Components of the story plot. The climax is the moment of the highest tension of the plot.

Just finishing the planned essay,
we understand why we should
start it. (c) Blaise Pascal

In the classic version, the following parts are distinguished artwork:
- prologue
- exposition
- string
- development
- climax
- epilogue

This article will focus on the final piece of art.

1. Proportionality of parts of the text
2. Crisis
Decisive choice
3. Climax
4. Downward action
denouement
Final Conflict
5. Epilogue

PROPORTIONALITY

An experienced author from a beginner, as a rule, is distinguished by the proportionality of the parts of the work.
A beginner sits down to write in love with his idea. He pretty quickly throws the beginning of the work - intuitively feeling both the exposition and the plot, and then the difficulties begin.
The main reason is that the author did not think through the whole work to the end. And a novice author often does not even know that it needs to be thought through. He has never heard of the elements of composition and believes that everyone writes like him - on a whim. Alas.

The most common flaws in the development of action:

The result is a cephalopod text, eighty percent consisting of an introduction, then a couple of paragraphs about the middle and the sacramental end - "in general, everyone died."

Disproportion - typical mistake emerging authors.
What to do?
Recheck yourself and your creation with the help of arithmetic. Break your thing into semantic parts and count the signs - the result will surprise you.

According to the classical scheme, 20% of the volume is allocated to the introduction, 50% to the main action, 10% to the climax and 20% to the denouement.
Experiments with structure are, of course, possible, but are they always justified?

- to develop the planned plot threads. It is possible to add new, minor ones, but not to the detriment of the main idea of ​​the work.

Develop the main characters. Perhaps - to introduce new characters, but again - taking into account the main idea.

Draw the reader into emotional experiences about what is happening.

“People read books to empathize with the characters, to worry about them. If someone asks you to look for hidden symbolism in novels, vague allusions, consider the nuances of various philosophical views, guess at the subtext, comprehend the meaning of the existential - do not listen. It has ruined many writers and readers. People read books to experience what the characters feel. People want to laugh, cry, suffer with them. If you are a writer, your main task is to make the reader empathize” (c) James N. Frey. How to write a great novel.

The middle of the work is actually the story itself, which the author tells.
It could be unusual situation from the life of the characters or, conversely, the standard, but with an inadequate reaction of the characters.
The plot threads intertwine, complement and mutually adorn each other.
The intensity of passions is growing, the conflict indicated in the plot has reached a boiling point, the problem that confronted the hero at the very beginning must be resolved, or it will destroy him.

The CRISIS is coming.

A crisis is a state of affairs in which a decisive change in one direction or another is inevitable.

Hercule Poirot gathers passengers on the Orient Express to tell them who killed Ratchett.
Bazarov is preparing for a decisive explanation with Odintsova.
The "Water Society" in Kislovodsk relishes with pleasure the insidious slander against Princess Mary, which Grushnitsky and his friend spread.

And here attention! The described crisis should correspond to the chosen genre. For example, in ZHP, the story always plays the role of a backdrop, and the hottest point occurs when the characters stop believing in the possibility of happiness.

The crisis encourages the protagonist to take action - he tries to get rid of the danger and / or get what he wants.

At the same time, the crisis is the flourishing of the reader's feelings towards the hero.
The protagonist faces serious problems. The reader tries them on himself and is horrified.
The reader identifies with the Protagonist and admires his behavior.
The reader understands the motives of the Antagonist, but at the same time does not share his beliefs and does not support his ideology.

Throughout the story, the hero constantly found himself at a fork in the plot = plot twists, made decisions - what to do next?
And finally, the hero has reached the moment of the main decision, in front of him is the DECISIVE CHOICE.

The hero performs a certain act, leading the plot to a climax.
The decisive choice that the hero is forced to make manifests itself in the form of a CLIMINATION POINT.

For example, a burglar breaks into a house. The decisive choice of the owner of the house is self-defense, and the climax is the moment when the owner punches the robber in the head.

Sometimes the choice and the climax are connected with each other, turning into one action, as it were, in other cases, quite a lot of time can pass between them.

The climax is the pinnacle of the plot, highest point the conflict of the work, the point of its resolution, when the reader understands whether the thesis or antithesis wins.

According to James N. Frey:

The climax is the target, and the plot is the arrow flying towards it.
The climax is the opposite shore to which you build the bridge of your work.
The climax is the finish of the marathon.
The climax is the finishing blow to the fight that unfolds in your work.
It can be said otherwise.
The plot is a question mark, the climax is an exclamation point.
The plot is hunger, the climax is saturation.
The plot is a throw of the puck, a hand on the hilt, a finger on the trigger, the climax is a bullet between the eyes.
The climax is the end for which the beginning was born.

At the climax, the coward gains courage, the loved one agrees to marry, the loser wins, the winner loses, the saint sins, sinners atone for sins. This is what the definition of climax as "revolutionary change" implies. The situation is changing dramatically: everything is turned upside down.

The work lives from the beginning (conflict!) to the climax (conflict!) - until the moment when it becomes clear: who is who.

AT tragic work climax most often becomes the death of a hero.
In dramatic life history heroes at the moment of the highest tension are carried through difficult situation, after which the voltage drops.
In comedy, as a rule, the climax falls at the moment when all the secrets are revealed, and the characters find themselves in a ridiculous and awkward position.
In a detective story, the climax is the moment when the name of the killer (kidnapper, robber) is called.

In literary and artistic creations of epic genres, significant in volume, such as Anna Karenina and War and Peace by L.N. Tolstoy, "The Idiot" and "The Brothers Karamazov" by F.M. Dostoevsky, "The Life of Klim Samgin" by M. Gorky, " Quiet Don”and “Virgin Soil Upturned” by M.A. Sholokhov, "Master and Margarita" M.A. Bulgakov, where, as a rule, several storylines are intertwined, not one, but several climaxes are possible, each of which can play a decisive role in the perception of the text by readers.

DOWNLOAD ACTION

However, the climax is not the end of the work.
The author needs to complete the story = collapse the action, show how the narrative environment has changed as a result of conflict resolution.
It is desirable that the speed of plot folding correspond to the speed of unfolding. Although options are possible - see Plot schemes here
Usually the pace of the story slows down.

UNLOCKING is coming.

As a rule, it is impossible to determine the boundaries of the climax or denouement. The climax is the specific moment when the reader realizes that the key conflict has been resolved. And the denouement is an event that exhausts the conflict, a period at the end of a sentence, an event that should finally clarify everything.
The unity of the climax and denouement proves the main idea of ​​the work.

FINAL CONFLICT

Occurs after the climax.
His model is directly opposite to the conflict from the beginning of the work - it does not grow, but rather fades away. Its function is to give the reader the impression that the story is told to the end.

“Think of the final conflict as an operation to clear the occupied territory of the enemy, after the long war has been won decisive battle» (c) James N. Frey

In some works, the final conflict is absent altogether. This is because all conflicts are resolved at the moment of climax.

The ending of the story can be tragic or happy, depending on the ideological objectives of the work.

The ending can be open - like, the hero went through difficult trials, changed internally, but life goes on. This will allow the reader to reflect after they have finished reading. Even if NOTHING happens in the ending, then there should be some meaning to it.

The finale must necessarily carry a semantic load. Let artistic justice be done. Artistic justice is a punishment corresponding to the severity of the crime, or a reward that appreciates virtue.
The villains should get what they deserve, the sufferers should be rewarded. Those who have erred must pay for their mistakes and see the light, or else remain in ignorance. Each of the characters has changed, made some important conclusions for themselves, which the author wants to present as the main idea of ​​his work.

EPILOGUE
- the final part, added to the finished work of art and not necessarily connected with it by the inseparable development of the action.

How does the prologue present actors before the beginning of the action or informs what preceded it, so the epilogue acquaints the reader with the fate of the characters who interested him in the work.

The epilogue differs from the afterword in that the former can be a reflection, while the epilogue is always a story.

Epilogues can be built in different ways, again, it all depends on the goals of the author.

For example, let's analyze the epilogues of Tolstoy and Turgenev

"War and Peace". In such a global novel, it is not easy to fix the ending. Therefore, Tolstoy structurally divides the epilogue into two parts, and gives in it as many as three plans - historical, family and philosophical. Tolstoy's epilogue does not so much end the story about the fate of the heroes as it anticipates their new, so to speak, adventures. So, Pierre's participation in the Decembrist uprising is beyond doubt. As well as his insoluble dispute with Nikolai Rostov - evidence of their future discord. So the life of the heroes of the epilogue is far from over.

« Noble Nest". The epilogue is built on a completely different principle. Eight years later, Lavretsky visits the estate. He is sad, but the turning point in him has already happened, the past is closed to him.

His heart felt sad, but not heavy and not regrettable: he had something to regret, nothing to be ashamed of. “Play, have fun, grow up, young forces,” he thought, and there was no bitterness in his thoughts, “you have your life ahead of you, and it will be easier for you to live: you don’t have to, like us, find your way, fight, fall and get up in the midst of darkness, we were fussing about how to survive - and how many of us did not survive! - but you need to do business, work, and the blessing of our brother, the old man, will be with you. today, after these sensations, it remains to give you last bow- and, although with sadness, but without envy, without any dark feelings, say, in view of the end, in view of the awaiting god: "Hello, lonely old age! Burn out, useless life!"
Lavretsky quietly got up and quietly withdrew; no one noticed him, no one held him back; merry cries resounded stronger than before in the garden behind a solid green wall of tall lindens. He got into the carriage and ordered the coachman to go home and not drive the horses. (Turgenev. Noble Nest)

© Copyright: Copyright Contest -K2, 2013
Publication Certificate No. 213101300161
reviews

part three

It is more difficult for a writer to describe the ordinary
life than an exclusive situation.
Ilya Shevelev

According to the laws of literature, the plot of any work must be completed

In the classic version, the plot is considered as such if it contains five components: exposition (and plot), development of action, climax, curtailment of action and interchange. Plots contemporary works often built according to a lightweight scheme: plot - development of action - climax - denouement or even more lightweight plot - action - climax (aka denouement).

The classical scheme is more suitable for solid, slowly developing plots; it is used when writing thick books, scripts for plays, thoughtful films. The lighter circuit is better adapted to our high-speed world, it is used to write scripts for cartoons and action films, as well as for all kinds of comics and others. graphic works, where such a quality of the plot as its rapid development is important.

Which scheme you prefer is up to you. Below I will show you different variants development of the action and give you a couple of tips on how to build a plot depending on the genre of the work. But first things first.

1. Exposure.

First of all, we inform the reader about where and at what time the action takes place, introduce the characters, briefly tell their story, and introduce the reader to them. There is still no conflict here, as such, but the prerequisites for it can be identified.
Lorraine moves to new apartment, meets neighbors, calls a friend- this is our exposition: we introduced the reader to main character, marked the time and place of the action, indirectly told about the rest of the characters. The beginnings of the conflict here can be shown through the peculiar relationship of the girls, on the basis of which the sprouts of misunderstanding and jealousy will soon sprout.
How long the exposition will be depends entirely on the author and his intention. For works with a fast-paced plot, a couple of lines are enough to introduce the reader to the essence of the matter; for works with a prolonged plot, the introduction is usually made larger. Try not to overdo it, not to stretch the string and at the same time not to crumple it too much.

2. Tie.

Not to be confused with exposure! Actually plot This is the event that starts everything. You can say this: if the conflict is the cause of the war, then the plot is the reason for it, like a violation of the peace treaty.
And in our history, what will serve as a "trigger" for the development of the plot, what event? I think that the action will begin with the acquaintance of our heroines with the handsome Dave, because it is after this that everything will spin - wrap. So, in our case, the introduction of the plot can be considered the scene of acquaintance.
Usually the plot is the moment when the hero is given an important task that he must complete, or he, the hero, must make his choice. The author usually uses this situation to indicate the conflict, to show exactly what the contradictions between the hero and the villain are, to describe exactly how each of them perceives the problem that has confronted them, and to subtly hint to us what each of them intends to do next.

Here, a young man appeared in the field of view of the girls, who liked both of them, but he liked Lorraine more, and Inga was infuriated. Lorraine is embarrassed that this happened, but she likes the guy, and she intends to continue the acquaintance. Inga is annoyed, but so far she is not going to do anything, she preferred to step aside and let her friend do whatever she sees fit.

At the same time, the writer, having achieved that the reader is unambiguously interested in his story, slowly begins to unwind his intrigue (who will win and who will be left with a nose? how will it end?) and at the same time gradually present us with the main idea of ​​the work ("friendship and love will win all" or, on the contrary, "no, even the strongest friendship can withstand betrayal").
The tie does not have to be one; in serious works, the authors usually invest many storylines at once - love line, family, detective, political and other, other. The authors of the series usually limit themselves to one single line, but no one bothers you to make several of them. So, how many storylines there will be, there will be as many ties, they can be scattered throughout the text, but do not forget: each situation must have a logical conclusion, which means that each tie will have a continuation and denouement. There shouldn't be storylines started but not finished.

3. Development of action in ascending order.

This is where the unlimited flight of fantasy begins! The author invents the most incredible plot moves, places the characters in various difficult situations, describes their experiences on this occasion and tells us how trials temper the characters' characters, what lessons they learn for themselves.

Heroes must change, this is very important! If from first to last episode the hero has not changed at all, if he is still the same and perceives the world in the same way as before, if he has not learned any valuable lessons for himself, then you have not fulfilled your task as a writer. Why did this story need to be told? What was her deep meaning? What did the author want to tell us? It turns out that there was no sense in anything, he didn’t want to say anything, and, in general, there was nothing to talk about.

The action should not be incoherent: here our heroes were caught by a maniac, but here they are, it is not clear how they escaped from the tormentor, without any reason, they find themselves at an abandoned nuclear station. Plot moves should "cling" to each other, like loops in knitting, then you get a one-piece sock, that is, excuse me, a story.
It would be best if you, before describing any move, slightly “reveal the cards” in advance and give a modest, imperceptible hint that so-and-so may very well happen soon. Just a hint, nothing more. For example, if you planned that in a series or two your hero will threaten someone with a gun, it would be nice to announce right now that this cute young man is the happy owner firearms or he has a habit of going to the shooting range, where he was noticed as a good shooter. At least when the reader sees that your Cool Walker takes aim at his opponent and threatens to shoot the poor fellow off an important part of the body, he will not have the feeling that he, the reader, has been slammed on the head with a log. On the contrary, he will be pleased with himself: wow, but in the last series I guessed what to expect from this ranger!

Everything that you hinted at in the beginning should be developed and concretized. The conflict must steadily escalate. Let the characters express themselves different parties, let new participants be involved in the conflict, let those who at first remained silent speak out.

Take, for example, our conflict, which we have already outlined. Two girlfriends quarreled over a guy and are trying to share him, and at the same time maintain friendly relations. What about the guy? How does he feel in such a situation? What does he want? What are his intentions for each of the girls? Or maybe he doesn't care?

Steadily develop the storyline from episode to episode. If there are several storylines, the more interesting, let them intersect, intertwine, "push" each other. The heroine is more likely to commit suicide if her friend betrayed her, she ran out of money and had problems at work, than if any one of these troubles happened.
So, gradually building up tension, we step by step bring the heroes to the very milestone throughout history. it climax.

Each literary work obeys the laws of the genre. Failure to do so results in a disruption of the composition. The climax is the most exciting moment in a story. It is very important for every reader, and especially a writer, to understand what it is.

The main elements of the composition of a literary plot work

Plot genres include short stories, novellas, and novels. The works that make up this group are necessarily built around the conflict that develops throughout the description.

Then it reaches the highest point of tension. The climax is the very moment when the denouement is inevitable.

Thus, four main plot elements should be distinguished. These are the “4 whales” on which the composition is based literary work of this genre.

Exposition - a description of the time, place, character of the characters.

The plot is an event that served to aggravate the contradiction or became the starting point of the storyline.

The climax is the moment of critical tension of the situation.

The denouement is the event that served as the resolution of the conflict, the final touch in the description.

An example of a composition in a work

Turning to the work of Mark Twain, you can consider the storyline of the episode with the painting of the fence. The plot of the story is that Tom Sawyer was punished by his aunt.

Then a clever thought visits the head of a smart boy: he decides to "sell" the opportunity to pick up a brush! This is where the culmination comes - this is the most exciting moment in the episode, because the reader does not know how the hero's new adventure will end, his interest is warmed up enough.

And here is the denouement - the guys vying with each other offer in exchange for this the most precious things that they own. A few minutes later, the fence is painted, and Tom himself becomes a real "rich man", having received "countless gifts": boxes and broken toys, a dead cat and an apple core.

Place of climax in a literary work

A look at the composition of a literary work is strictly individual. The writer does not have to classic version when exposition, plot, climax, denouement appear in his creation in given order. Often the author completely omits the exposition, leaving the reader to get acquainted with the characters in the course of reading. Sometimes a climax is placed at the very beginning of an action-packed work. The denouement comes at the very end, stimulating you to read the work to the end. The climax at the very beginning immediately captures the reader's attention and arouses interest.

“Hands ached. From somewhere on top of his head dripping vile cold drops. Opening his eyes with difficulty, Mikhail saw the gloomy walls of the basement. And in the opposite corner, a terrible huge rat brazenly crunched something.

Looking closer, Mikhail realized with horror that this was the same basement! And then he heard someone's steps, then turning the key in the keyhole ... The end was inevitable. But it shouldn't be. And Mikhail already knew what he would do in the next minute ... "

After reading such an opening, a lover of horror, detectives or thrillers will never put the book aside. Why is the hero in this position? What will he do next? Can he be saved? Actually, this is only a part of the questions that will come to the mind of the reader.

Interchange, its place in the composition

It is worth noting that this element can also be at the beginning of the story as an intrigue. For example, in this form.

“Maria entered the hall and noticed with peripheral vision that all those present turned their heads in her direction. Conversations stopped for a moment. Delight in the eyes of males spilled into the soul with a wave of hatred and contempt. All this - both recognition and admiration - is just the hypnotic effect of diamonds, she knew that!

And then - a transition to the past, a reference to a hungry childhood, when that “boar with a fat double chin, today smiling ingratiatingly and obsequiously catching her gaze”, passing by them, sitting with their mother and praying for help, twisted his lips with disgust.

Prologue involves setting up children for the upcoming content of the lesson, introducing them into a certain emotional state. Translating into the language of choral performance, we can say about it this way, the task of the prologue is to lead to a general tone, i.e. set the tone, sound properties, make an auftakt.

Dramaturgical plot gives the most important impetus to action, determines the course, pace, activity of all acting heroes. At the beginning of the lesson, its main tasks are set, the material with which to work and the methods of action of all subjects are determined, the organization of students' readiness for the upcoming activity or direct involvement in the activity is carried out.

Further, according to artistic drama, there are certain events that cause specific actions to be taken. There are many techniques for developing an action: repetition of the main idea, contrasting comparison, comparison, variation.

The result of development is the climax. climax- the highest point of experience. Experiences are always associated with emotions.

Action interchanges built on generalization, conclusion, statement of the main idea. In the denouement, the main points of the content are emphasized, new ways of action are fixed, and control is exercised. The denouement in the lesson completes the work with the subject content. If the lesson was related to the disclosure of the topic, then the denouement means the moment the disclosure of the topic is completed.

Epilogue occurs after all events have already taken place. The actions of the epilogue may be associated with evaluation, analysis of self-perceptions, etc.

Thus, according to the laws of dramatic development, the content of a music lesson unfolds as an immersion in some topic, problem, image, creative process creating a piece of music.

ORGANIZATIONAL DIRECTION

Associated with the purposeful actions of the teacher in planning and organizing educational and educational process. It's a selection educational material, organization of various forms of educational and educational work, planning their own actions and actions of students during a music lesson and in extracurricular activities.

ORGANIZATION OF THE EDUCATIONAL PROCESS AT THE MUSIC LESSON INCLUDES.

1. The effectiveness of the organization of entry and exit. Greetings. Journal work. Working with student diaries. Work with diaries of musical impressions.

2. Organization of knowledge testing, homework.

3. The efficiency of using the classroom and the material base of the lesson.

4. Fulfillment of psychological and hygienic requirements for the lesson.

4. Organization of cognitive activity of students in the lesson: listening to music, analyzing it; improvisation;

5. Implementation various kinds practical work students in the lesson: singing voles; singing from notes; motor-rhythmic activity; elements of choreography, plastic intonation; listening to music, role-playing games; improvisation, composing music; written work with various tasks.

6. Organization independent activity students written reflection on music, performance creative tasks etc.

7. Organization of control of acquired knowledge in the lesson.

8. Combination of collective and individual work in the classroom, a differentiated approach.

8. Preparing for homework.

In the construction of the lesson, flexibility, a creative approach to the choice of ways, means, methods, with constant reliance on general didactic principles and on the principles of the unity of the emotional and conscious, artistic and technical, are necessary.

The plot is an element of the plot, the starting point in the development of the action of a literary work; an event from which the main conflict of the work grows and is directed towards its final resolution. In a literary work, the actions of the characters are logically interconnected. Each event occurs as a result of the previous one. The sequence of events in a story that influence other events based on cause and effect is single action and represents the plot of a work of art.

The plot reveals the characters, their relationships, as well as the series of events described. Since the plot is based on the emergence, growth, and resolution of the conflict, i.e., the clash of opposing forces, the structure of a literary work includes several stages of its development.

Tie in the plot structure

The structure of the plot of a literary work includes the following elements:

• exposure;
• string;
• action development;
• climax;
• denouement.

In the structure of the works there are other elements of the plot, for example, or an epilogue. Each element performs its function. For example, the exposition provides information about the main participants in future events, time and place even before the development of the action, and the prologue tells what happened before the events described in the work.

There are three obligatory elements of the plot: plot,. The plot is used in every story to build a narrative, even if it has a non-standard plot structure.

The opening is usually found at the beginning of the piece, although it sometimes appears in the middle or at the end. For example, the reader learns about the decision of the hero of the novel by N. V. Gogol "Dead Souls" Chichikov to acquire dead souls at the end of the work.

In large-scale works (for example, in the novel by L. N. Tolstoy "Anna Karenina") there are often several plots that begin different storylines. Each separate part of a work of art (part, chapter, action, etc.) has a separate plot, subordinate to the general one. The plot in the work is the starting point for the development of the action.

Types of ties

The tie usually begins after the exposure (introduction). In this case, the story becomes motivated and consistent. However, some works begin with a sudden, unmotivated plot, which gives them sharpness and secrecy. Such a plot contains intrigue (lat. inticare - to confuse, confuse), i.e., a way of organizing actions in a work by increasing tension, hidden intentions, and a sharp confrontation of interests. The presence of intrigue is characteristic mainly of action-packed adventure, adventurous works (for example,). In detective novels, the plot, as a rule, is a description of a crime that will soon be revealed by detectives, in adventure novels it is a scene that encourages characters to exploits. An example of an intriguing plot is the beginning of the novel by N. G. Chernyshevsky “What is to be done?”.

The value of the tie in the work

The plot is the event from which the development of the action in the work begins. In the plot, as a rule, the main conflict begins, a clash of forces occurs, which leads to the development of subsequent events in the work.

The tie has great importance in the development of characters. The plot usually shows the first clash of antipodes, the emergence of tension between the characters, the appearance conflict situation, which will develop in the future and deepen to its final resolution. The plot determines the main lines of plot development, orients the reader in the division of forces, and specifies the theme and problems of the work.

The plot is often regarded as the most significant part of the plot, since the climax and denouement depend on the events described at the beginning of the work.

Examples of ties in works