and come up with something unusual), the “sculpting” of the plot itself begins. And the genius quotient of your work depends on how you manage to play out the action. You can “blind an imperishable thing,” or you can create another banal dummy, of which thousands are gathering dust on the shelves of bookstores.

Well, let's try to get away from cliches?

So, let's turn to the main character. You announced it in the exhibition, set it afloat on the waves of your imagination, and now the most important thing is to maintain interest in it. What should he be like? main character?

But first, let's see what it should NOT be like.

So, let's say your main character saves the world from universal Evil. And yet he succeeds, everyone loves him and admires him. If he is a magician or sorcerer, then he is the most powerful, if he is a warrior, then he is the bravest and strongest (of course, invincible). He helps the weak, he easily kills his enemies, and in conclusion, with a touch of tired doom (and perhaps pathos), he saves the world. And what does saving the world mean to him? Just a piece of cake. His phrases are pompous and didactic. The actions are theatrical. How he fights with swords! One thing to see! Girls are crazy about him, his enemies are in awe. Well, have you read about this?

A negative character can look just as theatrically miserable. This is an evil dwarf with a disgusting appearance or a vile monster capable of turning into no less disgusting creatures. Everything human is alien to him, he is stupid and greedy, selfish and cruel. Nobody loves him, everyone is afraid and expects that a hero will come and defeat the hated and vile scoundrel.

Further - more. The friends of such characters are a match for the opposing heroes themselves. They are “transparent” in their actions, like poppy dew. It’s immediately clear from whom to expect a trick, and who will come to the rescue at the right moment.

So what happens? Having such “cardboard” characters on hand, the whole action, as a rule, comes down to “mochilovo-chopping”, running back and forth and, as a result, to a predictable ending.

So it turns out that the reader, having closed the last page, was left in great bewilderment. What did the author want to say? Why did you write the book? What idea did you want to convey to the reader?
Sad? Of course!

But now it’s time to talk about what properties can be endowed with the heroes of the book (positive and negative characters, secondary and main) so that they look alive and interesting to the reader.

First of all, each character should have their own goals and interests. And these goals and interests do not always have to coincide with the interests of the main characters. It may happen that a true friend suddenly turns out to be an enemy. The hero expects help from him, and at the most crucial moment he sticks a knife in the back (figuratively, of course).

Why did this happen? It turns out that somewhere in the middle of the journey, their goals diverged. Here's a “sharp twist” in the plot. Possibly the other way around. The enemy becomes a friend.

Let's move on. Let's imagine that main character, initially declared as a hero, suddenly begins to show unheroic qualities, perhaps even making a deal with his conscience. Also an interesting option. In contrast to a positive character, a villain can show completely human traits: it turns out that the antihero is capable of love, or a beautiful, pure maiden fell in love with him, a scoundrel and a cruel murderer. You can even go for a reversal of roles. Make villains out of heroes (plot: behind good deeds there are not good intentions), and villains into heroes. And this happens in literature.

The main thing is to play the situation correctly, to keep the intrigue until the end. Do not forget that each hero may have his own “skeleton in the closet”. All these twists and turns make the story more intense and the storyline more unpredictable.

And one more thing. Do you want to make the hero interesting? Give him a choice. Between duty and love, homeland and family, friend and beloved... The hero must not only save the world and sacrifice himself for the sake of humanity, but also doubt, make mistakes, be afraid, in the end - in a word, behave like a living person.

Leo Tolstoy once said: “Among my characters there are wonderful people.” Do you understand? Tolstoy lived the lives of his characters. He tried to make them alive, real.

Well, we talked about heroes. Now let's talk about the world in which they exist and operate. This is a kind of scenery that should be written no less interesting than the characters themselves. And the point here is not only in landscape descriptions (although this is also important), but also in the political state of your “world,” so to speak.

Let's take, for example, the theme of universal Evil. While your characters work through their personal problems, a global conflict brews in the background. And you must describe this conflict masterfully, each time escalating the atmosphere more and more. Of course, the heroes will subsequently become participants in this conflict and play a decisive role in it.

Let's take, for example, the tale of the Serpent Gorynych. Why do I base my examples on fairy tales? Yes, because everyone has read them, everyone knows them, and, believe me, it was from fairy tales (legends, legends) that the whole world literature. In addition, fairy tales are built strictly according to the classical scheme, which is why they have not been forgotten to this day, they are read and re-read.

So, about the Serpent Gorynych. While the hero plows the land and lies on the stove - in a word, minds his personal affairs, Gorynych steals people and burns crops. Residents are starving, mothers are beside themselves with grief. There's a conflict brewing in the background.

At the climax, it comes to the point that Gorynych steals the tsar’s daughter (or in another version: the tsar’s daughter is the last young girl left in the kingdom; Gorynych has already stolen the rest). And look how skillfully storytellers describe this conflict! Even adults, not to mention children, worry, although they understand perfectly well that this is just a fairy tale.

Another option. There may not be any conflict brewing in the background. Vice versa. Quiet, calm, and God's grace. Only now your hero comes and destroys this grace, perhaps without wanting it. Here we can give an example of the adventure of the Argonauts, when the main character Jason goes for the Golden Fleece. Jason sailed to Colchis, took the fleece by cunning, and even took the king’s daughter.

However, we forgot about our “Kolobok”. Where is the upward development of action here? Please, here it is:

“The bun is rolling along the road, and a hare meets it:

- Don't eat me, slanting bunny! “I’ll sing you a song,” the bun said and sang:
I scraped the box, I swept the bottom of the barrel, There was a bag of sour cream, There was a yarn in the oil, There was a chill on the window;
I left my grandfather, I left my grandmother, it’s not smart to leave you, hare!
And he rolled on; only the hare saw him! The bun rolls, and a wolf meets it:
- Kolobok, Kolobok! I'll eat you!
- Don't eat me gray wolf! I'll sing you a song!
I scraped the box, I swept the bottom of the barrel, There was a meshon on the sour cream, Yes, there was a yarn in the oil, There was a chill on the window;
I left my grandfather
I left my grandmother
I left the hare
It’s not smart to get away from you, wolf!
And he rolled on; only the wolf saw him!.. The bun rolls, and a bear meets him:
- Kolobok, Kolobok! I'll eat you.
- Where can you, clubfoot, eat me!
I'm scraping the box. By the end of the day it's methane. There is sour cream with mashon. Yes, there is a twist in the oil, There is a chill on the window;
I left my grandfather
I left my grandmother
I left the hare
I left the wolf
It’s not smart to get away from you, bear!
And he rolled away again; only the bear saw him!..”

The atmosphere is pumping up. The bun is increasingly at risk of being eaten.

And here we move on to the next part - the climax.

4. Climax.

Climax is the highest point of conflict.
Everything is simple here. Two opposing characters meet, and a decisive “battle” must take place between them. This could really be a battle (with swords, fists, any other weapon; alternatively, one army against another), or it could be a completely different resolution of the conflict. It all depends on the genre.

For example, an important secret is revealed that opens the eyes of the hero. Or the main character finally finds what he was looking for and because of which, in fact, the whole fuss flared up (a magic item, an ancient artifact). Or a global catastrophe occurs, as in the Titanic - the ship begins to sink. And other variants of the intrigue being played out.

Now let's see what kind of culmination we have in “Kolobok”.

“The bun rolls and rolls, and a fox meets it:
- Hello, bun! How cute you are! And the bun sang:
I scraped the box, I swept the bottom of the barrel, There was a meshon on the sour cream, Yes, there was a yarn in the oil, There was a chill on the window;
I left my grandfather
I left my grandmother
I left the hare
I left the wolf
Left the bear
I’ll leave you, fox, even more so!
- What a nice song! - said the fox. - But I, little bun, have become old, I can’t hear well; sit on my face and sing louder one more time.
Kolobok jumped onto the fox's face and sang the same song.
- Thank you, bun! Nice song, I'd love to hear it! “Sit on my tongue and sing it one last time,” said the fox and stuck out its tongue.”

So, as you understand, at the climax the action reaches its highest tension. How it all ends is unknown to the reader. It is not clear who will win.

And now, finally, we come to the very end: descending action - denouement - finale.

5. Downward action.

Here we describe the vicissitudes of the decisive “battle.” The author's skill lies in keeping the reader in suspense for as long as possible. One of the frequently encountered techniques, for example, in the plot of the battle with universal Evil, is an unexpected change of advantages.

During the battle, something unexpected can happen, and the hero’s luck suddenly leaves him (the sword is knocked out of his hands, someone else intervenes, etc.). In the case of the Titanic, the hero is rushing about, trying to save his beloved girl, panic on the ship. Or, as in the adventures of Indiana Jones, the seeker of an ancient artifact picks up a treasured object and then begins... an earthquake, a hail of stones, a flood - in a word, a set of favorite ancient traps set for tomb robbers.

In general, if you manage to colorfully describe the action after climax episode, this is a big plus.

But be careful! The downward action should not be delayed. No long monologues, dialogues, descriptions, etc. Everything is very dynamic, without unnecessary verbiage. Otherwise, by the end the reader will simply be tired. However, “crumpling” the action downwards is also bad. You will not achieve the highest tension effect. You need to feel the balance very clearly.

It also happens that there may be no downward action at all. The climax may be immediately followed by a denouement or even a finale. As in the fairy tale about “Kolobok”:

“The bun jumped on her tongue, and the fox took it!” - and ate it"

Well, this is, let's say, the simplest resolution of the conflict. Usually writers still prefer to go through all the stages of the plot scheme, and apply the action in a descending manner. Judge for yourself. If in the fairy tale about “Kolobok” they had savored the decisive conflict between the fox and Kolobok (the fox felt how tasty the Kolobok was, she was already salivating, and at that time Kolobok himself suddenly had the thought: “Wouldn’t it be better to jump?” However he kept thinking and thinking...), it would have been much more tense, however, the children would hardly have appreciated such excess, because the end was sad.

So, you understand that downward action is not such an extra element in the classical scheme. The climax itself is played out here, keeping the reader in suspense.

Now let's move on to the most interesting part - the denouement.

6. Denouement.

The denouement is the event that ends the conflict. In other words, how did the decisive “battle” end? The hero wins or loses. The artifact passed into the hands of the one who had been looking for it for so long or, conversely, did not go to the poor hero and did not go to anyone at all. A ship in distress goes to the bottom, everyone died, or not everyone, but only some, or everyone was saved, and the ship unexpectedly stopped sinking (the hole was patched, etc.). There are many options. Whatever the author wishes will happen.

It also happens that the conflict remains unresolved. For example, like in some detective stories. The killer has been identified, but there is no evidence against him, which means he will walk free. Or they received an ancient artifact, but it turned out to be a fake. Here, frankly speaking, the reader experiences some disappointment. But maybe this is what the author wanted? Intractable conflict is not always bad. The reader thinks about the proposed topic, and possible options for resolving this conflict ripen in his head.

Also, the denouement may not be completed. In other words, an open ending. The hero has now won, but the evil remains. This is usually done in series where a continuation is implied.

However, we are talking about a completely independent work, so we move on to the finale.

7. Final.

Here everything depends on the author’s imagination and idea. The ending can be happy, tragic or mixed. For example, the hero saved the country from the impending apocalypse, but he himself died.

But the most important thing is that whatever the ending, it must carry a semantic load. What did the author want to tell the reader? Will evil always triumph over good? Or, whatever one may say, you can’t defeat evil to the end? In other words, in the ending lies the author’s key idea, in fact, the answer to the question: why did he write this work.

True, sometimes writers do not give a definite answer, leaving “space” for a second and even third meaning. They say, guess for yourself what this end is for, and maybe it’s not the end at all. They especially like to do this in movies. For example, Tarkovsky in his “Solaris” does not give a clear answer. There is an ending, but it is ambiguous for the viewer. And this is also the author’s position.

To summarize, I would like to say that a bad novel is one where the author only describes the adventures of the hero and does not force the reader to think. As they say, adventures are interesting and exciting, but they don’t end with anything. No idea, just bare action. Such an author is not interested in the spiritual experiences of the hero; his work does not carry any semantic load. A book for one day. I read it and forgot. A real writer in his soul certainly wants his work to be remembered and reread.

Well, we have looked at the classic scheme of a literary work. Now, if you haven’t lost interest, let’s try to compose something of our own, original and exciting, using this scheme.

I wish you success!

CHANGING THE GENDER OF THE CHARACTER: Using the example of a story from our infancy “Kolobok”.

If you think that it is incredibly difficult to come up with a new, unlike anything else, capable of blowing up the publishing and reading worlds, then remember once and for all: you are deeply and irrevocably mistaken. There are many, if not millions of topics literally on your bookshelves. It is enough to extend your hand and... a “miracle” will happen.

I’ll say right away: a stunning example of this technology for changing the plot is represented by the beloved cartoon “Smeshariki”. Smart guys took Kolobok, multiplied him, saying:

“You will be a Bear, you will be a Bunny, you will be a Piggy...” - and they received such a wonderful project in commercial and artistic terms that I assure you: another ten years will pass, at least, before we hear that they decided to film the last series. In the meantime... In the meantime, they are making money, and we, passengers of the Antelope stuck on the side of the road, sadly look after them, thinking that there are no such miracles left for us...