On plot: screenwriting and fiction

Although screenwriting had not yet been invented in the late 1840s, all three Brontë sisters had a highly developed sense of dramatisation, and some of their most powerful moments on the page have been those that could be adapted almost directly for the screen, with minimal alteration.

They therefore, along with PC, recommend this post at The View From Elsewhere very highly indeed.

What PC particularly loves about this post is the matter-of-fact way it foregrounds the importance of narrative structure and its proven models.

They are models that can, as with (say) sonnets, be easily reduced to a non-verbal diagram of a kind that über-mystical types find repellently mechanistic, an affront to the capital-R Romantic notion that an artist sits down, is struck with inspiration, and suddenly it all just comes pouring out (not unlike vomit, as PC has always thought when confronted, usually belligerently, with this view of the creative process). The truth, as so often, lies somewhere between.

Perhaps needless to say, people who hold this view of the creative process have without exception never experienced it. Ten per cent inspiration, ninety per cent perspiration is about right, as Elsewhere's terrific post makes clear.