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Story Frame

Last week, I recirculated an older post about A versus B story. While working on the new genre workbooks, I have expanded on that idea. There is a difference between a layered story and a multi-structured story. I have broken them into frames.

In addition to the four layers of conflict, you must decide how many story frames you need to tell the story you have in mind. There are several options to choose from.

The majority of stories have one frame. They are easy to follow and keep your reader submerged from page one to the end.

1. Single Frame: A single story block has four layers of conflict and follows one cast and one overall story problem. The verbal camera can pan stage right and left to follow the antagonist, love interest, friends, and foes who have their own goals and stakes. These can constitute subplots, but there is one main stage. The story can have labyrinthine twists and turns and a killer surprise ending within a single block. Single stories are quite satisfying. A reader is easily immersed until the final page. You don’t have to have a second story frame. Unless both frames are intriguing and relate in a coherent way, you lose your audience. If they have to flip past boring bits to get back to the good bits, you will earn a bad review whether they finish reading the book or not. The same is true of boring subplots.

2.  Multiple Frames: Sometimes a story requires multiple frames. A multiple frame structure contains two or more story blocks that have access to each other. This is different from a subplot. Your verbal camera cuts between separate casts and stages. It successfully focuses on past versus present, two lives intersecting, or two worlds colliding. You develop four layers for each frame. The second frame should intersect the first frame. Otherwise, it is a distraction. Each story block could be taken apart and stacked in inventive ways as long as you don’t make it too confusing.

 In the hands of a master story weaver, you could have a three, four, or five frame structure. For anyone less than a master, you have a mess. If readers have to stop reading to take notes, they give up.

3. Sequential Frames: You may choose a series of sequential frames, each with their own cast, setting, and conflict layers. They follow multiple generations of a family or multiple protagonists in different times or places. Each segment has its own cast and conflicts. You develop four layers for each story block. These should transition in a satisfying way. Each segment must carry its own weight to avoid losing the reader’s interest.

For more about how to craft plots using conflict check out, Story Building Blocks: The Four Layers of conflict available in print and e-book and check out the free tools and information about the series on my website. In the coming months, I will be releasing workbooks for each of the fourteen genres covered in the series.