The subject of English literature, overflowing with information, requires English majors to constantly read, learn new names of authors, write, analyze pieces of text, look for literary devices within a text and explain purpose within a text.
Among the numerous pieces of information that these students learn, one that is not commonly taught is the debate between there being only seven plots or 36 plots that stories mimic.
In 1916, Georges Polti, a French writer, published his book, “The Thirty-Six Dramatic Situations.” In this book, he argued that all stories fall into one of the 36 plots. Among these plots are loss of a loved one, conflict with a god, deliverance, and pursuit.
Dr. Robert Prickett, the associate dean for the College of Arts and Science and a professor of English education, said, “I have done a mini lesson using the ‘Hero’s Journey’ concept as a way to discuss superhero archetypes and origin stories in my Literary Merits of MARVEL class.”
However, other authors and writers have argued that there are only seven archetypes or plots which all stories mimic.
In 2004, Christopher Booker, an English journalist, published his book, “The Seven Basic Plots: Why We Tell Stories.” In this book, he argues that the seven archetypes are rags to riches, overcoming the monster, the quest, voyage and return, comedy, rebirth and tragedy.
Dr. Dustin Hoffman, an associate professor and the director of graduate studies in English, said, “I teach my students that there are only two plots: 1. A character goes on a journey, or 2. A stranger comes to town.”
Since there is not much taught concerning this debate, many English students and aspiring writers may be losing some foundational knowledge in the subject.
“I think it’s important for students to know about this debate because it could be helpful if they are trying to write a book because they can use these plots to develop their story,” said Jesse Martin, a senior conservation biology major. “In my HMXP class, we talked about this and how famous authors have stolen ideas and plots from other authors.”
Concerning those who are writers or aspiring writers, there may be pressure to pick a plot at the beginning of the writing process. However, there is not a correct process or step-by-step way to write.
“When we’re writing, we’re aiming as much as possible to avoid formulas,” said Hoffman. “For creative writing classes like mine, I’d worry about the theory like this being used like an instruction manual. At the same time, it’s essential that an artist is aware of the tradition they are working within and what has come before them.”
Similarly, Dr. Prickett said, “If you want to ‘play with’ tropes, structures, archetypes – whether embracing them or exploding them– you have to be familiar with them.”
It is clear that professionals, authors and others active in the English literature world have not been able to come to a consensus on which number, if any, is the correct number of story plots. Although the debate may be an interesting topic, it does not affect those who wish to be writers.
“Language wins over plot,” Hoffman said, “and language will always have infinitely more possibilities.”
Photo by Olivia Esselman
