In the realm of storytelling, there’s an age-old adage suggesting we begin at the beginning—just as Julie Andrews whimsically stated. But let’s be honest, not all stories have a linear starting point. It’s kind of like trying to fit a square peg into a round hole; the very essence of your narrative can shift based on where you choose to commence and how the plot unfurls. With all that said, let’s dive deep into an often-overlooked nuance: the fine line between ‘story’ and ‘plot.’ Yes, they’re often used interchangeably, but they hold distinct roles in the writing process. Imagine a well-loved film like Inception or Eternal Sunshine of the Spotless Mind—would their impact be the same if told in a strictly chronological order? That’s exactly what we’re about to explore—that magical interplay between the raw events of a tale and the artful way those events are presented to the audience. So, buckle up, and let’s unravel the layers of narrative together! LEARN MORE
We often say we should start at “the beginning,” which, in the words of Julie Andrews, is a very good place to start. However, it’s not necessarily true that the same kind of beginning works for every story. In fact, that remains dependent on a few factors, including where your story truly begins chronologically, as well as how your plot is structured.
Did You Just Say “Story” and “Plot” Separately?
Yes, indeed. While some consultants may call your story a “plot,” or an editor may mistake the plot for a “story,” they are distinct parts of the writing process that complement each other—hence the common misconception about their natures.
So, what are they, and why are they different? What purpose does each one serve, exactly? We can start by substituting other terms for each. Let’s learn some Russian!
In the Russian novelist boom of the 20th century came an interesting comparison between two concepts: syuzhet and fabula. Narratologists seeking to break storytelling down into clear parts defined fabula with the same meaning in Russian as it has in Latin: “story.”
Meanwhile, syuzhet was given a more nuanced meaning. The actual word roughly translates to the English word “subject,” as in the subject of an art piece or the subject of a sentence—the main focus. When thinking about syuzhet, think of that focus. You’ll begin to see why in a second.
‘Inception’ (2010)
So, What Is Fabula?
Other than simply saying the word “story” again, let’s define fabula in more concrete terms.
Scholars of Russian formalism saw it as the chronology of events as they occur—not the order in which they’re told. Greek tragedies acknowledged horrible battles before, after, and during the main scenes shown to the audience; but these were sometimes told out of order. Similarly, Inception (2010) acknowledges that there were events that led to the first heist we see at the beginning of the movie.
Whether it happens in front of the audience or not, there is an actual timeline of events that is unaffected by the way the story is told. Renfield is affected by Dracula well before Jonathan Harker heads out to the Count’s dark fortress—but we don’t see that happen. Regardless of which scene told Renfield’s part, his story is concretely part of the equation. It’s an inherent truth of the narrative.
Consider that a fable is a story with a purpose, with a message behind it; since “fable” comes from the Latin term fabula, just like the Russian word. So, when remembering fabula, think of the immovable timeline behind the narrative—the truth is the storyline.
OK… Then What Is Syuzhet?
On the other hand, syuzhet acts as the focus of the storytelling. If fabula is the truth behind a narrative, then syuzhet is the message in front of a narrative.
After all, by organizing events from a story in certain ways, you can mislead the audience or confuse the message, making a story tell a different truth. That is the power of the syuzhet, or the “subject,” of the story. That is what we call “plot,” and it’s how a movie like Eternal Sunshine of the Spotless Mind (2004) can surprise and delight an audience, despite the twist of the movie coming at the “beginning” of the timeline.
Because of how the story events are organized, you can give the audience a completely different experience from the original story—one that reveals more of the timeline and that narrative truth, making it clear what the story’s “subject” (its focus) should be. If the focus is on discovering lost memories, showing all those memories at the beginning would undermine the story.
This is why syuzhet and fabula must always work together: To have a narrative, you must have both story and plot complement each other.
Read More: 5 Most Widely Used Plot Points in Screenplays
‘Eternal Sunshine of the Spotless Mind’ (2004)
What Exists Outside the Plot?
As mentioned, there are times when the plot doesn’t reflect the whole story but instead focuses on specific events to highlight a different version of the narrative.
This syuzhet, this plot, could leave out certain elements to enhance the storytelling—or simply reorganize it for the same effect. Leaving out or moving a character’s backstory, worldbuilding, or “lore” can create opportunities for later reveals or add a sense of mystery.
As an example, the original Alien (1979) doesn’t explain the origin of the Xenomorph and explores little of the Nostromo crew’s history as well—because the “Monster in the House” survival plot doesn’t require all that story to be included. That fabula has expanded through other media throughout the years since the movie’s inception, but it wasn’t needed in the first film. Its syuzhet focused on an alien aboard the ship and the crew’s fight to survive the encounter.
The same can be said for other elements of the story: There’s never an explicit mention of what’s in the box in Se7en (1995) because the plot doesn’t require it. In fact, the audience can figure it out thanks to John Doe’s comments in another part of the plot, making the truth very apparent. If we followed the fabula, we might see him take Tracy’s “pretty head,” but the syuzhet doesn’t need that scene to make the intended impact.
Everything left in mystery or with an unanswered question can be considered “outside the plot.” The plot is what’s shown, what the audience experiences. Anything outside that experience can still be a part of the story, informing choices and helping characters fill out their world beautifully.
Read More: What Is a MacGuffin?
‘Alien’ (1979)
Bringing More Story into a Plot
Just like there are elements left outside a plot on purpose, you can also plan to add story events into a plot in ways that are helpful but don’t disrupt the planned flow.
“In Medias Res” Beginnings
In many cases, a movie may start in the middle of the story’s events—and later show earlier events to give the audience a clearer picture of things. When this happens, it’s often an in medias res beginning, like the Odyssey (1614). Instead of starting with a backstory, you start with something in the middle of the true story.
Plot-Triggered Flashbacks (or Flashforwards)
You may decide to briefly show a past event in the middle of the plot, even if the rest of the story moves chronologically.
A flashback (or flashforward) can highlight specific events when they become relevant, rather than putting them where they happened chronologically for the sake of order.
In Ratatouille (2007), Anton Ego flashes back to a scene from his childhood, not at all relevant to the audience until he tastes Remy’s dish. The stakes present—the food critic’s own opinion hanging in the balance—make this connection between the food and his childhood matter. That connection is the focus, which means that the syuzhet uses that event in this order to extract a certain message from the truth of the whole story—the whole fabula.
Backstory in Dialogue
Like Théoden calling out Gondor for failing his people in The Lord of the Rings (2001), dialogue can introduce past events without directly showing them to the audience.
Rather than directly adding this fabula, the question raised makes the audience experience this knowledge secondhand, adding to the narrative weight of it since it means something personal to a specific character.
Frame Stories
A story being told in the context of another story can be a powerful way to organize elements of the narrative and create a unique but compelling plot.
In The Princess Bride (1987) the main plot experience is part of a larger frame story: a grandparent telling a bedtime tale. This introduces a few preconceived notions about the plot and allows for interpolation, enriching the main narrative and giving it much more meaning than can be done with the original plot alone.
Point-of-View Changes
From Alfred Hitchcock’s Psycho (1960) to the original Dracula (1897) novel, changes in point-of-view can be facilitated in a number of ways, whether meant to shock or inform the audience as the plot progresses.
In Dracula, these changes regularly move the needle as the story escalates from epistolary accounts of the fabula.
In Psycho, the sudden shift in perspectives at the midpoint of the plot creates more shock factor in the film for viewers who haven’t yet seen it to the very end.
‘Psycho’ (1960)
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No matter where you start your writing journey with any given narrative, there’s a goal in mind. That goal can help you first think through the truth of your narrative: What is it that really happens? Then, you can use your goal to consider the message you want out of that truth: Do you want to highlight regret, love, loss, or unabashed thrills?
You can organize the truth of the story’s events—the fabula—into a plot that gives the message you’re trying to send. Find your focus and build the syuzhet out of those events to turn a story into an entire plot.
