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Disciplines > Storytelling > Plots > Tobias' 20 Plots

The 20 Plots See also

Ronald Tobias, in his popular and practical book, 20 Master Plots, and how to build them, describes 20 common story plots and gives lots of detail on how to construct complete stories around them.

The 20 Plots

1. Quest

The hero searches for something, someone, or somewhere. In reality, they may be searching for themselves, with the outer journey mirrored internally. They may be joined by a companion, who takes care of minor detail and whose limitations contrast with the hero's greater qualities.

2. Adventure

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3. 20 Master Plots by Ronald B. Tobias Writer's Digest Books, 2011 ISBN-13: 978-1-59963-537-8 ISBN-10: 1-59963-537-2 $16.99 paperback, 288 pages Buy the Book at.

The protagonist goes on an adventure, much like a quest, but with less of a focus on the end goal or the personal development of hero hero. In the adventure, there is more action for action's sake.

3. Pursuit

In this plot, the focus is on chase, with one person chasing another (and perhaps with multiple and alternating chase). The pursued person may be often cornered and somehow escape, so that the pursuit can continue. Depending on the story, the pursued person may be caught or may escape.

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4. Rescue

In the rescue, somebody is captured, who must be released by the hero or heroic party. A triangle may form between the protagonist, the antagonist and the victim. There may be a grand duel between the protagonist and antagonist, after which the victim is freed.

5. Escape

In a kind of reversal of the rescue, a person must escape, perhaps with little help from others. In this, there may well be elements of capture and unjust imprisonment. There may also be a pursuit after the escape.

6. Revenge

In the revenge plot, a wronged person seeks retribution against the person or organization which has betrayed or otherwise harmed them or loved ones, physically or emotionally. This plot depends on moral outrage for gaining sympathy from the audience.

7. The Riddle

The riddle plot entertains the audience and challenges them to find the solution before the hero, who steadily and carefully uncovers clues and hence the final solution. The story may also be spiced up with terrible consequences if the riddle is not solved in time.

8. Rivalry

In rivalry, two people or groups are set as competitors that may be good hearted or as bitter enemies. Rivals often face a zero-sum game, in which there can only be one winner, for example where they compete for a scarce resource or the heart of a single other person.

9. Underdog

The underdog plot is similar to rivalry, but where one person (usually the hero) has less advantage and might normally be expected to lose. The underdog usually wins through greater tenacity and determination (and perhaps with the help of friendly others).

10. Temptation

In the temptation plot, a person is tempted by something that, if taken, would somehow diminish them, often morally. Their battle is thus internal, fighting against their inner voices which tell them to succumb.

11. Metamorphosis

In this fantastic plot, the protagonist is physically transformed, perhaps into beast or perhaps into some spiritual or alien form. The story may then continue with the changed person struggling to be released or to use their new form for some particular purpose. Eventually, the hero is released, perhaps through some great act of love.

12. Transformation

The transformation plot leads to change of a person in some way, often driven by unexpected circumstance or event. After setbacks, the person learns and usually becomes something better.

13. Maturation

The maturation plot is a special form of transformation, in which a person grows up. The veils of younger times are lost as they learn and grow. Thus the rudderless youth finds meaning or perhaps an older person re-finds their purpose.

14. Love

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The love story is a perennial tale of lovers finding one another, perhaps through a background of danger and woe. Along the way, they become separated in some way, but eventually come together in a final joyous reunion.

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15. Forbidden Love

The story of forbidden love happens when lovers are breaking some social rules, such as in an adulterous relationship or worse. The story may thus turn around their inner conflicts and the effects of others discovering their tryst.

16. Sacrifice

In sacrifice, the nobler elements of the human sprit are extolled as someone gives much more than most people would give. The person may not start with the intent of personal sacrifice and may thus be an unintentional hero, thus emphasizing the heroic nature of the choice and act.

17. Discovery

The discovery plot is strongly focused on the character of the hero who discovers something great or terrible and hence must make a difficult choice. The importance of the discovery might not be known at first and the process of revelation be important to the story.

18. Wretched Excess

In stories of wretched excess, the protagonist goes beyond normally accepted behavior as the world looks on, horrified, perhaps in realization that 'there before the grace of God go I' and that the veneer of civilization is indeed thin.

19. Ascension

In the ascension plot, the protagonist starts in the virtual gutter, as a sinner of some kind. The plot then shows their ascension to becoming a better person, often in response to stress that would defeat a normal person. Thus they achieve deserved heroic status.

20. Descension

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In the opposite to ascension, a person of initially high standing descends to the gutter and moral turpitude, perhaps sympathetically as they are unable to handle stress and perhaps just giving in to baser vices.

See also

Ronald B. Tobias, 20 Master Plots, and how to build them, Cincinnati: Writer's Digest Books, 1993

You’ve probably heard a lot of people talk about the A plot, B plot, and sometimes C plot when referring to TV shows, episodes and general TV writing.
So, what does “A/B/C stories” mean in the context of scripts?

Simply put, the term refers to the different narrative and story threads in your TV episode.

The “A story” will be the primary focus of your story. Meaning it will usually be about the lead and have the most amount of scenes (i.e. screen-time).
The “B story” is generally a parallel storyline headed by more secondary characters.
The “C story” (and deeper in the alphabet), also called a “runner“, are about ongoing/macro stories that pay off long-term (or, in the case of some comedies, quick gag scenes).

In procedurals, rule of thumb is that the A story will be centered on the “case of the week”, while the B story is the personal aspect of the leads. The C story is almost always some kind of “runner” that will have a long-term impact on the season arc.
For example: a detective is investigating a crime of passion (A story) while dealing with her own messy divorce (B story) and the precinct is trying to add new blood to the team (C story).
Even serialized or “macro” procedurals (like The Missing, The Fall or Broadchurch) have their A stories dedicated to the crime of the season, and how they impact the leads.

In more serialized shows, the A/B/C stories will often be divided based on characters and themes.
The Game of Thrones pilot has an A story all about Ned Stark and his family, while the B and C stories are split between Jaime/Cersei and Daenerys/Viserys.
Breaking Bad‘s pilot is almost a complete through-line A story about Walt, with some looser threads with Jesse and Skyler.

How much weight do you give each thread?

The real focus of your episode should be the A story. That’s the meat of the episode since it’s about your main character — and therefore requires many story beats to achieve a compelling character’s journey. Once you’ve figured that out, you can work from your other characters and fill in other narrative needs.

Some B and C stories directly come from the A story. Maybe the main character generates a problem in her A story, which snowballs into a secondary character having to deal in the B story with something related to that A problem.
Watch 24 and its pilot for an excellent illustration of the A story spiraling out into more threads.

The pacing of a TV show is often dictated by the A/B/C stories, and how quickly you alternate (or “cut”) between them. The shorter the scenes and faster the cuts, the more fast-paced it will seem. This is a trick used in “montages” (think of any show with a pop music montage at the end).
On the flip side, you can stay with a singular scene or storyline for a long time, and build up the tension.

Ideally, those A/B/C threads will echo one another, and connect with each other at some point in the episode.
If you do cut back-and-forth at a furious speed, then there needs to be some kind of correlation between the threads — otherwise you’ll leave your audience and reader completely lost.

Should you limit yourself to three threads?

Well, once again, it depends on the show you’re writing.

For half-hours/comedies, you’ll find an A and B story, with at most a C “runner” of one or two scenes. There just isn’t enough real-estate to have more.
The A story will already have, say, three beats an act (meaning upwards of nine for an entire episode), while the B story will have two (so six scenes total). There’s only going to have room for a couple of C scenes if need be.

For one-hours/dramas, the amount of threads varies greatly based on the genre and format of that series or episode.
You can take a look at How to Get Away with Murder for an extreme example of a serialized show that runs the gamut of the alphabet. It’s juggling with so many side-storylines (since it’s a primetime soap) to burn through story and keep its narrative momentum going. Whether or not it’s successful at pulling off this pacing is up to your preferences.
Better Call Saul is a good counter-example of a show very focused on its A (and occasionally B) storylines, which rarely deviate into other threads. That’s because Saul (or whoever the episode’s focused on) is truly the driving lead of the story. Look at Dexter for another idea of A stories filling almost all the episode.

Very few dramas (perhaps only single-episode anthologies) just have an A story for that hour. That’s because, to maintain dramatic tension, you’ll want to cut away to something else.
The fewer the stories, the more important it is to have a compelling narrative and characters that propel you through the script. You don’t have the luxury to “cut away” to something else, which can be a double-edged sword.
The first half of Breaking Bad‘s “Ozymandias” episode makes the best case for an A-only episode, but it has the benefit of being the payoff to a 5-year-long journey. In other words, not something you’d want to bank on in every episode.

You may think that TV structure seems very rigorous and pragmatic — and in some way it is.
It’s a bit like musical composition. There are rules to creating a music sheet, but it’s up to you to fill that abstract document with a fun and unique melody.

Write on.