{"id":11213,"date":"2024-04-03T12:00:50","date_gmt":"2024-04-03T12:00:50","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2024\/04\/03\/2024-power-of-narrative-story-structure-nonfiction-atavist-seyward-darby\/"},"modified":"2024-10-18T14:57:42","modified_gmt":"2024-10-18T14:57:42","slug":"2024-power-of-narrative-story-structure-nonfiction-atavist-seyward-darby","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2024\/04\/03\/2024-power-of-narrative-story-structure-nonfiction-atavist-seyward-darby\/","title":{"rendered":"2024 Power of Narrative: Double the power of your story with a braided structure"},"content":{"rendered":" \n
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EDITOR\u2019S NOTE: This is the second of ourdispatches from the 2024 Power of Narrative conference at Boston University. For the first post, see deadline narratives<\/a> by a Wall Street Journal podcast team.<\/em><\/p>\n\n <\/div>\n <\/div>\n \n

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How can you make a story twice as rich, twice as intense and twice as meaningful? Braid or weave together two stories that resonate with each other. In a talk at the 2024 BU Power of Narrative conference, Atavist editor-in chief\u00a0Seyward Darby<\/a>\u00a0explained how how two narrative threads can be woven into a story that is greater than its parts.<\/p>\n\n <\/div>\n <\/div>\n \n

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Darby used a story from The Atavist by Scott Eden, \u201cThe Gilded Age,\u201d<\/a><\/strong> is a 25,000 word investigative story about the international gold trade. (Our summary includes mild spoilers, but that doesn\u2019t take away from what you can learn by reading it.)<\/p>\n\n <\/div>\n <\/div>\n \n

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\"Seyward
Seyward Darby Matthew Eadie of Boston University<\/small><\/figcaption><\/figure>\n\n <\/div>\n <\/div>\n<\/div> \n
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Step one: Count your threads and identify the resonance<\/strong>. Resonance is the key, and I confess that I looked up the definition to understand how it applies here. It means an echo or reverberation that enriches or intensifies. Darby wants us to ask: If you thread these things together, will the story elevate to a place it otherwise would not? How are these stories going to speak to each other? Where will they meet?<\/p>\n\n <\/div>\n <\/div>\n \n

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In \u201cThe Gilded Age,\u201d one thread, or the A Plot, follows two men from Miami and how they grow rich by ignoring the corruption of the gold trade. The other thread, or B Plot, follows Don Alfredo, a land owner and logger in the Peruvean rainforest, whose land is being destroyed by illegal gold mining.<\/p>\n\n <\/div>\n <\/div>\n \n

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A hint of the resonance between the two plots comes in the first transition between them, Darby said. Eden writes that Miami men did not know that the place the \u201cgold came from had been transformed into a hell on earth.\u201d Lack of curiosity plays a big role in the story.<\/p>\n\n <\/div>\n <\/div>\n \n

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Step two: Timeline or outline your threads<\/strong>. When you see the key scenes in the order they happened, you can see how the pieces might fit together. For example, because most of \u201cThe Gilded Age\u201d A Plot takes place in Miami, when someone from the Miami men\u2019s team goes to the Peruvean rainforest, it\u2019s a place where the pieces fit together. Another place they fit is when an A Plot character falls asleep during a presentation about the dangers of illegal mining:<\/p>\n\n <\/div>\n <\/div>\n \n

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In late 2014,Renato and several coworkers attended a mining conference at a hotel in Lima. They sat in on a panel about illegal mining, but no one paid much attention. \u201cIt was kind of like the ASPCA commercial on late-night television where they show dogs with one leg,\u201d said an NTR employee.<\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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For his part, Renato found the panel \u201cungodly boring.\u201d As the presenters droned on about environmental destruction, he fell asleep.<\/p>\n\n <\/div>\n <\/div>\n<\/blockquote>\n\n <\/div>\n <\/div>\n \n

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Step three: Find the possible breaks<\/strong> where you can switch between plot lines. Using your timelines, look for the places where questions are raised or answered. Look for cliffhangers. The break should be in a place that subtly links to the next thread, but also leaves the reader eager for the first thread to pick back up.<\/p>\n\n <\/div>\n <\/div>\n \n

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Darby pointed to a section of the story where the Miami team is in peril after their supplier cheats them, leaving readers in suspense to go to another scene of fracturing, where someone is murdered in the rainforest:<\/p>\n\n <\/div>\n <\/div>\n \n

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With a group of Don Alfredo\u2019s neighbors, Randy went back to the house. By then more than three hours had elapsed since the shooting. Puby, Don Alfredo\u2019s estranged brother, showed up soon after. No one had contacted the police yet, though from Lima, Freddy had called an ambulance. Investigators finally arrived the next morning. A murder inquest was opened. Statements were taken. Because Randy was the only witness, he was simultaneously a suspect and presumed to be in grave danger. The killers might come back for him. Don Alfredo\u2019s neighbors said they\u2019d protect him.<\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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Freddy mourned, he ruminated, he raged. His thoughts turned to Puby. \u201cI saw my brother dead. It seems like they put three bullets in the head and death was instantaneous,\u201d Puby had told a local reporter.<\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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Puby was a gold miner. He\u2019d tried to attack Don Alfredo with a machete. Was it possible, Freddy wondered, that his uncle was behind his father\u2019s murder?<\/p>\n\n <\/div>\n <\/div>\n<\/blockquote>\n\n <\/div>\n <\/div>\n \n

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Step four: Play with the puzzle pieces<\/strong>. \u201cI think of my work as a writer and editor as being a quilter who is figuring out how the pieces fit best together,\u201d Darby said. Tools for this work include notecards or a whiteboard to list and rearrange scenes.<\/p>\n\n <\/div>\n <\/div>\n \n

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Step five: Tie everything together at the end<\/strong>. Leaning into the braiding metaphor, Darby said that just as a hair braid will only stay together if there is an elastic at the end, story threads should tie together at some point \u2014 although it doesn\u2019t always have to be at the end. That can be as simple as characters meeting, or it can be a bigger revelation or epiphany. \u201cIt doesn\u2019t have to blow your mind,\u201d she said. \u201cIt just has to show that the time you spent with these threads is worth it.\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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An early draft of \u201cThe Gilded Age\u201d didn\u2019t have that intersection, Darby said. But Eden did additional reporting and heard one of the Miami men\u2019s (A Plot) reaction to Don Alfredo\u2019s story (B Plot). It brought the two threads together literally and thematically. The piece ends with a child\u2019s story that beautifully illuminates the story\u2019s central conflict:<\/p>\n\n <\/div>\n <\/div>\n \n

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WHEN FREDDY VRACKO<\/strong> was a child\u2014about eight years old\u2014he wrote a story for school. He told me this toward the end of my first visit with him, at his mother\u2019s house in Puerto Maldonado. He\u2019d shown me old family photos of the home his father had built in the jungle\u2014like something out of Robinson Crusoe<\/em>\u2014and of Don Alfredo in his thirties, standing in his sawmill amid stacks of boards planed smooth and ready for the carpenter. Young Freddy\u2019s story was meant to be like a fairy tale. \u201cEl Asseradero de Oro\u201d is the title he gave it. The golden sawmill.<\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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\u201cIt is about a man like my father who knows the jungle,\u201d Freddy explained. The man is leaving on a trip, and before he goes he tells his brother: You must protect this enormous ancient tree, \u201cbecause it is the spirit of the forest.\u201d But the brother forgets what he has been told. He cuts down the tree so he can sell the wood. And when he cuts down the tree, the whole forest\u2014\u201ceverything, absolutely everything\u201d\u2014turns to gold. The man eventually returns from his trip and sees what his brother has done. He takes his son on a long journey \u201call over Madre de Dios.\u201d They seek out other spirits of the forest in order to ask for forgiveness. At last they find a \u201cbrother spirit\u201d of the lost tree, which grants them their request. Bit by bit, the forest regenerates from solid dead gold \u201cback to how it was.\u201d<\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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But that\u2019s the child\u2019s ending. In this other ending\u2014the real ending\u2014the father is murdered, the guilty walk free, and as long as the rivers of money keep flowing, the forest can only be made of gold.<\/p>\n\n <\/div>\n <\/div>\n<\/blockquote>\n\n <\/div>\n <\/div>\n \n

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A braided or dual narrative means taking two stories that could almost stand alone and weaving them together, Darby said. Meaning comes from those two stories and the resonance between them.<\/p>\n\n <\/div>\n <\/div>\n \n

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* * *<\/p>\n\n <\/div>\n <\/div>\n \n

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Madeline Bodin<\/strong> is a freelance environmental and science journalist who is based in Vermont.<\/em><\/p>\n\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

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