36 MAIN STORIES BY GEORGE POLTI
So, George Polty (1868 - 1946) - French writer, translator, literary critic and theater critic, fellow student of the famous French occultist Papus. In 1895, Polti published his most famous work, "36 dramatic situations", which was the result of an analysis of one thousand two hundred dramatic works of various authors and eras. Of course, there are a great many variations of these basic plots, but Polti tried to fit them into his classification, making it very flexible. Indeed, it is extremely difficult to come up with a plot that in no way falls under at least one of the proposed variations. Therefore, I propose to get acquainted with the classification proposed by the Frenchman and make sure that it does not lose its relevance today.
1. PRAYER
This plot can have many variations. For example, a hero fleeing for his life begs someone from the powers that be to save him from his enemies, or asks for shelter or refuge. Very often the hero asks not for himself, but for his relatives or loved ones.
The main elements inherent in the situation:
pursuer (or antagonist);
persecuted or in need of protection, assistance or asylum;
the character on whom the subject of the plea depends (help, protection, shelter). As a rule, he does not immediately decide to provide help, he has doubts - that’s why the hero has to beg him. And the larger and longer these fluctuations, the more intense the situation.
2. SALVATION
This situation is in many ways similar to the previous one, but the difference is that here the savior appears unexpectedly and saves the needy without prayer or persuasion. An example would be any unexpected rescue of a hero who is in mortal danger - a move that is extremely common in modern literature and cinema.
The components of this situation:
rescued;
pursuer (antagonist);
savior.
3. REVENGE FOLLOWS CRIME
A very common plot in literature. It can unfold in the form of a conflict based on blood feud, or the restoration of justice by punishing an unconvicted criminal.
Elements of this situation:
vindictive;
guilty;
crime.
4. REVENGE OF A CLOSE PERSON FOR A CLOSE PERSON
This is a variation of the previous situation, but here the role of the culprit is played by a person close to the hero, which gives the whole story even more drama. A classic example of the situation is Hamlet's revenge on his stepfather and mother for his murdered father.
Elements of the situation:
living memory of harm caused to a loved one;
avenging relative;
relative responsible for the harm caused.
5. PERSECUTED
Also a fairly common plot, during which the hero, who has committed a crime or is innocent, is pursued by hostile forces superior to him. There can be many options here: a criminal hiding from the authorities; debtor persecuted by creditors; valuable witness, pursued by the mafia, etc. Within the framework of other plots, this one can degenerate into separate chase scenes, which are very common in cinema these days.
Plot components:
reason for persecution (crime, mistake);
hiding from punishment.
6. SUDDEN DISASTER
Someone powerful and prosperous suddenly suffers defeat or collapse. This can be either an individual person (banker, dignitary or commander), or an entire city or state.
Basic elements of the situation:
the appearance of news of defeat, collapse, or the enemy personally appearing and inflicting this very defeat;
a ruler defeated or struck down by the news of his collapse.
7. SACRIFICE
This can be either a victim of other people or a victim of current circumstances, the main thing is that this particular person suffered. But there can be a great many options for this: a victim of love (abandoned and rejected), a victim of one’s trust (deceived by someone) or simply an unfortunate person who suffered due to circumstances.
Sample plot elements:
oppressor or oppressive circumstance;
a victim who experiences the oppression of another person or circumstances.
8. REVOLT, REBELLION
In this situation, we are talking about dissatisfaction of one or many with the policies of a leader or national leader, resulting in an open speech or an armed uprising.
Plot elements:
tyrant;
conspirator.
9. A BOLD ATTEMPT
Here we have a fairly common adventure motive, which implies many risky undertakings and the violation of certain taboos and prohibitions. This could be the abduction of some object, a woman. Naturally, the level of emotional tension directly depends on the seriousness of the dangers that await the character who decides on this daring attempt.
Components of the situation:
daring;
object daring;
antagonist.
10. KIDNAPPING
A well-known ancient plot, which is in some way a variation of the previous one. Basically, the object of kidnapping is a woman (who knows nothing about the kidnapping, or, on the contrary, passionately desires it), but children and men can be kidnapped, but for the purpose of ransom, for example. A special case of kidnapping can be considered rescue - that is, the kidnapping of a comrade or friend from captivity or prison.
Plot elements:
kidnapper;
kidnapped;
guarding.
11. RIDDLE
In this situation, on the one hand, there is a force that poses a riddle, and on the other, there is a hero striving to solve this riddle. A classic case of the plot is the famous riddles of the Sphinx. However, there are still a lot of options in which, on pain of death, you need to find a certain object or person, gain access to important, but carefully hidden information. In general, situations with a riddle attract the reader’s attention well, playing on his curiosity. Writers often use this technique, as a result of which entire genres have formed around this type of situation - for example, detective fiction, where the mystery is the driving force of the entire work.
Elements of the situation:
asking a riddle or hiding something;
seeking to solve a riddle;
mysterious (subject of a riddle).
12. ACHIEVEMENT OF SOMETHING
It includes a huge variety of stories that differ in the goal of achievement (wealth, position, consent to marriage, etc.) and in the means (force, cunning, eloquence, deception).
Approximate plot components:
a hero who strives to achieve something;
one on which the achievement of a goal depends on consent or assistance;
the party opposing the achievement.
13. HATRED TO YOUR LOVED ONES
A very common and very everyday motive. People forced by fate to be side by side often experience feelings for each other that have little to do with love. There are a lot of plot options here: hatred between brothers, between mother-in-law and son-in-law, stepmother and stepdaughter, between father and son, etc. In general, this is a very clear and familiar motif to the reader, which can make the work truly vital and interesting.
Component situations:
hater;
hated;
reason for hatred.
14. Rivalry between relatives
A variation of the previous situation, but here we are talking exclusively about rivalry, not hatred. The intensity of passions here is not so great, but this should not confuse us: often the simplest everyday situations arouse more interest in the reader than the next salvation of the world. In this case, we can talk about rivalry between sisters or brothers, mother and daughter, father and son. The subject of rivalry can also be different - inheritance, the location of elders, a woman. And if the above-described version of hatred between loved ones is the most suitable for drama, then this contains wider and more varied possibilities.
Story Elements:
one of the relatives;
another close;
subject of rivalry.
15. MARITAL TREASON LEADING TO MURDER
Excellent soil for a dramatic story. Here is the murder of an unfaithful wife and lover by a husband, and the option of murdering the husband himself, and a wife who wants to get rid of her lover in order to save the marriage. There are many options, and they all have very high dramatic potential.
Plot elements:
adulterer;
deceived spouse;
lover or mistress.
16. MADNESS
A very entertaining plot device that can turn a banal story into something completely unexpected. What's so good about madness? And the fact that his actions do not need logical justification, therefore an insane character is capable of committing any actions without proper motivation and purpose. If we are talking about a purely dramatic story, then it could be the murder of a loved one in a fit of madness or the destruction of a work of art or someone's work. A variant of insanity can also be alcohol or drug intoxication and actions committed under its influence.
Example elements of the situation:
insane;
the victim of one who has fallen into madness;
real or imaginary reason for madness.
17. FATAL NEGLIGENCE
The main elements of the situation are the careless hero and the consequences of his carelessness. The consequences can be the ruined fate of the hero himself, the death of loved ones, and losses caused to others. Often in stories of this kind, writers add secondary roles - an instigator (as in the case of Eve and the forbidden fruit) or a well-wisher who warns the hero of possible troubles. But in any case, we know that the careless will definitely do what he was warned against. By the way, this motif is very common in fairy tales: often in them one of the heroes is strictly forbidden to do something (drink from a puddle, open the door to a stranger, talk to a stranger), but through his carelessness he still violates the ban, which entails the most unpleasant consequences.
Possible situations:
careless;
victim of carelessness or lost item;
a good advisor who warns against carelessness;
instigator.
18. INVOLVED CRIME OF LOVE
This includes situations in which a love affair turns into a crime committed out of ignorance. The most common case here would be involuntary incest: the connection between son and mother, brother and sister. Quieter options are possible when one of the lovers turns out to be the spouse of a close relative or friend.
Plot elements:
a lover;
mistress;
revealing the secret.
19. INVOLVED KILLING OF A LOVED ONE
Also quite a strong dramatic theme. Here one of the relatives kills the other, after which the recognition or disclosure of a relative secret follows. Examples: murder of a father, murder of a brother.
Elements of the situation:
murderer;
unidentified victim;
revelation, recognition.
20. SELF-SACRIFICE IN THE NAME OF AN IDEAL
Can take various options, ranging from sacrificing one's own well-being and wealth to sacrificing one's life in the name of ideals. Ideals, in turn, can also be different: this is a duty or a promise, some strong convictions, sometimes devout faith. In stories of this kind, the author has to try hard to show the reader the motivation and depth of emotional experiences of the hero who decided to sacrifice himself. Without proper depiction of these elements, the plot loses the lion's share of its drama.
Participants in the story:
a hero who sacrifices himself;
ideal;
sacrifice made.
21. SELF-SACRIFICE FOR THE SAKE OF LOVED ONES
Another option for self-sacrifice, but much more everyday and understandable. And if in the previous case a certain scrupulousness was required from the author in depicting the motives of the character, then here much is clear in itself. And again, life, honor, welfare, marriage and other values are at stake here.
Elements of the situation:
a hero who sacrifices himself;
a loved one for whose sake the sacrifice is made;
what the hero sacrifices.
22. SACRIFICE EVERYTHING FOR PASSION
An excellent plot device that pushes the narrative into the direction of a love story. Of course, the main variations here are the sacrifice of wealth, honor, chastity or life for the sake of love for the femme fatale. But passion is also possible for completely different things (wine, gambling), and it can require the same sacrifices for itself. All these situations are combined at this point.
A striking example is the heroine of L. Tolstoy’s novel of the same name, Anna Karenina, who sacrificed her marriage, child, reputation and even life for the sake of a love affair with Vronsky.
Plot components:
enamored;
subject of fatal passion;
that which is sacrificed.
23. DONATE TO YOUR LOVED ONES OUT OF NECESSITY
A fairly common motif in the past, but now its use is very limited. It seems to me that it is quite difficult to select and properly depict the motivation of a hero who sacrifices loved ones for the sake of public interest, faith or some other beliefs. Still, such motifs are more typical for historical prose than for the literature of modern realities.
Elements of the situation:
a hero who sacrifices loved ones;
loved one, sacrificed.
24. RIVALRY
A very well-known plot motif found in many works. Rivalry itself can be equal (two brothers for an inheritance, two friends for a loved one, etc.) or unequal (rich and poor, strong and weak). It can develop between two people, or between groups of people, or even entire nations and countries.
Plot elements:
one opponent;
another opponent;
subject of rivalry.
25. BREACH OF MARITAL CHARACTERY
A variation of one of the situations already voiced, but this time without murder. A fairly common everyday motive, which, nevertheless, provides certain options for the author. The writer here can focus both on the experiences of the deceived spouse and on the feelings of the adulterer or a third party. The story can take both a dramatic and comic angle. In general, what can I say: sometimes the author only needs three characters to create a fascinating plot for the public.
Elements of the situation:
adulterer;
deceived spouse;
lover or mistress.
26. CRIME OF LOVE
A whole group of plots united by one motive - love leading to some kind of crime. This could be incest, a relationship with a minor, or a love relationship with non-blood relatives (for example, with a daughter’s husband). The drama of these situations is based on the collision of a bright feeling of love with a violation of moral prohibitions.
Participants in the story:
character in love;
favorite character.
27. LEARNING ABOUT THE DISHONOR OF A CLOSE ONE
Potentially a very strong dramatic situation, which, at the will of the author, can be further aggravated by the fact that, for example, the recognizing hero is forced to punish or even kill his loved one who has lost his honor. There may be various options here: for example, learning about the dishonor of a wife, mother or daughter; the discovery of the terrible fact that a brother or son is a murderer or a traitor (Taras Bulba immediately comes to mind), and so on.
Story Elements:
recognizing;
guilty loved one;
guilt.
28. OBSTACLE OF LOVE
An extremely common move that can be found in the vast majority of works where lovers appear. And of course, over the entire centuries-old history of exploitation of this theme, countless variants have been invented. This is a marriage that is impossible due to social or property inequality, upset by ill-wishers or insurmountable circumstances, and the classic story of Romeo and Juliet, where love is prevented by family enmity, and a more everyday case, where the difficult nature of the lovers themselves interferes with their happiness. In general, the choice is huge, but choosing something original in all this variety is not so easy.
Plot components:
a lover;
mistress;
let.
29. LOVE FOR THE ENEMY
One of the varieties of the previous situation, but nevertheless containing stronger dramatic potential. Here, of course, in addition to the personalities of the lovers themselves, the reason why they are enemies is extremely important. The classic version of this story is Shakespeare's tragedy Romeo and Juliet, already mentioned above.
Elements of the situation:
enemy;
loving the enemy;
the reason why the beloved is the enemy.
30. LOVE OF GENEROSITY AND LOVE OF POWER
Stories of this kind are based more on the character of the hero himself, and not on the surrounding circumstances. Here the author should try to create a believable image of an ambitious person who is ready to commit a crime or betrayal in order to achieve his own goals. And of course, to create a conflict, an opposing side is needed, the goal of which is to tame the presumptuous hero.
Plot elements:
ambitious;
the goal of an ambitious person;
rival.
31. FIGHT AGAINST GOD
A very complex basis for the plot, which, nevertheless, with the proper approach, can distinguish the work with its originality. Godlessness in Polti's classification is one of the rarest ideas. This is its huge advantage. As for the situation itself, it implies not only a battle against God or fate, but also, for example, a struggle against faith itself, against believers in God. In general, this is a topic for a large and serious work that can touch on a whole layer of cultural and moral problems.
Approximate terms of the situation:
Human;
God;
reason or subject of struggle.
32. UNCONSCIOUS JEALOUSY, ENVY
Here we are talking about situations in which the motive for the action of a character or group of characters is jealousy or envy. This type of plot rather belongs to the category of everyday ones, understandable to any reader. The author is required to thoughtfully work on the components of the situation; the reason for envy or jealousy is especially important, and, of course, the motives of the characters in the conflict.
Plot elements:
jealous or envious;
the object of his jealousy or envy;
perceived rival;
a reason for envy, jealousy.
33. MISTAKE OF JUDICIAL
In my opinion, these are situations with quite high dramatic potential. Here, one of the characters becomes a victim of a miscarriage of justice (which may be unintentional, or perhaps set up by some ill-wisher), there is a person committing this mistake, as well as a real criminal. And all of them, of course, experience great anxiety about what happened - this is where I see a serious source of drama in such stories. The success of the whole idea will largely depend on whether the author can reveal it adequately.
Participants in the story:
mistaken;
victim of error;
subject of error;
the true criminal.
34. REMENTS OF CONSCIENCE
Probably the best basis for a psychological drama. The hero commits a crime or makes a mistake, and then a cruel mechanism of self-flagellation is launched, leading the hero to a deep and insoluble internal conflict. Of course, one of the best examples of using this situation is the novel by F.M. Dostoevsky "Crime and Punishment".
Plot elements:
guilty;
mistake or victim of the perpetrator;
searching for or exposing the culprit.
35. LOST AND FOUND
A fairly common adventure motif. A man disappears under mysterious circumstances. He needs to be found, and, of course, along the way, figure out what caused the disappearance. Here, in addition to the quite predictable adventure beginning, the role of the riddle is also strong. Thus, the story of the lost character may well contain additional detective notes.
Participants in the situation:
lost;
findable;
finder
36. LOSS OF LOVED ONES
Well, the last dramatic situation on Polti’s list is also very often exploited by modern authors. All plots based on the death or loss of loved ones are combined here. Of course, the circumstances of this loss are entirely at the mercy of the author, and of course, the success of the story itself will depend on how he works in this direction. A very common case is when the author deliberately makes the hero a witness to the death of loved ones.
Elements of the situation:
deceased loved one;
lost a loved one;
the culprit in the death of a loved one.
ABOUT DRAMATIC SITUATIONS
Before we finish with Polti's classification, I would like to say a few words about how I myself see working with such blanks. Of course, knowing about the main types of plots on which the vast majority of the world's literary masterpieces were built is very useful. This eliminates many problems. It often happens that the author already has some outlines for the plot, but he cannot put them together into a single whole, choose the right ground for conflict, which would allow all his ideas and intentions to be revealed. This classification allows you to do this without unnecessary effort - from the options proposed by Polti, choose the most suitable one, which will become the main conflict for the new novel. But at the same time, this does not mean that the writer must unquestioningly adhere to those elements of the situations that the French literary critic voices. On the contrary, the more the author brings his own, the less trace will remain of the “template” that was taken as the basis for the entire work.
It is also very important for the aspiring author to realize that Polti’s classification is not just a selection of the main ideas for the novel. These are the main dramatic situations that occur during the course of the plot itself. That is, they can be used as local conflicts in individual parts of the novel, chapters, or just scenes. Here we see that the main thing in Polti’s classification is the concept of ideas itself, and their magnitude can be completely different depending on the goals of the author himself. This must be understood and used.
In general, Georges Polti's classification can have as many critics and as many adherents as desired. Its benefit for an individual author will depend solely on him: how much the writer can feel its flexibility and master it for his own benefit. Polti's classification is one of many tools provided to the modern author; the only question is how the author himself can use them.
Well, that's all for today. I hope this classification will serve you well in your difficult writing or screenwriting work. Subscribe to updates on the Literary Workshop blog. See you soon!
(original litmasters.ru)