It’s possible that for as long as humankind has been telling stories, we have also been studying them. A basic search for meaning, for what the story represents, was most likely the first type of creative analysis we’ve ever performed. But as time went on and our storytelling became more complex, that study branched into many different technical aspects–not only why we tell stories, but how. And one of the most well-known technical aspects of storytelling involves journalist and author Christopher Booker’s theory of the Seven Basic Plots.
For those who don’t know, there are actually several studies of just how many “plots” exist. And among writers and audiences alike, there is still a great deal of debate: some say there are less, some say more; some disagree with a limitation altogether. But Booker’s analysis is one that comes up the most within the subject of plot.
The arguments for and against Booker are another subject for another time (you can hear more about our personal opinions in our video, What Makes a Story a Story); for now, let’s define Booker’s seven plots and take a look at where they come into play.
Overcoming the Monster
As Booker explains in The Seven Basic Plots: Why We Tell Stories, this storyline follows a hero who becomes aware of a monstrous force (human or not) which threatens destruction in some way, shape, or form. Such a monster is irredeemable, and exists within the story merely to be overcome by our protagonist. Magical weapons and deep, dark caves or similar settings are typically involved, and the hero eventually prevails only after it seems the odds are not in their favor. Booker cites several Greek myths as an example of this plot, but later examples also include Dracula and The War of the Worlds. In more modern tales, the “Monster” may even appear as a force of nature or a concept, other than a tangible antagonist, but the ending is always the same: the hero wins the day and reaps all the benefits.
Rags to Riches
In this plotline, an ordinary or seemingly insignificant character is suddenly thrust into greatness. This is possibly the simplest and most often recognized plot presented by Booker. We see it in such stories as King Arthur, The Ugly Duckling, My Fair Lady, and perhaps the most obvious: Cinderella. All-in-all, it’s your typical happily ever after story in which our previously neglected and/or abused character finds a potential for greatness that was otherwise hidden deep within them.
The Quest
Another easily recognized storyline, the Quest follows our protagonist as they confront a need to travel to a faraway place and reach an imperative goal. Only one objective drives our characters throughout the journey, and the story cannot end until that goal is reached / that evil object destroyed / the glorious prize recovered. Any obstacles in the way are secondary: there is a purpose that must be fulfilled. Such stories included within this plot are Treasure Island, The Lord of the Rings, and the epic of Odysseus.
Voyage and Return
Unlike the Quest, where our heroes have an end-goal which drives them over the course of their journey, the Voyage and Return plot involves our protagonist being taken from their comfortable, familiar world and thrust into the strange and abnormal. This is typically done against their will, with the world they’ve always known suddenly becoming completely unavailable to them. Only eventually are they freed and allowed to return home, most often grateful for the release. The Lion, the Witch, and the Wardrobe, The Wizard of Oz, and Alice in Wonderland are typical examples of this plot.
Comedy
Often confused with pure humor, comedy–from a literary standpoint–represents a more light and cheerful work, in which our protagonist is guaranteed success and happiness in the end. Quite frequently, the conflict within a comedy is based off of confusion or misunderstanding, which leads to outrageous situations that are all at once silenced by sudden clarity. Romance often falls within this category, but more specific examples can be Shakespeare’s Much Ado about Nothing, and Twelfth Night.
Tragedy
In a tragedy, our hero usually possesses some kind of character flaw, or else makes a great mistake which ends up costing them in some way. By the end of the story, our protagonist “falls,” either through death or else a metaphorical fall, as in a fall from grace. Macbeth, Oedipus Rex, and The Picture of Dorian Gray are clear examples of a tragic plot.
Rebirth
Our final plot follows a character who is forced by some event–be it a chance meeting, some kind of divine interference, or an accident–to change in some way, hopefully for the better. Beauty and the Beast, A Christmas Carol, Groundhog Day, and Pride and Prejudice are all examples of the Rebirth plot.
Whether or not you agree with Booker’s analysis, his theory of seven storylines gives us an intriguing and in-depth look at how our characters and situations change over time, even if their origins remain the same.
Night Owls, what do you think of the Seven Basic Plots theory? Which ones do you like? Which ones don’t you like?
Hi sweetie! It’s Anthropology Dad! Love your video (and written) analysis and thoughts on this subject. Several things come to mind. First, your’re absolutely correct about the anthropological reason for stories – to explain a complicated and unknown world around them, and to provide for a common unity of purpose (the same reason religions were created…but that’s a different argument). Second , the first thing that came to my mind when you described Booker’s classification system is, ok, that’s how Booker chose to classify stories…but classification is itself a mental construct – also part of “defining order from chaos” – and all higher primates do it. Finding patterns is inherent in our approach to the world around us…and we still do it today (which is why some people can find Jesus on a taco shell). The question is, “Is the pattern real (and exist independently of the person describing it)”? Or, is the pattern simply a mental construct of how that person, with that kind of cultural and experiential “baggage”, at that particular time, organized the group of things called “stories”. I tend to see it as the latter; he did not uncover an inherently “natural” classification; he simply categorized what he saw relative to his current socio-cultural context. A different Booker, at a different time and living in a different context would probably come up with a completely different classification. Finally, I’ve never been fond of the “This is all there is” arguments. Again, it may seem like that from our particular cultural vantage point, but all fields are replete with “this is as far as we can go” stories. Neil deGrasse Tyson talks frequently of how physicists from Galileo to early 20th century researchers often said, “this is it…we’ve discovered all there is about this topic”…only to find another advancement decades, sometimes centuries, later. As one of our favorite Star Trek characters says, “Things are only impossible until they are not”. LOVE the videos and the writing (of course I always have!)…love, Dad.
Always great to bring a scientific mind into the discussion! You make an excellent point about the socio-cultural contexts of storytelling. I’d stress that goes for the writers as well as the analysts. I’ve said it often that I believe our stories are our own, and with them (especially on a deeply subconscious level) comes that baggage you mentioned. Which means it could very well be these constructs that limit storytellers to the categories Booker so describes in the first place. There are other analysts that argue there are fewer “plots,” and some that argue there are more, so obviously there is more we can unpack there. I agree the idea that “this is all there is” is a dangerous argument. When I was a younger writer, I used to be relieved by the idea of only seven “stories” because it took the pressure off of me to be completely original. Which, I still think complete originality is improbable, but that thought also kept me from thinking outside of the box and really trying to subvert the clichés we’ve lived with for decades. The older I get, the more I start to think Booker is full of malarkey. Yet another reason to break through these constructs we’ve put on ourselves: the future of our creativity.
A great captain, with great wisdom! “Things are only impossible until they are NOT.” Thank you for your input, Anthropology Dad!