Plotto pamphlet chapter 4

FOURTH LESSON
The Conflict References
from
PLOTTO
A New Method of Plot Suggestion
for Writers of Creative Fiction.
By WILLIAM WALLACE COOK
With this lesson we shall begin considering another angle of this method
of Conflict suggestion.
You have noticed in the Conflicts that, in lieu of proper names, Plotto
makes use of letter symbols, or of letters and numerals. These symbols represent
the characters, the dramatis personae, of the Conflicts ; they suggest, also,
the relationship of subordinate characters to the protagonist, or the action
suggested by the Conflict. As an illustration : "Torn seeks to help Dick in a
certain enterprise.* Tom, seeking to help Dick in a certain enterprise, does
not know that Dick is a crook.** " Instead of using the names "Tom" and
"Dick" Plotto' s Conflict 809 would phase the Purpose and Obstacle in this
way: "A seeks to help A-5 in a certain enterprise.* A, seeking to help A-5
in a certain enterprise, does not know that A-5 is a crook.** "
Now, the use of "A" and " A-5 " instead of the proper names, "Tom" and
" Dick," offers several practical advantages. We know at once that A is the
leading character, the protagonist ; and we know A-5 is a male criminal.
Wherever a criminal appears in the Conflicts, the added figure, 5, will indicate
it.
The Symbols
So the symbols make for a certain uniformity in suggesting the characters
taking part in the Conflict. They have also, as previously stated, the additional
value of expressing the relationship of subordinate characters to the protagonist,
or to the action.
The use of these symbols, also, is a very practical aid in Conflict manipulations,
since they may be readily changed, or transposed, to meet the varying
needs of the moment.
The more intimate relationships, consanguineous or by marriage, have
letter symbols. "F-A, " for example, is " The father of A," "SN-A" is the " son
of A, " and "M-B" is the "mother of B."
It is merely necessary for the plottoist to remember that "A" is the male
protagonist, and the female protagonist is always " B." Other relationships than
ties of blood or marriage are indicated by the use of numerals. Thus, " A-2 " is
a " friend of A," and "B-2 " is a " friend of B," the "A" suggesting a man friend
and the "B" a woman friend ; and " bA-2," if desired, would suggest a woman
friend of A, and " aB-2 " a man friend of B.
The relationship of the subordinate characters to the protagonist, or to
the action, is invariably explained in the text of the Conflicts.
Manipulating Character Symbols
The main Conflict in a plot that is being developed will be the conflict, or
situation, under the B Clause of the Masterplot. Subordinate Conflicts, if necessary,
will have their character symbols changed, or transposed, to match the
symbols of the Conflict whose ramifications are being studied.
In the heart of the text of Conflict 72, you will find. a reference : " 26a,b,
ch A to A-2. " Conflict 26a reads : "A and B have never seen each other, etc."
If we were using Conflict 26a as explanatory of Conflict 72, our main situation,
we would have to change 26a to read : "A-2 and B have never seen each other,
etc." Thus the changed symbol, A-2, would come into harmony with the text
of Conflict 72. In this illustration, the reference suggests an explanation to
account for the fact that A-2 and B, engaged to be married, have never seen
each other. This, although important, is a minor point and, in such a case the
literal use of the suggestion would be pardonable, although an original interpretation
of the specific Conflict is to be preferred.
"Lead-ups" and "Carry-ons"
Reference numbers are prefixed and affixed to the Conflicts. Those prefixed
may roughly be designated as "lead-up" Conflicts, in the sense that they
lead up to the action of the main Conflict. The reference numbers affixed to
the Conflicts may be called "carry-on " suggestions, in the sense that they carry
on the action. Reference numbers in the heart of the Conflict text are usually,
although not invariably, explanatory suggestions, useful always in studying
the plot possibilities of the main Conflict.
Consider, for a moment, Conflict 239. A lead-up to 239 is "291 ch A to
A-8. " Kindly turn to Conflict 291 and make the change so that 291 shall conform
to 239.
Conflict 880a has a lead-up, "840 tr A & A-2. " This indicates that characters
A and A-2 are to be transposed thus: "A-2 seeks to prevent his friend, A,
from committing a reckless act that would have fateful consequences." Then
Conflict 880a: " A, by a strategem of his friend, A-2, is saved from an act
of folly, etc."
Turn to Conflict 1052a. Lead-up 1369 suggests that A-4 is to be changed
to A-8. Hold the page on which Conflict 1052a appears and turn to Conflict
1369. Read this lead-up, changing the symbol as suggested, in connection with
Conflict 1052a.
Now we shall attempt a lead-up combination that is long and has several
changes. It will be well to use pencil and paper, or a typewriter, and make
a copy of each lead-up reference with the changes as noted. For this illustration
we will use the Conflict we have just been considering, 1369. The combination
lead-up is long and involved, and refers us first to suggestion 1143b.
In 1143b we are to change A to A-8 and B to B-4. Please write out that
Conflict with the changes as noted.
Now turn to Conflict 739, the middle term of the suggestion. Write out
that Conflict, changing B to B-4.
Now consider conflict 1384, the third suggestion for the combination. B,
here, is to be changed to A. Write out this lead-up with the change.
Now kindly turn back to Conflict 1369, our main situation. Arrange the
combination Conflicts you have just written down above it in their proper
order. All the lead-up Conflicts have been changed to harmonize with 1369:
"A receives half of an important message, X, and is looking for a stranger, A-4,
who has the other half. The message cannot be read until both halves are joined."
Note the difficulty that has to do with the "object X." In our first term
of the lead-up combination, X is revealed as a miniature. In our main situation,
1369, we are confronted with a problem ; for the miniature is not said to be
broken, and the two halves, as the lead-up stands, are already joined.
The constructive imagination of the plottoist could have a piece broken
from the miniature, and that fragment in some manner fall into the possession
of the stranger, A-4. Or, we might discard the miniature altogether and be
even more original in our handling of the situation. Suppose the artist, A-8,
has been hired by B-4 to paint two miniatures, one of herself and the other of
A-4, her fiance ; and suppose that some of the lines of the concealed "map of
great importance" are painted on one miniature, and the rest of the lines on
the other. B-4, let us imagine, quarrels with her fiance. She had intended
giving her miniature to A-4, and keeping A-4's miniature for herself ; but
when they quarrel, B pawns both miniatures ; and A-4, discovering what she
has done and not knowing that both miniatures " conceal a map of great importance,"
redeems his own miniature from the pawnbroker.
All lead-ups would carry-on successfully to our main situation. A, with
one miniature, would have to secure the other miniature from A-4 before he
could have " the map of great importance" complete.
Another interesting study in the interpretation of suggestion is afforded
by Conflict 960a:
" A is a soldier, eager to fight but is commanded to retreat before a superior force of
the enemy * A receives orders from his superiors which he considers discreditable **"
A reference leading up to this Conflict is embodied in suggestion 928b
change A to F-A and SN to A:
"F-A is proud of his son A* F-A ' s son, A, dies a shameful, inglorious death, bringing
dishonor and sorrow to F-A**"
A carry-on reference is affixed to 960a in a combination : " 919c ; 928 b ch A
to F-A & SN to A." The first part of this suggestion, and the second part
with changes as indicated, would read:
"
A, a soldier, is reported a deserter under fire* A, a soldier facing a large force of
the enemy, fights against overwhelming odds until he is lulled** Then: " F-A is proud of
tom A on;"
A* F-A's son, A, dies a shameful, inglorious death, bringing dishonor and sorrow
Here we have a tragic error in which the hero brings sorrow to his father
through misinformation given out by the War Office. A would not retreat
according to orders ; consequently, he is supposed to be a "deserter under fire."
An instructing study in manipulation is offered by this group of Conflicts.
Instead of being a soldier, suppose A to be the cashier of a large firm and
that he has a large amount of the firm's cash in his possession. The junior
partner of the firm employing A is a gambler, and sorely in need of funds. He
comes to the office of the firm at night, while A is alone there, working on the
books. He orders A to give him a large sum of money from the firm ' s funds.
A refuses, feeling sure that the money wanted is to be used for gambling
purposes. Morally, A is in the right; legally, he is in the wrong, for the junior
partner has a certain right to the money of the firm. There are hot words, a
quarrel, and the junior partner draws a revolver to enforce his demands. In
the succeeding tussle, the revolver is discharged, and A is killed. The junior
partner takes the cash he needs, places the revolver in A's stiffening fingers
and scrawls a note in imitation of A's handwriting to the effect that A is a
defaulter, and has taken the easiest way out of his troubles.
This would interpret the suggestion we are studying, removing it from
the sphere of military activities and giving it a setting of civilian life.
Another Interpretation
A-2 is a wealthy man, and the friend of A. A-2 has a fear of burglars
that amounts to an obsession. A, surprising a burglar looting his own home,
discovers a rare and costly heirloom of A-2 ' s in the possession of the burglar.
A does not want A-2 to know he has been robbed, and endeavors to return the
heirloom to its owner at night, and by stealth. He uses the robber ' s mask,
effects entrance into A-2 ' s home by the same window the robber had "jimmied "
and forced, and then, before he can return the heirloom to the place from
which it was taken, he is shot and killed by A-2. To all appearance he is the
real robber, for he has the loot in his possession.
Fourth Lesson: The Conflict References
WORK SHEET
The Plotto Method
1. What was the Masterplot you selected?
Arts.............................................................-°......................................................
2 What Conflict did you exemplify the B Clause of your Masterplot?
3. Interpret originally two suggestions leading up to the selected Conflict.
First Interpretation	
Second Interpretation........... -•-•-•---•---•-° - -•-° - - - ......--• - - ...........................................
4. Interpret originally two suggestions carrying on and terminating the action
suggested by the Conflict selected under the B Clause of your Masterplot.
Second Interpretation....................................
First Interpretation.......................................................................................