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???
05 August 2008
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.....
"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.......
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.....
"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.......
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.
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??????
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???
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.
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?
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?
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