Plot is an essential dimension of stories, so we need to describe it clearly.
Unfortunately, the word “plot” is used in several mutually exclusive ways. This confusion interferes with our ability to tell (or write) compelling stories!
Fortunately, there’s at least one elegant way to overcome this problem…
In our society, we tend to tell a familiar story about a variety of famous artists, novelists, etc.: namely, the romantic story of the "lone genius." Frequently, as in the archetypal case of painter Vincent Van Gogh, it's a "crazed, lone genius."
But like all stereotypes, this one oversimplifies at best—and, at worst, is not only blatantly false but deeply damaging.
Van Gogh never wanted to be alone! Yes, he suffered from seizures later in his life, perhaps caused by temporal lobe epilepsy. Yes, his social skills were rudimentary.
Nonetheless, van Gogh tried with all his might to surround himself with supportive fellow artists. Again and again, he described his dream of a group of artists living together and supporting each other's art…
Here's a core question when writing books, essays, etc.:
"Because we are typically writing alone, how can we get enough helpful reader feedback? After all, oral storytellers get real-time feedback, which speeds up the trial and error process enormously!
A possible solution question:
"Might there be new ways to elicit reader feedback that would shine new lights on works in progress?
To test that solution question, I created a purposely brief written "story." Then I asked one of my listening buddies, Dr. Sharon Livingston, to read it aloud to me:
Some years ago, my wife Pam told me that she wanted a cat.
I reminded her of something she knew well, "But I'm allergic to cats!"
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Let's face it: most writers quit. They may start with an idea for a novel, a memoir, or a non-fiction book, but (if the polls can be trusted) over 80 percent give up before they finish.
What makes them quit? Lack of discipline? Failure to commit to their project?
I suspect that the answer is simpler and sadder than we think: Most writers just don't get the kind of timely reader feedback they need. As a result, they succumb to excruciating, energy-sapping uncertainty—which can lead, in time, to abandoning their writing project.
Feedback from Oral Storytelling
Oral storytellers have an advantage when dealing with this kind of problem. How? They tell to live audiences and adjust to instantaneous listener feedback: facial expressions, laughter, body language, etc.
Such rapid feedback not only allows the teller to make rapid changes in a story, but it also reduces uncertainty.
