Happy Birthday Blockbuster Plots

Blockbuster Plots Pure & Simple (BBP) turns six years old today!

Never I will forget the many times I limped from my writing cave, whining that I need more time, the book isn't good enough, I'm not good enough. Over and over again, my very supportive, finger-pointing husband banished me back to my cave to finish.

BBP had many editors, one of whom is the famed Melanie Rigney and one-time editor of Writers Digest. Even so, the first printing was filled with typos. I didn't even see them. The moment I held the bright red ball of light in my hands, I was... geez, every adjective I reach for is so cliched and unfitting for the actual moment of sublime contentment, awe, love, excitement...

That night I interviewed bestselling mystery writer Laurie R. King with my red book beside me. Blockbuster Plots Pure & Simple rarely left my side that first year.

The heavily flawed first printing sold out quickly, thank goodness. I continue to edit and change and add big and little issues in every printing since then. (My deep desire is to write a 2nd edition...)

My gift to you for visiting this blog is just to say keep at it. Whether your first attempt or hundredth story, there is nothing like finishing and seeing your words in print and receiving reactions from readers, satisfied and otherwise... And, even more profound? You'll be transformed in the process...

(Oh, and in honor of the august occasion, I'm discounting all the Blockbuster Plot tools for writers. The deals are up on Blockbuster Plots for Writers.)

Foreshadowing

Whether you have a critique group or simply valued and trusted readers, you may receive feedback about some element not working in your story. Often the readers, in an attempt to be helpful, attempt to come up with reasons why something doesn't work or give advice about how to improve the questionable section(s).

However, I usually find the problem occurs because the element -- plot twist, character reaction, goal, motivation, whatever -- comes out of the blue with no or little warning.

A simple solution: foreshadowing.

If someone is going to die at the Crisis towards the end of the Beginning, make sure you introduce the concept of death as early as possible -- preferably first scene -- either as a metaphor or some sort of death, not necessarily big. Could be as simple as a dead insect or small bird or whatever. 

If the protagonist decides to get a job in the Middle, be sure the idea of no money, need for a job, or the concept of working is introduced in the Beginning (1/4) of the project -- this can be done by some other character and does not have to be obvious. None of what I'm talking about here is blatant, but more subtle = foreshadowing. 

Don't forget. The Beginning (1/4) is in the introductory mode -- introduction of all the characters, setting, theme, concepts that will come later, anything and everything that will be deepened in the story later is introduced up front or foreshadowed in the Beginning. 

Foreshadowing is an essential, yet often overlooked, skill that helps to make the scenes flow and the story feel seamless.

Backstory / Flashbacks

Watch your delivery of backstory ~ the story of what (in the past) made the characters who they are today (in story time). 

Writers want to cram everything right up front. 

"I know all their history, why would I want to withhold it from the reader?" 
"I wrote it that way." 
"It's the good part." 

Writers spend lots of time imagining and writing every little detail about a character's past, be it for a child or an adult. So, of course, writers would want to tell everything right away. Perhaps, in the process, even show off a bit how clever they are. Until, one understands how curiosity works. 

Not telling everything makes the reader curious. Curiosity draws the reader deeper into the story world. The reader wants to fill in the "who," "what," "how" (the "where" and "when" have already been clearly established right up front to ground the reader). They keep reading. This is good.

Tell the reader only what they need to know to inform that particular scene. This is especially true in the Beginning (1/4 mark). During the first quarter of the project, the character can have a memory. But, for a full-blown flashback, where you take the reader back in time in scene, wait until the Middle. 

(PLOT TIP: If you're absolutely sure you absolutely have to include the flashback, try using one when you're bogged down in the middle of the middle.)