Readers turn the pages based on their interest in the characters or the excitement caused by the dramatic action or both. The Middle goes on for quite awhile (1/2 of the entire project), and sure, there is lots of conflict, tension, suspense to keep the reader reading, but all those scenes are building to something and that something is the payoff ~~ the Crisis (about 3/4 of the way through the entire book).
It's like climbing a hill. We keep hiking for lots of different reasons, but in the end we're hoping to get to the top = the payoff. In the case of a story, the Crisis is getting to the top. Except, the reader and the character reaches the top only to realize they're only part way there, that another peak awaits them ~~ the Climax ~~ the ulimate payoff for the reader, the crowning glory of the entire project.
Analyzing other books similar to your genre helps writers begin to "feel" the energetic flow of the story and better helps you apply the principles to your own work. Plus, you'll find lots of great hints and tips and ideas when you are reading as a writer, not just a reader.
22 July 2007
13 July 2007
Take the Plot Test based on Theme
You've written some stuff. You feel good about your characters, you've got some action, but what drives your energy for showing up is exploring the deeper meaning of life.
Start with an unusual setting and some "different" characters.
Set the time.
Figure out your obsession.
Say it's with finding out who you really are, your own unique identity (insert your obsession). Generate scenes with that in mind ~~ the character's interaction with others, trying to figure out her place in the world ~~ that's better ~~ a universal theme for kids and all of us...
As you write, look for clues to finish the theme to make it thematically significant: how DOES one figure out his place in the world? Through trial and error? Okay. And so what, really, does that mean overall? Finding one's place in the world takes trial and error, but in the end....
The anwer to the ...above must be worthy enough for you to give up hours of your life to write, worthwhile to the character to go through the struggle of a journey, worthwhile for the reader to give up hours of her time to read your story?
Hmmmmmmmmm
Picture books, because they push away subplots, make the concept of plot is easier to grasp.
Take, for instance, Where the Wild Things Are by Sendax.
What is it? 34 pages? Many of which are drawings. I can't remember and I'm not going to get up and check, but lets say there are 17 pages of written language.
Beginning: 1/4 of entire project introduces characters while showing where and when the story takes place, and demonstrating a major character flawy that will help drive the action of the story (go to:
http://www.blockbusterplots.com/character-development.html for the character Plot profile info.).
In the Beginning of Where the Wild Things Are we meet Max, the cat and the mom. Max shows his wild side and drives everyone crazy.
End of Beginning: a scene signifying no turning back, entering the heart of the journey toward transformation
At the end of the Beginning of Where the Wild Things Are, Max is sent to his room with no dinner and there he watches his room turn into a forest or is it a jungle?
The Middle: 1/2 of the page count showing trials and errors, antagonists. Whateve keeps the conflict, tension, suspense or curiosity of the audience high.
Where the Wild Things Are ~~ journey to Wild Things, conquering wild things
Middle of the Middle: Showing an unsual world
Where the Wild Things Are ~~ shows 4 or more pages of covered with pictures demonstrating wildness
Crisis: Middle builds toward the 3/4 mark and the biggest scene of all
Crisis is a scene forcing the character to a new awareness.
Anything energetically higher than anything that has come before
Where the Wild Things Are ~~Max has everything, but he is lonely for love.
The End: Lots of significance toward the Climax.
Where the Wild Things Are ~~ journey home.
Cimax: The character "showing" the transformation
Where the Wild Things Are ~~ settles down to eat his dinner
One page of Resolution ~ his new life from then on
Where the Wild Things Are ~~ and his dinner is hot.
Of course for a novel, or screenplay, or historical you'd have lots of sub-plots that follow their own template as described above, but at a sub-level ~~ they are sub-plots, afterall.
Start with an unusual setting and some "different" characters.
Set the time.
Figure out your obsession.
Say it's with finding out who you really are, your own unique identity (insert your obsession). Generate scenes with that in mind ~~ the character's interaction with others, trying to figure out her place in the world ~~ that's better ~~ a universal theme for kids and all of us...
As you write, look for clues to finish the theme to make it thematically significant: how DOES one figure out his place in the world? Through trial and error? Okay. And so what, really, does that mean overall? Finding one's place in the world takes trial and error, but in the end....
The anwer to the ...above must be worthy enough for you to give up hours of your life to write, worthwhile to the character to go through the struggle of a journey, worthwhile for the reader to give up hours of her time to read your story?
Hmmmmmmmmm
Picture books, because they push away subplots, make the concept of plot is easier to grasp.
Take, for instance, Where the Wild Things Are by Sendax.
What is it? 34 pages? Many of which are drawings. I can't remember and I'm not going to get up and check, but lets say there are 17 pages of written language.
Beginning: 1/4 of entire project introduces characters while showing where and when the story takes place, and demonstrating a major character flawy that will help drive the action of the story (go to:
http://www.blockbusterplots.com/character-development.html for the character Plot profile info.).
In the Beginning of Where the Wild Things Are we meet Max, the cat and the mom. Max shows his wild side and drives everyone crazy.
End of Beginning: a scene signifying no turning back, entering the heart of the journey toward transformation
At the end of the Beginning of Where the Wild Things Are, Max is sent to his room with no dinner and there he watches his room turn into a forest or is it a jungle?
The Middle: 1/2 of the page count showing trials and errors, antagonists. Whateve keeps the conflict, tension, suspense or curiosity of the audience high.
Where the Wild Things Are ~~ journey to Wild Things, conquering wild things
Middle of the Middle: Showing an unsual world
Where the Wild Things Are ~~ shows 4 or more pages of covered with pictures demonstrating wildness
Crisis: Middle builds toward the 3/4 mark and the biggest scene of all
Crisis is a scene forcing the character to a new awareness.
Anything energetically higher than anything that has come before
Where the Wild Things Are ~~Max has everything, but he is lonely for love.
The End: Lots of significance toward the Climax.
Where the Wild Things Are ~~ journey home.
Cimax: The character "showing" the transformation
Where the Wild Things Are ~~ settles down to eat his dinner
One page of Resolution ~ his new life from then on
Where the Wild Things Are ~~ and his dinner is hot.
Of course for a novel, or screenplay, or historical you'd have lots of sub-plots that follow their own template as described above, but at a sub-level ~~ they are sub-plots, afterall.
05 July 2007
Creating Plot
Plot is as much about timing as it is the dramatic action and the transformation the character undergoes.
To satisfy your readers, placement and timing of each scene becomes critical.
Spend too many words, pages, time in the beginning of the piece increases your chances of losing your reader right off the bat. Readers want to be grounded, understand who is who, and what is what, and then the reader demands something big happen ~~ the End of the Beginnning.
The balance between back story and front story, between internal dialog and overt action, between character development and action is delicate and must always be kept in mind.
Just because the story comes out onto the page in a certain order, does not mean that's where the scene or summary or narration will stay.
How the act of creation happens is mysterious and magical.
Placement and timing is under the author's control and is part of the craft of writing.
To satisfy your readers, placement and timing of each scene becomes critical.
Spend too many words, pages, time in the beginning of the piece increases your chances of losing your reader right off the bat. Readers want to be grounded, understand who is who, and what is what, and then the reader demands something big happen ~~ the End of the Beginnning.
The balance between back story and front story, between internal dialog and overt action, between character development and action is delicate and must always be kept in mind.
Just because the story comes out onto the page in a certain order, does not mean that's where the scene or summary or narration will stay.
How the act of creation happens is mysterious and magical.
Placement and timing is under the author's control and is part of the craft of writing.
17 June 2007
Women's National Book Association San Francisco
At an event hosted by the Women's National Book Association San Francisco yesterday, I had an "aha" moment. At first, I hesitated. The last big "aha" moment was when I realized how many writers struggle with plot. Since I had spent 12 years studying about how the dramatic action works with character development to create a compelling story, I set out to help other writers find their plots and experience the freedom of structure. And, my life was transformed.
"Aha" moment Number Two feels as broad and universal. Honing writing skiils and learning about the craft of writing is only one half of the whole of being a writer. Finding a marketplace and readership is the other half. Yes, even you who are beginning a project. Yes, even you who are almost finished. Yes, even you who have already published.
Yesterday, writers were hungry to know more about this mysterious other half -- the shadow side of creating art, the side that involves money and sales figures and promotion and more. One of my fellow panelist spoke of being blindsided by the marketing aspect of helping the project she had so deligently crafted get a fair shake in a marketplace of shorter and shorter lifespans for books.
I teach one element of the craft of writing. Sure, plot is critical. Without dramatic action, character development, and making sense you have nothing but potential.
With a great book and a good understanding of what the next step involves, you'll find the readership you dream of.
Yes, even you who are still working on plot.
Learn about both sides.
"Aha" moment Number Two feels as broad and universal. Honing writing skiils and learning about the craft of writing is only one half of the whole of being a writer. Finding a marketplace and readership is the other half. Yes, even you who are beginning a project. Yes, even you who are almost finished. Yes, even you who have already published.
Yesterday, writers were hungry to know more about this mysterious other half -- the shadow side of creating art, the side that involves money and sales figures and promotion and more. One of my fellow panelist spoke of being blindsided by the marketing aspect of helping the project she had so deligently crafted get a fair shake in a marketplace of shorter and shorter lifespans for books.
I teach one element of the craft of writing. Sure, plot is critical. Without dramatic action, character development, and making sense you have nothing but potential.
With a great book and a good understanding of what the next step involves, you'll find the readership you dream of.
Yes, even you who are still working on plot.
Learn about both sides.
30 May 2007
Finding the Story
All memoirists incorporate true events in their stories. Often, writers of fiction do the same thing.
Using true events can lead to a richness of authentic details and emotional revelation. However, just because something meaningful and life-changing happened to you does in no way guarantee that the events will be meaningful to your audience. And, of course, the true events must contribute to the overall story plot, or these authentic details will end up weighing down the story.
The events themselves must build in conflict, tension, and suspense and provide some sort of thematic signficance in the end.
A recent plot consultation revealed a tragic story of loss the writer lived through. This is not unusual. Most of us have had one or more traumatic events. Writing about it helps bring meaning and closure. However, the one event is not always enough to wrap an entire novel around.
As we proceeded in the consultation, it became clear that the writer needed more to hang the story on than this one event.
Story is all about the protagonist undergoing a journey and becoming transformed in the process. The journey itself must be built on exciting dramatic action in order to please and entertain your audience.
The aftermat that ensues after a trauma and what is lost and what is gained can provide this excitment. If not, a secondary plot line may be needed to create more page-turnablilty to the project and show the overall character transformation.
Using true events can lead to a richness of authentic details and emotional revelation. However, just because something meaningful and life-changing happened to you does in no way guarantee that the events will be meaningful to your audience. And, of course, the true events must contribute to the overall story plot, or these authentic details will end up weighing down the story.
The events themselves must build in conflict, tension, and suspense and provide some sort of thematic signficance in the end.
A recent plot consultation revealed a tragic story of loss the writer lived through. This is not unusual. Most of us have had one or more traumatic events. Writing about it helps bring meaning and closure. However, the one event is not always enough to wrap an entire novel around.
As we proceeded in the consultation, it became clear that the writer needed more to hang the story on than this one event.
Story is all about the protagonist undergoing a journey and becoming transformed in the process. The journey itself must be built on exciting dramatic action in order to please and entertain your audience.
The aftermat that ensues after a trauma and what is lost and what is gained can provide this excitment. If not, a secondary plot line may be needed to create more page-turnablilty to the project and show the overall character transformation.
16 May 2007
The End
THE END
The final 1/4 of the project.
The protagonist now knows what's not working and goes in pursuit of what does.
She is challenged every step of the way, only now in the End, she attempts to react in a new transformed way.
Each scene shows her finding her power little by little.
The Climax
The Climax comes almost at The End of the story itself.
The Climax is the biggest scene in the entire story.
The Climax is what the story is all about.
Each scene in the entire book has worked its way steadily toward this moment ~~ the Climax.
The Climax embodies the transformation.
The Climax shows the protagonist doing something she is now only able to do because of each of the tests and trials she underwent in the middle.
The Resolution
The Resolution is the final tie-up of everything.
The End builds at a fevered pitch to the Climax.
The energy drops off after that.
The Resolution brings final closure.
The final 1/4 of the project.
The protagonist now knows what's not working and goes in pursuit of what does.
She is challenged every step of the way, only now in the End, she attempts to react in a new transformed way.
Each scene shows her finding her power little by little.
The Climax
The Climax comes almost at The End of the story itself.
The Climax is the biggest scene in the entire story.
The Climax is what the story is all about.
Each scene in the entire book has worked its way steadily toward this moment ~~ the Climax.
The Climax embodies the transformation.
The Climax shows the protagonist doing something she is now only able to do because of each of the tests and trials she underwent in the middle.
The Resolution
The Resolution is the final tie-up of everything.
The End builds at a fevered pitch to the Climax.
The energy drops off after that.
The Resolution brings final closure.
03 May 2007
Getting Closer 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 was filled with dramatic action, which made for an exciting story. I found myself anxious to hear what happened next, and what happened after that. The writer masterfully provided more and more compelling action, and did so seamlessly through consistent cause and effect. The Dramatic Action plot line rose quickly and effectively.
Still, amid all the intrigue and mystery, suspense and fear, the characters became cardboard action figures who allowed the dramatic action to happen. The more exciting the action, the more the characters were ignored and the less I found out about how the characters. especially the protagonist, were being affected by the dramatic action. Without the help of the character to draw me closer, I found myself separating further and further from the story.
At this point in the consultation, I went over the importance of goal setting ~~ both at the scene level and the overall story level. The better a writer is at establishing concrete goals for their characters, the easier it is for them to keep track of the affects on the character as the character succeeds and fails in achieving their 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 didn't know either. A critical door into the character on a deep, personal level was never opened by the author and thus, would have robbed the future readers or movie-goers from the intimate bond of knowing.
The writer used the protagonist to advance the Dramatic Action plot line, but ignored the Character Emotional Development plot line almost completely.
Still, she had done the hard part. The story was written. The dramatic action propelled the story in fast and exciting ways. Once pointed out, the doors are easily opened. By attending to what's 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.
This last writer's story was filled with dramatic action, which made for an exciting story. I found myself anxious to hear what happened next, and what happened after that. The writer masterfully provided more and more compelling action, and did so seamlessly through consistent cause and effect. The Dramatic Action plot line rose quickly and effectively.
Still, amid all the intrigue and mystery, suspense and fear, the characters became cardboard action figures who allowed the dramatic action to happen. The more exciting the action, the more the characters were ignored and the less I found out about how the characters. especially the protagonist, were being affected by the dramatic action. Without the help of the character to draw me closer, I found myself separating further and further from the story.
At this point in the consultation, I went over the importance of goal setting ~~ both at the scene level and the overall story level. The better a writer is at establishing concrete goals for their characters, the easier it is for them to keep track of the affects on the character as the character succeeds and fails in achieving their 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 didn't know either. A critical door into the character on a deep, personal level was never opened by the author and thus, would have robbed the future readers or movie-goers from the intimate bond of knowing.
The writer used the protagonist to advance the Dramatic Action plot line, but ignored the Character Emotional Development plot line almost completely.
Still, she had done the hard part. The story was written. The dramatic action propelled the story in fast and exciting ways. Once pointed out, the doors are easily opened. By attending to what's 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.
26 April 2007
How Personal Themes Affect Your Writing
Mary Cronk Farrell posted a question on the last entry I made:
Thank you for sharing your wisdom on theme and giving a story depth. I have just finished the first draft of my mystery novel and am beginning to revise using your plot planner scene tracker. I have no idea what my theme is. Can you give me some ideas about how to tease it out? The characters are working out some conflicts besides the mystery, so I know there is some kind of theme about relationships. But what?
Thank you!
Mary
www.MaryCronkFarrell.com
Rather than answer her within the comments, I thought I'd cut and paste here what I wrote in the most recent Blockbuster Plots eZine. (If you would like to sign up for the free monthly plot tips eZine, go to: http://www.blockbusterplots.com/contact.html).
I hope the exercise helps, Mary! And thanks for your comments.
On the final class of a recent University of California Santa Cruz extension plot workshop series, I asked writers to complete an exercise meant to reveal themes of their lives. Once again, as in every case, at the end of the exercise, the themes emerging in each of their stories dramatically reflect each writer's personal themes.
Following is the exercise adapted from Philip Gerard's book, Writing a Book That Makes a Difference:
Look into your own personal back story ~~ all of life's experiences and history that has made you who you are today. Which scene has stayed with you in detail and emotion since the moment of the experience? The really big stuff, either traumatic or ecstatic, follows life's paradox: that which is big actually means very little. That which is small can mean everything.
Look for the small cause that created a lasting effect. For example: You wanted something with all of your might and you got it. Or, you wanted something with all of your might and you did not get it. Two similar dreams, two thematically opposite outcomes and lasting effects.
We as writers are conduits of creation. Inspiration flows through us to the page, having been touched by our body of experiences and residue emotional development based on those experiences.
Thank you for sharing your wisdom on theme and giving a story depth. I have just finished the first draft of my mystery novel and am beginning to revise using your plot planner scene tracker. I have no idea what my theme is. Can you give me some ideas about how to tease it out? The characters are working out some conflicts besides the mystery, so I know there is some kind of theme about relationships. But what?
Thank you!
Mary
www.MaryCronkFarrell.com
Rather than answer her within the comments, I thought I'd cut and paste here what I wrote in the most recent Blockbuster Plots eZine. (If you would like to sign up for the free monthly plot tips eZine, go to: http://www.blockbusterplots.com/contact.html).
I hope the exercise helps, Mary! And thanks for your comments.
On the final class of a recent University of California Santa Cruz extension plot workshop series, I asked writers to complete an exercise meant to reveal themes of their lives. Once again, as in every case, at the end of the exercise, the themes emerging in each of their stories dramatically reflect each writer's personal themes.
Following is the exercise adapted from Philip Gerard's book, Writing a Book That Makes a Difference:
Look into your own personal back story ~~ all of life's experiences and history that has made you who you are today. Which scene has stayed with you in detail and emotion since the moment of the experience? The really big stuff, either traumatic or ecstatic, follows life's paradox: that which is big actually means very little. That which is small can mean everything.
Look for the small cause that created a lasting effect. For example: You wanted something with all of your might and you got it. Or, you wanted something with all of your might and you did not get it. Two similar dreams, two thematically opposite outcomes and lasting effects.
We as writers are conduits of creation. Inspiration flows through us to the page, having been touched by our body of experiences and residue emotional development based on those experiences.
18 April 2007
Giving a Story Depth
Most writers have a preference for one plot line over another. Some are Character-driven writers. Others are Action-driven writers. Some have strengths in both. Not many are Thematic-driven.
The deeper meaning of a story comes up out of the story itself over time. Thus, the Thematic Significance plot line is generally saved for the last or is either ignored or overlooked all together.
The more aware a writer is about their own personal themes, the more attuned the writer will be in the search for deeper meaning.
For an exercise to determine your own personal themes, go to:
http://www.blockbusterplots.com/tips.html
Recent testimonial from Florida:
"It is amazing how each session the plot, theme and content gets clearer and clearer as you direct me. The scenes I had the most resistant to reveal the most... I feel myself getting closer to a story line....and it is my story and it is not. because what I lived is not who I am....for the first time I am coming out of the closet..."
The deeper meaning of a story comes up out of the story itself over time. Thus, the Thematic Significance plot line is generally saved for the last or is either ignored or overlooked all together.
The more aware a writer is about their own personal themes, the more attuned the writer will be in the search for deeper meaning.
For an exercise to determine your own personal themes, go to:
http://www.blockbusterplots.com/tips.html
Recent testimonial from Florida:
"It is amazing how each session the plot, theme and content gets clearer and clearer as you direct me. The scenes I had the most resistant to reveal the most... I feel myself getting closer to a story line....and it is my story and it is not. because what I lived is not who I am....for the first time I am coming out of the closet..."
02 April 2007
Yet Another Case of Waxing on For Too Long in the Beginning
The Universal Story Form is made up of three parts: the Beginning, the Middle, the End.
Simple, right? Right.
The Beginning makes up of 1/4 of the entire page, scene, or word count.
The Middle makes up 1/2 of the page count.
The End makes up 1/4 of the page count
Simple, right? Well, it should be, but sometimes it's not, and for a very simple reason.
Often writers go on for too long in the Introductory mode at the Beginning. This is normal. Writers warm up at the Beginning. They get to know their characters. They usually write in summary, giving all sorts of what they believe are important details about the characters and the story up front.
What's wrong with that, you ask? Absolutely nothing, in the first draft, that is. After the first draft, this rambling on and on poses a significant problem.
By going on for too long in the Beginning, the writer alienates the reader or movie-goer. Your audience to become impatient to get to the "good part" -- the Middle. They grow tired of the introductions and want to get to the heart of the story world itself -- the Middle. They want something big to happen, be swept off their feet, so to speak.
*Tip:
Write to the End without going back to the Beginning. Once you have the first, ugly, messy, not worthy, vomit, and all the other ways people describe their first drafts, divide the entire page count by four. If you find the Beginning drifts way beyond the 1/4 mark, consider cutting all the writing you did to get warmed up. Generally this adds up to be the first 50 - 100 pages. Now you see why I want you to write all the way to the end without going back? If you had done what too many writers do and get stuck in the syndrome of hitting the middle of the Middle and then going back to the Beginning, your Beginning will be all polished and nice, and much, much more difficult and painful to cut than if you have only written it once.
(For tips on how to push yourself beyond the middle of the Middle without going back and starting again, please visit the tips page on http://www.blockbusterplots.com)
Simple, right? Right.
The Beginning makes up of 1/4 of the entire page, scene, or word count.
The Middle makes up 1/2 of the page count.
The End makes up 1/4 of the page count
Simple, right? Well, it should be, but sometimes it's not, and for a very simple reason.
Often writers go on for too long in the Introductory mode at the Beginning. This is normal. Writers warm up at the Beginning. They get to know their characters. They usually write in summary, giving all sorts of what they believe are important details about the characters and the story up front.
What's wrong with that, you ask? Absolutely nothing, in the first draft, that is. After the first draft, this rambling on and on poses a significant problem.
By going on for too long in the Beginning, the writer alienates the reader or movie-goer. Your audience to become impatient to get to the "good part" -- the Middle. They grow tired of the introductions and want to get to the heart of the story world itself -- the Middle. They want something big to happen, be swept off their feet, so to speak.
*Tip:
Write to the End without going back to the Beginning. Once you have the first, ugly, messy, not worthy, vomit, and all the other ways people describe their first drafts, divide the entire page count by four. If you find the Beginning drifts way beyond the 1/4 mark, consider cutting all the writing you did to get warmed up. Generally this adds up to be the first 50 - 100 pages. Now you see why I want you to write all the way to the end without going back? If you had done what too many writers do and get stuck in the syndrome of hitting the middle of the Middle and then going back to the Beginning, your Beginning will be all polished and nice, and much, much more difficult and painful to cut than if you have only written it once.
(For tips on how to push yourself beyond the middle of the Middle without going back and starting again, please visit the tips page on http://www.blockbusterplots.com)
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