How to Show Character Transformation

At the beginning of the plot consultation, the writer expresses a desire / need to deepen the relationships between the three major characters in her science fiction novel and create a satisfying character transformation at the end.

With the dramatic action plot firmly in place, the writer is better able to concentrate on those elements more challenging for her -- everything that has to do with character emotional development. Together, we plot out the primary relationships in much the same way as we plotted out the dramatic action -- analyzing each scene for openings to introduce, develop and transform each of the relationships.

When it comes to the character emotional development transformation, we focus solely on the final quarter of the story. Though the pace of the action and conflict and intrigue and excitement builds incrementally, the protagonist stays essentially flat, preforming the same actions as she has throughout the story and reacting to the final challenges in a similar manner as she did in every other scene in the story.

As soon as the writer understands how transformation works, she immediately comes up with innovative ideas how to show character change and come into her own personal power.  And, there, smack dab in the middle of the climax scene and patiently waiting all along is the perfect opportunity to show the protagonist in her crowning glory.

For an in-depth resource to all the questions to ask about conflict when writing a novel, memoir, screeplay, refer to  The Plot Whisperer Workbook: Step-by-Step Exercises to Help You Create Compelling Stories.

*****SPECIALS*******

1) PW BOOK AND WORKBOOK GIVEAWAY!
Sue Bradford Edwards of WOW! Women on Writing Blog has written a wonderful review of the PW book and workbook by showing how she used the resources with her own story. We are giving away 3 The Plot Whisperer: Secrets of Story Structure Any Writer Can Master and 3 The Plot Whisperer Book of Writing Prompts: Easy Exercises to Get You Writing

2) Track Your Plot at the Scene Level Webinar
Learn to Maximize the 7 essential plot elements in every scene (one of 7 essential plot elements in every scene is CONFLICT) from the comfort of your own home.

*****

Knowing what to write where in a story with a plot allows for a more loving relationship with your writing. Whether writing a first draft or revising, if you falter wondering what comes next in a story with a plot, follow the prompts inThe Plot Whisperer Book of Writing Prompts: Easy Exercises to Get You Writing

Today, I write.

To familiarize yourself with the basic plot terms used here and in the PW Book of Prompts:

1) Watch the plot playlists on the Plot Whisperer Youtube channel.
2) Read The Plot Whisperer: Secrets of Story Structure Any Writer Can Master
3) Fill out the exercises in The Plot Whisperer Workbook: Step-by-Step Exercises to Help You Create Compelling Stories
4) Visit:
Blockbuster Plots for Writers
Plot Whisperer on Facebook
Plot Whisperer on Twitter

Keep the Climax in Mind

Three plot consultations with three separate writers, all with similar strengths and the same weakness. Each story has well thought out scenes that draw the reader into the Beginning 1/4 of the project. Each one develops character emotional development through dramatic action in the Middle 1/2. In other words, for these three writers, three quarters of their projects work, at least on a structural plot level.

At the end, these same three projects falter with little or no real Climax to top off the entire work. In each case, the protagonist is reawakened by the Crisis. They are shown struggling to take full ownership of their newly discovered consciousness. This is all good.

What starts as a twinge, in the quick build-up to the Climax, the protagonist more and more recognizes quite painfully each time her actions and speech do not align with her new understanding of herself and the world around her.

Trouble is, in none of the cases does the character show herself fully healing this schism at the Climax.

One writer wrote the Climax as the grandmother in the story dying. In this young adult novel, the protagonist is, necessarily, a young adult person and not the grandmother. The answer presented itself. In the Grandmother dying, the Climax takes on a deeper relevance as the protagonist of this young adult novel is given the opportunity to assist her grandmother's spiritual departure. Such an action demonstrates mastery at the thematic level. That death is looming sends the conflict, tension and suspense higher and the energy of the Universal Story soaring. The clock ticks. The sense of everything coalescing in the final minutes builds.

The Beginning sets up the scene of highest intensity in the story so far ~ the end of the Beginning. This scene shows the shift or reversal outside the character that sends her into the heart of the story world.

The middle sets up the scene of the highest intensity in the story so far ~ the Crisis. This scene shows the character’s consciousness of the shift or reversal inside her.

The End sets up the crowning glory of the entire story ~ the Climax. This scene shows the character fully united with her new self-knowledge, new understanding of the world, new sense of responsibility through her actions and her words.

The Climax is the crowning glory of the entire book. Once you write that most important scene all the other pieces begin to fall into place.

For more support, read Chapter 11 of:

The Plot Whisperer: Secrets of Story Structure Any Writer Can Master

For more about the Universal Story and writing a novel, memoir or screenplay, visit Plot Series: How Do I Plot a Novel, Memoir, Screenplay? on YouTube. A directory of all the steps to the series is to the right of this post.

For more tips about how to use plot and the Universal Story in your novel, memoir or screenplay, read: The Plot Whisperer: Secrets of Story Structure Any Writer Can Master
and visit:
Blockbuster Plots for Writers
Plot Whisperer on Facebook (we hope you "like" it)
Plot Whisperer on Twitter

Mock Plot Consultation

Radio Show today, Tuesday, May 18th at 11AM PST

For the first hour, I plan to do a "mock" 1 hour plot consultation with our host and friend-- Kim McMillon on one of her children's books she's preparing for publication.

Second hour, Teresa LeYung Ryan helps Kim identify the core issues of her story and link her name to mission statements for publicity and marketing purposes.

In case you'd like to see who you'll be listening to, here are the three of us several years ago at BEA in NYC:

Stop by for a listen today at 11AM PST

Writers Sanctuary

Connecting to the Character

People read stories and go to the movies 70% for the character. We love to peek into other people's lives, even if the other people are mere characters in a book or movie.

This last writer's story is filled with dramatic action, which makes for an exciting story. I find myself anxious to hear what happens next, and what happens after that. The writer masterfully provides more and more compelling action, and does so seamlessly through consistent cause and effect. The Dramatic Action plot line rises quickly and effectively.

Still, the more intriguing the mystery, the scarier the suspense, the more cardboard action figure-like the characters become as they passively allow the dramatic action to happen. The more exciting the action, the more the characters are ignored and the less I find out about how the characters. especially the protagonist, are affected by the dramatic action. Without the help of the character to draw me closer, I find myself separating further and further from the story.

At this point in the consultation, I go over the importance of goal setting for the protagonist ~~ both at the scene level and the overall story level. The better a writer is at establishing concrete goals for her characters, the easier it is for her to keep track of the affects on the character as the character succeeds and fails in achieving her goals.

[Note: At a recent Plot Planner Writers Workshop, one of the writers expressed confusion between a goal and a dream. A goal is quanifiable and under the protagonist's control. In other words, the character is capable of succeeding. Whether they actually do or not is up to them. A dream, on the other hand, requires a bit of magic or help from outside sources. The protagonist cannot fulfill his or her own dreams, but must rely on the help of others.]

In the consultation, I never find out why the protagonist is missing when her husband is nearly killed. Why? Because the writer doesn't know either. A critical door into the character on a deep, personal level is never opened by the author and thus, would have robbed the future readers or movie-goers from the intimate bond of knowing.

The writer uses the protagonist to advance the Dramatic Action plot line, but ignores the Character Emotional Development plot line almost completely.

Still, she has done the hard part. The story is written. The dramatic action propels the story in quick and exciting ways. Once pointed out, the doors are easily opened. By attending to what is behind each door, the writer's chances improve for bringing satisfaction to future fans through knowing the character even better than the character knows herself.

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

JUGGLING PLOT LINES

When writers get stuck, it is usually because one or more of the three plot elements has been ignored by:
• Concentrating on action only, forgetting that character provides interest and is the primary reason that people go to the movies and read books.
• Organizing solely around the character and overlooking the fact that dramatic action provides the excitement every story needs.
• Forgetting to develop the overall meaning or the thematic significance of their stories. When the dramatic action changes the character at depth over time, the story becomes thematically significance.

It's tough to juggle all of these elements at once. We end up trying too hard. Our writing suffers. We become stiff and self-conscious. The joy of writing diminishes.

This isn't such a bad thing, if you're committed to being a writer. Learning the craft of writing is constant. The more you know, the more you appreciate how much you don't know.

In a plot consultation, the omissions slowly become clear to the writer. The more she understands both her strengths and her weaknesses, the faster she is able to identify what isn't working, why, and how to proceed.

The only way to know our strengths and weaknesses is to get feedback -- from a critique group, an editor, a plot consultant, or by individual plot analyzation.

Plot is made up of three intertwining threads:
• Character emotional development
• Dramatic action
• Thematic significance
In other words, the protagonist acts or reacts. In so doing, he or she is changed and something significant is learned.

When you write, do you juggle all three plot lines at once? Or, do you write one plot line a draft? Always curious about other writers' process......