U3 Wrinkle in Time Plot

Define

The events that take place in a story—whether it’s in a book, a play, a TV show, or a movie—are called the plot.
These events, or episodes, give the story a beginning, middle, and end and are shaped by story elements such as
character and setting. A plot usually begins with a problem that a main character or group of characters has to
solve. As these characters attempt to solve the problem, the problem may become more involved or complicated,
and they may undergo changes as they respond to rising tension. For example, the main character may learn the
value of patience as he or she works toward finding a solution, or may begin to sympathize and understand
another character’s difficulties. The turning point in a plot occurs when a key event or decision leads to a
resolution, or a way to solve the problem.

Identification and Application:

Identification and Application:

●Plot is the series of events, or episodes, that take place in a story. Each episode in a story develops the plot and
moves it forward.

●Almost every plot begins with at least one problem that the characters have to solve. As the plot develops, this
problem affects the thoughts, feelings, and actions of the characters, as well as their relationships.

●Look for the ways in which the decisions and actions of the characters alter or advance the events of the plot and
build excitement and tension.

●Also note how the characters themselves change in response to events and to one another. What do they think or do
differently from what they thought or did before? The characters’ changes help shape how the plot unfolds.

●Notice how dialogue contributes to the plot, as characters reveal information or learn things they didn’t know.

●Most plots move toward a turning point in the story, which leads at the story’s end to a resolution of the problem.

Model

In this excerpt from Madeleine L’Engle’s science fiction novel A Wrinkle in Time, Meg and her brother, Charles Wallace, are attempting to solve a problem
at the heart of the book’s plot. With the help of their friend Calvin, the children are searching for their father, who has disappeared. As the plot unfolds, the
children’s problem will turn out to be even bigger than they had first thought. However, this episode in the story focuses on one specific part of their
search: their confrontation with another character who seems especially puzzling and even a bit threatening. This character, a mysterious red-eyed man,
has the power to communicate mentally without the need for words, but Meg insists on talking to him aloud.

“If you please,” she said, trying to sound calm and brave. “The only reason we are here is because we think our father is here. Can you tell us
where to find him?”

“Ah, your father!” There seemed to be a great chortling of delight. “Ah, yes, your father! It is not can I, you know, young lady, but will I?”

“Will you, then?”

“That depends on a number of things. Why do you want your father?”

“Didn’t you ever have a father yourself?” Meg demanded. “You don’t want him for a reason. You want him because he’s your father.”

“Ah, but he hasn’t been acting very like a father, lately, has he? Abandoning his wife and his four little children to go gallivanting off on wild
adventures of his own.”

“He was working for the government. He’d never have left us otherwise. And we want to see him, please. Right now.”

The dialogue in this passage moves the plot forward in several different ways. It confirms that Meg and her companions are on the right track. The
red-eyed man knows something about where Meg’s father is, but he doesn’t seem to want to tell what he knows. Instead, he teases her unpleasantly with
the words, “It is not can I, you know, young lady, but will I?”

The dialogue also tells the reader something about Meg, and how she will respond if provoked. Instead of backing down, Meg stands her ground. “Will you
then?” she demands, boldly echoing the man’s words. Then, when he continues to withhold information, she reacts firmly. “And we want to see him,
please. Right now,” she announces. Clearly, she does not intend to let the red-eyed man intimidate her.

Model

In addition, the dialogue raises questions about what has happened to Meg’s father. Why has he disappeared? Is his disappearance related to his work for the
government? “He’d never have left us otherwise,” she states. The dialogue in the passage makes readers wonder not only what will happen next between the children and
the red-eyed man, but also what Meg and Charles Wallace will discover about their father’s activities and disappearance.

What happens next in the confrontation comes as a surprise, at least to Meg. The man’s statement that the children do not need to “vocalize verbally” upsets Charles
Wallace.

Charles Wallace put his hands on his hips defiantly. “The spoken word is one of the triumphs of man,” he proclaimed, “and I intend to continue using it, particularly
with people I don’t trust.” But his voice was shaking. Charles Wallace, who even as an infant had seldom cried, was near tears.

Although Charles Wallace “defiantly” enters into the conflict, Meg sees that he is not himself. He has been deeply disturbed, changed, by the interaction with the red-eyed
man. The boy who “even as an infant had seldom cried, was near tears.”

Clearly events have shaken Charles Wallace. However, the plot is about to take a turn. If events have made an impact on Charles Wallace, Charles Wallace is also about
to make a huge impact on events. When the red-eyed man asks if Charles Wallace trusts him, the boy responds with a question of his own.

“What reason have you given us to trust you?”

“What cause have I given you for distrust?” The thin lips curled slightly.

Suddenly Charles Wallace darted forward and hit the man as hard as he could, which was fairly hard, as he had had a good deal of coaching from the twins.

When Charles Wallace hits “the man as hard as he could,” the children’s situation becomes even more tense and uncertain. How will the red-eyed man react to Charles
Wallace’s unexpected blow as the plot moves forward?

Your Turn

Read this section from A Wrinkle in Time to determine the relationship between the characters and the impact this
may have on the story’s plot in order to answer the follow-up questions.

The men in dark smocks moved smoothly but with swiftness to Charles. The man in the chair casually raised one finger, and
the men dropped back.

“Hold it--” Calvin whispered, and together he and Meg darted forward and grabbed Charles Wallace, pulling him back from the
platform.

The man gave a wince and the thought of his voice was a little breathless, as though Charles Wallace’s punch had succeeded
in winding him. “May I ask why you did that?”

“Because you aren’t you,” Charles Wallace said. “I’m not sure what you are, but you”--he pointed to the man in the chair--
“aren’t what’s talking to us. I’m sorry if I hurt you. I didn’t think you were real. I thought perhaps you were a robot, because I
don’t feel anything coming directly from you. I’m not sure where it’s coming from, but it’s coming through you. It isn’t you.”

“Pretty smart, aren’t you,” the thought asked, and Meg had an uncomfortable feeling that she detected a snarl.

Multiple Choice

Part A

How do the children’s responses in this passage cause a change in the man’s attitude, one that may affect what happens?

• 1. His tolerant attitude begins to give way to amusement.

  
  

• 2. His unpleasant attitude begins to change to a cooperative one.

  
  

• 3. His tolerant attitude begins to give way to apparent anger.

  
  

• 4. His menacing attitude gives way to laughter.

  
  

Multiple Choice

Part B

Which sentence or phrase from the passage best supports your answer?

• “The man in the chair casually raised one finger, and the men dropped back.”
  

• “The man gave a wince and the thought of his voice was a little breathless…”
  

• “‘I’m sorry if I hurt you. I didn’t think you were real.’”
  

• “‘Pretty smart, aren’t you,’” the thought asked, and Meg had an uncomfortable feeling that she detected a snarl.”