Over the end of April and beginning of May I read Christopher Booker’s huge analysis of stories and why we tell them, The Seven Basic Plots. I remember seeing it on bookshop tables when it was new, and being intrigued but also daunted. It came out during my undergraduate degree, when I’d ‘given up’ studying English literature in favour of philosophy and theology and keeping creative writing strictly as a hobby, and I chose not to read it then. Having finally decided that I did actually want to read it and borrowed a library copy, I was determined, but there are many ways in which it didn’t live up to the promise it gave or what I’d imagined for it.
The seven basic plots are covered in the first half, maybe even the first third of the book, and there’s an argument that he should have stopped writing there (or I should have stopped reading) – I knew before I started that I didn’t agree with him about some political questions and by the time I was two-thirds of the way through I was clear that I don’t agree with him about gender roles, war, or history. He uses Jungian ideas about the ‘feminine’ and ‘masculine’, mapping genders onto human virtues like courage and care, and matching those to characters in stories. He’s incredibly ready to judge stories which don’t fit his seven plots, without considering that they could be evidence for, err, there being more than seven plots. (He does concede that creation and detective stories don’t fit his structure anyway.) He’s much more interested in men’s writing than women’s, and isn’t impressed when female characters in stories have ‘masculine’ roles. I should probably be glad, considering what I guess he would have said about it, that the romance genre is never mentioned.
I kept reading partly because it’s good sometimes to engage fully with someone you disagree with. At least now I can give details about how and why! I also kept reading because even though I disagreed with his conclusions, it was an interesting prompt to think about some questions which are key for an author. Why do we tell stories? More specifically, why do I want to tell these stories? Booker died in 2019 and I’m sure he wouldn’t have had any time for modern ideas of ‘representation’, although seeing the diversity of real people represented in fiction is important to me.
For Booker, the purpose of stories is to provide a psychological road map in which the lead character goes through various stages of development in order to become a whole, well-rounded person. (By the way, he claims he couldn’t find alternatives to the words ‘hero’ and ‘heroine’, but ‘lead character’, ‘main character’, and ‘protagonist’ all seem useful to me.) If we sit very lightly to the gendered Jungian stuff he adds to that, it’s similar to what Gwen Hayes calls “the journey from hole-hearted to whole-hearted” (in her book Romancing the Beat). The emotional journey of a story is often to explore how someone can move from incomplete (whether that’s immature, lonely, or in some other form) to complete (mature, loved, or in traditional fairy tales, often monarch). Tragedy is a key exception, although I think Booker doesn’t give enough credit to stories where the final ‘complete’ stage is a happy ending but is also shown to be incomplete in some ways – he tends to assume this is a failure on the part of the author, while I would tend to see it as a deliberate choice to echo life’s real complexities and reject plot devices like miracle healings and overengineered coincidences which can move an otherwise realistic story into the realm of the implausible.
In terms of his seven basic plots, I think my novels Between Boat & Shore and Carving a New Shape (forthcoming) both have two main characters – pretty standard for romance genre books – and each of them has a ‘Rags to Riches’ story, specifically one in which they move from unloved or disconnected to being loved and fully connected. This looks slightly different for each one, and they tend to start with at least some connections but not the ones they really want. Trebbi, for example, has a strong connection to her friend Dru, but her community are struggling after the murder of their leader and her character arc includes growing into a leadership role as well as falling in love with Aleuks. I think it does make sense in some ways to see these narratives as metaphors for psychological integration or becoming a whole self. I’d differ from Booker on the details, but that core part of his argument does fit for some kinds of art and stories.
He misses out, however, a whole other set of motivations for reading and telling stories which are to do with empathy and imagination. At the very beginning he reports that lots of people told him that stories were about ‘escape’, and he rejects that as too simple, which is fair in some ways. But he never returns to this theme. I think more recent research on the effects of reading fiction, which show that it increases empathy and improves social cognition might hold some of the answers. In Booker’s model, when we imagine a character we are creating a reflection of our own inner world. In the research, it seems that when we engage with a fictional character we are developing our theory of mind – that is, working to understand other people’s minds, rather than our own. That gives fiction a powerful educational role. We are escaping our limitations and able to visit places we can never go in reality – sometimes the ancient past or outer space or a private palace, but above all other people’s perspectives.
And perhaps he also misses out the fact that it’s fun. Booker has a whole analysis of a plot structure he calls ‘comedy’ which, it turns out, doesn’t even have to be funny. For all the plot structures, though, and for all stories, enjoyment is a element of the appeal. Sometimes it’s enough that a story makes us laugh, or surprises us, even if it doesn’t draw us in to a traditional plot – a Monty Python sketch still turns on a very short story even if it finishes with a surprise visit from Flying Fox of the Yard rather than a true punchline. Reading or hearing a story can be a pleasure in itself even if it doesn’t follow the full arc of a traditional plot – things which we consume in episodes, whether that’s a book chapter at a time or a TV show, can be enjoyable as they are even if they leave us wanting to know what happens next.