A different type of cultural structure
Crafting building blocks of logical sense while hinting at grander themes.
Author: John McPhee, The New Yorker
The approach to structure in factual writing is like returning from a grocery store with materials you intend to cook for dinner. You set them out on the kitchen counter, and what’s there is what you deal with, and all you deal with. If something is red and globular, you don’t call it a tomato if it’s a bell pepper. To some extent, the structure of a composition dictates itself, and to some extent it does not. Where you have a free hand, you can make interesting choices.
When I was through studying, separating, defining, and coding the whole body of notes, I had thirty-six three-by-five cards, each with two or three code words representing a component of the story. All I had to do was put them in order.
Developing a structure is seldom that simple. Almost always there is considerable tension between chronology and theme, and chronology traditionally wins. The narrative wants to move from point to point through time, while topics that have arisen now and again across someone’s life cry out to be collected. They want to draw themselves together in a single body, in the way that salt does underground. But chronology usually dominates. As themes prove inconvenient, you find some way to tuck them in. Through flashbacks and flash-forwards, you can move around in time, of course, but such a structure remains under chronological control and can’t do much about items that are scattered thematically. There’s nothing wrong with a chronological structure. On tablets in Babylonia, most pieces were written that way, and nearly all pieces are written that way now.