Today we’re examining the Culture Plot. Thus far, we’ve only really covered the writer’s worldview, and characterization in culture writing, so in some ways, it may seem that we are moving backward in examining plot at this late date. Maybe plot should have been the first element of culture writing that we discussed, but this subordination of plot to character is emblematic of the circular argument that always seems a part of the conversation when writers discuss which tool is more relevant–plot or character. Whatever your feeling as to its importance, plot provides a familiar and comforting structure for readers.

Plot Defined
Plot is the interweaving of cause and effect for the purpose of creating a pattern of unified behavior. It is the “harmonic” design of the action or events of the story. Most Westerners are familiar with the Western structure of plot as defined by the Greek philosopher, Aristotle. According to Aristotle, plot has a beginning, middle, and end. It has an exposition, a climax, a resolution. Of course, plot structures have evolved, but in most cases, Western writers hold to Aristotelian way of plotting.

Plot Purpose
The purpose of plot is to impose a compelling and usually dramatic form on the events of the story. Plot doesn’t just tell the events of the story, it tells the why.

Culture Plot Definition
Some teachers of the writing craft have put forth the concept of a universal plot based on Aristole’s model. Undoubtedly, the Western form of storytelling has traveled all over the world. However, the idea of a universal plot structure fails to acknowledge the impact that culture has on how stories and storytelling models evolve. Interestingly enough, Western science has begun to examine the types of structures that excite human interest on a cognitive level. This preliminary research into the topic indicates that plot structure evolves based on culture and cognitive level cultural influences. The research also shows that there are elements of story that resonate across culture boundaries.

For the culture writer, this understanding expands our access to a broader range of symbols, methods, and meaning. It allows us to layer our words with nuance and with cultural touchstones that infuse our stories with transformative power. In a world in which rights are sold on a global basis, this expansion frees us from the rigidity of Euro-centric elitism, which holds that cultures with literatures that don’t have an imposed pattern of structure in line with Aristotle’s beginning, middle, and end, do not, in fact, possess a form of literature. The culture writer is now wholly free to turn his/her back on such narrow minded xenophobia.

Culture Plot Structures
A disclaimer must be made that I am no expert in cultural plot structures. Instead, I am an explorer of the vehicles used by writers and storytellers of various cultures to craft and/or communicate cultural narratives, whether those narratives are in the form of prose, as is common in the West, or talk story, as is common in Asian cultures. Global story forms are diverse and are as much a part of the culture of a people, as the people are a result of the culture which they inhabit.

With some exceptions, Western literature has paid little attention to non-western story forms. In the coming months, I hope to make a deeper examination of plot structures that have developed as part of distinct cultural outputs. Until then, here are three types of narrative culture concepts to play around with.

Hierophany – The hierophany isn’t really a plot structure. Instead, it’s based on a concept by Religious historian, Mircea Eliade. Eliade spent his life examining how certain cultural narratives were focused on revealing the divine. I included it as a type of plot structure, because, just like Indian Vedas, many cultures do have narratives that are primarily focused, not on a character attaini