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of the story, and conflicts become the periphery. This is also called surrealism, ultrarealism, or antiplot.

Revelation or epiphany. The story ends with a moment of personal insight. All events accumulate and may at first seem insignificant until the moment of epiphany. An epiphany is not a trick ending. The character's self discovery must be genuine.

And plots can use a combination of any of the above. When you begin plotting a story, don't worry about trying to classify it first.

Degrees of Plot.
The degrees of plot varies with the length of your story. In a short story, your plot will be more direct and concise. In a novel, you have more time and space to unfold your plot and develop characters. You can ramble, take, detours, and introduce subplots.

A main plot is what the main plot of the story is, with the resolution near the end. Subplots can be sprinkled throughout the story and can be resolved at any time. Each subplot must have a protagonist and an antagonist. They can involve one or more of the main characters and/or minor characters. Many subplots overlap the main plot. The function of subplots is to enhance the main story by complementing or contrasting with the events of the main plot. They can be used to add suspense by adding a break in the main plot when the tension is high. Or you can use subplots to liven up the action when your main plot pacing slows. These can add more impact to the main story when you pick it up again.

Ansen Dibell wrote in Plot, "Plot is the engine that moves the story . . . Make a poster and put it up where you write: PLOT IS A VERB!"

Learn more about this author, R. M. Ziegler.
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