Despite what some adventure loving readers may claim, the novel that becomes a literary classic always has some kind of carefully considered plot. It simply is not the main priority of the narrative.
In this novel, where much is implied and more is inferred, there is still a basic plot. Though Bulgakov adds the interesting elements along the way such as the inclusion of the confrontation between Yeshua and Pontius Pilate in chapter two, and he kills off one of the two main characters as introduced in the first chapter, the story still follows a series of events that reaffirm a purpose while advancing the story through additional characters and details as well as action.
Berlioz and Bezdomny are in a public square discussing a poem the latter is to write about Jesus Christ–>a strange man (Professor Woland) joins their conversation and makes odd predictions–>the first of which comes true as Berlioz slips on the train tracks and is decapitated–>Bezdomny panics and chases Woland–>Bezdomny loses his quarry, loses his clothes, ending up wildeyed at a meeting house of literati–>he is taken away and institutionalized–>meanwhile, the dead Berlioz’s roommate is approached by Woland and transported out of the area after confirming his appearance as a master of black magic at the local theater–>Woland takes over the dead Berlioz/missing roommate’s apartment. Etcetera.
By now we’re suspect of Woland–is he indeed the devil? He has extraordinary powers and he’s certainly up to no good. Plus, he knew Pontius Pilate himself. On top of all this, a very interesting story in itself, Bulgakov is giving us a metaphorical Russia, much as Voltaire’s Candide is a tale that necessarily hides in satire the author’s version of his own country and times.
Truly a book of many levels, and that is where Bulgakov excels; skill in interweaving the characters within a fairly simple adventure that becomes complex as the paths open up and veer into new directions. Yet we know that they all lead to an endpoint, planned out just as carefully.