Tag Archives: plot

It’s Greek to Me – Fates and Furies (Part 2/3)

Lauren Groff’s writing style leaps from the pages. She molds sentences, paragraphs, and scenes to convey her story and move her plot across not one, but two, lifetimes. The author uniquely structures her story in two independent, separate and equal parts—one Fates and one Furies. A flip through the pages reveals style from first glance to the basic blocks of words and sentences.

At First Glance

Fates and Furies builds on a knowledge of Greek mythology. Short stories use this premise to shortcut the character and story development. For example, if characters have a known history—Achilles, Samson, and Delilah or even Little Red Riding Hood—than there is less to create. A writer simply builds on the history inherent with the name or situation.

The title is an early tip to find the college mythology book – preferably of the Greek variety. Fates include Clotho (the spinner), Lacheis (the measurer) and Atropos (cutter of the thread of life). Except for the gal with the scissors, the Fates are a pleasant enough group. The husband in the story, Lotto, is guided by symbolic Fates—mother, sister and wife. The Furies are three sisters, monsters, that punish the guilty in the underworld and seek justice and vengeance. More specifically, the spirits go after people who have murdered family members. An internet images search on the Furies results in women with snakes, wings, fangs and crazy-eyes. This is not a huge spoiler to remind you that Mathilde known by Aurelie at the beginning of her story had a deadly mishap with her little brother, and her life was forever changed. The Furies – Mathilde’s family, employer, friends and even herself – punish for life.

Lotto adds more to the Greek theme with his play about Antigone. In dialogue, he explains his concept for the play, but Groff takes it further. Through Lotto, she writes the play. Did she create it for this book? I would like to ask her. A writer’s repertoire is fair game for any project.

Worthy to note is the influence of Shakespeare. Lines of verse, italicized and offset, forcibly inject the English playwright into the narrative. Characters happen to quote meaningful lines from Shakespeare in conversation. And on stage, the reader sees Lotto and “mystery character Land” assume leading Shakespearian roles. Quoting Shakespeare must be the trendy thing to do. Only a few chapters into The Revenant by Michael Punke, Shakespeare earns a quote in this frontier survival and revenge drama.

The White Space Around the Words

An artist will do a value study to assess darks and lights. For a writer, a similar study might include the white space around the printed words. In paragraphs, shapes emerge from scenes, dialogue and sentences.

Groff liberally uses white breaks to jump to a different scene and to exit scenes all together in order to enter the mind of one of her characters. The reader samples Lotto’s plays such as “Antigone” and Mathilde’s quotes from Sylvia Plath and Florestan in Beethovan’s Fidelio.

Time advances in Lotto’s life through his writing, production of his plays and reviews of his plays. In one section, Groff centers the play title in all caps followed by the year. The reader zooms into the aftermath of each play and its effect on Lotto and Mathilde.

Both Lotto and Mathilde’s points of view use a phrase or sentences in brackets. [Like this.] Every review of the book compares the bracketed asides to a Greek chorus. The chorus hints of the future—foreshadowing tragedy or irony. In an interview with The Atlantic, Groff mentions the brackets as an author’s whisper, such as Virginia Woolf used in To the Lighthouse. I’m embarrassed to admit that I have not read this novel but add another one to the “must read before I die” list.

The Words

A good writer spoils the reader with sentences that dance and imitate the real world albeit in art. Since reading Fates and Furies, I’m a harsh judge of writing style. I want Lauren Groff’s word choice, sentence structure, and imagery.

My first exposure to Groff was in a short story called “Ghosts and Empties.” In an interview, she explained that this piece’s long ambling sentences were like walking. That comment stayed with me—manipulating the flow of words, voice, for the setting of the story.

The long sentences are gone in Fates and Furies. The author seeks another style goal in this novel and is precise with her language. On the other hand, along with imagery is metaphor applied to take this story to an artistic level. Her prose draws comparison with Nabokov’s quick words and tone. Groff draws much of her storytelling from Virginia Woolf. Again in the Atlantic, Groff says “The greatest texts, I think, first dazzle, then with careful rereading, they instruct . . .subversive ways of portraying time, of looking away from the human to the far more terrifying, far more immense texture of time beneath the minute span of a human life.” And this is an example of Lauren Groff’s magnificent way with words.

Next month, “For Better or Worse” (Fates and Furies part 3/3) examines relationship and attraction according to human psychology studies.

Give It To Me Straight – Fates and Furies (Part 1/3)

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Then, play it again.

Readers of Fates and Furies find a big story of modern marriage and relationship wrapped between the covers of this National Book Award Finalist. Lauren Groff’s novel offers a wealth of literary resources with her creative reinvention of structure, style and character. This three part analysis begins with storytelling and structure.

The Straight Line – Sequential Plot

Lancelot, nicknamed Lotto, tells his story for the first half of the book, almost two hundred pages in this four hundred page novel. In The Detroit Free Press published interview, Lauren Groff refers to her story as a tale of privilege. Let me count the ways that Lotto is privileged. First, he has fortune when he needs it and choses to surrender his fortune for his desires. Second, he has success. Maybe he was lucky or worked hard. Or maybe he fits the description of privilege – well educated, wealthy, male and white. Third, characters surround him, offer support and champion his cause – especially his wife. These factors propel Lotto’s story to the forefront and the first half of the book.

The point of view begins omniscient as the reader sees the first married union of Lotto and Mathilde – lest it be thought that the entire story is about Lotto. From there, the point of view shifts to a deep third in Lotto’s point of view. His story dips back to his birth with a clever device of repeating a story told many times to him. Time moves forward with Lotto’s perceptions dominating the story of his friends, his dreams and his marriage to mystery woman, Mathilde.

The Jagged Line – Fractured Plot

Mathilde, the wife, encourages readers to identify with her rage. Let me count the ways that Mathilde is angry. First, as a child, she is blamed for a deadly mean streak, shamed and never forgiven. Her survival depends on distant relatives who have no concern for her wellbeing. Second, egotistical and pretentious Lotto is the best part of her life, and without him, she is the devastated widow – her education and hard work unraveled without her center, her husband. Third, Mathilde believes she is “the interesting one.” Mathilde’s past is an example of the writer pushing a character to the outer limits of believability. Themes of inequality thread through the novel. In Lotto’s point of view, he blindly accepts Mathilde’s lack of family and friends. Mathilde’s half of the novel, another two hundred pages, tells her scrambled tragic version of her life story.

Mathilde’s narration alternates between her angry widow world and chapters revealing her past and the formation of her values and beliefs. Mathilde selectively takes the reader through her childhood slowly opening the doors to understand her motives. Mathilde’s mean streak dots every chapter for the reader. Her only softness comes for the man she marries, and he is not spared from her passive aggressive ways.

Play It Again – Story Arc

Throw the traditional story arc in the trash for this novel except that Lotto’s half of the book is fairly traditional. Mathilde’s point of view jumps back in time and returns to her widowed agony almost like a zigzag across a graph of time. Unlike parallel plots, this story challenges even the most ambitious of screenwriter. For example, The Girl on the Train uses multiple points of view, slowly revealing a suspenseful and complicated plot arc. And hence, bestseller becomes screenplay and film. Some stories succeed with repetition – a retry of the same idea like the “back to square one” game – as used in the movie, Groundhog Day, and new Sci-fi film, Edge of Tomorrow; Live, Die, Repeat. Each repetition moves the story one step further.

Groff’s repetition, however, drills beneath what the reader assumed was the true story. For every major event in Lotto’s life, the reader now sees the hand of Mathilde. Her callous placement of an obituary notice punishes Lotto for his abandonment. She deliberately denies Lotto the children he wants. And Mathilde leverages everything to make her husband and his plays successful. In Mathilde’s story, vengefulness and anger are ever present – from the bruising of a teasing schoolmate to the personal and financial destruction of Lotto’s best friend.

In her interview, Groff states she planned to publish the two stories separately. The two halves together form a rich comparison in structure, style and character. The next post “It’s Greek To Me” will examine Groff’s style and literary references. After that, a third post will explore character and the human psychology of relationship and attraction. As seen in structure, marriage “For Better or For Worse” is a risky endeavor.

Little Free Libraries Deliver the Goods

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Expectations hinge on a hint of plot—a clever title, an eye-catching cover design or the hook of a story’s first sentence. I recently found three Little Free Libraries (LFL) with clear messages to prospective readers. Although my LFL discovery from last month, Twisted by Jeffery Deaver, makes me suspicious of every motive and surprise plot twist, Deaver delivers suspense from the beginning to the end. Today, however, everything is exactly as it appears.

Little Free Library #1 – Young and Wild

After a brisk walk, I find LFL #1 in a small green space. In the spirit of modern art, this LFL’s exterior captures the human experience of bold strikes against nature. Artwork like this requires considerable skill to accomplish the appearance of such complete randomness. The book collection tumbles from the shelves. The library’s selection aims for a younger audience.

What’s this? Eric Carle? Pancakes? I’ve never read this book. I flip through the pages. It’s Carle collage magic. I want to read it, enjoy the hand-painted paper and deceptively clever plot. Should I take it? Instead of depriving a child of Carle’s artwork, I put the book back and find Czech Cookery. I love quirky cookbooks. I search the index for Kolaches. I’m converting to gluten free when I feel a tap on my shoulder. Did I mention I recruited my spouse to come along? He asks if I really want to find all the LFLs in less than one hour. I put the cookbook back, and we walk south for the long stretch to LFL #2.

The spouse is much better with time management, but he’s a magnet for ladies asking for directions. And as with most of our walks, a car with somebody’s mother pulls along side us when I’m in my aerobic pathway. Directions to Detroit? That will take at least ten minutes to explain. No, no, don’t pull out the phone. Not the GPS. I’m jogging in place when he gives me the “chill out” look that both my sons’ inherited. I fidget through his five minutes of instructions and inform him that we will have to walk faster and maybe have to cut through the horse carriage racing track, dodge horse trailers and off-track gamblers rushing to place the big bet of the day. The spouse holds a hand skyward. I feel it too—the occasional drop of rain.

Little Free Library #2 – Whimsical, Worldly and Wise

This LFL is in a parking lot beside the Chamber of Commerce and next to rarely traveled railroad tracks. Despite the setting, the box exudes a magical aura like the tickling of glass or the floating of a hovering hummingbird drawn to a flower. I’m attracted to this box and take a moment to organize the contents. I line up my final two choices of literary fiction, Graham Greene and Richard Brautigan. “Revenge of the Lawn” gets my vote. I tuck the paperback in my jacket to protect it from the rain.

We walk west again and curve northward past the historical gristmill turned fitness club. I am a few steps toward the historical village, when I discover a Starbuck’s tractor beam latched on to the spouse luring him in the opposite direction. He says we don’t have time for the last box. It’s raining. He suggests we get a coffee instead. It’s a quest. We must go.

Little Free Library #3 – Meticulous and Meaningful

The last LFL is a tribute to Americana, little red schoolhouses, and all things learned and studious. The library is in a small park in a neighborhood nicknamed “cabbage patch” with playground equipment and benches. You can’t see it in the photo, but a steady rain falls on the fire-engine red sides with precision painted shingles and picket fence. This LFL replicates everything fiery about reading and learning. I find inside my fire, Flash Boys, by Michael Lewis, the book written by the same author as The Big Short. I take it. The spouse sighs and ambles to the new brew pub near Main.

My quest highlights the collaborative result of the Rotary Club, the Art House and the Public Library to place kitschy Little Free Libraries in the public and encourage reading. I have a bag of books sorted to go to each library for the appropriate audience. If you have a Little Free Library in your life, please feel free to share the art and contents of your box.

Little Free Twisted Plot

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On my latest plotting pilgrimage, I discover plot in a Little Free Library. How can I resist free books to read and a hastle-free return? An amazing 36,000 little free libraries populate the world. My discovery of this little treasure changes everything I have done in the past.

Plot Playgrounds

Plot resources exist in many places. My first name basis with the librarians and circulation desk clerks at my public library hints to how often I go there. All my childhood years in Bible-belt Sunday School classes lend to parables and paradigms for short stories. Small bookstores and writer-friendly Barnes and Noble win my dollar votes. Digital journals and Twitter deliver content at the swipe of a few keys.

Plot in a Box

A Little Free Library, however, is open after hours and on holidays. I never pay shipping or late fees. I never waste gasoline or get stressed about parking. The library is art—a four-sided painted montage inside and out. My heart beats a little faster at the sight of the box. Yes, there is the thrill of the hunt aspect, but I’m usually walking or jogging to the library—getting genuine exercise. I can’t drive past without yielding to a pressing curiosity to stop and check what’s inside. It is a sad day when my passengers decline my invitation to stop and get a book.

Plot in All the Right Places

My hand trembles as I slide the latch open. Glimpses of good books show through the glass. Anticipation is key here. Inside, I find a book, Twisted, The Collected Stories of Jeffrey Deaver. It’s short stories with plot twists—perfect. The author writes, “Though I love to make evil appear to be good (and vice versa) and to dangle the potential for disaster before my readers, nonetheless, in the end, good is good and bad is bad, and good more or less prevails.” Deaver experiments with short stories. “Short stories are like a sniper’s bullet. Fast and shocking. I can make good bad and bad badder and, most fun of all, really good really bad.” I find plotting gold in this Little Free Library and discover more Little Free Libraries are within walking distance. Should we go?

Chutes and Ladders—Plotting for ages 3-100

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Games teach the mechanics of plot. A player begins Chutes and Ladders on a path with some ladders up and some chutes down. The sequence of action and consequence is plot, pure and simple.

Same Game Different Century

The Milton Bradley game comes from an ancient Indian game called Snakes and Ladders. In Moksha Patam, the game follows Hindu philosophy and morality lessons with few ladders for virtues and many snakes for vices. Salman Rushdie wrote in Midnight’s Children about the game as “the eternal truth that for every ladder you hope to climb, a snake is waiting just around the corner, and for every snake a ladder will compensate.”

Mastering the Game

Snakes are consequences for vices such as disobedience, vanity, vulgarity, theft, lying, drunkenness, debt, murder rage, greed, pride and lust. These plot elements sound like the playbook for Netflix’s House of Cards. In the television series, plot twists are the norm, and consequences rarely weigh on the characters’ decision to act. Character development and flaw emerge as the driving force for plot (see Plotting for the Flaw). In House of Cards, each character’s manipulation, deception and corruption goes without consequence, until the proverbial house of cards tumbles to the ground.

The Parallel Plot Game

Beyond the character contributions to plot, the game board offers second attempts and alternate possibilities—both forms of parallel plots. For example, every child playing this game, has counted the spaces to the next ladder and hoped to roll that exact number. Often, the die indicates a number short of the goal, and the outcome of the game changes. When I missed a ladder, or even worse when I landed on the long slide back to the beginning, I thought what if . . . what if . . . I had rolled one space more.

The What If Game

The movie, Sliding Doors, is the one space more plot. The film shows two alternate realities based on either catching a train or missing it. Children’s books, such as Goosebumps by R. L. Stine, try this format with choosing different outcomes by flipping a coin, but the choice is one or the other. Sliding Doors shows both outcomes at the same time, jumping between each version in a confusing medley of scenes from the beginning of the film until the ending. As with other parallel plots, the emotional highs and lows are braided and mirrored with the two plot lines (see Paula Picked a Plighted Path . . .). With characters in common, the two plot lines—although parallel and in alternate realities—occasionally trip over each other in theme and traipse into the same settings at even the same times. While this film’s structure rates high for creativity, the challenge is how to bring two stories spiraling in different directions back together at the end. In this film, the solution is a similar event in the same setting with alternate outcomes—life or death. Another example of alternate realities is Maybe in Another Life by Taylor Jenkins Reid which shows alternating chapters of the protagonist’s choices.

The “Back to Square One” Game

In the “back to square one” scenario, a player is trapped and stuck in a repetitive loop of one ladder and one chute. What happens the second time around? The same events? Different? In the movie Groundhog Day, this different perspective occurs and reoccurs as a form of parallel plots. The protagonist tests the limits of his actions (vices) in a seemingly endless cycle of romantic comedy consequences of the “boy loses girl” variety. Eventually, the character decides to use his recycled groundhog days to improve his behavior (virtues), and the character arc takes him to the romantic comedy conclusion of “boy gets girl.”

The Next Generation’s Game

My basement is fertile ground for role playing games such as Grand Theft Auto. In GTA IV, the gamer chooses one of three characters, one of three parallel plots. Video games intensify the game playing experience of previous generations. Readers from this generation will expect parallel plots and creative structures beyond the basics of story.

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