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epearly's review against another edition
4.0
If you are like me and always wanted to write, but never felt that you were given enough instruction or are extremely intimidated by plot, then I highly recommend checking this out. Tons of good information, even if by the end it gets a little repetitive. If you are a more advanced or comfortable writer you probably won't get too much out of this, since it's content is beginner-oriented. I would, however, recommend checking it out from your library so that you can peruse the first few chapters before it dives into the actual plotlines; I think that everyone could pull something useful from there. Easy to read, great to take notes on!
richardrbecker's review against another edition
informative
fast-paced
4.25
Ronald Tobias breaks down elements of the most common plots in literature, theater, and film. These include classics such as the quest, rescue, revenge, transformation, forbidden love, ascension (and descension). The general idea is that most stories fall into one (or sometimes more than one) of these categories.
To illustrate, Tobias places an emphasis on examples, drawing from reasonably well-known plays, books, and movies. Ergo, the principal plot of Romeo & Juliet, is forbidden love. The plot of Death Wish is revenge. The plot of Bonnie and Clyde is pursuit. And so on and so forth. He makes the case, then extracts key elements that make the most successful stories memoriable.
His analysis is often a write-up of the obvious but no less useful, especially when he leans on films with a strong central plot line. Not all books or plays do, sometimes preferring to include more than one, like Romeo & Juliet, which blends rivalry and forbidden love together. But this is probably why I think Tobias is at his best when he discusses books over movies.
Ironically, some of his best and most insightful work isn't in the 20 chapters of master plots (with each covered in one chapter except ascension and descension). I especially liked his analysis of structure aside from plots — covering how relationships between primary characters create depth in a story and also how important it is to establish a moral baseline, even if the characters lean toward evil.
This latter point struck a chord with me because I recently read two popular books I didn't like — and now, in retrospect, I can see that their lack of any moral baseline proved problematic for me. (Even bad characters usually have some moral baseline, e.g. a mobster may have a code of honor, even if it isn't one we subscribe to.)
So, even if you are less interested in grasping the premise of a single plotline (what I usually oversimplify and describe as a path from A to B), there is still plenty of material to consider. Tobias also includes a link where book buyers can download each plot's checklists as PDFs. You'll want to do that because the print version uses gray ink, which is hard to read.
Overall, however, Tobias has written a useful book for storytellers. I've added it to the resources I tell other writers to consider. Interesting stuff.
To illustrate, Tobias places an emphasis on examples, drawing from reasonably well-known plays, books, and movies. Ergo, the principal plot of Romeo & Juliet, is forbidden love. The plot of Death Wish is revenge. The plot of Bonnie and Clyde is pursuit. And so on and so forth. He makes the case, then extracts key elements that make the most successful stories memoriable.
His analysis is often a write-up of the obvious but no less useful, especially when he leans on films with a strong central plot line. Not all books or plays do, sometimes preferring to include more than one, like Romeo & Juliet, which blends rivalry and forbidden love together. But this is probably why I think Tobias is at his best when he discusses books over movies.
Ironically, some of his best and most insightful work isn't in the 20 chapters of master plots (with each covered in one chapter except ascension and descension). I especially liked his analysis of structure aside from plots — covering how relationships between primary characters create depth in a story and also how important it is to establish a moral baseline, even if the characters lean toward evil.
This latter point struck a chord with me because I recently read two popular books I didn't like — and now, in retrospect, I can see that their lack of any moral baseline proved problematic for me. (Even bad characters usually have some moral baseline, e.g. a mobster may have a code of honor, even if it isn't one we subscribe to.)
So, even if you are less interested in grasping the premise of a single plotline (what I usually oversimplify and describe as a path from A to B), there is still plenty of material to consider. Tobias also includes a link where book buyers can download each plot's checklists as PDFs. You'll want to do that because the print version uses gray ink, which is hard to read.
Overall, however, Tobias has written a useful book for storytellers. I've added it to the resources I tell other writers to consider. Interesting stuff.
themrbook's review against another edition
4.0
I found this book to be thorough and sweeping in delineating the options available to writers in area of plot and narrative. It broadened my horizons in terms of the extensive sweep available for utilization; thus also, sparking some unconsidered ideas I didn't have yet just because certain options hadn't crossed my path by that point.
The writing is straight-forward, easy to understand, and light on prose depth. Definitely an educational piece that can be read without much effort.
The lay-out allows for bouncing around if one chooses, as opposed to the need for forced linear reading. Some parts you may never feel the need to peruse, while others will have you coming back to over and over.
The flexiblity, easy-readability, and enlightening nuts-and-bolts depth of this book's material makes it an easy choice as a permanent fixture on my writer's resource shelf.
The writing is straight-forward, easy to understand, and light on prose depth. Definitely an educational piece that can be read without much effort.
The lay-out allows for bouncing around if one chooses, as opposed to the need for forced linear reading. Some parts you may never feel the need to peruse, while others will have you coming back to over and over.
The flexiblity, easy-readability, and enlightening nuts-and-bolts depth of this book's material makes it an easy choice as a permanent fixture on my writer's resource shelf.
ollieoxnfree's review against another edition
3.0
A bit boring but it does as it promises. Gives you 20 different plots and explains them to you, although it glosses over a few important things. If you’re looking for how to get through a plot you’ve already made, this isn’t it. If you’re looking for a possible inspiration for a plot, this may help. Save the cat was more detailed and helpful for the overall process.
kitdunsmore's review against another edition
3.0
The thing I liked best about this book was the author's general idea that plot isn't a skeleton but in fact is every part of the story.
tomstbr's review against another edition
2.0
Good for future reference, not that enlightening. Pretty basic, gave some good examples and a nice step by step to plots.
bookjerm's review against another edition
4.0
Aside from the outdated examples demonstrating the plot, and the confusing technique the writer used alternating the use of he/she pronouns, this is a great resource for not o l’y the different general categories for plots, but also great advice on how to build them, including checklists for each.
steinmetzdan's review against another edition
3.0
There's wisdom in this book, and I always kept my highlighter handy while I was reading it. However, its desperation to appear apolitical is embarrassing, and relegates it most often to a guide to writing milquetoast fiction with nothing to say. The rampant ablism, the homophobia and misogyny, the refusal to think about the sociopolitics and cultural implications of fiction and literature in any way deeper than a psychology 101 course all made me physically cringe every other page. Throughout the book there's no discussion of deeper themes or biases, symbolism beyond basic tropes, and a disregard for fiction that isn't "properly distanced" from its own content - ie, not personal for the author. It disregards the romance genre, and yet is a proponent of the kind of impersonal, highly-commercialized, non-threatening pulp that fills it and any other major genre. Any analysis of literature and any advice for writers that doesn't critique the systemic forces in play is doing a disservice to its audience and is benefitting the systems of injustice and inequality that plague our societies.