08 July 2009

First Draft versus Rewrites


I twittered recently about how at first writers often give their full attention to one plotline alone. Subsequent rewrites, we are able to multitask.

The plot line that first comes to a writer generally reflects the writer's strength and preference.

This particular writer gives great thought to the action plot line -- outer plot -- and to the romantic plot line -- romance plot (not necessary in every book, though this particular writer is a romance writer, so... Also, because romance fiction is selling well despite the economic downturn, seems to make sense to include some romance??)

Same writer struggles with the character plot line -- inner plot. She balks at filling out the character profile as it applies to the character traits and has done little to explore the protagonist's inner life. Thus, the character shows no transformation in the end. The writer especially resists coming up a flaw -- "I've never been any good at that."

I quickly establish elements in the key scenes:

1) Launch
2) End of the Beginning
3) Halfway point
4) Crisis
5) Climax
6) Resolution

The scenes themselves point to the character flaw.

As soon as we know the flaw, it is possible to determine how to rewrite each of the key scenes (and all the other ones, too), at least in relationship to the inner plot -- the character emotional development plot line.

**Beginning (1/4):
Introduce the flaw

**Middle (1/2):
Deepen the readers' understanding all the different ways the flaw is revealed. Expand upon all the ways her basic flaw sabotages her from achieving her long-term goals. Yes, the Middle (1/2) is the territory of the antagonists and of the exotic or unusual world, but both of those elements serve to underline the flaw in no uncertain terms. Antagonists serve to challenge the protagonist, but generally speaking our inner issues and beliefs directly influence the growth and development of the flaw and that flaw does more to sabotage us than any external source. (Can't help it, the plot work I do gives me valuable insight into not only character's behavior but our behavior as writers, as well.)

**End (1/4): Shows the character becoming conscious of flaw and the steps she take to remake herself = character transformation.

06 July 2009

First Draft Blues

Today's post is similar to the last post as far as information goes but revolves around one specific writer's dilemma (2-hour plot consultation occurred earlier in the year). Thought it might be helpful to others.

Question: 
...Wishing you a wonderful summer. 

It`s like hell in Southern Norway, a three week heatwave is just about to

drain all energy from nearly  everybody, but I guess we`ll survive. Hope all

is well with you.

I`m having trouble finishing my book, don`t know how to continue to the end.

It may be better as soon as the heat goes, hope so. I look at your scene

tracker every day, again and again and I see how clever you are to grip the

meaning and help writers like myself. But now?  The more I read it the worst

it get. Maybe I should get one hour with you if it get any worse?


Answer:

I'm sorry about your weather. I do wonder how much the heat is contributing to and influencing your lack of  

progress. I send you thoughts of a cool and calming air floating  

through your mind and bringing peace, both with the temperature, but  

mostly with your story.


Don't forget: the first draft is supposed to be like "vomit-on-the- 

page" -- horrible, embarrassing, messy, infantile, etc....


No matter how terrible, once you have a first draft, you are then  

able to refine, hone-in, smooth out, bring meaning and beauty to your  

work. A first draft is critical both for the final product, but also  

for you to know you have finished what you started (though there will  

obviously still be lots of work to do).


You are being tested. Writing to the end is not for the faint- 

hearted. I know you can do it!!!!


I'm always available for another hour. I'm more than happy to get you  

back on track. See how you feel and let me know.


Three links you may like to read:

1) my blog speaks a bit about what you are going through -- http:// 

plotwhisperer.blogspot.com/

2) the page to sign-up for another consultation, if you so decide --  

http://www.blockbusterplots.com/consult/ongoing.html

3) my 89 year-old Swedish-born mother's blog I thought you might get  

a kick out of reading -- http://svensto.blogspot.com/


I believe in you!!! Keep at it......


Response:

Thank you so much.  What you said about the first draft made it so much

better for me. I feel now that I can finish, and then I start to refine and

change all that awful stuff.  My God, this is just so wonderful, I must have

been blind dumb and deaf to not think about that. You really put it into

place for me dear angel. Gosh!!! 


I`ll let you know how I progress, and you are so right about that throw up

feeling when I read it and never thougt of it as my first draft.

Hallelujah!!  And if I get stuck again I`ll call out loud and clear. 

Lokking forward to read your mothers blog, thank you.

The terrible heat is gone and I pray to heaven it does not come back.  Last night

thunder and lightening and lots of rain, wonderful.


And oh, should I print out my first draft before I start anew, or work on

what I have rigt here on my computer. How do others do it and what do you

think is best?  Sorry to bother you so much, hope you forgive me for that.

Thanks a thousand times for your belief in me, I know you mean it and I`ll

work all I can and remember your good advice, that first draft is blah....


Ps. I just have to tell yoy, that nobody here talk about first drafts, but I

guess they write more than one, but never tells about it.  You sort of have

to help yourself so I`m happy I found you, thanks again.


(NOTE: I'll address her question about rewrites in the next post...)

01 July 2009

Starting a Story Too Early

Remember, just because you write a scene does not mean the scene belongs in your story. 

We often write twice as many scenes as will ultimately end up in the finished novel, memoir, short story, screenplay. 

Still, every single word and line and scene you write is invaluable to you as a writer because in writing, you:
  • Expand your writing skills
  • Deepen your writer's voice
And most of all, the more scenes you write, the more you learn about: 
  • The characters in your story
No writing you do is a waste of time. Quite the opposite. However, what separates a good writer from a truly great writer is the ability to assess what stays in and, more, what needs to be cut. 

The Scene Tracker is one way to help writers decide whether a scene is working hard enough to warrant staying in the piece and it gives clues as to how to expand weak scenes and make all your scenes truly great. 

Whatever method you use to help you determine what stays in your manuscript and what needs to be cut, do not worry about this in the first couple of drafts. 

The #1 defining skill needed to ultimately finish a story is the ability to write the story all the way through to the end. Yeah, I hear you -- duh. But, you might be surprised to learn how many "want-to-be" writers never accomplish that. They never finish even a first -- what I call "vomit-on-the-page" -- draft, much less the finished, polished draft. That is why I call them "want-to-be" writers. Before you can truly call yourself a writer, you have to finish what you start. I cringe writing that because I can hear the objections. In this blog, I speak to writers who hold the dream of one day being published. 

First, finish one draft all the way through. Even write a couple of drafts. After that and before writing more, begin evaluating:
  • What works in your story?
  • What does not work?
  • Why?
  • What to do about that which does not contribute to the whole = cut or expand?

27 June 2009

Pacing Your Plot

The energy of a story rises and falls in a somewhat predictable nature based on the Universal Story Form Consider, therefore, the placement of your scenes that carry the highest emotional impact. 

The scenes in the Beginning (1/4) have less conflict, tension, and suspense than do the scenes that come in the End (final 1/4). Think of story as energy rising ever higher to each of the major turning points (End of the Beginning scene, Halfway point scene, Crisis, Climax) and often falling after each of those turning points only to rise again to the next major scene.

A writer places a high emotional impact scene in the Beginning which her critique group criticizes as not working where it is. In reaction to the feedback, the writer cuts the scene all together. However, when that same scene is moved to after the Crisis and on the ascent to the Climax, the scene works wonderfully on a multitude of levels. The scene centers around a natural disaster that turns out to be the perfect metaphor for the swirling emotions the protagonist feels after confronted with the dark night of the soul scene at the Crisis. 

During the consultation, I was again struck by how it's all always right there in front of us and how it's up to us as writers to take the scenes that come through the miraculous thing called the muse or inspiration and reorder them to craft the perfect story.

22 June 2009

Mystery and Romance Genres

In filling out the standard Character Emotional Plot Information (see **below), writers who write in the mystery genre invariably list the character goal as solving the mystery. Writers who write in the romance genre invariable list the character goal as finding love or to get the guy. This is fine.

However, to create more complexity to your plot, you may want to give the protagonist an additional goal(s) as well. 

The protagonist has a life, and thus, goal, before the mystery hits or before the love interest arrives on scene. In other words, the protagonist has a goal before the story itself begins. Identify that goal and you create an additional plot line in the story. Create a personal goal that conflicts with the solving of the mystery goal or the getting the guy = added drama. 

**Character Emotional Plot Information

1. What is this character's goal?

2. What stands in the way of the character achieving his/her goal?

3. What does the character stand to lose if he/she does not achieve his/her goal?

4. What is the character's flaw or greatest fault?

5. What is the character's greatest strength?

6. What does the character hate?

7. What does the character love?

8. What is the character's greatest fear?

9. What is the character's dream?

10. What is the character's secret?

14 June 2009

Best Websites for Writers by Writer's Digest


Writer's Digest Magazine recently award Plot Whisperer for Writers and Readers as one of 101 Best Websites for Writers in 2009.

Whittled down from 2,700 nominations, this year -- the 11th -- the list of 101 Best Websites for Writers is divided into eight sections. 

That Plot Whisperer fit in "Publishing Resources" makes me consider the blog differently than I have in the past. 

Plot Whisperer is the blog for Blockbuster Plots for Writers. As such, it started as a place for writers to read weekly updated tips about how to create plot and find ways out of some of the plot (plot being defined in terms of character, action, and theme) and structure pitfalls that confront all writers when creating novels, screenplays, musicals, memoirs, short stories, music videos. 

Plot Whisperer is a blog. As such, I often poll other bloggers on their "take" of the writing process. I was surprised at how blasé many bloggers are to the idea of plot and planning and rewriting and revisions. I slowly have come to understand that blogging is a vastly different forum than the writing those writers do who come to me for plot consultations and help.

Based on writers and bloggers feedback and now this award, I understand that I speak best to writers who have been published and want to be again, and those who want their work published for the first time -- whether a blatant desire or a secret kept even from themselves. 

To be published, a story has to speak on a multitude of levels to the reader as much, if not more, as to the writer herself. 

Thank you Writers Digest both for this prestigious honor and for helping me hone in on what exactly I do offer. 

And thanks to each of you who follow this blog; offer your comments, questions and support; have signed up for the free monthly Plot Tips eZine; and nominated this blog for this wonderful award and recognition. 

You keep Plot Whisperer alive to support writers everywhere make their dreams come true.

11 June 2009

But Am I Good Enough?

Though not often spoken aloud, I hear the fear whispered in many of the plot consultations I provide to writers. 

I know answering a question with a question is not always helpful, but the query begs a list of qualifiers:

Are you good enough for what?
Good enough to make time for your writing?
Good enough to put the right words together to evoke just the right emotion?
Good enough to come up with a compelling plot, engaging characters, a deeper meaning?
Good enough to finish what you started?
Good enough to find the right agents to query, land an agent, land a publisher?
Good enough to deserve a fair advance or, better, a great one?
Good enough for the story to garner good / great reviews?
Good enough to find a readership, be invited to the Oprah show, make a best seller list?
Good enough to make money with your writing, earn a Pulitzer Prize, Nobel Prize?
Good enough to write another story?
Good enough to finish that story?

The question speaks to a fear buried much deeper than the words themselves.  

Writing, like every other endeavor, is an outer activity which affords the opportunity to learn more about your inner self. As most of you know, in my down-time when not consulting with writers on their plots, I use what I know about plot and the universal story form to delve deeper than the words themselves. 

At that level, the question indicates that the writer is becoming overwhelmed by the external demands of writing, enough so, she is losing her passion for the writing itself. 

Rather than carry the pain of all the hundreds of things that can interfere with your writing life, focus your attention instead on the one thing you can do right now in this moment. 

Trust that if you are called to write there is a reason for it.
Write...

07 June 2009

Formatting for Submission

Same writer as in the previous post has finished her outline, synopsis, and bio, and her entire book has been edited and is now ready to go out to interested agents.

In making sure her attachments can be opened -- some problems arose earlier because instead of word doc files, she had gif files and docx files I could not open -- this time I could open. When I did, I caught a couple of issues which I addressed in an email, a portion of which I include here:

Comments on formatting (these are no biggies, but I believe industry standards???):
1) Appears you've justified both margins, meaning the words begin and end on each line at the same place. It's best if the right margin is more ragged-looking and you only justify the left.

2) You've place the page numbers on the bottom right. "Should" be at the top right.

In sending these comments to you, I can hear a short story friend rant about picky rules when submitting to literary contests. She's highly creative, bigger-than-life writer, as I imagine you to be. She rails against such "left-brain" sort of rules as I imagine you do. I do, too. Most of us do except those lucky ones who like organization and order and rules...

These submission guidelines are yet another challenge -- antagonist -- writers must overcome. Yes, there are those writers who are picked up who break all the rules. They are the exception. Yes, you, too, can be an exception, but if you can, why not format your submission in such a way that all the agent notices is the writing.......

P.S. -- Yes, I am quite aware that this is not a "plot" issue. Yet, I am confident that most of you reading this blog will, if you haven't already, one day hit this phase in your writing life -- the submission process -- and may benefit. That's my hope anyway...

03 June 2009

The Writers Submission Process

One of my favorite writers recently attended at a meet-the-agents day in NYC where she pitched her latest writing project to a slew of agents. She returned home with a headache and a long list of interested agents. Now that the excitement and nervous energy is abated, she's left with burn-out and overwhelm.

Following is my sympathetic response to her experience.

...as for your burn-out. I'm not surprised. All that interfacing and the nervous energy from all the writers around you. Congratulations for taking time to rest and take care of yourself.

Once you are rested comes the tedium of sending out all the different packets --not the easiest thing for any of us, but especially difficult for right-brained, highly creative types such as yourself. You just have to put your head down and do it, one submission at a time.

The submission process is a brutal business fraught with more rejection that one person should have to endure. However, it's a part of the life we have chosen and one we have to toughen up for. 

There are agents who will love what you've written -- they are the ones you're looking for. 

Rejections from the others have to be brushed off without the sting allowed to pierce your body. These agents are those who either have just signed on a new writer and don't want to take on another, promised to clear their desk today and send out a sweeping stack of form rejection letters. Others are in a bad mood and take it out on the stacks of awaiting submissions. And the list goes on... 

There are as many reasons for rejections as there are agents and writers, Many, many, many of the rejections have absolutely nothing to do with your project at all.

01 June 2009

Plotting the Climax of Your Story

In the End -- the final 1/4 of the entire page or scene count, the protagonist still has foes to confront and overcome. Only now, she is armed with a new understanding of herself. For the first time, her goal is within reach.

The Climax at the end serves as the light at the end of the tunnel. The protagonist moves toward the light -- one step forward toward the ultimate transformation, three steps back, a fight for a couple of steps, being beat backwards.

The Climax is the crowning glory of the entire project. The Climax is where protagonist "shows" in scene her acting in a transformed way -- in a way she could not have acted in any other part of the story because she first needed to experience everything she does in the book to get to the final stage.

The Climax spotlights the character in full transformation demonstrating the necessary new skill or personality, gift or action.

Ask yourself what scene will most dramatically show her demonstrating her transformed self?

29 May 2009

Writing Inspiration

Daily, I gain strength from a quote of Goethe's: 


"What you can do or dream you can, begin it

Boldness has genius power and magic in it." 

He also said, 

"It is almost impossible in the present day to find a situation which is thoroughly new. 

Only the matter of looking at it can be new, and the art of treating it and representing it." 

 

Your unique voice comes from how you: 

  • Look at your story
  • Treat your story
  • Choose to represent your story 

Listen for it. 

Hone it. 

Trust the process.

 

23 May 2009

Creating Curiosity

Writers, especially beginning writers, often find themselves wanting to blurt out everything up front. This often shows up as a flashback early on in the story to show the back story or event that first sent the protagonist off kilter. 

Don't.....

Keep in mind throughout to pace the info you share with the reader. In each scene, only put in as much as is needed to inform that particular scene (this can include foreshadowing clues of what is to come, but don't overload the scenes.) Invite the reader in slowly, but with a bang. Keep curiosity high = creates a page-turner book!

Don't tease the reader, but don't give them everything. Allude to problems, tension, conflict, who the character truly is, but hold back from revealing the details. Curiosity is one of the most powerful ways to pull the reader deeper into the story. 

Hold off with flashback and even memories, if you can get away with doing so, until the Middle (1/2). 

Also, be careful how many characters you introduce at a time. Introduce slowly and keep names to a minimum -- make sure we meet the protagonist first and get a clear idea who she is and that this is her story before moving on to the secondary characters. 

08 May 2009

Character Transformation

The moment the protagonist is hit with the decision whether to change or remain the same either comes at the:
  • 1/2 way point (based on the page or scene count) or
  • 3/4 mark or the Crisis 
In some stories, the character emotional development plot line (CED) "wake-up call" occurs at the 1/2 way point. 

In other stories, the CED plot hits simultaneously with the dramatic action (DA) plot line at the 3/4 mark or the Crisis, the moment of greatest energetic impact in the story so far .

Either way, after the Crisis, the character is left to decide whether to take the hit to heart or not.

If the character understands the part she plays in her inability to achieve her long term goals and is willing to change, thus begins her conscious move toward transformation.

Keep in mind this forward movement is not smooth.

The best way I can explain how this path unfolds is to use an example from my life before I started writing and helping other writers develop the plot and structure of their stories. 

Years ago I had a clinic for kids with speech, language, and learning disabilities. When working with kids to master a new skill, I found they generally pass through three distinct stages:

1) Emergence -- in other words, the "new" behavior reveals itself only intermittently and when the child is consciously aware and trying. However, in play and when the child is not concentrating, the predominate behavior continues to be the "old" way.

This is also true of the protagonist after they decide to banish their inappropriate behavior or try to change a deeply entrenched negative habit. 

2) Regression -- in most cases, when the "new" behavior becomes more and more habituated, the time come when the child slides back to the "old" behavior. This set-back can be caused by stress or change. However, often, it is merely a time when the "old" behavior gives one last great gasp in its attempt to hold the child back. 

If the CED plot line Crisis hits at the 1/2 way point, then the regression or set-back takes place at the 3/4 mark and usually has a direct influence on the DA Crisis. If the CED plot line crisis hits at the Crisis at the 3/4 mark then the regression will come closer to the Climax at the end.

3) Mastery -- most of us do not come to mastery over an old habit without some struggle. Eventually, if effort is put forth and the "new" behavior is consciously worked on, mastery will come. Parents do not always understand this. They expect that with consciousness of how to perform the "new" behavior mastery is automatic. In the classroom, I often found that teachers shared the same expectations. Kids are tested on the information at a mastery level rather than as an emerging behavior 1st and mastery over time.

Lots of writers I work with operate under the same assumption. The Crisis hits. The protagonist's eyes are open as to how their flaw interferes with them attaining their life goal. Automatic mastery. Wrong!

This is almost never the case in real life or in stories. Try it yourself. Decide to change a behavior that has been habituated over time. See how many mistakes you make and revert back to the "old" behavior before you find yourself at a mastery level.

Mastery for the protagonist is shown in all its glory at the Climax at the end of the book where the character shows their true and ultimate transformation.

05 May 2009

Cause and Effect / Character Emotion

Recent plot consultation:

Literary Fiction
Many POVs

Question:
Does my story have too many scenes?

Answer:
(We did not get to the end of his story during our session so I cannot answer the question.)
My comment however is to do what you can to make the scenes feel linked.

The tighter the story, the easier for the reader to follow. Every element of every scene contributes to the scene that follows and to the overall story itself.

Link scenes through the use of:
  • Cause and effect
  • The transitions you create using:
Thematic significance of the overall story
Similar themes in the scenes to be linked 
Similar authentic details in scenes to be linked

Also, be clear about the structure you're going for and be consistent. This is especially true for the POV. Each time there is a change in POV, you risk the reader putting down the book. 

We connect to one character and resist and resent leaving that POV. Moving into another can be off-putting. 

Be careful and make sure the first line in every POV switch is compelling in order to pull the reader immediately into the next character and not feel like they are missing the character they were just connected to.

28 April 2009

Humor Writing / Character Consistency

Humor writing continues to be in great demand = as always, comic relief keeps the darkness at bay.

Writers with the gift or innate talent to write funny lines make it look easy. It's not. As with most aspects of writing, humor writing can be taught: timing, subject matter, and how to keep from crossing over to satire. With humor writing, the reader laughs along with the characters. Satire holds human folly and vice up to scorn, derision, or ridicule and causes the reader to laugh at the characters or at least at the characters' action.

Good humor writing can blur aspects of character development, dramatic action, and even thematic significance when going for a laugh. A character can even act "out of character," if doing so is funny and furthers the story.

In the end, however, humor writing like every other genre in that the story at its core is still about the protagonist's transformation. Humor writers, like all writers, benefit from plotting out in logical and meaningful character change step-by-step to the ultimate transformation that drives the Climax. The character who delivers the punch line at the end of the story behaves differently at the Climax than the character we're introduced to in the Beginning. At its deepest level, that change is what the story is about.

At the Climax, the protagonist faces her biggest fear, deadliest antagonists, most taxing test, deepest prejudice. This is the moment the entire story has been steadily marching toward.

After the Climax, the energy of the story immediately drops. In the Resolution, the character acts in her newly transformed way. This reinforces that her new skills are fully integrated in her new life. The character, now surrounded by allies, has nothing to fear. Here, at the end, she demonstrates her new behavior with ease and great humor.

25 April 2009

Especially for Memoir Writers

Anxious to leave a legacy, more and more baby boomers are turning to writing their memoirs or the next Great American Novel. For some, the story reveals itself effortlessly. Others have difficulty raising the veil for clarity. In the second case, I often find the problem lies in having lived a vast and rich life. What to put in and what to leave out becomes the dilemma.

In order to bring a story to fullness, a writer searches for the underlying sttucture that will best demonstrate some sort of meaning. As far as I'm concerned, there are three ways to do this.

1) Write what you are drawn to write and see what you end up with
2) Pre-plot scenes and ideas on the Universal Story form, alert for the moments that could constitute a major Crisis which in turn creates a jumping off place for the crowning glory of the work ~ the Climax.
3) Write what you are drawn to write and, at the same time, plot out scenes and ideas, keeping in mind the Universal Story form.

A scene does not warrant staying in a story merely because "it happened that way."

A good writer also knows that in order for a certain passage or sentence or character or plot turn to be in a story is not because of the beauty of the writing or the cleverness in the plotting or the depth of the characters, although these things are critical in captivating the reader. A good writer knows that each line and each element in each and every scene belongs there because it has a definite purpose in providing an overall meaning to the piece.

The only scenes that belong in a piece are the ones that best show how a character responds to the challenges, conflicts, tension, and suspense in one's own life as they move closer to transformation, and that contribute to the overall meaning of the story.

18 April 2009

The End is the Beginning

An agent flings a promising work against the wall. When asked why, she rants about all the times she has read entire manuscripts only to be disappointed in the end. She softens as she explains how, by the time she reaches the final quarter of the story, she longs for the work to succeed. If it fails, disappointment stings all the more.

Agents, editors, directors, audiences, and readers alike expect the scenes of a story to add up to something meaningful in the end.

The End is the Beginning

T.S. Eliot said, "The end is in the beginning."

The beginning of any entertaining and well-crafted story tells as much about where we are headed as to where we will be at the end. This means that until you write the end you will not truly know the beginning.

Which comes first? Does a writer labor over the first three quarters of a project where the groundwork is laid for the end? Or, does one write the climax itself first?

Before a writer can lay the groundwork about the character and the situation to build to a climax in a way that makes the highest point of the story seem both inevitable and surprising, doesn't the writer first need to know the climax? At what point do we surrender our idea of the story and our will, and let the story have its head?

Whichever which way you get there, the choices you make for the end of your story deserve attention.

Connecting the Dots

A finished draft allows the writer to stand back from the story and think both forward from the beginning and middle, and backwards from the climax. In other words, the beginning defines the end and the end defines the beginning.

As Apple co-founder Steve Jobs says, "You can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future." Of course he was referring to students at their commencement, but it applies to plot as well. For the end to be meaningful and convincing, first specific character emotional development must be established through the use of dramatic action.

What is your story really saying? What do all those words you wrote add up to? Your story is a reflection of a truth. Not necessarily true for all time, but true for the story itself, and likely for yourself, too. What is the deeper meaning? The truth beyond the physical? The protagonist has undergone a transformation. What does that mean? Jot down the ideas that come to you.


The Climax

The protagonist introduced in the beginning 1/4 of a story spends twice that time in the caldron of dramatic action of the middle. In both the beginning one quarter of the story and up to the next three quarter mark toward the end of the middle, the character's emotional make-up is revealed through successively challenging events that are linked by cause and effect.

The dramatic action and the details and interpretations of the story hold the reader's interest and at the same time show the reader what they need to know to follow the story to its climax.

The climax hits close to the very end of the story. It is the point at which the story turns from being an interrelated deliberately arranged set of scenes to gold. "Any event that seems to the given writer startling, curious, or interest-laden can form the climax of a possible story,” writes John Gardner in The Art of Fiction.

The Climax serves as the light at the end of the tunnel. In the final quarter of the work, the protagonist moves toward the light -- one step forward toward the ultimate transformation, three steps back, a fight for a couple of steps, being beat backwards.

The Climax spotlights the character as she comes into full transformation and demonstrates full mastery of the necessary new skill or personality, gift or action.

The protagonist "shows" herself in scene acting in a transformed way -- in a way she could not have acted in any other part of the story because she first needed to experience everything she does to get to the final stage.

When the dramatic action of a story changes a character at depth over time, the story becomes thematically significant. Ask yourself which scene most dramatically shows your protagonist demonstrating her transformed self?

When you know the answer to that question, you have your climax.

The Climax, in turn, informs all the other scenes in the entire project.


Hollywood Endings

The happily-ever-after endings of the 1950s were replaced in the ‘60s and ‘70s by darker works like A Clockwork Orange, Coming Home, and Midnight Cowboy. The next decade brought in the era of Wall Street.

By the late ‘90s and early 2000s, we could afford to produce books and movies that depicted great loss and enduring hardship. As in the The Horse Whisperer and Cold Mountain, the reward in the end often came in the form of a new life.

Today, the shadow side of survival in these later films is fast becoming the reality in more and more book buyers’ and moviegoers’ lives.

Darkness or Hope

Of the two kinds of people who go to film festivals, view popular movies, and read books, one kind believes the universe is orderly and expects us to act morally responsible. These people usually find stories that end on a hopeful note enjoyable and inspire enthusiasm.

Then there are those people who accept a more random view of things. These people are often more at peace with stories that end by reinforcing a grudging acceptance that life is hard.

Both sorts of people are affected by the increasing connectedness of scenes and emotion in a story. In both cases, if unable to find enjoyment in a story or grasp a deeper acceptance for life, people will ultimately stop reading or opt to leave to the movie early.

Thematic Significance

While writing and rewriting the final quarter of the story and the climax itself, a writer looks hard at the meaning of things. An exploration of deep-rooted ideas for the fundamental meaning of events reveals thematic significance, which in turn dictates the final layer in the selection and organization, nuances, and details of the story.

Filmmaker Halidan Hussy, co-founder and executive director of Santa Cruz Cinequest Film Festival, says, “You go to find films that get you thinking, that open you up.”

Stories that get you thinking resonate with meaning. Stories that open you up create opportunities for a shared experience with others. A promising story with a thematically rich climax leaves the reader to ponder the deeper meaning and, in that way, is sure to deliver success.
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17 April 2009

One Plot Strand Stronger than Another

As an addendum to Plot or No Plot, I'd like to clarify the Plotless...

When I say literary novels are plotless, what I mean is that the Character Emotional Development plot-line is at the fore and drives the story. Dramatic Action is present, though generally as a prop more than a plot. Thematic Significance makes the entire story worth reading. And... the Universal Story Form is always flawlessly present.

14 April 2009

Plot or No Plot

I recently perused the stacks for reading material with several writer friends. One of them picked up a book and exclaimed, "Does it have a plot? I'm not reading one more book without a plot!"

When I first started teaching plot to writers more than six years ago and then writing about plot extensively, plot was little talked about. I remember searching for plot in the index of several of the most popular writing books at the time and only one had even a page dedicated to the subject. 

Now, the taboo has been lifted and plot seems to be the "it" element most discussed in writing circles. 

And then there is literary fiction....

As much as I appreciate the need for plot and the struggle writers face in creating compelling and multi-layered plots, I love plotless books. I love when the language takes center stage and characters who develop without much dramatic action dominate. 

Literary fiction is essentially plotless and yet all of my favorite books and the ones I remember the most fall in that category. 

Sometimes I worry I've gone too far in my zeal to support writers in creating well-rounded stories with exciting action that transforms the protagonist and in the end means something. 

Plot is well and good, but often no plot is sublime....

Thematic Significance of Your Story

Question:
..as I'm in this second rewrite deep...I'm losing track of my big idea--what's the biggest problem that I should keep in mind as I'm moving ahead? I think it's to get closer to the character, with every action meaning something, showing...the theme will arise out of all that as the plot is well defined at this point...right?


Answer:
Support surrounds you and your story always. What a leap of faith, of bravery... I'm so proud of you!!!

Q: what's the biggest problem that I should keep in mind as I'm moving ahead?
A: This is the $64 million dollar question, isn't it???

Q: I think it's to get closer to the character, with every action meaning something, showing...the theme will arise out of all that as the plot is well defined at this point...right?

A: Yes.
Constantly ask yourself: what am I trying to say?? What is my story trying to convey?? What do I want the reader left with at the end??

Keep writing down thematic ideas as they come to you. Which ones seem to consistently show up in one form or another in most scenes? What does that mean to you?? What beliefs do you carry about these ideas?? Are they consistent with what you're showing in your story??

Explore your own themes, beliefs; they usually show up in our writing.

The more honed in you are to the deeper meaning, the big problem that needs to be solved in your protagonist's life, the more focused the scenes start to become.

Don't stress about it -- trying too hard gets you all stiff and the muse has absolutely no way of breaking in.

Take lots of walks asking the question you asked me. Be sure to carry a little notebook and pencil in your pocket because answers will flow.

Ask yourself right before you drift off to sleep. Be sure to wake up and immediately write down what comes to you.

It's all there. I promise...

Great good luck!!

07 April 2009

Plot for Murder Mystery Writers

Two male writers, both writing murder mysteries -- one for the adult market, the other targeted for urban middle-grade boys.

In reading the two character profiles I was sent before the plot consultation, I quickly ascertained their writing preferences. The adult writer had complex goals plotted out for his characters with spotty character traits. The middle-grade writer had well-thought out character traits for the protagonist AND the major secondary characters, too, and the character goals had more to do with the internal life of the protagonist than to solve the mystery.

For the writer of the adult mystery, I wasn't too concerned about the spotty character information. In a murder mystery, the more complex the crime, the less complex becomes the demands for the protagonist transformation. Plus, we had worked together before and I knew he struggled with character-driven plot and excelled in dramatic action-driven plot. However, when we were actually in consultation, I learned that the protagonist was going to take action at the Climax that for him would have been completely out of character and something that was impossible in the beginning of the story based on who the character was. I immediately knew the writer was in trouble. He quickly caught on, too.

In order for the character to transform enough to do the action that would be required of him at the Climax, the writer had to step back and plot out his character emotional development over the course of the book in order to make the final action taken by the protagonist to be believable and inevitable in the end. The writer groaned, but only so much as if to say he already knew, was resisting, and needed me to give him the shove...

The writer for an urban middle-grade audience had the exact opposite weakness. In order for the murder mystery to work as a murder mystery, he was going to have to put his preference and strength -- everything character-driven -- aside and delve into the dramatic action -- the solving of the mystery -- itself.

My wish? I wish these two writers could meld together to create the next blockbuster story on the New York Times bestseller list. Or, since we're dealing with real life here, I wish them both the time and motivation and passion to work on their area of weakness until it becomes a strength. That way we'll end up with two uniquely different blockbuster murder mysteries for two uniquely different audiences.

I wish them both well....

03 April 2009

Birthday Wishes

My mom blogged about my birthday.  Svensto
No wonder I dabble in magical thinking...

02 April 2009

History Provides the Perfect Antagonist

A writer I've been working with on an on-going basis picked a unique time in our country's history to write about. Built into this time frame is an event where nature colluded with industry and for five days led to the deaths of many in the community. 

It's an age-old dilemma -- what brings a livelihood to everyone in an entire community ends up killing them. Unwilling to admit to what is right there in front of them, people trust the "powers-that-be" -- they would never knowingly poison an entire community in the name of profits, or would they?? Issues specific to this time in our shared past have been repeated countless times before this specific event and will be repeated countless times in the future = creating a thematic universality to her story.

The event lasts five days and serves as a perfect antagonist. Every step the engaging cast of characters take toward their own personal goals is thwarted by the event. Page-turnability is built in as the events unfold. 

Years of research and the author's own passion for the time have contributed to the authenticity of the project.

As the days pass, the situation worsens. The built-in "ticking clock" creates tension and conflict and challenges all the characters, though in the end the protagonist is affected the most and is transformed at depth.

I've always been a sucker for a great historical. Hers has got all the elements. I wish her loads of luck in writing the next draft all the way through, taking care to treat the event as a major character and plotting out each and every turn the event itself takes as it destroys everyone around it. 

25 March 2009

Lead the Reader to the Plot

White pebbles help Hansel and Gretel find their way home. Breadcrumbs simply vanish.

Stories are shown in scene. Each scene leaves little pebbles to advance the plot on at least three levels:

Dramatic Action plot
Character Emotional Development plot
Thematic Significance plot (and more...)

A Few White Pebbles to lead the reader to the important parts of the story:

  • Cause and Effect = because of what happens in one scene, the next scene arises. Cause and effect leads the reader from one scene to another. Cause and effect lessens confusion about motivation, which leads the reader deeper into the real time moment of the story.
  • Authentic Details = generic details lull the reader to daydream rather than follow along with the story. Authentic details ground the reader in the world of the story unfolding moment by moment.
  • Foreshadowing = Provide a few beats of foreshadowing so the reader does not just read right past an important scene. Example: A powerful secondary character triggers the Crisis. In the Beginning (1/4), she's introduced in conflict with her father. She wants to sing in Nashville. He wants her to get a swimming scholarship for college. Both of her strengths and the core conflict are alluded to in the first scene in which she appears. The second time the secondary character appears is practicing vocals with her band. The audience does not yet know the importance of this character in the overall story. The reader is still scrambling to get oriented in the story; determine who is who, what's going on. To help ensure that the reader does not just read right past the practice scene, toss out a few white pebbles to lead the audience. Scene of introduction contains dialog about what is coming: "we're practicing at the house after school today." The reader anticipates the later scene. When the scene comes, the reader pays attention.
  • Exotic World = Show the scene as an exotic world that identifies the daughter as uniquely separate from her father.

Any white pebbles to share?

19 March 2009

How to Create a Classic Story Plot

The Universal Story form echoes in every great movie and in our lives, too, both as observers and as ourselves.

In some form or another, everyday we leave behind the known world and enter an unusual and exotic world of the unknown. Once there, we go through an outer journey that affects who we are internally.

The sequence repeats itself in each scene, at the chapter and act level, and in the overall story itself. We face foes and find allies. In the Middle, mostly unconscious, we stumble around, out of balance. A Crisis hits. The dark night of the soul overtakes us. Out of the darkness comes a gift = a wake-up call. But not everyone "wakes up" the first time disaster hits. Often, one Crisis hits at the halfway point only to be repeated again at the 3/4 mark.

The ascent to the Climax is about shedding the skin of who we or the characters were in order to become who we are meant to be.

How we face the Climax has everything to do with choices and grace. Transformation at depth or superficial proclamations that amount to nothing but air? Victim or victor? You decide about your own life and about your writing life, too.

When we enter a movie theater or begin a new book, we take the journey with the character.

The author creates an outer dramatic action story -- mystery, romance, historical, rescue, some concrete goal that is achieveable -- in order to show an inner character emotional development story. Both plot lines rise at the End of the Beginning, falter in the Middle, are shaken at the Crisis, and deliver at the Climax.

The showing of character transformation (along with incorporating tons of other aspects of good writing) suspends time and entertains.

At its best, a story not only transforms the character.

Truly great stories transform the reader, too.

What stories have transformed you?

17 March 2009

Dialog -- When is Enough Too Much?

Writing a story often comes in drafts. Each draft / layer is determined by your own personal writing preference.

Some writers write their entire first draft in dramatic action. Character emotional development comes later. Meaning comes later still. Others begin with character. Still others start with dialog. First draft has little action. Little character emotional development. Terrific dialog.

Well, some of the first draft dialog is terrific. In other places, the dialog serves as a place to dump information. With dialog, especially in the first quarter of the story, less is more. Only tell as much as needed to inform that particular scene. Leave the info dumping for later (or better yet, forgo it all together).

By less dialog, I mean less in terms of how much each character says at a time. Lots of short and specific dialog back and forth in rapid succession, keeps the pages turning and draws the reader deeper into the heart of the story world itself.

Dialog is a gift. At its best, dialog communicates to the reader the character's interior world, their thoughts and dreams, how they lie to themselves, to others, their beliefs, patience level, expertise, intelligence. At the same, great dialog advances the dramatic action plot.

The Dramatic Action plot is the external movement that allows the character to show who they truly are, first to the reader, then to themselves and then on a trajectory for character emotional transformation. Rather than random movements, the Dramatic Action plot works best if wrapped around the protagonist's well-defined goal. Dramatic action plays out in scene. Dialog comes from the dramatic action and unfolds moment-by-moment.

Think of dialog between two characters like two ships passing in the night. Each speaker has their own agenda, their own reason to converse. The characters' words lap up against each other. Often their words have little effect. Sometimes their words throw the other completely off route.

To create conflict on a secondary level, use the character's individual goals to help define their point of view in dialog. When each character comes to the conversation with something to prove or accomplish, the story moves forward. (And, sprinkle the dialog with authentic details and word use that reflects the time and setting.

13 March 2009

Plot Authentic Details

The Middle of every story begins with the entrance to the story world itself. The more exotic and unusual this world, the better the read. 

List sights and sounds, smells and tastes, texture and mood of the setting of your story. 

First list may be general and generic. Refine the list as you refine drafts. Little-by-little find the exact right authentic and unusual and historically-just-right word, detail, object, sensation...

Each day draws me deeper into the exotic and unusual world of a premiere surf spot, The Hook at Pleasure Point in Santa Cruz, California.

The Hook
  • Mean age range: 25-30 years old
  • Principal occupation: surfing
  • Palm trees tower 
  • Cypress trees sway in the bay breeze
  • Fog horn blares
  • Gulls cry
  • Surfboards stick out from truck beds, latched atop car roofs
  • Boys dressed head to toe in black zip by like seals astride bicycles built for two = boy and surfboard
  • Nightly news tracks high and low tide each day
  • The aroma of bacon, eggs, and hash browns rolled in flour tortillas waft from a shack known for "rolling fatties"
  • Girls in uggs, cotton sun dresses, and hoodies 
  • The smell of seaweed at low tide
  • Snippet of conversation: "Hey, dude. The sun's coming out. I might have to go surfing."
  • Mexican music floats in on a hazy layer of marine warmth

Thematically, the place reeks of youth and movement and the power of nature, though I have yet to mention the sea...

What are some authentic and unusual details of your story world??

12 March 2009

Self-Sabotage and Success

A local wrestler wins the state title. In the beginning, odds were against him due to internal fears and flaws. The newscast chronicles his story with a thematic flair that it's not unusual for someone to binge on toxic food when faced with possible success. Wrestler's dad seemed also to serve as antagonist in someway personal to the family itself. Mom sends the boy on a journey to an exotic land. He trains at a wrestling camp, sheds his old beliefs, practices important new steps, returns home and wins the state title. 

The newcaster's easy acceptance of our often compulsive and self-sabotaging behaviors when faced with possible success was refreshingly honest...

Isn't that what writer's block is all about? Self-sabotage. Isn't that why so many writers have never finished a story? Or if they have, it sits on a bottom shelf in the dust?

Moving forward, becoming conscious, finishing, showing up takes energy and trust, study and discipline. 

Discipline... When did it become associated with punishment? "You'll be disciplined for that..." Only in the past decade or so have I come to understand the other side. Root word of discipline is disciple. A writer who writes and finishes serves as a disciple of the creative force. 

It takes energy and discipline to achieve our goals in life and never more so than in a writers life. 

How do you keep energetically strong?? What is your discipline???

08 March 2009

Boston Globe

Thanks to Google alerts, I find the Plot Whisperer is mentioned in the Boston Globe.


Of course, I commented.
Hope you will, too...
Enjoy...

04 March 2009

Heart and Soul of a Story

Yesterday's post was in desperation. The work I was reading was good. 

By about the End of the Beginning (1/4), I found the plot working, the character believable though not completely likable, the issues of value. 

I wanted it to be great. 

Continued reading to the end today. Things picked up shortly before the Halfway mark. The heart and soul of the work emerged. I shed tears. I really cared. 

Made me a believer again. 

Cautiously though....

Work needs to be done. More authentic details. Entire first quarter reworked. Character deepened. More foreshadowing. Smoother flow. Interconnecting thematic significance on all levels.

Can't help but wonder -- how many times will he rewrite his piece to make it truly memorable??? 

How many times do you rewrite a piece from beginning to end in an effort to make it truly memorable?? 

03 March 2009

What Makes a Good Story?

I don't know anything about video games. Truly. I'm embarrassed to expose the underbelly of my ignorance about one of the largest revenue markets out there, but here goes...

Video games have a character doing stuff -- action driven. Character propels from one event to the next. Setting. Mood. Theme. Journey.

It's a story.

There's also a character doing stuff to reveal self -- character driven. Character propels from one event to the next. Setting. Mood. Theme. Journey.

It's another kind of story.

So many stories created today -- online, hardcover, softcover, movies, music videos, plays, radio, newspapers, video games...

What makes for a good one?

Likable characters. Exciting action. Meaningful issues???

Enough, I guess. Thousands of stories are published in one form or another everyday.

The good ones are so rare.

Seems to me, a good story makes real time, rather than pass unconsciously, bring us to consciousness...

02 March 2009

Unsatisfying Climax

Viewed two movies recently, both of which left me disappointed and dissatisfied at the end.

The first movie is actually made up of three movies -- the Lord of the Rings trilogy. I watched all three on a marathon movie day while recovering from an awful flu going around. Non-stop action and conflict, tension, suspense and curiosity effectively kept my mind off my coughing. However, my disappointment at the end nearly sent me spiraling back into the abyss of illness. Exaggeration, of course.

I was truly dismayed at the ending. Yes, I understand about the power of the ring and the evil lure of greed it evoked in all who saw it, but still... The Climax of every great story is when the audience and/or reader get to see in moment-by-moment excitement, the protagonist act in a transformed way and doing something they were unable to do anywhere else throughout the story. In other words they needed to go through every other trial and test and scene first in order to be transformed at depth overtime.

Even in the final seconds of the highest point in the entire story -- the Climax, Frodo was the same Hobbit he started out being -- brave with the urge to do his best. The only transformative change came in him being as seduced by the ring as everyone else. He ends up wanting it even as much as Gollum.

The other movie was Vicki Cristina Barcelona. The characters were amazing, the scenery beautiful, the action exciting -- all the elements of a truly wonderful flick until the very end. Every single character remained unchanged by all that transpired -- thus no character transformation which in the end equalled extreme disappointment.

Anyone else seen either movie??? Anyone else disappointed??

20 February 2009

The Deeper the Meaning, the More Lasting the Project

Every story that becomes a classic has at least three universal plot threads:

(1) Character Emotional Development
(2) Dramatic Action
(3) Thematic Significance

Many writers develop one plot line at a time. The plot line you first choose to carry through the entire first draft is usually directly tied to your strength; strength determines preference (Take the Test).

Whether you begin with the Character Emotional Development plot line or the Dramatic Action plot line, most writers put off the Thematic Significance plot line to the end.

By your final draft, you have at least a vague idea of the deeper meaning of your story, what you are trying to say and the ways you have attempted to communicate that meaning through your story to your audience.

Crystallize the meaning you are attempting to convey into two specific universal themes and improve your chances of creating a classic blockbuster project.

Two Kinds of Thematic Significance

When a character is changed at depth over time, a story becomes thematically significant.

1) Character Emotional Development Thematic Significance

In Fitzgerald’s The Great Gatsby, Nick serves as the narrator. Of all the characters in the story, Nick is the only one who is changed by the Dramatic Action, thus making Nick also the protagonist. (The definition of a protagonist is the character most changed by the dramatic action in the story. Unlike The Great Gatsby, if other characters are changed by the dramatic action in your story, then the protagonist is determined as a matter of degree and significance of change.

Some might point to Gatsby as the protagonist, alive in the beginning and dead in the end. What counts with thematic significance is not the change from alive to dead, but how the dramatic action creates a long-term emotional change in the protagonist.

Nick sets his own thematic significance in Chapter 3 when he states that he is one of the few honest people he has known. Since he is the narrator, the reader is curious to know if he is reliable, or not. Does Nick have a clear sense of himself from his time in the war as he thinks? Or, does he have more to learn about himself before he can accurately judge himself? In the end, Nick understands he has only begun to live up to his initial assessment of himself as stated in the beginning.

A thematic significance statement for Nick’s character emotional plotline could be:

Only with maturity and assuming personal and moral responsibility are we able to accurately judge ourselves and others.

Hands on
1) Who is the protagonist of your story?
2) Write down a Thematic Significance statement that encompasses the emotional transformation your protagonist undergoes from the beginning and throughout to the end of the story.
3) Infuse your story with the theme through details and comparisons, metaphor and simile.


2) Dramatic Action Thematic Significance

The Great Gatsby, as with all classic stories, deals with universal themes. Along with Nick’s personal thematic significance, there is also an overall meaning or Thematic Significance for the entire story.

A thematic significance statement for The Great Gatsby as a whole could be:

Ambition for money and another man’s wife leads to destruction.

Hands on:
1) Write down a Thematic Significance statement that encompasses the meaning of the overall story. In other words, what do all of the scenes and dramatic action together add up to mean in the end.
2) Infuse your story with this theme through details and comparisons, metaphor and simile.

When a story embodies universal themes for the characters themselves and through all of the elements and details of the story itself, a story becomes lasting.

Refer to Blockbuster Plots Pure & Simple for more tips about each of the three universal plot lines and how to incorporate each one in your writing project and have fun doing it.

16 February 2009

Creating a Sacred Writing Space

We as writers spend countless hours in our writing "caves," creating characters and stories we hope will engage and captive our readers. The more enticing our writing environment, the more apt we are to enter and stay awhile. 

Surround yourself with objects that have helped you find your way in life -- books, totems, photos, quotes, special rugs, notepads, pencils and pens. Pay attention to little ritual details. Do you like to light a candle before beginning to write? Brew a cup of tea? Have classical music playing in the background? 

Creating a sacred writing space releases you. And, as Joseph Campbell writes: "...since that space is associated with a certain kind of performance, it evokes that performance again." "To live in sacred space is to live in a symbolic environment where spiritual life is possible, where everything around you speaks of exaltation of the spirit."

As you cross the threshold into your sacred space, cast off all your responsibilities. Banish the internal critic. Seal yourself off from distractions. Allow yourself to sink more deeply into your inner life. Invite in the sense of play and discovery. 

And most of all, have fun!!

02 February 2009

Plot Consultations for Writers

I always disguise the identity of the writer when I unwind here and reflect after a plot consultation. I keep my comments general in hopes of showing how universal most of the plots and the plights I encounter.

In my mind, I already see the writer successful and imagine how notes like these would shed a certain sense of historical perspective when the time of success truly arrives.

Today's consultation was all about subplots and themes.

Every element in a memoir, novel, screenplay contributes to the greater thematic significance of a story. 
  • Every character functions like a mirror shining back to the protagonist the very elements of themselves they can see in others but not in themselves
  • Every subplot does the same thing to the overall plot of the story 
  • Every word contributes to the theme and mood and nuance
Nothing is extraneous or there simply because the language is beautiful, the action clever, the character quirky. Every element contributes to the deeper meaning of the piece.

Do you know the thematic significance of your story?

Can you condense the overall meaning of your story into one statement?

This Thematic Significance statement reflects the truth of your story. Not the necessarily a universal truth or truth for all time, but true for your story itself.

29 January 2009

A Tough Nut to Crack

The only real antagonist is the protagonist herself.

1) Draw a bubble in the middle of a piece of paper. Write the protagonist's deepest held belief, the one that prevents her from having that which she wants more than anything else in the world. Or do this exercise on yourself to determine what's blocking you -- I'm not good enough, I'm not smart enough, I don't do enough -- pick one, create one, we've all got them.

2) Spiraling out from the bubble, create other bubbles each with an external antagonist that these deepest held beliefs attract -- accidents, bad men, addictions, drama, dead-end jobs, half-finished projects, arguments = conflict, conflict, conflict -- blockage, blockage, blockage... walls that keep the protagonist from achieving her goal(s).

He was balled up, resistant, bitter, deeply resentful and so tight he could barely speak, ready to take offense, full of self-pity = a mess.

Came around to see how the experience (our plot consultation) could work in his benefit. (He didn't stand a chance -- I know what I'm doing and I've worked with so many just like him...)

I give him huge credit for not falling deeper into victimhood. He arose out of the muck long enough to shine.

We'll see how it goes... Wish us luck...

26 January 2009

Don't Relinquish Your Power

My apologies up front. After today's consultation, I'm in the mood to rant.

Hold onto your own personal power no matter the cost.

Don't give your energy over to another and/or to a belief that no longer serves you. Let me repeat that. Do NOT give your energy over to another or to a belief that no longer serves you.

Don't forget, no matter who critiques you, you are the artist. You are the final decision-maker.

Don't give your power over to anyone else.

Listen.

Take notes.

Thank them.

Do for them what you want them to do for you.

Go home and mull over what they have to say.

What resonates with you, follow.

What doesn't feel right, let go of...

You're in this with the divine.

Trust yourself.

Listen to yourself.

Whatever drains your energy run from.

Whatever fills you up move toward...

Have fun...

23 January 2009

Plot Therapist

"I believe talking about the story blocks the story."

"So do I," I say, wondering where the writer is going with this.

Later in the plot consultation, she reveals that she had reunited with an old friend who had successful published a book. She read it. Now she's blocked.

"So because you talked to your old friend about your story, you're blocked?" I asked.

"Yes."

"Then why are you talking to me about your story?"

Pause.

"Because you're the block buster..."

Ahhhhhh

22 January 2009

Bird's Eye View of Your Story

I'm humbled by how many writers open up to me about that most vulnerable part of them -- their stories. 

Immediately ascertainable is how closely a writer is identified by the story. 
1) This is the story they have told themselves and lived by their entire lives. 
2) This is a fun romp, thrilling mystery, or pure romance.

#1 is generally character-driven. 
#2 is often action-driven.

(To see which way you write, Take the Test).

I get to not only sit in the crow's nest and analyze the plot and structure of the story, from that vantage point I often also see a higher archetypal pattern emerge.

For instance, in a character-driven memoir about strong political and historical and religious themes, the protagonist (the writer) is betrayed as a kid by her father. Later she falls in love with four men. She is betrayed by all four of them.

A bigger picture unfolds... Or, is it only my imagination?

Are there other ways to tell this story? You bet ya. 

How much of that which comes intuitively throughout the plot consultation do I divulge? Like a palm reader, say everything and let the writer decide? 

How much would you want? 

Fascinating journey this is, being a plot consultant to writers. 

15 January 2009

Authentic Details

Draft one, writers attempt to create a story with a Beginning, Middle, and End, filled with Dramatic Action that affects the characters in meaningful and coherent ways -- a firm foundation. 

Subsequent drafts, writers create more layers, each of which benefits from the use of authentic details. Authentic details "show" who the characters truly are by the objects they surround themselves with and how their actions support their dialog, and allow the reader to sink into the exotic, unusual story world. 

For example: Einstein's Dreams by Alan Lightman -- "... In some distant arcade, a clock tower calls out six times and then stops. The young man slumps at his desk. He has come to the office at dawn, after another upheaval. His hair is uncombed and his trousers are too long. In his hand he holds twenty crumpled pages, his new theory of time, which he will mail today to the German journal of physics..."

Authentic details make the story unique, come alive, pulse with meaning.

Research reveals authentic details. How do you find yours?   

13 January 2009

Writing for Ourselves. Writing for Others.

Now on her third book, the writer moves away from herself. 

Memoir writers aren't the only ones who write about themselves. Many of us write to work things out in our minds, our hearts, to learn our own individual truths, to make sense of our worlds. 

Memoir writers shape their stories around their own lives and stick to the truth and call their work a memoir. 

Fiction writers take their lives and embellish for meaning or humor or excitement's sake to create a novel or screenplay or short story.

Some of us tire of ourselves and find more compelling fodder. 

Others continue to delve into the well of our lives. 

How many of your stories are about you?

12 January 2009

Choosing POV

Today's consultation challenged conventional point of view and arrangement. Most stories revolve around a protagonist who is changed at depth over time by the dramatic action that happens to her. The story is arranged into chapters and told through either:

First person present -- I revel in the balmy ocean breeze 
First person past -- I reveled in the balmy breeze
Third person present -- she revels in the balmy ocean breeze 
Third person past -- she reveled in the balmy ocean breeze

Today's consultation revealed a story more about the transformation of a culture which is changed over time by the dramatic action that happens to the characters who live in the culture than to one particular character.

Some of the most difficult aspects of writing a story, be it a screenplay, novel, or short story, are deciding where the story begins, who's tells the story -- POV, and how best to arrange the overall flow the story.

We seem to gravitate toward a favorite way of telling a story. First person allows the writer and thus, reader closer access to the character. Third person allows the writer and thus, reader less intimate access to the protagonist from her point of view but more access to information beyond the character herself. 

What's your favorite?

11 January 2009

Memoir Writing

I'm personally excited about an upcoming plot consultation with a well-respected veteran writer and photographer of some 50 years for most of the top news agencies and magazines in the country and the world.

From the early info I require about the character (for a memoir writer that is the writer himself) and theme, I sense this writer is interested in using his action-packed background of intrigue and danger to illuminate his flaws and fears and thus give meaning and significance to his life.

Memoir writing at its best shares the writer's past with the reader in order to entertain, enlighten, motivate, and/or make sense of life itself. 

One of my personal favorites is Daily Coyote by Shreve Stockton.

Have you read it? Did you like it? Any memoirs you recommend? 

08 January 2009

2nd Draft Blues

He finishes the first draft with a vengeance. His vision of a complex story crystalizes. The characters reveal themselves. The story world captivates. Action builds to a dramatic climax. Character grow and transform. Thematic threads run deep throughout the manuscript. 

Celebration over his accomplishment is short-lived and little acknowledged in his eagerness to keep going. 

He rounds up his notes and begins crafting and writing draft #2 and immediately comes to a screeching halt. 

The quality of his writing in draft #1 dismays him. Doubt sets in. Energy lags. Procrastination takes over.

Yet, another example of what I've addressed the last two entries. 

Any success stories about starting out on the next draft of your project?

06 January 2009

Resistance

Comment from yesterday's post Great Doubt. Great Faith. Great Effort:

"This is one of my biggest struggles. I have faith in myself and my story, but I have a hard time finding the energy to actually write. Any tips on dealing with this?"

The comment came anonymously, so my answer won't appear personal.

Your lack energy for your writing is like a character who resists the call to adventure. Resistance generally comes from one or more of the following character profile traits (each of which has the potential to create dramatic action):

  • fear
  • flaw
  • prejudice

At least that's what happens in stories -- it's the character herself who gets in her own way -- the Character Emotional Development plot line.

Based on that assumption, following is a tip for finding the energy to write:

1) Make a reminder sign -- a post-it note on the mirror, a ribbon hanging from the lamp shade, something to remind you of this tip.

2) As you brush your teeth or otherwise prepare for bed, meditate on your resistance.

3) With your head on the pillow, make a goal for yourself for the next day. Imagine yourself taking action, step-by-step toward your goal. Anticipate possible antagonists -- your own resistance included. See yourself in your mind's eye replacing the story you have been telling yourself that is causing your resistance with something different.

This is your life. You are in charge. You may not want to be. That's fine. Feel the resistance.

Now, tell yourself a different story, one that draws you to the successful completion of your goal.

There's no hurry. Either way, the day will come and the night will go. The only thing that changes is your attitude and your action. Think of it less a journey and more a process -- the process of being a writer...

Any other tips???

02 January 2009

Great Doubt, Great Faith, Great Effort

The final plot phone consultation of '08 illustrated to me how thirsty we writers are for support and someone to believe in us. 

A writer with an incredible gift for dialog and in collaboration with an accomplished illustrator is creating a graphic surfer girl novel for middle grade. The plot rocks, the protagonist feisty, the setting unique, the father-daughter issues universal, the theme significant. The problem? Somehow along the way the writer lost energy for the story. 

The longer we chatted and the more praise I expressed, the more enthusiastic he became about his project. By the end -- it took us two, two-hour sessions to work our way all the way through the story, he was pumped and ready to devote the time and attention needed for the next and, dare I say it, final draft before beginning the submission process.

As thrilled and honored as I was to work with him on this worthy project, when I hung up from our call, I was also a little sad. I wondered about all the writers out there who may not be able to afford a service like I provide and are without someone to encourage and support them. I despair over the gifts out there half-started and never to be finished. A dream that never has a chance to manifest because of self-doubt, little faith and thus, the inability to put forth the effort needed to finish.

It's all a journey. And, the writer's journey is as filled with conflict, tension, and suspense, crises, and obstacles as any compelling story. It's our path to take and up to us to find what we need to make it to our own climax.

Any tips and tricks to offer other writers about how to restore faith when doubt stills all your writing efforts? 

(The phrase: Great doubt. Great Faith. Great Effort. -- comes from The Little Zen Companion and are the Three Qualities Necessary for Training.)

31 December 2008

International Plot Writing Month -- Day Thirty-One

Today marks the final day of International Plot Writing Month. Thank you for visiting and following along. I'm pleased to know the information has helped so many of you prepare for your next rewrite and that you're confident and ready to begin writing tomorrow.

On this last day:
1) If you don't have one already, create a space devoted for your writing.

2) Organize your space. Purge and cleanse the space of everything but your manuscript and notes. 

3) Hang your Plot Planner for easy viewing from where you'll do your daily writing.

4) Create a writing ritual for yourself. For instance, every morning at 4:30AM before I begin writing, I make myself a cup of green tea and drink a glass of water. From having done the same ritual everyday for so many years, my body knows immediately up I'm up to and responds in kind. 

5) If you're going to write during family time, consider creating some sort of signal so your family members know you're working and honor your time by not interrupting. Isabel Allende lights a candle and as long as the candle burns her family knows not to bother her. A dear friend hangs a sign indicating her "office hours" that day. So long as it's hanging on her writing studio door, her husband knows not to enter. The more seriously you take your writing time, the more seriously your family and friends will honor your writing time, too.

6) Tonight after all the festivities of saying goodbye to '08 and greeting '09, before you fall asleep, see yourself tomorrow going through each step of your ritual and really see yourself writing, for even longer than the length of time you scheduled. Ask the "powers that be" to help support your efforts in the morning and to show you in ways that only the great beyond is able to that you have been heard...

7) Great good luck!!

I hope you'll continue to visit here for inspiration as I unwind from plot consultations and comment on the problems other writers confront in their process and offer tips to keep going.

My intention is and always has been to help support writers to keep at the business of writing.

30 December 2008

International Plot Writing Month -- Day Thirty

It's time to create your writing schedule for the new year. Take out the calendar you bought on Day Twenty-Seven.

Think long and hard about your daily life and obligations, and your personal best and most productive times of the day. Decide how many days a week you are willing to devote to your writing. Add an extra day to that. 

Now mark on your calendar the days and time you will devote to your writing. If you have to, wake up an hour early or stay up an hour later than you are used to. (I find my most productive creative writing time is at 4:30 AM. Don't ask me why. But, it's a magical time to be awake when the rest of the world sleeps. I always wake up automatically. Getting out of bed is another matter entirely, but the point is, I do. It's a habit now. You will, too.)

By scheduling in your writing time like this, you'll be more apt to stick to the schedule. Plus, when friends or family or work request/demand your time, you'll more easily be able to tell them the truth:
I have a pre-arranged appointment at that time. We'll have to come up with another time.
If you don't have the time pre-scheduled, chances are much greater that you'll put yourself and your writing last, which invariably means you'll not get to it. 

Don't despair if you find that honoring yourself and your writing time difficult at first. With practice, however, you'll find yourself joyfully committed to your special writing time. An added bonus is that when the muse finds you consistently showing up, creativity will more readily be available to you. The habit itself creates miracles and mysteries. 

International Plot Writing Month -- Day Twenty-Nine

Continue with Day Twenty-Eight assignment.

International Plot Writing Month -- Day Twenty-Eight

I'm running out of energy!! This daily posting practice is a challenge for people like me who rail against any and all kinds of routine. This month has given me a great appreciation of all you NaNoWriMo Winners!! I work better in fits and starts, intensely focused writing with times of backing off and recharging.

Enough about me. 

Back to International Plot Writing Month....

Reread your manuscript, keeping in mind all the work you've done this month. Take notes right on your manuscript -- detailed enough so that when you reach them in your rewrite you know what you were thinking. 

Mark out with a big black X any and all words, paragraphs, and chapters you plan to delete in the next rewrite. Add ideas of what you wish to add or create in the next go round. Keep your Plot Planner in front of you as you work your way through your manuscript. 

I'm giving you two days for this (though since I'm behind you'll have to work fast!! My apologies.)

27 December 2008

International Plot Writing Month -- Day Twenty-Seven

Five days and counting...

As you continue to arrange the scene Post-it notes from yesterday, don't fret about your manuscript's chapter numbers or formatting. You can address those issues in January when you undertake writing the next draft. 

For now, concentrate on the plot and structure for the overall book. 

Move scenes around in anyway that best serves the manuscript. Be creative. Switch the Crisis to the End of the Beginning. The Climax to the Crisis. Be brutal. Make broad cuts and assess results. 

Line things up. Organize. Think of the work you're doing like packing before undertaking a long trip. Plan ahead now so you can let go and have fun during January's rewrite. 

Two steps for today:

1) At the top or bottom of each of the three parts of your Plot Planner, write the protagonist's goal. The protagonist starts the story with a specific goal in mind. That goal usually shifts, either subtly or radically, when the protagonist moves from the Beginning to the Middle, after the Crisis, and as she faces the End.

2) Buy yourself a '09 calendar - day-to-day at-a-glance or monthly or one of those big hanging ones for the entire year. 

If you are just joining us, begin on Day One and move forward to today.

26 December 2008

International Plot Writing Month -- Day Twenty-Six

Cause and Effect

Using the master Plot Planner you created on Day Twenty-Five, now draw a line from one scene to the next when they are linked by cause and effect. In other words, if the action in one scene causes the action in the next scene, draw a line to connect the two of them. Continue that way through every scene. 

Where one scene does not cause the action in the next, do not connect the two scenes with a line. Leave them blank.

Six days left and counting...

International Plot Writing Month -- Day Twenty-five

Above and Below
For twenty-four days, you have analyzed your story through plot and structure, searched for meaning, arranged scenes, and considered the energetic flow throughout. In the process, you have likely seen your story in a completely new way, and even perhaps, yourself, too. 

7 days left -- time for finesse and nuance. Let the countdown begin.

Collect the the Beginning, Middle, End Plot Planners you created on Day Thirteen, Day Twenty-one , and Day Eight respectively. 

Transfer the scenes onto Post-It notes (helpful if you use different colored Post-It notes for the different plot lines -- blue for character emotional development, red for dramatic action, yellow for thematic significance, orange for political elements, etc.).

Arrange the Post-It notes on banner paper -- sorry, I wish there was a smaller version possible, but if an average novel is 60 scenes, you can imagine how long the Plot Planner for the entire project will be. 

Trick this time? Arrange notes either above or below the Plot Planner line determined by who holds the power in the scene. When the character is in control, the scene goes below the line. When the character is out of control and an antagonist in control, the scene belongs above the line.

Above the line - scenes with conflict, tension, suspense.

Below the line - scenes where the protagonist is in control.

(While you're at it, clear a place on the wall to hang the Plot Planner when the month is over and you're ready to begin the official next draft rewrite with an entirely new vision of your story.)

24 December 2008

International Plot Writing Month -- Day Twenty-four

The Middle (cont.)

The Crisis is the highest point energetically in the story so far. 

Both the Character Emotional Development plot line and the Dramatic Action plot line rise to a Crisis. These can happen separately (the 1/2 mark as one and the 3/4 mark as the other). The greatest impact occurs when the two happen simultaneously at the 3/4 mark.

Either way, the Crisis represents the end of something, a death -- figuratively or symbolically or metaphorically -- a job, a relationship, a belief, or an old personality. 

A Crisis is life taking the protagonist by the shoulders and shaking her until she has to wake up, become conscious, see life as it really is. Without creating some sort of learning or awakening or consciousness, an event is does not constitute a true Crisis. 

Falling Energy
Once the Crisis hits, the reader and the protagonist need a time of rest. The story has exploded and now, reeling, both the character and the reader need time to adjust, take things in, plan, come to terms.

This is where the character often decides whether because of what happened in the Crisis, she will take on the mantle of the victim or the victor and thus, determine the final 1/4 of the story.

By slowing the action and drama for a bit now, allows the energy to rise more quickly in the End and with greater impact. 

Plot the scenes that come after the Crisis in your story and before the final (1/4) -- the End.

International Plot Writing Month -- Day Twenty-three

The Middle

Following are several posts that deal with the Middle (1/2). My hope is that they may stimulate more insight about what works in your Middle and where you might put a bit more attention.

The Middle
Crisis
Crisis
The Middle
Consider the Reader

22 December 2008

International Plot Writing Month -- Day Twenty-two

The Middle (cont.)

Consider the "middle" of the Middle of your story. 

The scenes in the middle of the Middle of a story often line up looking like below. So long as the unusual and/or exotic world is intriguing and mysterious and fascinating enough, you're in good shape. By the time the reader is at the middle of the Middle she has surrendered to the dream you've created. The story and the characters have actually replaced parts of the reader's world and become real for her. 
The early Middle and middle of the Middle are the honeymoon stage. The reader likes the character as revealed so far. The reader wants to hang out with the story and the characters. The middle of the Middle the protagonist is still on her best behavior -- relative to her and her alone. 

Eventually, later, closer to the 3/4 mark and when the Crisis hits, the character opens up more and more to the reader as the stakes rise higher and higher. Under pressure, the protagonist reveals who she really is, flaws and all. 

But, that's for later. For now, here, in the middle of the Middle, the character has settled a bit into the new world and no longer feels so much like a fish out of water. She begins to catch on to the rules of the new world. 

In other words, the story can slow down a bit here (keep in mind, however, a sort of major shift or "hit" usually occurs at the exact 1/2 of the entire page count mark.) 

Homework:
  • Continue to plot out your scenes on the Middle of your Plot Planner
  • Research the unusual world for authentic details. Take notes for your next draft. 
  • Consider how the Middle and the End work together. What in the Middle is contributing to the overall character transformation of your protagonist at the End? 
  • How many of the following antagonists** are you using to create conflict, tension, and suspense. The antagonists must arise out of the story itself and contribute to the overall meaning or thematic significance of your story overall. (If you do not know the thematic significance statement for your story, continue the exercises on: Day Four and Day Seven.)
**Antagonist List
Other people: friends, family, lover, co-workers, boss, children
Nature: flooding, earthquakes, hurricanes, tornadoes, freezing temperatures, drought
Machine: anything mechanical or electronic
Society: rules, laws, customs, traditions, expectations, religious institutions, dogma
God: spiritual beliefs
Self: flaw, hatred, prejudice, fears, past mistakes

21 December 2008

International Plot Writing Month -- Day Twenty-one

The Middle

You created the Beginning (1/4) of your Plot Planner on Day Thirteen and the End (1/4) of your Plot Planner on Day Eight.

Now it's time for the Middle (1/2) of your Plot Planner.

I want you to create the Middle portion of your Plot Planner similar to how you created the other two parts of your Plot Planner. To review, so far, you have an index card or piece of 8 1/2 X 11 piece of paper or whatever works best for you as the Plot Planner of the Beginning and one for the End of your story AND a smaller version for the Middle where you had plotted at least one or possibly two scenes from the Middle section.

Today, expand the Middle portion to its own index card. Simply draw a line similar to below:
Write in the Crisis scene you came up with in your first draft. Plot any other scenes you remember in the middle 1/2 of your draft. Don't refer to the draft itself. Just write what comes to you. Don't push to remember. Give each scene/event a title. Write the scenes above the line in the order of appearance in the story. Write in pencil.

20 December 2008

International Plot Writing Month -- Day Twenty

I bet you're itching to get back to writing, aren't you? 

All you wordsmiths out there, patience. This analytical stuff is counter-intuitive for most creative types. But trust me. The more you stick with it now, the better your next draft. Plus, I want you eager for the word and sentence and paragraph level. That way, you'll stick to the writing schedule in '09 that you create for yourself at the end of this month.

And, besides it's Winter Solstice. This is the time to release old stuff you don't need, which includes scenes and chapters your story doesn't need. Any scene -- energy -- that doesn't line up with the story's highest good, release it to the universe and it will go to a better place. 

The 1st draft often produces quality of a lower vibrational level than subsequent drafts. The more you purge now, the more space your story has to receive that which serves the work best.

As we release the unneeded words and phrases and sentences and paragraphs, our stories embrace a new identity and with that comes a new higher more vibrant and dynamic meaning.

The more you line your story up with the correct material, the faster the story will create.

Think of what we're doing now as the anticipation stage and the main event as writing the next draft. Remember, in an earlier post, when I talked about the three ways to create more emotion in your story:
  • Anticipation
  • The main event
  • Reaction
Character anticipation can be the strongest emotional stage. I want you prepared and excited when the time comes for you to embark on your next draft.

The Middle (1/2)
I love the Middle of stories. By the Middle, I've committed to the story. I know nothing too terribly awful will happen for awhile -- at least not as awful as I know will come later -- and I can sink into the story world itself, hang out with the characters, and get to know them better. Of course, all along and deep down, I know the story is building to a Crisis. I can taste it, sense it, feel it coming. I try to pretend the Crisis will not come, but after a while it's obvious. Doom is about to hit, has to hit. There is no other way for the story to go. 

What is the unusual, exotic world of the Middle in your story?
What character flaw continually sabotages the protagonist?
What other antagonists get in her way? (Remember, the Middle is the territory of the antagonists.) (Use as many as you need to create tension, conflict and suspense...)


The Middle 1/2 often has a plot of its own -- with a Beginning (as the character enters the story world itself, she feels like a fish out of water), a Middle that rises in intensity (a major turning point often happens in the middle of the Middle), and an End that culminates at the Crisis. (Do NOT confuse this with the Climax -- the Climax comes at the End of the overall story itself and shows the character fully in her own personal power.) The Crisis shows the protagonist at her worst -- after all, it's a Crisis.

The 2nd draft is well spent at the overall plot and structure level. Until the form of the story works, -- a likable character, action linked by cause and effect that rises and falls and rises again that all adds up to mean something -- finding just the right word in just the right sentence can be premature. Writing a book can drag on forever, often both because we love the characters and because we bury our heads in the words rather than taking time to analyze. 

Happy Winter Solstice

19 December 2008

International Plot Writing Month -- Day Nineteen

If you like fluffy words and easy stories, skip this month-long analyzation of plot and structure. The International Plot Writing Month is about writers intent on finding enlightenment through their stories.

It can happen to you. Your path? The revisioning process in preparation for the next rewrite. In a flashing moment something opens. Your story is new all through. You see the same unsame world of your story with fresh eyes. 

This universe-renewing power comes by grace, not logic. The old Chinese devised problems, called koan, to stop their students' word-drunkenness and mind-wandering. Didn't you feel that, at least a little, after NaNoWriMo? Word-drunkenness. I like that.

My intention this month is to have you "meditate on koans." Or, another way of saying: Don't waste your life merely sensing; channel thought and feeling to one purpose -- your story -- and then let it happen. Put your mind--and all else you have--to it.

What is the right answer to a koan? There are many right answers and there are also none.

Writing a story is an act of creation, after all. 

Tomorrow we begin the Middle (1/2). 

For now, finish up connecting the dots between the Beginning and the End.

If you're just beginning the month with us, please start at the beginning and work your way forward.

Gratitude to: 
Shambhala Pocket Classics Zen Flesh, Zen Bones complied by Paul Reps and Nyogen Senzaki for some of the text and concepts offered here.

18 December 2008

International Plot Writing Month -- Day Eighteen

For those of you who hit this blog and are not writers, explore an issue you face using the Universal Story form. Go to Day Twelve for the steps to take.

For those of you who are preparing for the next draft of your novel, memoir, or screenplay by following the day-by-day suggestions here, how did the read-through go? I hope you found moments of brilliance. I'm sure you found lots of clunky writing, passages that at one time made so much sense and now make absolutely no sense at all. Whatever you found, be gentle with yourself. The first draft of anything is suppose to resemble vomit-on-the-page. The first draft is all about getting words on the page.

Now, take time to rethink your story.

The best way to begin is to reread the Beginning (1/4) and the End (1/4). Look for any connections to deeper meaning and make notes on how best to expand those connections. Search for opportunities to foreshadow in the Beginning what comes at the End.

Forget the Middle for now. The Middle (1/2) is the exotic or unusual world of the story world itself and generally functions in its own unique way. However, the Beginning and the End need to link up. See what you can find.

Recheck the list of scenes you created on Day Three. Of the scenes that were NOT listed, which ones can be cut altogether? Of the scenes that WERE listed, how many can be cut altogether.

Check the Plot Planners you created for the Beginning and the End. What scenes do you wish to include that you had forgotten earlier? Add those now.

Keep your focus on the overall meaning of the story while you analyze the Beginning and the End.

Good luck....

17 December 2008

International Plot Writing Month -- Day Seventeen

Got it! I stayed open and waited for inspiration. Finally, it hit.

It's time....

Pull out that binder with your manuscript that you created on Day Two.

With all the work you've done in the past sixteen days, read your manuscript from beginning to end. Do not take notes. Do not edit. Just read. Like a reader. Keep in mind the deeper meaning you've been exploring in the past couple of weeks.

16 December 2008

International Plot Writing Month -- Day Sixteen

When I first started helping writers with plot I was known as the Plot Queen. My friends and family had been calling me that for years for the way I've always plotted out Thanksgiving dinners and parties I throw.

The lists I make are illustrated, linear, and compulsive -- a list of guests (characters), and then the sequence for shopping and preparation (which correlates to the anticipation scenes you write), and then I plot out the main event. The "follow-through scene" invariably comes the next day, unscripted, when I clean up and relive the fun.

Now, I'm even more obnoxious. My plotting compulsion has transfered to everything that happens in life. I translate political and historical events, strangers and friends' behavior, everything that happens into the Universal Story form -- the hero's journey. Often, by identifying the archetypes involved in friends' dramas, I help them separate from what's happening on a physical level into a deeper wisdom -- similar to what I do with writers stories in the plot consultations I offer.

So, what's the point??? Just to say that with everything I've plotted and helped others plot throughout the years, I neglected to pre-plot this most special month -- the first ever International Plot Writing Month.

The idea came so suddenly and only a week or so before the first day of December...

No excuses. Been fun for me so far, but today I lost the energy for where I was going.

Need a day to regroup.

Keep at your plot and structure analyzing. Catch up if you fell behind. Re-scan the posts. Begin again from Day One.

Thank you for your patience....

Until tomorrow, keep warm.

15 December 2008

International Plot Writing Month -- Day Fifteen

We're halfway through December -- International Plot Writing Month. I trust the time you've spent reading the posts and exploring the exercises has given you a new angle, passion, and energy for your writing, and has deepened the meaning of your story.

So much of writing is by feel. The suggestions here are simply ways to help support your groping...

The Climax decides the Beginning. Examine the Climax you've written for insights into what is being revealed about the protagonist. Think of the protagonist's flaw as the weakest link in her growth -- I'd like to write: spiritual growth but am afraid the word spiritual will be misunderstood. What I'm referring to has nothing at all to do with religion -- it's the part of you that is beyond the physical body. Oops... I was talking about your protagonist, not you...

What does the protagonist have to overcome in herself in order to do what she does at the Climax???

A story is a spiritual quest. Once the character has taken the challenge and entered the story world itself -- Middle, she is knocked around, shaken up, challenged, and tested. In order for the quest to have meaning, the protagonist must share the gifts she has learned with the "tribe".

This is why so many stories are circular -- the protagonist must return home with the elixir -- the End circles back the Beginning...

Any character/person brave enough to step outside her comfort zone is being invited on a quest. Sharing the gifts completes the circle.

What is your protagonist's flaw? What does she do to sabotage herself from achieving her goals? What does she do to get in her own way of attaining her dreams? What is she doing to herself unconsciously that the story forces her to become conscious of and, once she aware of herself, is able to do things differently and thus, reach that which she longs for in life AND helps make the world around her a better place??? The answers to these questions will help determine what belongs in the Beginning of your story.

14 December 2008

International Plot Writing Month -- Day Fourteen

The Beginning

The work you did yesterday -- Day Thirteen -- creating a Plot Planner for the Beginning (1/4) of your story -- comes in handy today.

Every writer faces a multitude of choices, two of which are:
1) Deciding where to begin your story
2) Which Point of View to use.

Today we'll go over #1 -- Deciding where to begin your story.

One of the many benefits of NaNoWriMo is that it forces a writer to keep writing all the way through the first draft to the end. Without this sort of discipline, many writers end up creating a horrible habit for themselves -- the going-back-to-the-beginning syndrome. NaNoWriMo writers often have less trouble cutting the typical 35-100 pages from their WIP because they haven't invested hundreds of hours by going back to the beginning and starting over again, over and over and over again. That is not to say cutting any of our work is ever easy, but it's easier than if you've invested umpteen hours and perfected every word and sentence.
In other words, deciding which scene best starts the story often includes the realization that major cuts are in order.

Once the shock and resistance fades, look over the Beginning scenes you plotted out yesterday. Compare those Beginning scenes to the End scenes you plotted on Day Eight.

The fact you have completed at least one draft of your story gives you an advantage. You know what the Climax of the story is.

The dramatic action in any story forces the character to transform over time. At the Climax of the story, the character is then able to do something she was unable to do at the Beginning of the story. She needed to go through every other scene in order to be transformed and get to the place where she could face her greatest fear--at the very least thematically.

The Beginning (1/4) of your story should foreshadow what has to come at the Climax. The Beginning scenes should set the tone, the mood, a "ticking clock", the theme, introduce all the major characters, including the setting -- which often serves as a secondary character in stories -- and get the story going.

Keep the scenes that create conflict, tension and suspense, and/or curiosity or have the potential to create those elements.

Cut or combine and compress the scenes that are slow, benign, and telling.

Another reason the decision of where to begin your story is so difficult is because the "inciting incident" -- the moment when the protagonist lost her balance -- often occurs years before the story begins.

Writers try all sorts of techniques to capture that moment -- flashback, telling in summary, info dumping in dialogue, and the like. For now, try to keep the story going without revealing the moment from the past. For now, create a first scene that can function as an "inciting incident" -- a new moment when the protagonist lost her balance enough so this time she is forced to take action.

Once the protagonist launches into the heart of the story world -- the Middle -- she takes on a quest, a journey to regain the earlier capacity or balance she had lost so long ago. At the Climax at the End of the book, she will use this capacity -- it's not a new ability or balance, it's the one she lost so long ago -- at the Climax.

The Beginning (1/4) of your story is determined by your Climax.

Study the Beginning and End Plot Planners. Take them with you as you shop and drive. Search for connections while you wait in line, traffic, or just have a moment or two to daydream...

Ask for guidance from your story. What are you really trying to say in your story overall??

Take your time.

The answers are right there in front of you...

Good luck. Oh, and have fun.

13 December 2008

International Plot Writing Month -- Day Thirteen

The Beginning

Every story involves a quest. The problem is that the quest generally does not begin until the beginning of the Middle or 1/4 of the way into the story, which begs the question -- what do you do with the Beginning 1/4 of your story? 

The first quarter of the book, the Beginning, has to hook the reader. But, how?

I'll offer you a few suggestion tomorrow and on Monday. For now, I want you to create the Beginning portion of your Plot Planner similar to how you created the End of your Plot Planner on Day Eight.

To review, so far, you have an index card or piece of 8 1/2 X 11 piece of paper or whatever works best for you as the Plot Planner of the End of your story AND a smaller version for the Beginning and Middle where you had plotted at least one or possibly two scenes from the Beginning section and at least one or three at the most from Day Five

Today, you are to expand the Beginning portion to its own index card. Simply draw a line that travels from the left to the right with a gradual ascent that ends at the End of the Beginning.
Write in the End of the Beginning scene you came up with in your first draft. Plot any other scenes you remember in the first 1/4 of your draft. Don't refer to the draft itself. Just write what comes to you. Don't push to remember. Give each scene/event a title. Write the scenes above the line in the order of appearance in the story. Write in pencil.

12 December 2008

International Plot Writing Month -- Day Twelve

What do you think so far? Is plot and structure what you thought it would be? 

My hope is that as you analyze your story inspiration flows...

When asked what was the most important element in her novels, Barbara Taylor Bradford said, "The character is the plot of the novel. Character is destiny. Your character is your destiny. My character is my destiny. And, with that, I knew how to write a novel." 

In honor of anyone with energy waning, I congratulate you on what you've accomplished and offer the following as yet anyway to look at the Universal Story Form.

When I’m not helping writers with their plots, I volunteer at the local Children’s Shelter. Rather than let pain and betrayal sit and fester, I invite the kids to explore the universal story form as it plays out in their lives.

Birth sets us on a journey. Beginnings and endings, conflicts and challenges, friends and foes, crises and climaxes are all part of that journey.

Start with where you are right now. Write your way to where you wish to be.

Stories have at least four big scenes.

1) The End of the Beginning
By the time the counselors, kids, volunteers, and I all huddle inside the Shelter classroom, there is no place to escape. I break down stories to seventeen year-old boys who loom large and twelve-year-old girls who are already women.

I start with a focus on the Beginning. The beginning 1/4 of the story leads to a moment of no return, a moment when life shifts, when good turns bad or bad to worse, the end of all that has been—the End of the Beginning.

After the kids write the beginning of their stories, a girl with clear brown eyes writes that she wants more time with her dad. She dreams of playing baseball like him. At the End of the Beginning, her dad dies.

Another girl shows a mom in heaven remembering her beautiful little girls. The End of the Beginning is when the girls go live with an uncle with a belt.

Now, try it for yourself. Think about your life. Are you feeling frustrated? Bored? Challenged? Dissatisfied? Has an event taken place recently that makes what you want feel impossible to attain? What is the moment when things went wrong?

Focus as closely as you can to the now.

Now that you cannot go back to the way things were before that moment hit—write that. Describe what you want that you now think is out of your reach.

2) The Crisis
In stories, the event that marks the End of the Beginning thrusts the character out of their old world and into a new one. Thus, begins the Middle, which is 1/2 of the story. In real life, when one door closes, we, too, enter a new world, be it a new physical place or a new psychological state. This new world is where you have the chance to evolve and ultimately be transformed.

Unfamiliar with our new surroundings, we venture forth feeling like a fish out of water. Often afraid, we encounter obstacles that trip us up and cause us to falter. We stumble over hurdles. 

Our resistance causes pain.

The kids write down three bumps that shake their main character to their core. Three things that stop them and interfere with their dreams. I advise the kids that we only find out whom we truly are when we are challenged. Adversity does not build character. Adversity reveals character.

Who and what have you gone up against lately? Who or what stands in the way of your happiness? Friends and family? Societal norms, handicaps, or you yourself? Do your fears and prejudices and flaws prevent you from achieving that which you long for? How do you sabotage yourself? Write that.

The challenges in the middle rise in intensity until something explodes at the Crisis.

The Crisis may have already happened in your life. The Crisis may be something you can see happening if you don’t take control of your own life. A Crisis is a deep disappointment, a blow that sends you to your knees, the dark night of the soul. The Crisis is a breakdown that has the potential to cause a break-through.

Write about something you are unable to do now. Consider what Crisis you must experience first to force you to move on, let go, detach, surrender, do things differently, believe in yourself. 

What does the Crisis represent to you getting control of your own life? What you write about now, you may not have to experience later.

After her father’s death, the girl with liquid eyes writes about feelings of denial. She falls into depression. Next comes rage. She turns violent and is placed in a group home. Separated from all she knows and understands, she experiences a Crisis.

3) The Climax
In all great fiction, the main character undergoes a transformation. The dramatic action in the Middle and what happens at the Crisis changes everything. Once unconscious of whom they are, the character now becomes conscious.

Character transformation is a form of alchemy. Rather than metal turned into gold, challenges and disappointments transform into gifts and opportunities. The victim becomes the victor. 

You, too, have the opportunity to be transformed by what happens in your life.

At the Shelter, I give examples of characters overcoming tremendous odds and showing, at the Climax, their transformed self. At the end of all great stories, the main character is able to do something they were unable to do at the beginning of the story. The same applies in life.

You have written about where you are. Consider where you would like to be. What must you shed to get there? What must you learn? As you move toward your ideal, you carry with you all you have learned. Your old self dissolves.

The Climax at the end of the story shows an action taken that demonstrates your new awareness, skill, strength, belief, and/or personal power. At the Climax, the new self is now able to confront antagonists and conquer challenges that the old self could not.

At the end of her story, the girl with the brown eyes faces the pain of losing her father. She learns to control her anger. This prepares her to confront her mother whom she blames for her father’s death.

Write a Climax that shows you facing your greatest fears. Imagine what that moment will feel like, taste and smell like, look and sound like. Describe yourself as a victor, a champion, a survivor, a body transformed and living the life you dream of. Dream big. Write that.

4) The Resolution
When someone real or imagined is transformed, the experience means something. Consider what you would like your life to stand for so far. Write that.

At the end of the day at the Shelter, the kids barely have time to explore what they want in life. Many of them will soon be too old for the system. The place that protects abandoned, abused and neglected kids will release them on their own. Will the glimpse they have in writing their stories help shape what comes next? One can only hope.

We talk about what stories mean overall: Good triumphs over evil (the girl with the belt). Self-control leads to happiness (the girl with the liquid brown eyes. In her story, her main character is ultimately reunited with her family. She joins a baseball team.)

Stories reflect the heartbeat of the universe. All of us pulse to this universal rhythm. The more integrated the hero’s journey in our psyches, the more satisfying the act of writing and the more meaningful life becomes.

The paradigm of endings causing new beginnings causing discomfort that builds to a crisis happens over and over again in stories. Our lives revolve in much the same way on both grand and minute scales.

Open your eyes after a Crisis. Wake up to the deeper meaning of life around you. Let go of attachments. Break free from anxiety. Determine what you really want. Rise up out of depression. Locate opportunities for transformation. Let go of disappointment. Expose your fear to the light.

Shine a light on your life through your writing. Awareness leads to the possibility of transformation. 

Dream big. 

Write that

11 December 2008

International Plot Writing Month -- Day Eleven

I am undecided what to cover next: the Beginning (1/4) or the Middle (1/2)?

While I wait for inspiration, I'll summarize what we've covered thus far. 

Check off what you've accomplished:

1) Manage NOT to read your manuscript -- Day One
2) Fill out a Character Plot Profile for your protagonist and major secondary characters and antagonist, if a person -- Day One
3) Print a hard copy of your manuscript and insert in a binder -- Day Two
4) Make a list of scenes you remember in your story -- either as plot points or just a list of the events themselves -- Day Three
5) List themes touched on in your story -- Day Four
6) Plot the major 3 - 7 scenes/event on a Plot Planner -- Day Five
7) Consider how the major scenes/events are linked together through Character Emotional Development and Dramatic Action and Thematic Significance -- Day Five
8) Craft a one-sentence blurb of what your story is really all about -- Day Six and Day Seven
9) Organize your miscellaneous notes --Day Eight
10) Expand the PP to include all the scenes you remember in the End (1/4) -- Day Eight
11) Identify the protagonist's transformation at the Climax --Day Nine
12) Consider an Anticipation scene and Follow-up scene for each major scene/event in the build-up to the Climax -- Day Ten

We're more than 1/3 of the way through the International Plot Writing Month. Congratulate yourself for sticking with this. 

As the nights grow longer and the days colder, we move deeper into the cave. Light a candle for you and one for your story. 

This is the time of introspection. Dig deep into your story. Analyze and re-vision

Before you know it, the new year begins and the days suddenly grow longer. By then, you'll be off and running on your next draft, certain of where you're headed and filled with anticipation, excitement, and expectancy...

10 December 2008

International Plot Writing Month -- Day Ten

The End
The End (final 1/4 of the story) is made up of more than the Climax. When you followed the assignment for Day Eight, I trust you were able to remember and plot out scenes from this final section besides just the Climax.

Yes, the Climax is the crowning glory and it really deserves more than one day, but it's time to move along. 

Steve Jobs, co-founder of Apple, said at a commencement speech: "You can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future."

Your job as writer is to connect the dots. And, because you know the future -- the Climax -- you don't need to rely on trust. You can actually connect the dots.

Work backwards from the Climax -- which is the moment when the protagonist finally stands firmly in her power, stands up to her greatest fear or confronts the thing that has beat her up spiritually. The scenes in the final 1/4 of the project lead up to the Climax.

As you see, the line ascends quickly. The scenes you plot here serve primarily to advance the protagonist to the Climax. Nothing new can be introduced, no pontification or philosophizing. The reader does not want the story to end, but they can not stop reading. They have to know what happens. Keep things moving.

These final scenes show the protagonist beginning to develop and rely on her intuition. She fights for one step forward. Falls two steps back. Conflict, tension, suspense at every turn -- yes, even if you're writing a memoir for your kids, keep it exciting. Keep the story moving. You, as the author, may not want it to end either. You have fallen in love with the characters. They have taken over your life. Get over it. Move steadily to the Climax.

In the End, the protagonist still has foes to confront and overcome. Only now, she is armed with a new understanding of herself. For the first time, her goal truly comes into focus. She can see it. She moves toward the light -- one step forward toward the ultimate transformation, beat back three steps.

Yes, the Climax spotlights the character in full transformation as she demonstrates the necessary new skill or personality, gift or action, but the scenes that build up to the Climax show us the transformation unfolding step-by-step. The reader lives the experience with her. Together the protagonist and reader moves closer and closer to her goal, firmly aware that she had to experience everything she did throughout the entire book to get to this final stage -- the Climax.

Ask yourself -- do the scenes that lead up to the Climax reveal most dramatically her steps toward transformation?

Assignment:
1) For maximum effect, check that every scene you've plotted on your Plot Planner for the End (final 1/4 of the story) has both: 
a) a preparation or anticipation scene that comes right before 
AND 
b) a follow-up, reactionary scene that comes right after.

It's like playing tennis. Huh? I know, playing tennis is nothing like writing, but... As a kid, I learned "turn and step, hit, follow-through." 

1) Turn -- preparation step. 
Hit -- main event. 
2) Follow-through -- reaction. 

1) Preparation or anticipation creates emotion. Often, the anticipation of some feared event is worse than the actual event itself -- creates tension, conflict and suspense.

2) Without the follow-through step in tennis, your hit is erratic. Without showing the effect of the action on the character in writing, you rob the reader of revealing emotion. And, one can never have enough emotion in a story.

09 December 2008

International Plot Writing Month -- Day Nine

THE END

People who know me aren't surprised I start at the End. I've always done things a bit backwards. But, I have three valid reasons for beginning this way: 

One: 
The End never gets the attention the Beginning does. Writers often never even get to the End. They begin to stall out in the Middle of the story and end up running back at the Beginning, over and over again. Or, if they do get to the End, they've lost so much energy for the story, the End is vague and underdeveloped. 

This paradigm echoes in other aspects of real life. Most of us live basically the same story over and over again. If we are brave enough to literally or figuratively leave everything we know (End of the Beginning), by the time things start to get messy -- which they have to in the Middle -- we usually give up, turn a blind eye, stick our head's in the sand. We end up back "home," licking our wounds. 

In stories, once the protagonist advances into the Middle of the story, she does not have the option of turning back. (Note: there are no rules to writing.)

The protagonist is tough enough to go all the way into hell and face her biggest fear or her worst ordeal (the Crisis in the Middle). After that Crisis, she then makes the journey back to share the gift -- not running home crying, -- returning a victor. Where, in the End she faces the ultimate antagonist at the Climax, which often turns out to be herself. 

(Please note: I'm using two different words to mark two different moments of highest intensity respectively:
Crisis, which occurs in the Middle at about the 3/4 mark in the story
AND 
Climax, which occurs in the End (1/4) one scene or chapter before the last page of the entire story)

Two:
The Climax is the crowning glory of the entire story and, thus, deserves focused attention.

In real life, a person who suffers a Crisis either goes back to the "tribe" to share her triumph and help others learn from her life, mistakes, awakening -- her Climax. Or, in real life, she can turn away from the challenge and remain unchanged, thus, never reach the Climax. Just because we survive an ordeal does not always mean we are transformed by it. 

In stories, however, the character undergoes a transformation. Therefore, the protagonist must face her greatest antagonist at the Climax in the End, be it an external person or an internal fear.

Three:
The Climax determines every scene that comes before or leads up to the Climax. Once you know the Climax, you know exactly which scenes to keep and which scenes you've written that need to be cut or revised so that they point thematically to the Climax.
  • Does the Climax of your story rise to the greatest intensity of the entire story? 
  • Think of your story as energy. Does the Climax deliver an energetic impact?

CHARACTER EMOTIONAL DEVELOPMENT
Some people believe that we incarnate in the world to heal a specific wound but that, at birth, we then forget our task. Most of us spend all of our lives unconscious of this deeper destiny. 

It's the opposite in a story. What happens throughout the story makes it impossible for the protagonist to remain unconscious. The Crisis in the Middle forces the protagonist to consciousness. This gives her the ability to face the greatest challenge of the entire story -- the Climax at the End -- and not only survive, but to triumph. 

The Climax at the End usually hits one scene or, at the most one chapter, from the last page of the project. By then, the protagonist has learned everything she needs to know, scene-by-scene throughout the entire story, to do what she came here to do. 

The End feels inevidable because every scene that comes before the Climax has led the reader scene-by-scene to that very moment.
  • What is your protagonist's true journey? purpose? 
  • What is it that only your protagonist can do? deliver? conquer? overcome? 
  • What is the gift only your character has (granted they have to go through all the trial and challenges throughout the story to get there, but...)? 
  • Why your character?
Keep an open mind. Be loose. Use the information in whatever best serves your writing. My goal here is to help you prepare and make you excited to tackle writing the next draft.

08 December 2008

International Plot Writing Month -- Day Eight

Today is two-pronged:
1) Organize
If you haven't already, print out your manuscript. Do NOT read it. Be sure to include a header on every page with your title in caps/name on the upper left and the page # on the upper right. 
Don't worry about spell checking or chapter breaks. just make sure the pages are numbered.

Insert in a binder. 
[Warning: printing manuscript is a snap compared to hole-punching the pages. However, it's important to have the manuscript bound and in one place.]

Divide the total number of pages in the binder by 4. Stick a post-it note at the 1/4 mark and another one at the 3/4 mark. 

Put the binder away, for now.

Gather all your extraneous notes. Divide them into file folders labeled Beginning (1/4), Middle (1/2), End (1/4). Straighten up your desk. Purge everything you can that you accumulated while writing the draft. Put things in order.

You're entering a new phase. Time to cleanse and prepare to step into the next draft.


2) Plot the End
Pull out your index cards or paper or whatever works for you. Keep the Beginning and Middle sections of the Plot Planner you drew earlier. Cut off the End. Using an entire index card turned horizontal for the End this time, draw a line that travels from nearly the bottom edge steeply to nearly the top edge of the index card and then down. 
Write in the Climax and Resolution you came up with in your first draft. Plot any other scenes you can remember in the final 1/4 of your draft. Don't look. Just write what comes to you. Give each scene/event a title. Write the scenes above the line in the order of appearance in the story. Write in pencil. 

Often in fulfilling either/both assignments, writers find disaster hits. Coffee spills on the manuscript or the index card rips. Perhaps, you stub your toe, break the pencil lead, or yell at the dog for tracking muddy paws across your Plot Planner. If this happens, note the resistance. 

Accidents are a rebellion against authority. 

Ask yourself: to whom have I given up my authority?

Perhaps you've given your power over to the belief that this stuff is too hard or that you've always hated getting organized and plotting, that you aren't smart enough to get this, or that your story is no good and who is ever going to want read your work anyway? Or, your story is so great you don't need all this added work. Could be, you're racing to get the assignment completed because there are so many other things to get done. 

You have the choice to buck up and do the work or mire in the muck. 

I vote that you get back into your body and reclaim your power. The work you are doing is important. You deserve the time it takes to get this right.

Hey, it's the holidays. This is suppose to be fun. You're shaking things up. Doing things differently. Or, like one of the few commenters commented earlier -- it can't hurt. Right?

Your story is amazing. You are amazing. Being an artist takes discipline. You are an artist. You can do this....

07 December 2008

International Plot Writing Month -- Day Seven

Today, your assignment, if you choose to say yes, is to carry your Plot Planner index cards and a pencil or pen with you everywhere. 

I see you standing in line at the post office and the grocery store serenely grateful for the wait because it allows you more time to ponder your story. I see you waiting in the dentist's office or in thick traffic with your eyes up and to the left glazed over as inspiration fills you. I see you unplugging from negative thoughts about that nasty brother-in-law coming for dinner and plugging into your story instead.

What is your story really saying? What do all those words you wrote add up to? Your story is a reflection of a truth. Not necessarily true for all time, but true for the story itself, and likely for yourself, too. What is the deeper meaning? The truth beyond the physical? The protagonist has undergone a transformation. What does that mean?  Jot down whatever comes to you on the back of your Plot Planner.

To proclaim International Plot Writing Month in December and not mention the holidays is like standing mute in a room filled with angels and trolls. In our zeal to capture the holidays just right we run ourselves ragged. Part of this impulse is running from the darkness as the days turn shorter and shorter. It echoes back thousands of years to our fear that the failing light would never return without our intervention. 

Fitting in writing time becomes more and more impossible as we await the rebirth of the sun and as the year winds down. Instead of fighting what is, I invite you to continue analyzing your stories instead. The work you do this month will make next month's rewrite a breeze. 

Think of the work you do this month as your holiday present to yourself. Think of International Plot Writing Month as your writer's plot guide through the holidays....

Next week we start in on the End of your project (the final 1/4 of the total pages or word count. If you haven't already, write the Climax today. It doesn't matter how vague -- read: inspirational or how awful -- read: creative, just get something on paper.)

Enjoy!!

Oh, and remember -- no reading your manuscript. Not yet.....

(If you are joining us for the first time, please go to Day One and work your way back. Welcome.)

06 December 2008

International Plot Writing Month -- Day Six

Last night, I did what I've invited you to do. I grabbed a few 3 X 5 white index cards and colored pens, and sat down in front of the fire. I transfered the themes I'd jotted down at the top of the index card and drew a tiny PP -- tiny so as not to overwhelm myself. 

Five scenes came quickly. With some tweaking and rethinking, the five of them are linked by a common theme of not fitting in. Still, it's the overall meaning -- that perfect thematic statement -- that alludes me. It's there in the story. I've just not been clever enough to distill a 36,000 wd. story into one pithy statement. 

To do so is an art. With practice, it will come. I am certain of it. 

In the meantime, I keep the 3 index cards close by -- oh, forgot to mention that because my WIP PP came so easily, I resurrected two other project which had both somehow found their ways into the back end of the bottom file drawer. I made an index card for each of those writing projects, too. Three keeps me pretty confused, but I'm keeping them visible and, whenever I can, I turn to them and wonder.
  • A boy in search of his father ends up finding himself instead. (Good, though it's not my story)
  • Sometimes in life, fitting in is not as important as standing out. (This is closer, and I have an idea how to better intro in the beginning)
But there is also: 
loyalty
 duty
a war
 the founding of a territory
 courage
 fear... 

Not there yet. No hurry. The theme is there whether you figure it out or not. It's just if you know it, the common thread can give you focus and keep you on track. (Plus, a thematic significance statement comes in handy at those holiday parties when your friends ask you what your story is about...)

Your assignment, if you choose to agree: Throughout the weekend, glance at your cards and ask your story what it means. The Beginning, Middle, and End interlock with each other. Everything contributes to the whole. Meaning comes from the character's choices.
  • Because of what in the Beginning creates what happens in the Middle?
  • Because of what happens in the Middle what comes at the End?
  • Because of what comes at the End, what happens at the Beginning?
  • What in the Beginning foreshadows what comes at the end? 
  • The Crisis is a trigger for what new consciousness, self-awareness in the protagonist?
  • The protagonist's actions at the Climax reveals what about the character's transformation? 
See what comes. Write it down. Keep your mind open and your thinking fluid.

(If you're just now joining us for International Plot Writing Month, please start on Day One and work your way back. Welcome... And, welcome all you Swedes!! My mother is from Sweden and I love knowing writers from her homeland are following this. And, thank you Lia for your message. I love knowing you and your NaNo group of 56 friends are all following along. I wondered about the scarcity of comments and then decided it's like when a group of people are served a fabulous meal and no one speaks.)

05 December 2008

International Plot Writing Month -- Day Five

If you do not have a draft of a story written, follow the steps outlined this month to generate ideas for one now. (You'll have to use your imagination and fill in the missing blanks, but you're good at that, right? After all, you're a writer.....

(Having just heard from Lubin, Poland and Buenos Aires, Argentina, and the Czech Republic among others earlier, I've changed the name of the event to International Plot Writing Month.)

I appreciate how we each desire to be heard and at the same time fear that what we have to say has no meaning. Desire and fear drown out the muse. Do what you must to silence your ego. Listen to your story instead.

Every story has its own unique energy. At the same time, everything around us follows a similar path. We are born, challenged, come to fullness, and die to who we were. Within the greater pattern, a similar version repeats itself innumerable times throughout our lives. 

Today, using the scenes/events you generated on Day Three, let the energy of your story alight on the pattern itself with the help of the Universal Story Form (below is the template. On the site is further info)














Plot: 

3 scenes/events At the Least
  • Scene or event that symbolizes the end of what was -- End of the Beginning scene
  • Scene or event that symbolizes a Crisis
  • Scene or event that symbolizes a Climax
OR

7 scenes/events total At the Most
(Do NOT refer to your manuscript. Use the scenes you generated yesterday. No more than 7.)
  • Scene or event that launches the story itself 
  • Scene or event that symbolizes the end of what was -- End of the Beginning scene
  • Scene that falls at the halfway point 
  • Crisis 
  • Scene just before the Climax 
  • Climax 
  • Resolution
Think of these 3-7 scenes/events as energetically holding more meaning and symbolism than the others (remember no more than 7 scenes/events total and no less than 3 scenes/events). 

Some of you will be able to hold these 3-7 scenes/events in your head. Others, like me, benefit in 2 ways by actually drawing a Plot Planner (PP) on paper:
  • The task involves larger muscle groups than merely sitting in front of the computer while writing, and pulls you deeper into your body.
  • The visual reminder when affixed to the wall or refrigerator or bathroom mirror will help keep your story in mind all weekend.
Do whatever it takes to firmly imprint in your mind's eye the PP with your own unique 3-7 scenes. 

This weekend, mull over how these major scenes/events are linked together in 3 ways: 
  • Dramatic Action (Find the thread on the Character Plot Profile you filled out on Day One under "Dramatic Action Plotline." Your character's goals, which can change as the story develops, determine the Dramatic Action)
  • Character Emotional Development (Find this thread on the Character Plot Profile you filled out on Day One under "Character Emotional Development Plotline." Remember, story is about character transformation. Determine how the character transforms and how that process is revealed in your major 3 -7 scenes/events)
  • Thematic significance (Find the thread in the words you generated on Day Three). 
Keep asking yourself what your story is trying to convey. 
Make a list of ideas while patiently awaiting inspiration. 
Search for meaning as you work, play, and prepare for 
the descent into the longest night of the year. 
By Winter Solstice, I plan to have us to 
the Crisis of the story -- an apt time of the year...

If you have not yet finished your draft, do so now. At the very least, write the Climax.
If you are just joining us today, please begin on Day One and work your way back here.

04 December 2008

International Plot Writing Month -- Day Four

Draft #1 represents a leap of faith; you write without worrying about the outcome. Well, perhaps you worry, but if you're following us here, nonetheless you persevered. Congratulations!

Mouse medicine focuses on the attention to detail and runs in about 5- to 6-week cycles. NaNoWriMo writers devote fastidious attention to writing at highly concentrated levels. Like the mouse, when we're in the flow of getting the words on paper, we often neglect other areas.

As you begin winding down, let the words subside and your body return to rest.

Two days ago, on my approach to the Santa Cruz mountains, I spotted a red-tailed hawk alight at the tip of a redwood tree, like an angel atop the Christmas tree of a giant. Halfway over the mountain, I cringed as a hawk flew into my peripheral vision. Rather than crash, in a swirl of feathers, the hawk steered clear.

Hawks embody visionary powers and guardianship. I invite you to enter into the realm of expressing a higher vision of your story beyond the word level itself. Stand back. See the bigger picture and allow for new ideas.

Today:
  • Continue listing the major events or scenes of your story -- it's not necessary to remember every single scene, just the big plot points for now. Remember, no reading the manuscript itself. The big, important scenes should pop out at you. Later when we work with these events in comparison to what you actually wrote, you'll have a better sense of what to cut. Cutting, trimming, paring down the insignificant makes room for the scenes and events that truly drive the story. 
  • Start a second list. Write down any and all themes that pop up in each event. (Don't strain for these theme ideas. If something comes to you, write it down.) Examples like: 
abandonment
fear
compassion
poverty
choice
destiny

(If you are just joining us today, start on Day One and work your way back to today.)

03 December 2008

International Plot Writing Month -- Day Three

Welcome writers from the Plot Tips monthly eZine list and anyone else just now finding out about what we're doing here for the month of December.

Any help you can give to get the word out to your writers' forums, chat room, listserves, newsletters... is greatly appreciated. Please find a press release for the month-long event at the 30 November post below.

If you are just joining us, begin at Day One and work your way here.

Today, make a list in order of all the major scenes or events you remember writing (don't go back into the manuscript to locate the scenes and/or events. Remember: no reading yet).

That's it for today. We are complying the materials we need for the rest of the month.

02 December 2008

International Plot Writing Month -- Day Two

For those of you who have not yet finished the 1st draft of your story, keep writing. I encourage you to reach the end. The climax will help with the work you do here. While you write, also follow the steps outlined here throughout the month. One should not interfere with the other, but rather compliment each other.

Today's step is easy. Print out a hard copy of your manuscript. That's it.

As tempting as it is with the manuscript sitting right there in front of you, remember, no reading. Not yet. Let the story sit. Let yourself unplug from the writing side. You are now entering the analytical side.

For those of you who shudder at the thought of structure or run from the concept of plot, I'd like to share Joseph Campbell's words:

"It is by going down into the abyss that we recover the treasures of life.

Where you stumble, there lies your treasure.

The very cave you are afraid to enter turns out to the the source of what you are looking for. The damned thing in the cave that was so dreaded has become the center."

Plot and structure are the jewels. You'll see. Trust the process.

(If you're just joining us today, please read the last couple of posts to catch up.)

01 December 2008

International Plot Writing Month -- Day One

Welcome!

Today begins a month-long opportunity to craft a draft of your writing into a story.

First, take time to congratulate yourself! You've done what many have talked and dreamed of doing -- you've written an entire story from beginning to end. Celebrate!

Next, craft the project into a coherent piece worthy of publication. During December, take the steps needed to analyze what you've written and brainstorm for an effortless draft two in January '09. Revision your project before actually rewriting the manuscript.

Everyday this month, I'll provide tips and tricks and inspiration.

No writing required.

Following are a couple of caveats for our month together:

1) Do NOT show anyone what you've written so far. The first draft of any writing project is considered the generative phase. At the end of the generative phase, a writer is often faced with a manuscript full of holes and missteps, confusion and chaos. This is part of the process in that editing and/or an unbridled internal critic in the generative phase risks stifling the muse, which often results in stagnation.
Your first draft is a fragile thread of a dream. You know what you want to convey, well, maybe and sort of. Few writers can adequately communicate a complete vision in the first draft of a story, especially when writing by the seat of your pants. Allow others to read your writing now and you risk losing energy for your story and becoming overwhelmed by the task ahead of you.

2) Do NOT read what you've written. I know, I know. You're anxious to read your hard work. However, the longer you give yourself before actually reading your first draft, the better. If you read your manuscript now, you're still close enough to the work that you'll automatically fill in the gaps. Give yourself distance first. This allows you to read your work more objectively later.

Let's get started!

By now, you know who the protagonist of your story is. Stories are about character transformation. The character who is transformed by the dramatic action in your story is your protagonist. Fill out the following for your protagonist. If the major antagonist in your story is a person, fill out the following for that character as well. If you have more than one point of view character, fill out the form for that/those characters, too.

CHARACTER EMOTIONAL DEVELOPMENT PROFILE

Character’s name:

Dramatic Action Plotline
Overall story goal:
What stands in her way:
What does she stand to lose:

Character Emotional Development Plotline
Flaw:
Strength:
Hates:
Loves:
Fears:
Dream:
Secret:

Good luck! And remember, as tempting as it is, do NOT read your first draft. That will come later. For now, use what you know about your characters to fill out the form.

30 November 2008

DECEMBER: INTERNATIONAL PLOT WRITING MONTH

What: Craft a draft of your work into a novel, memoir, screenplay in a month’s time.

Who: Anyone who has written a draft of a novel, memoir, or screenplay and is now ready to craft the project into a coherent piece worthy of publication.

Why: The first draft of any writing project is considered the generative phase. The muse is often responsible for much of the generative phase. The writer acts as a conduit and allows the inspiration to come through onto the page. The generative phase is all about getting the words on the page.

At the end of the generative phase, a writer is often faced with a manuscript full of holes and missteps, confusion and chaos. This is part of the process in that editing in the generative phase risks stifling the muse, which often results in stagnation.

When a writer completes the generative phase the real work begins—crafting the words into a coherent story. This is where National Plot Writing Month comes into play.

Many writers, when left with pages and pages of words, are often at a loss as to how to take their writing to the next level. Rather than shove the words about on the page, join the Plot Whisperer as she takes you through the process of crafting what you have into a viable story.

When: National Plot Writing Month begins December 1st. Visit: http://plotwhisperer.blogspot.com/ daily throughout December for step-by-step guidance to prepare your manuscript for draft two.

Where: Plot Whisperer blog: http://plotwhisperer.blogspot.com/

26 November 2008

December: International Plot Writing Month

Have a draft of your book? Wondering, now what?

Follow me here everyday for tips and tricks and inspiration beginning Dec. 1st.

No writing required.

It's a time to analyze what you have and brainstorm for an effortless draft two in January '09.

17 November 2008

Plot Tips for NaNoWriMo Writers

30 days hath November.

I fear pulling out my tricky little formula for determining the parameters of your story. Before you groan in disgust, I know, I know. Horrors that I deem it necessary to reduce the creative process to a mathematical equation. Hey, I'm just trying to help. You want to get to the end of the month with some semblence of a story, don't you? I don't expect those natural born story tellers would visit this site anyway. But, for you writers who are looking for tricks and tips to keep you on track during your month-long journey toward completing your novel or memoir or whatever, try this.

According the 1/4, 1/2, 1/4 rule for the Beginning, Middle and End respectively, you left the Beginning (1/4) of your story around the 7th or 8th of the month. By now, you are deep in the Middle of the story world itself.

In about 5 days or so you'll reach the highest point in your story so far -- the Crisis (3/4 give or take). Therefore, you are smack dab in the middle of or quickly approaching the quicksand of the territory of the antagonists.

Identify what the protagonist is after, wants, desires, is fighting for. Use as many antagonists as you want to interfere with her achieving her goals and to build tension. When we are under the most strain and stress and conflict do we reveal who we really are. Same with your characters.

Adversity does not build character.
Adversity reveals character.

Get the energy of the story moving higher. If you've fallen in love with your characters and are resistant to place them in danger, think again. You're creating a story, not hanging out with your best friend. No one said this was going to be easy. Amp up the tension. Get out of her head and into scene. Show us emotion.

Show us who the character really is. Get her moving toward the Crisis -- a breakdown, dark night of the soul, or the Climax of the antagonist. Make it exciting.

No matter what, keep going. December is National Plot Writing Month. We'll shape your words into a compelling story then.
Are you still writing? Did you start strong only to find yourself wavering now? Still hanging on? Is the tension rising?

10 November 2008

Plot, Platform, Publicity

In a recent issue of The Bookwoman, the official publication of Women's National Book Association, Fern Reiss gives hints on how to publicize your novel. One of her methods is to put a nonfiction hook in your novel. Hooks provide a potential platform as well as leverage for publicity. Riess' words shot through me. Of course! Brilliant!

I often guide writers through the pitfalls of creating the Middle of your story in two ways. The use of antagonists is one. The other is to create an unusual world. When the protagonist leaves the old world, they enter the story world. Not only does this technique support your writing, as Reiss points out, creating such a hook leads to so much more.

Write what you know. Create the story world around your passion -- that which you know and love.

Or write about that which you do not know, but fascinates you enough to immerse yourself in until you become an expert.

Readers and audiences love to learn or experience something new and exotic. Provide that in the world you create in the Middle.

Take raising a wild coyote (the core of a new memoir coming out 12/2 by Simon and Schuster -- The Daily Coyote) or learning about life as a queen (as in CW Gortner's new historical novel by Ballantine Books: The Last Queen). Not only do the exotic worlds of contemporary Wyoming and 1492 Spain provide excitement and plot twists, they also provide a potential platform from which to publicize your work.

For instance, Barnes & Noble writes of Daily Coyote: "This full-color illustrated book will change your view of an entire species." This is big, news worthy, and holds importance beyond the book itself, beyond Shreve herself. News outlets -- T.V. and radio, newspapers and magazines are more likely to do a story on Shreve and her book based on that one statement than simply doing an interview about the book itself. Therefore, the unusual world she elaborates on -- raising a wild coyote -- becomes her platform which an entire publicity campaign centers around.

What unusual world does the story world in the Middle of your story involve???

04 November 2008

Finish by Year's End -- Take the Poll

On the wheel of life, this is both a time to reap the harvest of all we have accomplished for the year and also a time to reflect on whether we actually planted the seeds we intended and nurtured them to fruition.

If you started your writing project and finished -- this is a time to celebrate!!

If you started and haven't finished, it's not too late.

Even if you haven't started, it's not too late.

You have until year's end.

How many words, pages do you envision your completed project? Divide by the 58 days before the end of the year.

An average book is between 250 pages = 4 pages everyday until the end of the year to 320 pages = 5 1/2 pages a day to the end of the year.

What about you? Finished? Started, but not finished yet? Haven't started?

01 November 2008

Top Down or Bottom Up??

Two vastly different plot consultations for two vastly different writers.

One, a female with a logically well-thought out detailed plot and the different parts of her story -- scenes and chapters -- sequentially lined up and arranged in logical order.

The other, a male with a wildly creative premise and lots of random ideas for the overall story.

1) The logical writer had so many details and parts of the story figured out that it took nearly the entire two-hour plot consultation before I fully grasped the overall story. Based nearly entirely on real life, still, the writer has chosen to write a novel rather than a memoir.

Though she had thought out many of the parts, she still had trouble grasping what the story was really all about -- the coherence and meaning were muddled and confused. In the end, we found the whole, thanks to the Plot Planner visual aid in front of me that I later color-coded and, because character and emotion are a bit of a stretch for her, included lots of notes on developing the character, the very heart of the story itself.

2) The intuitive writer could see the big picture for his story but had difficulty with the details, like what to put where. He had a sensational twist but could not "see" a way to get there. This isn't the first time he has come to me for help in outlining his story for him. After two successfully published novels, still, because of his random nature, he craves linear support. He intuitively knows what he wants but no idea how to get there.

As he flits from one idea to the next, I continually bring him back to the parts or the scenes. We start with the answer and work backward. He knows what he means but has trouble finding the best way to get there. He does well with his own individual Plot Planner because the visual map grounds him and gives him step-by-step support to reach his vision of a story that is based mostly in fantasy.

Most people are whole brain learners. But it's amazing to me how many writers I come in contact with through my plot workshops and plot consultations who are distinctively one or the other.

What about you? Are you a logical planner with a firm grasp of the scenes but confused about the overall story itself? A more random visionary with the bigger picture in mind, but struggle with a way to get there?? Or, are you one of the lucky ones who has a enough of both sides to sail through your writing projects?

30 October 2008

Winner Announced!

Thank you, Kathrynn Dennis for posting last week -- Pets in Plots: Help or Hindrance.

Last night, I reread the first couple of chapters of Dark Rider for a Romance Writers Plot eBook I'm putting the final touches on and was once again swept away by your writing, your crafting, your plotting, your heart. Great writing. Looking forward to reading your latest and award-winning Shadow Rider. Congratulations on all your success!!

The winner of the drawing for a free copy of Shadow Rider is Becky Levine!! Congratulations, Becky. Enjoy.....

Thanks again, Kathrynn.

22 October 2008

Pets in Plots: Help or Hindrance?

KATHRYNN DENNIS is the author of Dark Rider and Shadow Rider. The Romance Times Reviews recently awarded Shadow Rider 4 Stars! and writes: "The color, vibrancy, and excitement of the Middle Ages allows Dennis to create a memorable tale of two people whose destiny is tied to a mystical colt. Dennis tells her story with passion, drama, and a love of animals that will enthrall readers."

Horses take center stage in her stories. I asked her if pets are a hinderance or a help to plotting? (naturally!)

Pets and animals have a lot to contribute to plot—I’m not talking about Old Yeller, or Black Beauty, where the animal is the plot, but rather books where the animal plays a role, though not so prominantly. Animals can be developed as stand alone characters that take action and thus move the plot in a particular direction, or they can add a layer of character to their owner’s personality. How, exactly, do they do that, you ask? The literature is rich with information on the human-animal bond and why people choose the pets they do. It’s called pet-owner profiling. Pets and animals in the story help the reader get into the head of the human characters. There are good studies which suggest pets are an extension of their owners—in looks and in behavior. People tend to chose pets that look like them, much like they choose a human life-partner. Take a look at Paris Hilton, Jessica Simpson, and Jake Gyllenhaal with their dogs. It’s hard to miss the physical similarities. Pet owners also tend to choose pets with personality traits like their own. Turns out you can learn a lot about a person’s character just by knowing what kind of pet they own. Here’s what the seminal research by Kidd and Kidd (1980) tells us about pet-owner personality traits:

• Cat lovers are high in autonomy and low in dominance and nurturing.

• Dog-loving men are high in dominance and aggression. Dog-loving women are high in dominance, too, but low in aggression.

• Horse lovers in general are assertive, introspective, and self-concerned, but limited in cooperativeness, nurturing, and warm human relationships. Male horse-lovers are aggressive, dominant, and less expressive in general. Female horse-lovers avoided aggression and are easy going.

• Turtle lovers are hard-working, reliable, goal-oriented, and see the world as lawful.

• Snake lovers are unconventional, informal, novelty seeking, and unpredictable.

• Bird lovers are contented, courteous, expressive, social, and altruistic.

Pet owners in general are considered to be more nurturing and low in autonomy, no matter what kind of pet they own. I’ve noticed dog and cat-loving characters enrich a fair number of romance novels (for an early example, think of Georgette Heyer’s Ulysses in Arabella) and the personality of a male horse-owner certainly has the makings of a historical romance hero—think cowboys, knights, and men who were rich enough to fox hunt. Dominant men. Aggressive, alpha males who had trouble expressing themselves (until they met the heroine, of course).
.
I keep thinking about Rex, the hamster in Janet Evanovich’s Stephanie Plum series. Rex embodies the character of a bounty-hunting woman who keeps a hamster for a pet. She’s high in autonomy and not especially nurturing. Neither is Rex. Both make me laugh.
I’ve not seen many romances where a character owns a nontraditional pet (fish, lizards, or pocket pets like Rex), but I’m sure they are out there.

There are also some interesting reads on the pathological condition known as pet hoarding. Profiles of hoarders suggest the condition is a type of obsessive-compulsive disorder and affected people usually come from chaotic, unstable homes. Just google pet hoarding and you’ll turn up a fair number of psych reviews on the topic.

If you’d like to dig deeper into pet-owner profiling, check out Why We Love the Dogs We Do: How to Find the Dog That Matches Your Personality by Stanley Coren (Simon and Schuster; ISBN 978-0684855028). There are some interesting chapters in there about dogs (breeds) for introverts and extroverts, dominant people, not-so-dominant people, trusting, or controlling people, and an in-depth examination of the dogs owned by various leaders and famous personalities--what their dog-ownership reveals about their non-public personality.

If you understand your character, the character will drive the plot. Not the other way around (a pitfall for writers). So pets can enrich the plot, especially if they are used as character enhancers. They are only a hindrance if they serve no purpose. I love an author who can weave a pet into a plotline or incorporate a pet or an animal to enlighten my understanding of the owner’s character. As a reader, can you recall pets that helped move a story along, or helped you better understand the character of their owner?

I’ll give a free copy of SHADOW RIDER to a randomly chosen commenter!

Thank you, Martha, for inviting me to blog!

For more about Kathrynn Dennis, please visit for a plot interview where we asked Kathrynn about her writing process, with an emphasis on plot.

(NOTE: I had the great honor of working with Kathryn on her book's early development.)

17 October 2008

NaNoWriMo

National Novel Writing Month is fast approaching. In preparation for the big event, I'm working with several writers who plan to write the first draft of their novel in a month. A couple of the writers are veterans to the event and eager to utilize their time more efficiently than they have in past years. The other writers are undertaking the challenge for the first time.

As the official NaNoWriMo site explains: "National Novel Writing Month is a fun, seat-of-your-pants approach to novel writing. Participants begin writing November 1. The goal is to write a 175-page (50,000-word) novel by midnight, November 30."

This approach works best for "pantsers" or those writers who prefer to write by the seat-of-your-pants, in other words, to work things out on the page with little or no pre-plotting. Typically, these writers allow their characters the freedom to determine the direction and flow of the story. These writers are often more right-brained, creative types who abhor structure and plot (well, maybe not abhor and definitely not all of them, but I've been slammed by enough stanch "pantsers" who believe their way is the only way and that the work I do stifles the creative process -- which it might true for them, but not for all writers -- that I'm a bit touchy about the subject!)

Left-brained or more analytical writers find NaNoWriMo only works for them if they put a bit of time and thought into what they hope to write before jumping into the actual writing.

For any of you who wish to take take part in NaNoWriMo and wish to prepare ahead a time in order to make the most of the upcoming month, I recommend that you create a Plot Planner or a Scene Tracker template now for the project you wish to produce then.

Both templates -- Plot Planner for the overall story plot, and the Scene Tracker, for plot at the scene level -- allow writers to stand back from their projects in order to see the entire story as a whole. As writers we spend the majority of our time at the word level. Many writers end up drowning in their words or stuck down a dead-end dark and scary alleyway with no direction out. A Plot Planner is like a road map to help guide you on your journey throughout the story.

Yes, you have to be flexible and toss the pre-plotting if/when the characters bully you into taking a different route. However, many writers find the pre-planning structural support comforting and allows them to persevere all the way to the glorious end.

Are you a "pantser" or a "plotter'? Are you going to participate in this year's NaNoWriMo??

Great good luck to all of you who are......

15 October 2008

Plot for Memoir Writers

Join me in my first ever teleseminar plot talk. It's for a memoir group of writers, but any writer is welcome and will benefit. Below is the press release blurb.
Looking forward to tomorrow.......

October 16-2008 11 AM PST

Plot for Memoir Writers

We are pleased to have Martha Alderson, an expert on plot and structure and author of Blockbuster Plots, present a special topic that challenges all memoir writers: how to create plot and structure in a memoir. As an international plot consultant for writers, Martha Alderson employs helpful strategies to help writers develop plot for writers of all genres.

Memoir writers struggle with what parts of their life to put into the memoir and what parts to leave out. The challenge is to choose what is most important.
A memoir needs to focus on a specific time period that illuminates and develops the thematic significance to the writer's life, often with the hope that these themes and the lessons learned might benefit others. But being so close to the story of “what really happened “challenges the memoir writer to think in terms of plot.

1. What is plot and why is it important?

2. How to construct a plot plan for the overall memoir

3. The art of writing plot in scenes

4. The importance of the main character -- You!


Martha’s Bio
Martha Alderson, author of Blockbuster Plots has created a unique line of plot tools for writers, including the upcoming Plot for Memoirists eBook. She teaches scene development and plot workshops privately and at conferences. For plot tips, visit: Blockbuster Plots for Writers

Best-selling authors, screenwriters, memoirists, writing teachers and fiction editors turn to Martha Alderson, M.A. for help with creating plot. She has won attention in several literary writing contests, including the William Faulkner Writing Contest and the Heekin Foundation Prize.
Martha takes readers and writers alike beyond the words into the very heart of a story.
As the founder of Blockbuster Plots for Writers, she manages a popular blog: Plot Whisperer

If you are interested, email Linda Joy Myers, President and Founder of NAMW ASAP

09 October 2008

Character Emotion

In order to continue to reading or watching, readers and audiences need to understand and care about the characters. Even bloggers have to create a compelling character in order to hold a reader's attention. Yes, the action has to be exciting and there has to be some meaning attached to the writing. But, what people most identify with is the character.

One terrific way to help a reader connect is to "show" the character's response to the conflict and action. Not the character's internal monologue about how she feels about what just happened to her through the conflict and the action, what is best is an actual action or behavioral response.

Early in the story, the character's emotional responses as shown through their actions help identify and develop the character. Later in the story, the character's transformation is revealed through the transformation of their choices and behavioral responses.

We connect to one another through emotion.

A character's emotional reactions that come as a response to other dramatic action incidents deepen the readers and audience's understanding of who the character really is. When we know how the conflict emotionally affects the character, we care about the character.

Each time the character succeeds or fails as they go after their specific goals, follow up by "showing" their emotional reaction to their success or failure. By this, I do NOT mean, to "tell" us in internal monologue about how they are feeling, but to "show" us as an actual dramatic action response.

Writers are usually great at showing the character in dramatic action. Often, however, writers fail to "show":

** the character in preparations for conflict

AND / OR

** the character in reaction after the conflict

Of the three -- (1) a character in preparation for conflict, (2) a character in conflict, (3) a character in reaction to conflict -- what scenes flow the most freely from you?

05 October 2008

The Middle

I recently worked with a writer who, when she hit the Middle, lost the passion for her story.

When the allure of the Beginning is over, the story starts getting messy. Characters act out. Everything she writes seems boring to her. All her fears about the unworthiness of her project interfere with her ability to create new scenes. She wants me to give her the scenes or at least give her ideas for the scenes.

My advice for this writer is to list the themes she's interested in exploring in her piece. I am NOT referring to the Thematic Significance Statement here. She isn't ready for that yet -- she hasn't even finished the first draft of her project and thus has no idea what her piece will end up meaning in the long run. But for now, she is aware of many of the themes that thread through her story thus far:

Life in this country as an immigrant
Her love and respect for older people and her ease in relating to older people rather than people her own age
Loss of older friends
Hurt that comes with loss
Women empowerment
Live life with a sense of humor
The guts and resourcefulness and resilience of a strong woman

This is just a sampling of the themes that have popped up in her story. By listing them, she hones the focus of the scenes she writes now for this added dimension = meaning. By exploring what she wants to convey, the scenes are no longer quite so episodic or boring to her.

The coherence that came with the sequential order of her story can now be deepened into coherence through theme.

What are the themes that most inform your writing?

25 September 2008

Help Your Readers/Audience Connect

In most plot consultations, I never read a writer's work. Instead, the writer tells me their story scene-by-scene or chapter-by-chapter. I find I can better "see" the plot and structure minus the words. Sometimes, however, in an on-going plot consultations after we have worked our way through the first draft and I understand what the writer's vision for the project is and have a pretty firm idea of the overall plot and structure, I will read and comment on the manuscript itself.

In the case of a recent "reading" plot consultation, I was delighted to find that the writer I had been working with not only has created dramatic action with compelling characters and significant meaning, he also has a flair for words in creating his wonderfully imagined "exotic" world and delightful characters. It's one thing to listen to what a story is about and quite another to read that same story. Thankfully, this writer's project works at both levels.

However, I am finding, among other things, one consistent problem -- author intrusion. In the middle of a terrific scene, he will suddenly switch to summary and in his own voice describe one of his clever inventions for the story. This quirk of his not only instantaneously yanks the reader from the "dream" he's created in scene, his digression confuses the reader. The reason for this? Often, he spends time describing something that leads nowhere.

Example: the protagonist -- a boy of 13 -- has gotten in trouble yet again. This time the principal gives him a three day suspension from school and demands he meets with the board to hear whether he will be sent to a prison or a reformatorium. The author then goes into great detail about the prison and even includes a picture of the prison. The prison is named where the reformatorium is mentioned only as one of many.

Since the protagonist is sent to the reformatorium not the prison, the only thing the prison name and description contributes to the story is to create confusion.

The reader and the audience is constantly scrambling to determine what is important to remember throughout the story. When a character or a setting is given a name, we generally assume that which is named is something of importance.

In the first draft, get the story down. In subsequent drafts, consider your audience and write to them. Keep your reader in mind throughout. Do everything you can to make the transition into the story world seamless and effortless for the reader. If the reader becomes confused, they usually will not blame you as the author, but themselves as the reader. Before long, they give up. And you lose a potential fan.

Do you write primarily for yourself? When, in the process, do you usually consider your reader?

21 September 2008

Character Consistency & Writing in Scene

Two recent consultations. Two common problems.

1. Telling rather than showing.
A scene shows. A summary tells. The difference? A summary puts distance between reader and character (this also applies to bloggers who blog about themselves). A summary is necessary for a variety of reasons, but scenes are where the story plays out.

Invite your readers in by setting the stage and creating a compelling reason to stick around (character dilemma) and read more (dramatic action). Do this in scene and stick to the universal story form for structure and impact.

2. Not keeping the character consistent.
Determine what the character does to sabotage herself from achieving her goal. This becomes the basis for the character transformation. Be consistent. If her flaw is that she doesn't stick up for herself, then don't have her fighting back in the first 3/4 of the project.

Any other ideas???

18 September 2008

Addendum to Previous Post

I ran into a couple of writer friends yesterday, one of whom usually comments on the blog. They each said they had read the last post, but hadn't left a message.

Too chaotic to ask why not, but I wonder -- did the subject of breaking through emotional walls put them off???

I find the quest in the question posed in last week's post a worthy one. The closer we get to ourselves emotionally, the closer we can get our characters. I found a list of emotions I'll share below. Try exploring these emotions with your protagonist.

The key is not to ask yourself what you would do in the situation, but ask yourself what you would do if you were the character in the situation. Always bring the emotion through the character herself.

Identification with the protagonist is paramount to creating a compelling read, whether a novel, screenplay, memoir, or a blog. Readers identify with characters, through the character's emotion.

Exhausted
Confused
Ecstatic
Guilty
Suspicious
Angry
Hysterical
Frustrated
Sad
Confident
Embarrassed
Happy
Mischievous
Disgusted
Frightened
Enraged
Ashamed
Cautious
Smug
Depressed
Overwhelmed
Hopeful
Lonely
Lovestruck
Jealous
Bored
Surprised
Anxious
Shocked
Shy

Did I miss any???

12 September 2008

HELP REQUESTED

I recently received the following query. Any of you have anything to suggest???

Question:
I really enjoyed the workshop and have gotten so much out of it. I will definitely be contacting you for future plot consultations.

I really want to break through my emotional walls in order to take my writing to the next level. Do you have any recommendations for books that may help with this? I have been looking at Julia Cameron and Eric Maisel. There are so many books on this topic that I wondered if you had any favorites.

Thanks.

Answer:
I used to call Carolyn Myss my spiritual guru. Although I haven't followed her for a few years, the help and insight she offered remains with me. I especially benefited from listening to the audio version of Energy Anatomy: The Science of Personal Power, Spirituality, and Health.
I have reread The Power of Now by Eckhart Tolle more times than I can count and am rereading it yet again now.

Although both of these resources are more spiritual guides than emotional, I found great help and comfort in them. I hope they might serve you well, too.

09 September 2008

WRITING THE CRISIS

At the writers conference this past weekend, I asked an audience of writer which of them knew the Crisis of their story. I had been talking about the three important scenes -- one each in the:
Beginning (1/4) -- End of the Beginning
Middle (1/2) -- Crisis
End (1/4) -- Climax

We had reached the Middle section and after I discussed the parameters of the Crisis, I asked for a show of hands. Barely a smattering. Surprised, I reworded my question. Still just a few.

I asked if they were worried about that. The answer lay in their looks of bewilderment.

I've always been fascinated in the study of energy. I tried to show this pivotal scene energetically. With the help of the Plot Planner template, I showed how a story rises in intensity. The dips only come in moments of introspection and planning by the protagonist (under-the-line scenes). The rest is conflict that rises with obstacles and antagonists and insight into the character's issues (above-the-line scenes), deepening what was introduced in the Beginning.

After having read for this long, the reader/moviegoer demand a release or irritation will set in. The best place for the scene of greatest intensity so far -- the Crisis -- is around the 3/4 mark in the story. What does the protagonist still need to learn? A story is about character transformation. What situation can you put your character in that flows from the story and would provide the greatest impact energetically to both the reader and the protagonist?? For a new self to be created, the old self must be stripped away. What would best provide a mirror for the protagonist to see who they really are?? How they get in their own way?? Sabotage themselves?? Write that scene = the Crisis

The Climax at the End will show the newly created self, the character transformed. The protagonist confronts her greatest foe at the Climax and prevails in a way she never could have at the beginning of the story.

Each ordeal, each obstacle, each antagonist in the Middle provided the protagonist with opportunities to learn about herself. The Crisis in the Middle is the moment she can no longer hide her head in the sand or talk her way out of problems or rationalize her failings or blame others for her inadequacies. The Crisis forces her to wake up, become conscious, begin the process toward wisdom.

Do you know the Crisis of your story???

04 September 2008

PREPARING FOR A CONFERENCE

Tomorrow begins the East of Eden Writers' Conference. Steinbeck Country is difficult to describe to anyone without some first hand experience in dry, dusty heat, yellow hills and giant oak trees, hawks and buzzards, cows and sheep. The road trip runs through dirt so rich it's called black gold. Men and women bend in the hot sun to pick strawberries.

250 anxious, eager, inspired, tortured writers will be on hand at the conference -- energy galore.

For me, the excitement is teaching writers plot and scene and structure.

I'll let you know how it goes....

When was the last time you put yourself out there for your writing???

25 August 2008

Blogging and the Muse

A writer recently left the following message:
"Sometimes when I'm writing I feel like someone else is in my head writing it for me. Weird when the characters take over but not uncommon apparently. This doesn't happen when blog writing by the way."

I surmise it is the muse in the form of the characters that is taking over. Somehow, this writer is able to surrender his/her ego (what some call the critic) long enough for the creative force to work through him/her when writing fiction.

I find it interesting that blog writing isn't the same. I wonder if that's true for others???

Perhaps blog writing is so quickly accessible to public scrutiny that the ego (critic) can't let go. Does that make blogs more ego-driven???? The writing more self-conscious???

Any thoughts???

21 August 2008

Villains

I respond to the first query about villains with intrigue. I teach writers to use as many antagonists as needed to create conflict and excitement on the page. I seldom concentrate on the archetype of the villain. The antagonists I focus on are the seven internal antagonists that plague our characters (as well as ourselves). There are also seven external antagonists.

I generally address only dictionary definition #3 of villain: a character in a story or play who opposes the hero.

My intrigue turned leery when I noticed the same message appear in the comment's section of the blog -- this time repeated three times.

Before I have a chance to post, I personally get slammed in the face with #4 definition of villain: one blamed for a particular evil or difficulty. Caught completely off-guard by the vehement anger and resentment thrown at me, I could not help but note the timing. My hesitancy to write about the villain paired with the email experience forced me to face my fear of the villain. Bullies scare me. So much easier to see them as antagonists -- a concept. Removed.

Instead of an actual post, I twittered about villains. Cop-out, I know. But still, a step...

Before I have a chance for an actual, the message returns, now with a threat. Don't answer and the writer will take his question elsewhere. My deepest reaction? Relief.

The message comes back.

Here goes:
The protagonist of a story of any kind, even in a blog post, sets out on a journey. Along the way she is tested both internally -- fears, hates, and / or flaw. She is also tested externally -- society, nature, other people, machines. Other people can be family members and friends, anyone out to stop the protagonist from getting what she wants.

A villain is darker and meaner. Family and so-called friends can be or become villains. The villain welds power enough to demand their own plot line. They are not changed and transformed by the dramatic action in the story -- as the protagonist is -- but their story has to hit the same key scenes in universal story form.

Have you ever faced a villain?? Not an antagonist but the archetype of a villain?? How dark and how evil? How do you deal with a villain -- in life and in your writing?? I only have that once. My lasting impression is being overpowered by blackness.

14 August 2008

Plot at the Local Children's Shelter

Seven young adults between the ages of 12 to 17 shuffle inside the Children Shelter’s classroom. The boys loom large. The girls shift from motherly to sexy and back, like blinking red lights.

I break down some stories to them with a focus on the Beginning 1/4 of the story and ending at The End of the Beginning. I ask them to write the beginning of a story real or imagined that leads to a moment of no return, a moment when life shifts, when good turns bad or bad to worse. I suggest that the character want something that now becomes seemingly impossible to attain.

For a girl with clear brown eyes, her main character wants more time with her dad. The End of the Beginning is when her dad dies. Another girl shows a mom in heaven remembering her beautiful little girls. The End of the Beginning is when the girls go live with an uncle with a belt.

For the Middle of their stories, I asked them to describe the new world the main character is now living. I ask for three bumps that shake the character, stop the character, interfere with his/her dreams and leads to a Crisis. The Crisis is is the dark night of the soul.

Before I release them to their writing, we play charades. The two biggest boys and a girl with incredilbly long eyelashes act out emotion cards. The other kids and volunteers and counselors guess at the emotions. I stress for descriptions of what they see that leads them to know the emotion. I wanted them to "show" the character in the emotion, not "tell" the character.

To demonstrate anger, the biggest boy grabs a chair, swings it over his head and slams it to the floor. The girls reel backwards and scream. Counselors leap to their feet. I ask him to do it again but without the violence. Then we dissect his facial expressions to find the more subtle signs of anger and rage.

After a lunch of pizza and juice, we trudge back inside for the End. The room is stuffy and close, but feels safe and womb-like.

I give examples of characters overcoming tremendous odds at the Climax and being deeply transformed by the experience. We talk about what stories mean overall: a tough time leads to a lifelong belief that people are no damn good? (my father throughout his life) Good triumphs over bad (the girl with the belt). Bad triumphs over good (the boy with the rage).

My hope is that giving the kids an opportunity to get the bad stuff out of their bodies and moving is good. Rather than let it sit and fester, to bring the fear and disappointment out to the light of day is a good thing.

What have you left buried deep inside????

07 August 2008

Allow Your Dreams to do Your Heavy Plot Lifting

Following is an inspirational way to use your dreams to write your stories by hynotherapist, author, and radio personality Kelly Sullivan Walden.

Like Kelly, I, too, use my dreams to support my writing and you'll usually find me up before dawn, writing.

"While I was up to my elbows mid-way through writing my recent book, “I Had the Strangest Dream…the Dreamer’s Dictionary for the 21st Century” (Warner Books), I developed the practice of rolling out of bed and into my “writing station.” While still in the in-between-worlds place I would open my laptop, take a deep breath, and with eyes half closed, let my fingers do the tapping. Before my logical brain woke up, I would give myself permission to write whatever wanted to be written from my subconscious/dream state.

This “dream state” writing would often wind its way to being relevant to the particular aspect of the book I happened to be working on. Even if my writing took a detour I would nonetheless find myself opened to a smorgasbord of thoughts and feelings that I could apply to the subject at hand that never would have occurred to me otherwise.

If there was nothing in particular that wanted to be written, I would simply write about my dreams from the night before. This actually has become a practice I believe will be with me ‘til the day I die, and perhaps the most valuable practice I have ever discovered. I believe there is a brief and precarious window period between the realm of sleep and awake, and if accessed, our entire day becomes brighter with a heightened awareness and aliveness. I actually feel that this may very well be the short cut to truly developing and strengthening our intuition. As a writer, what gift could be more valuable?

I believe it is specifically due to this practice that I was able to “dream up” an entire novel. About a year ago, I awoke at 3am (many writers tell me that their best writing ideas come to them at this god forsaken hour) with the entire story…the beginning, middle, end…the characters, their names, dress, voice tonality, the whole 9, as it were.

Without having to painstakingly try to figure out these characters and plot line, it was delivered to me, and all I had to do was take dictation.

I’ve talked to many writers that receive their best ideas, or plot lines from their dreams…and why not? Our dreams connect us with the vast aspect of who we are…as we sleep we dance with souls from time immemorial and explore realms about which have heretofore never been written. Why not let your dreams do your heavy plot lifting for you so that you can spend your precious awake time downloading these inspired messages. Who knows, tonight you just may receive the plot twist you’ve been praying for!

May your wildest and most wonderful writing dreams all come true!"

***************
Kelly Sullivan Walden is a Hypnotherapist, Dream Coach, and author of Warner Books’ I HAD THE STRANGEST DREAM, THE DREAMER’S DICTIONARY FOR THE 21ST CENTURY. Author of DISCOVER YOUR INNER GODDESS QUEEN, an Inspirational Journey from Drama Queen to Goddess Queen, Kelly is also the publisher of GoddessQueenMagazine.com. Her specialty is in empowering people to live the life of their dreams. Kelly is a regular guest on FOX news New York, CBS/AOL Psychic Radio and has recently been featured around the country on ABC, FOX, and NBC news, as well as in Cosmopolitan, Woman’s Day, SELF, ELLE and the Chicago Tribune. Kelly is the creator of The Dream Project, a local movement for Global change.

Join Kelly’s Dream Circle Membership Program and receive Kelly’s FREE Weekly Dream Symbol and subscription to Goddess Queen Magazine. If you are interested in more information about the Dream Project, talking with Kelly about private dream coaching sessions or booking her for any future speaking engagements, you may contact her at: kelly@kellysullivanwalden.com.

Do you use your dreams to help support your writing? Write while the rest of the world sleeps?

06 August 2008

Tells the Story -- What or Who?

Have you ever been told your characters read like cardboard figures? Agents complain about not being able to get close enough to the main character? That they couldn't stay interested? It happens to all writers, whether action-driven or character-driven.

Writer's Test:

You're in an elevator with the exact right agent for your book. You have three floors to attract the agent's interest, get her to ask, "what happens next?" and, at the third floor, give you her card to send the first 50 pages.

Do you:

1. Start by saying something about the character: It's a story about a beautiful Swedish girl who comes to America looking for love. She gets a job in the kitchen of a society family in New York City. The family's silver and gold go missing. The man who interrogates her is tall and handsome. She has to defend herself with only the English she learned in school.

2) Start by giving an overview of the dramatic action: "It's a story about a land deal in New York City between the Elks Club and the mob. Money and silver go missing from the Elk leader's home. The next day he is found dead.

3) Start with a brief idea of the theme: It's a story about corruption and greed, the wealthy and poor, loyalty and love.

I have ideas about each of these, but lately am fascinated by #2. I'll post some tips and tricks in the coming weeks. Be patient.

05 August 2008

WRITER VERSUS BLOGGER

I never write two posts in one day. I'm lucky if I get in one a week. Rather than do what I should be doing -- getting my free monthly Plot Tips eZine out to awaiting writers -- I procrastinate instead.

My procrastination took the form of reading a couple of writers blogs new to me. In one, a writer hesitantly and respectfully reported he had started a new project, mere sentences -- a tender blade barely broken out of the earth. Still, he was writing.

I congratulated him with enthusiasm. A story of 80,000 words begins with just one.......

I went on to tell him that I usually caution writers not to talk too much about about what you're writing about -- you can talk it to death. Talk all the energy right out of it

Since blogging seems to have replaced verbal communication, it seemed only right that the same must apply to him -- he was blogging about his writing. Granted, not any specifics about his project, but still....

I could be wrong however. Sometimes it seems as if blogging about the process has become the new process. Not the means to the end, but the end itself???

Is that why I'm blogging right now and not working on my WIP? What's your excuse??? Why are you reading this and not working on your work-in-progress???

WHAT DO YOU THINK WHEN YOU THINK PLOT?

Recently, I asked a random sampling of writers not familiar with my work what they thought of plot. Most of the answers I received bordered on hostile. I include a few of the tamer ones here:

"I view plot as an enemy that must be destroyed, lest it pilliage my village and rape my wimmins." UJ

"When I think of plot, I stop thinking about writing." JT

"I have a deep disdain for plot, really." LJ

I was most surprised when I read AK's comment: "All anyone cares about is plot, plot, plot."

Most writers I come in contact with "care" about plot because they're grappling with not only what plot is but, even more importantly, how best to use it.

Plot is more than a prescribed course of dramatic action.

Action in and of itself is not dramatic. Conflict that creates tension, suspense, mystery, and/or curiosity make action dramatic.
Random action is not dramatic. Action that unfolds through cause and effect is.
Action that happens in scene can be dramatic. After all, scene "shows" the action happening moment-by-moment on the page.
Action that happens in summary is not. After all, summary merely "tells" about action.

When a character emotionally anticipates conflict that is coming, emotionally reacts to conflict at hand, and emotionally responds to conflict after the fact, the action is dramatic. Dramatic action paired with meaningful character emotional development then becomes plot.

Plot is deeper than structure.

Dramatic action that happens in a novel, screenplay, memoir, short story, and any other kind of writing that causes a character(s) to react and thus be affected by and changed at depth over the duration of the story. The crux of every good story is character transformation.

Plot is the full integration of dramatic action, character emotional development and thematic significance in a story.

Some writers prefer to start writing about or with characters. Other writers begin with action. Still others begin with only a point they want to prove. All starting points are equally valid. It's the showing up and starting that counts.

Are you confident about what you know about plot and how to use it? Are you ever intimidated by the concept of plot? Confused by it?

I keep asking these types of questions because I'm afraid plot gets a bad rap. I'm hoping by asking what you think when you think plot, I might better understand the opposition.....

31 July 2008

When the Character is You

Many writers beyond memoirists find themselves creating a protagonist who is patterned after themselves. This can pose a problem or two.

One, many writers tend to be introverts and thus their character ends up passive and sort of floating from one event to the next.

Also, I've found that although most people are quick to identify other people's flaws and faults, they have difficulty pinpointing their own. Without a flaw, the character arc becomes more difficult to manage.

Do you find yourself creating a protagonist that is patterned after yourself?? If so, do you have trouble getting close enough to the character to create a full-blown characters with good and bad qualities, warts and all??? Just curious.......

28 July 2008

No-plot, Really No Problem??

I recently received the following:

"I've a topic for you. What about the no-plot novel? I've always argued that a novel doesn't need a plot as long as it has a point, also there's the whole "character is plot" argument. The plots in my books are neither here nor there, just things to get my characters to do while I write about them."

I'm not certain what he's getting at here. "...as long as it has a point." I assume this refers to the deeper meaning of the piece or the Thematic Significance. "....character is the plot." I assume this refers to the Character Emotional Development. "...just things to get my characters to do while I write about them." This, I assume, is the crux of his query -- no dramatic action? Perhaps. If the "things" involve conflict that the character then has the opportunity to respond or react to emotionally, I'd say he is writing a novel with plot.

Again, I define plot as a series of scenes deliberately arranged by cause and effect to create dramatic action filled with conflict in order to further the character's emotional development and provide thematic significance. In other words, when the dramatic action causes the character to be changed at depth over time the story means something.

What do you think??? Is he writing with plot or no-plot? Perhaps I'm reading too much into what he's written because I dread thinking he's writing with no conflict involved. Don't get me wrong, I believe character carries the story. Still, even with beautiful language, internal conflict without any external conflict, could end up a slow, boring, flat read indeed.....

17 July 2008

2 Plot Tips for the Middle

Two recent plot consultations revealed the same dilemma -- both writers were faltering as they made the approach to the Crisis, which occurs about 3/4, give or take, through the entire project.

The Problem
Characters, setting, set-up, premise, and action move from the superficial, introductory mode of the Beginning to the gritty, challenging world of the Middle, the heart of the story world itself.

In the middle, masks fall away and the characters reveal themselves for who they truly are, warts, flaws, fears, prejudices, and all. At this point in the relationship, just like in life, the story tends to get messy. Fights can ensue. Feelings can get hurt. Because of that, writers often back away, afraid of what the characters will reveal about themselves, doubting their ability to manage the dark side of the characters.

Writers tend to want to back off when they approach the Crisis. And why not? We shy away from disaster, drastic upheaval, or deep loss in our own lives. Why would we want to do any differently for our characters? Yet, that is exactly what the Crisis is -- the suffering that occurs when the protagonist's whole world shatters and doesn't make sense anymore. Because only out of the ashes of the old self can a new self come into being -- the beginning of the character's ultimate transformation.

When things get messy, writers often long for the good old days at the Beginning of the relationship when things were smooth and happy, and superficial. Don’t give into the urge to go back and start over again. The truth of the relationship and the characters emerge in the Middle.


Plot Tips and Tricks
1) Use of Antagonists
Writers who make friends with as many antagonists as they can create seem to slog their way through the Middle without as much mishap as those who have not fostered such relationships.

The six basic antagonists are: other people, nature, God, machines, society and the characters themselves.

If you are trying to deepen your skill at showing character development, of the six antagonists, the inner workings of the characters themselves offer the richest form of support. In terms of plot, three basic character traits have the potential to create scenes with the most conflict, tension and suspense or curiosity: the character’s flaw, fear, and hatred.

For example, in the Beginning of To Kill A Mockingbird, Harper Lee introduces Scout, the protagonist, with the flaw, among others, of being insensitive to other people’s feelings. In the Middle, Lee turns the tables on Scout. Now, rather than continue to see all the ways Scout demonstrates her insensitivity to others, the reader sees how Scout suffers the effects of others’ insensitivity, from her cousin acts of cruelty towards her to how a white townsperson married to a black woman deals with the insensitivity of the community around him.

Scout’s flaw is not the only antagonist that creates more conflict, tension and suspense in very scene. The Middle is fraught with antagonists of every sort. Her father serves as an antagonist when he asks Scout to control her temper and her fists. Because of scenes in the Beginning showing Scout’s impulsive fits of anger, the reader knows as well as Scout and her father just how hard it will be for the eight-year-old to control these two shadow aspects of herself.

Lee employs other antagonists in the Middle: an old mad dog down yonder; Mrs. Dubose, a neighbor who symbolizes the collective consciousness of the town folk or society at large; Aunt Alexandra; grown men of the community; etc.


2) Unusual world
The Plot Planner mimics the universal story form with a line that moves steadily upward to denote the necessity of giving each scene more significance to the character and more conflict, tension and suspense in the dramatic action than the scene that came before it.

A trick that can help you over the roughest territory of all: the middle of the Middle is to create an unusual world. So long as you keep a measure of conflict, tension and suspense alive, the actual dramatic action can flatten out a bit in the middle of the Middle. Here, the writer can take time to deepen the readers’ appreciation of an unusual job, setting, lifestyle, custom, ritual, sport, belief or whatever your imagination dreams up.

This world, whether real or imagined, comes alive with authentic details most relevant to the unusual world, specific details the average reader does not yet know or appreciate.

For example, in the Middle of Memoirs of a Geisha, Arthur Golden shows the world of the geisha as the protagonist herself learns about the expectations, dance steps, joke making, dress and hair.

In the Middle of Where the Wild Things Are, Maurice Sendak shows us through six pages of illustrations the unusual world of wild things making rumpus.

In the Middle of My Half of the Sky, Jana McBurney Lin shows the everyday life of a tea seller in China.

The next time you find yourself bogged down in the Middle, don’t resort to going back and starting again. You will only end up finding yourself in a seemingly never-ending cycle. Instead, make a list of all the antagonists you can think of that are relevant to the overall plot or thematic significance. Add the development of an unusual world, and see if you don’t find yourself jumping from one scene to the next, and bypassing the quicksand of the Middle all together.

Do you have any tips to help writers slog their way through the middle??? Any tips about writing the build-up to and the actual Crisis??? Please do share.......

01 July 2008

Dialogue, Introspection and Narrative, Scene and Summary

1) Question:
What is a good percentage mix of Dialogue, Introspection and Narrative? Is there a good mix, or is it just what fits the story? Suspense romance writer -Florida

Answer
A story unfolds in scene, of course. And, scene is usually made up of dialogue and always action. But the dialogue I'm talking about is dialogue that advances the plot, NOT dialogue that is mere information dumping.

Introspection can give insight into the inner workings of the character, but is inherently flat and thus slows the plot. Therefore introspection should be used sparingly. This also goes for narrative. Telling--summary--puts distance between the reader and the story. Showing--in scene--draws the reader deeper into the story. Use "telling" sparingly.


2) Question:
I noticed that on page 189 which is Appendix 5, you plotted the beginning Summary in the "A Lesson Before Dying" by Ernest J. Gaines Plot Planner example.

Why is that so? I thought we were not suppose to plot summaries? Is it because this is the very first opening sequence which introduces the inciting incident which happens to be a Summary and not a Scene? You note on this page that "this story begins with Summary, establishing the overarching conflict". I'm confused. Your clarification would help. -New York

Answer
You're right -- you are not suppose to plot summaries for the reason stated above.
The Plot Planner is a device meant to give you a visual picture of your story. I stress scene over summary primarily because the #1 problem I see many writers make is "telling" the story rather than "showing" the story. Summary may introduce vital information and thus is helpful to have available on your "visual plot map." However, I would indicate on the Plot Planner, if/when you include a summary. That way you can assess the frequency with which you use telling in place of showing for pivotal scenes.

3) Question:
I'm presently working on my plot planner and was reviewing your book again and was curious again about a few things you mentioned about summaries and would like some clarification please. -New York

On page 74, why do you ask to "determine if there is conflict in the scene or summary you are analyzing" if we are only to analyze and track scenes?

Answer
You're right!! Drat! Thanks for catching the discrepancy. I'll delete summary in that statement in the next printing of the book. Thank you.

4) Question:
Also, on page 67, you noted that "if your story begins with a summary there may not be any real action to indicate on the scene tracker. Summary is telling and so it does not usually involve real action." So are you saying that if you start your story with a summary and it has some action that we should track it on the plot planner (and this would be the only scenario to track summaries?)?? I'm only asking this as you noted that summary does not "usually" involve real action. So when a summary does involve real action, is it still a "summary" or a "scene"??

Answer
Hmmmm, does summary ever involve real action? Summary "tells" about action that has happened. What is important in a story is the action that is happening moment-by-moment on the page. True action is the step the character takes right now at this moment in story time. Again, I think you have picked up an oversight in the editing of the book. I apologize for any confusion this has caused you and will change the wording in the next printing. Thanks again for your help!


***Any of you writers out there have any comments or help to offer??? Thank you in advance.

06 June 2008

SUBPLOTS

You know how a recorded voice sounds when the power dies? The words elongate until the sounds becomes one long moan? Well, the writer had not succumb entirely, but her words were hesitant and apologetic.

I had consulted on her murder mystery a year or more ago. Then, we had worked primarily on developing a dramatic action plot line that would challenge her protagonist in a transformative way. We had also toyed around a bit about the underlying meaning of the story --thematic significance.

She had finished her story and received feedback from an editor. Two secondary characters weren't providing depth and meaning -- they needed development.

In the present consultation, we concentrated primarily on the romantic challenge (NOTE: its nice to have a romantic challenge on some level, no matter your story. In middle grade fiction, this might translate a friendship challenge. In a murder mystery, a partnership challenge.) A romantic challenge reveals a personal aspect of the protagonist beyond the dramatic action challenge. (NOTE: I label each of these and all other plot lines as "challenges" in order to keep in the fore the need for conflict, tension, suspense, and curiosity.)

We explored ways in which the investigative detective and the protagonist interactions could be expanded. As written now, the protagonist and detective meet several times over coffee to discuss the case. The relationship goes nowhere, but the protagonist admits early-on that since the murder she has considered owning a hand gun. Her aversion to guns stands in her way.

In the revised version, they meet over coffee once. Because that happens, the detective calls with news of the case and tells the protagonist to meet him at a given address. The rest is about what happens next and then because of that what they do together what happens after that. (NOTE: I leave this vague because I don't want to give away her story). In the process a relationship between the protagonist and detective grows, albeit fraught with conflict, tension, and suspense. In the end, her confidence with the work they do serves as a metaphor for the growth of confidence in herself. (NOTE: With so much emphasis on guns, of course, they have to show up for real in the story. With so much emphasis on the protagonist's use of a gun, her new-found skill will have to be tested in the story. Ups the ante a bit, doesn't it?) (NOTE: For help on guns and all other police and detective stuff, visit Lee Lofland's blog: http://www.leelofland.com/wordpress/)

Since the writer still had the Plot Planner I had developed from the first consultation hanging on the wall of her writing studio, I suggested she plot out each of the two secondary characters' plotlines.

1) Put up color-coded post-it notes (one color for each character) over every scene where the secondary character is present as the story stands now
2) Analyze those appearances -- their frequency and location
3) Plot out a story line for each character in much the same way we had the primary challenge or the protagonist's character emotional development plotline. a) The character goes after a goal (NOTE: the more closely related thematically to the primary plot, the better). b) She / he is thwarted at every turn

These secondary plot lines can be "thin" (NOTE: Term comes from a writer's comment on the last post. Fitting). Secondary characters are there to enhance the primary story and contribute to the meaning of the piece overall.

At the close of the consultation, the writers voice had turned from sluggish and slow to upbeat and energetic. The way for her was clear......

In your writing process, what turns your way from clear to murky? What makes you lose energy for the writing??????

02 June 2008

SECOND DRAFT

You finish your rough draft. Now what? How do you write an effective second draft of your story rather than just edit what you've already written or simply move words around?

I have a few tips.

1) Fill out a Scene Tracker for your project. Scenes that fulfill all seven essential elements of plot -- date and setting, character emotional development, is driven by a specific character goal, shows dramatic action, is filled with conflict, tension, suspense or curiosity, shows emotional change within the scene, and carries some thematic significance -- keep. Any scenes that do not fulfill each of these elements may not carry enough weight to belong in your story.

Evaluate your Scene Tracker for your strengths and weaknesses. If you find your Scene Tracker has lots of Dramatic Action filled with conflict, tension, and suspense, but little Character Emotional Development, in your rewrite, concentrate on your weakness.

For those scenes that do not fulfill each of the seven essential elements, see if you can integrate more of them in your rewrite or consider lumping together two or more weak scenes in order to make one powerful scene.

2) Create a new Plot Planner for your story. Locate the three most important scenes -- the End of the Beginning, the Crisis, the Climax. Evaluate how many scenes fall above and below the line. Consider how the energy rises and falls. The visual representation of your project should give you clues as to where to concentrate during the rewrite.

3) Write a brief outline of your story by chapter -- simply one or two sentences per chapter that will gives a feel for pacing, plot, and flow. The process of writing the outline should start to reveal holes and weaknesses throughout.

4) Write a one-page synopsis of your story.

Of course, you can always sign-up for a Plot Consultation. I'll let you know where to concentrate the next time around.

How do you go about preparing for a rewrite? What is your favorite method for "seeing" the whole of your story in order to evaluate what's needed for the rewrite???

18 May 2008

POINT OF NO RETURN

Livvy asks:
On your Blog, under the Plot Consultation page, you have an image of your plot planner which shows The Beginning section of the planner to be disconnected from The Middle section. However, in your book, the plot planner is different and is shown as one fluid line.

I know that in one of your DVDs (not in your book), you mentioned that the reason for this is that the end of the Beginning Section is to be considered as the "Point of No Return".

Martha answers:
I usually talk about the end of the Beginning Section as The End of the Beginning. Pretty simplistic, I know. The beginning accomplishes unique goals -- all introductory (I've written more specifically about those goal in other posts. Check below). The End of the Beginning symbolizes that the beginning is over. It's a moment that launches the character into the story world itself.

It's an energetic thing. If a relationship lingers too long in the introductory mode boredom sets in. Same with a story.

Since writing Blockbuster Plots Pure & Simple, I've changed where the line for The Middle begins. Now, I put it at a lower level than the End of the Beginning. In most of the books and movies I've analyzed, The Middle begins energetically lower than the End of the Beginning. If there is to be a time jump in the piece, the beginning of the Middle is generally where that jump occurs. It a spot of least disruption to the reader and moviegoer.


Livvy asks: I'm a little confused. I thought that the "Point of No Return" is considered to be the Crisis, which is the Turning Point right before the ending of The Middle Section of the plot planner.

Isn't it in the Crisis, where you mentioned on page 158:

"you want your protagonist to be confronted with her basic character flaw...that she can no longer remain unconscious of her innerself". Thus, "This creates the key quesiton: in knowing her flaw, will the protagonist remain the same or be changed at her core?"

So wouldn't after that revelation, the protoganist cannot turn back to who she or he was, because she is changed?

Martha answers:
Yes, once she becomes conscious at any level, the protagonist can never go back to being unconscious. The question after the Crisis becomes: Will she change her behavior, or not? The answer is determined in the Climax -- the final 1/4 of the project.


Livvy asks:
I was wondering then, how do you figure that the end of The Beginning Section which is considered to be the inciting incident, the "Point of No Return"?

I believe at this point of juncture (the inciting incident), the protagonist still has options to either accept or refuse the "call of action" because he/she is still being ruled by his/her character flaw. But with the crisis, now there is moment of enlightenment which cannot be ignored. Thus the protagonist must proceed forward.

Martha answers:
I couldn't put it any better. Excellent analysis! I would only add that where the movement forward takes the protagonist has not yet been determined. This destination is revealed in the Climax.


Livvy asks:
Playing devil's advocate here, I suppose it would make more sense to make the Point of No Return as early as possible in the story, because if you don't make it compelling enough for the Main character to HAVE to move forward from the onset of the story, then that means the story goal question is weak.

Or I could possibly look at it under this light instead: The inciting incident is the point of no return for the "dramatic plot line" and the "crisis" is the point of no return for the "Character Emotional Development plot line".

Martha answers:
I love this!! Very well put. Writing is fluid. These are just pointers. Art is difficult to pin down. The Beginning, The Middle, and The End are containers. An understanding of each of these three parts and how they rise to a high point with an expected energetic shift eases a writer's life. Such is my fervent wish.

06 May 2008

What do you think when you think plot?

Kids and teens learn in school that plot is a series of events linked by cause and effect.

That definition of makes me think a jewel thief wrote it. Someone dressed in black in a room full of shadows. A lightbulb hangs from the center of the room. She's wearing all black, and chalking out for the others her plot to steal a diamond ring.

Step One:
Get past the guard at the front door

Right off the bat and she is in trouble. HOW does she get by the guard at the door? The character element.

If you're a more intuitive writer, you come at this story from the character first -- A woman dressed in black breezes past the bank guard, her lips pursed in a kiss reserved for friends only.

Either way, a writer asks: because that happened, what happens next? (scenes linked by cause and effect).

Character messes with a straight-forward plot based on the series of events.

I prefer thinking about plot as all three threads intertwined:
Character Emotional Development
Dramatic Action
Thematic Significance

What do you think when you think plot?

29 April 2008

DREAMS VERSUS GOALS

I received this question from Livvy a long, long time ago, and am only now answering. My apologies, Livvy. I'll get to your other questions soon......

Hi Martha,

While rereading your book for inspiration, I came across a few points that I would like some clarification on.

The Overall Story Goal; The Protagonist's Personal Goal; and the Protagonist's Dream.

So what is the difference between a Protagonist's personal goal and Dream?

The grand question is if a Dream is not attainable and goals are,
then how can the long-term story goal be more of a dream than a goal? Don't we want to have a story goal that is eventually attainable at the end of the story resulting from the character's internal & physical journey?

If we utilize a "Dream" as "THE STORY GOAL" and the only way to attain it is with a little magic, wouldn't that be more like "deus ex machina"? A writing device that cheats a reader out of a more realistic and natural occurance of events?

Would it make more sense to refer a protagonist's dream as his/her desire instead?? which can be separate from the story goal and not always attainable. So when this desire/dream is attainable, it gets attained or resolved at the resolution, since the climax is reserved for resolving the Major Story Goal.

I look foreward to hearing back from you soon and anyone else who would like to contribute to this posting, to clear this up for me.

Thanks in advance!

My answer:

Excellent analysis, Livvy! Very well put.

Yes, the character's personal goal and the overall story goal needs to be attainable by the character. The character may need help, but he or she must be the initiator of the ultimate action that creates the fulfillment of the story goal at the Climax. This is true even for children's books and young adult novels. The child or teen in the story may need the help of an adult or the police or a teacher or whomever, but the teen or child must initiate the action and/or the call for help.

Often, the story goal that begins the story changes because of the action that happens at the End of the Beginning (the first 1/4 of the page count for the book) and catapults the protagonist into the very heart of the story world -- The Middle (1/2 of the page count).

One technique to creating depth in a story is to create lots of goals throughout the story -- a romantic goal, a mystery goal, a personal goal, a political goal, a dramatic action goal, etc. Goal setting, as I have said before, is easier for Dramatic Action-driven and left-brained writers, and more difficult for Character-driven and right-brained writers. Goals ground the story and allow the reader or movie-goer to know what is at stake for the character and thus root for their success, mourn for their failure.

I recently finished Cara Black's, Murder in Montmartre. In this mystery, Aimee's overall story goal is to prove her friend did not kill her partner and thus absolve her of the crime. Aimee also has a personal goal and that is to solve a mystery about her father. Both of these goals help keep her at the task at hand even when the stakes are at their highest and the most dangerous.

Dreams or desires add yet another layer. Since dreams generally rely on the help of others or a bit of magic, they can create an added twist at the end of the story. For instance, most writers I work with have the specific goal of finishing their WIP (work-in-progress). Beyond that, most first-time writers dream of securing an agent. Published writers with an agent often dream of one of the following: to win the Pulitzer Prize, appear on Oprah, and/or be listed on the New York Times best seller list.

These writers' dreams are usually beyond the writer's direct control. The writer writes the very best product they are capable of writing. They send out queries. But, as in creating any deep connection, the agent figures into the equation. If they have just signed on a new writer, chances are they won't sign on another new writer right away. If they have a stack of manu