Searching for Plot Events

I’m evaluating the outline for my WIP novel and realize that I need more events. It takes place at one big event that spans 98 hours. Within that time period, though, I need some exciting things happening. I’ve sorta mapped out the emotional changes (Wow, what a change for me!), but now it’s the events themselves that matter.

In Roz Morris’ Nail Your Novel book, (a great book to use when writing your first draft!) she suggests that you use a box and just throw in ideas. The ideas can come from brainstorming or from research about a topic. Don’t worry about where the bit of action goes in the story, just write it on a card and throw it into the mix.
When the box is full, or when you’ve done enough research, then you can sort through ideas and evaluate if they will fit into your novel. You’ll want to toss some of them as unsuitable for your story. The rest, though, you can start to sort and put into a reasonable order.

Because my novel has a tight time line, I’ve done a modification. As shown in the picture here, I’ve created three envelopes. As I’m doing research and brainstorming, I’m slotting events loosely into Act 1, Act 2 or Act 3 of my novel. So, use one big envelope or box or several envelopes based on whatever division works for your novel. For example, you might want to use one envelope for each subplot, or perhaps for each major setting of your novel.

In any event, I’m still trying out voices and still plotting. What stage is your WIP at?

Goodreads Book Giveaway

Wisdom, the Midway Albatross

by Darcy Pattison

Giveaway ends March 11, 2012.

See the giveaway details at Goodreads.

Enter to win

OK, you’ve narrowed down your story to a plot template and you know what characters, events, settings are implied by the story you are thinking about and the plot template. You know some of the pitfalls of plots. Now what?

It think this is the hardest part of plotting a novel, going from generalities to particulars, actually choosing and writing scenes. But you have to make a start, so let’s get to it.

Working Methods

Plan or write. Plan first or write and see where it goes? Oh, the perennial question! I’ll dodge it, though, by saying you must follow your own bent. Find your own working methods and habits of working that produce pages that lead to a full draft of a novel.

However! IF you usually just start in writing, TRY planning each scene. IF you usually plan each scene, TRY just jumping into the writing. Every once in a while, it’s great to break your pattern of working and see what happens. Shake yourself up! (I suggested this once at a national conference and got several notes later that this was the best advice the writers had ever taken, the resulting novel was the best she had written – so try it!) If the results are disappointing, you can always go back to your original methods of writing your novel.

It just depends. But I just avoided the question again of what to write first, second, third, etc. And here’s where the answers get frustrating: it just depends. Not knowing your genre, audience, voice, characters, setting, plot template – I simply can’t say. But I can give general guidelines.

Try to write in scenes. A scene is a unit of story that is self-contained, in that it has a beginning, middle and end; it has a goal and a resolution (either tragedy or success); it plays a role in the story. Writing in scenes adds tension to a story and keeps the writing focused. (MUST you write in scenes? No. Yes. It depends. If you’ve never done it, try it!) This is easy advice to ignore; I did it for many years and my writing suffered. More on the anatomy of scenes tomorrow.

Working Attitudes

Don’t be boring! Try to build in surprises. Bored readers won’t finish your story.

• Scene cuts. With each new scene or chapter, stop and think about what is expected next. Don’t do it. Instead, jump ahead a bit more than expected.
• Leap-frog story lines. Or leave a character in the middle of a crisis and leap frog to another character where you get us involved emotionally, before leap-frogging back to the first story line.
• Ground your novel in physical, sensory details. In the scene’s opening, set the scene, especially the emotional tone. Do this by careful selection of sensory details and the specific words you use to describe what is happening.
• Focus on emotions. Always remember to make us care about a character before springing danger.

Don’t be cliched! Brainstorm like crazy. Before you start a scene/chapter, list ten possible events and sequence of events. Yes. Ten. Not nine. Not eight. Ten. Force yourself to go beyond the cliche that you thought of first and go on to something different, more striking and more original.

Plot Complications and SubPlots

Depending on what source you consult, you may hear a couple terms used concerning subplots and plot layers, or extra complications for the main character. These work for me.

• Plot layer. A secondary problem given to the same character, usually the main character. For example, if an orphan child wants to find parents and a family, that’s the main problem; however, you could add several plot layers. Perhaps the child has a broken leg and must go through a couple surgeries, learn to walk again, etc. The leg was broken when she fell off a horse, and the foster family who might adopt her raises race horses; now our MC must learn to like horses, or risk being rejected by the family she wants.
• Subplot. This is another through-line of the story which focuses on a different character and is tied to the main plot in some way, usually intersecting at several key points. In our orphan-broken leg-scared of horses story above, we could add a couple subplots. The family wants to adopt our heroine, but they need money to do that and they are hoping their premier race horse wins big races and big purses. Unknown to the trainers, though, a stable boy is riding the horse at night and the horse trusts him more than the jockey; he’s the natural person to ride the horse in the next race, but no one believes him. So, he sets out to prove it and in the process, the horse gets a hairline fracture – has to sit out of racing for six weeks. (Of course, this echoes the girl’s broken leg; will the family sell the horse – he loses his family because of a broken leg – or will the girl and stable boy somehow find their way through all this?)

Do you see how both plot layers and subplots enrich the story? Main characters (and sometimes villains) who only have one layer are in danger of being boring. Subplots need some kind of connection to the main story, either parallel to it or, perhaps showing an attitude turned ninety degrees away.

Weaving Together Plot, Plot Layers and Sub-Plots

In Writing the Breakout Novel Workbook, Donald Maass suggests creating a table to intersect these three plot components. Write one column with names, one with setting and one with events. Draw lines between the plot elements trying to connect them. Alternately, write out each plot, subplot or plot layer each with its own column.

For example, settings might be a barn, a hospital and a racetrack. How can you put events from each major plot line/subplot line in the same setting? Can they happen together? Perhaps, when the horse’s hairline fracture is discovered, it happens in the barn. The Girl is there because she’s trying to get over her fear of horses. The foster parents are there because they are concerned about the horse’s limp. It’s a big scene when the stable boy must admit he’s responsible for the injury; the girl overcomes her fears and pets the horse; however, the foster parents realize their hopes of money are evaporating just as the Girl proves she can live on a horse farm anyway, it’s unlikely they can afford to adopt her.

Use what you have built into the story in multiple ways to connect the plot elements.

You have a road map, a car with someone driving, and a destination in mind. Get that journey under way!

Goodreads Book Giveaway

Wisdom, the Midway Albatross

by Darcy Pattison

Giveaway ends March 11, 2012.

See the giveaway details at Goodreads.

Enter to win

I’m starting a series of posts about plot this week – as requested. Thanks for popping in or sending me emails with your preference!

Plot and Character are Intertwined

Before I start talking about plot, I have to say something about characters, the people who will be DOING and REACTING to the plot. Obviously, they are intertwined. We all know that. Without some external events, there’s just a character spouting off his/her philosophy of life. Without characters, there simply are no events and no story.

I also know that stories begin many places, but that two common places are with a plot idea or character idea. Yet, I’m easily intimidated by the Character Folks, who insist that good stories must, of course, begin with Character.

I understand exactly what you mean; we read because novels are the only art form which allows us inside a person’s head to experience events with them and to understand life from a different point-of-view. And, in fact, character books are more likely to be considered a “literary” work of art than, say for example, a comedy or an action-thriller.

Yet, your Characters are nothing without events that challenge their very core.

Still the Character-First-and-Foremost Folk intimidate me, probably because I have to work harder at characterization because I’m such a private person myself. When a character wants to give the readers a look at his/her emotions, thought processes (the very things that make novels so unique), my response is, “Wait up.” That means you’re exposing yourself, your privacy might be violated, are you sure you want the world to know all that? Or, it’s just none of the reader’s business, and s/he had better butt out of your life. I struggle to commit the character to paper.

So, here I am talking about Plot or the events of a story and I’m okay with that. But without characters, especially the character’s emotional reactions to the events, all the work on plot is wasted. You can artificially separate these story elements, yet this thing we call a novel is so rich precisely because of how these are woven together.

OK, Plot. I’ll begin tomorrow with a discussion of the three levels of plot: outline, scenes, pacing.

Goodreads Book Giveaway

Wisdom, the Midway Albatross

by Darcy Pattison

Giveaway ends March 11, 2012.

See the giveaway details at Goodreads.

Enter to win

In part 1, I covered plot patterns beginning with character or beginning with a pattern such as the Hero’s Journey. This continues the discussion of 9 ways to plot.

5. Combinations of Plot Paradigms

Many descriptions of how to write plot combine a couple of these paradigms:

Overlaid with Three Act Structure.
Syd Field: Snowflake + Important Points Paradigm. Syd Field basically advises a Snowflake approach to writing plot, but overlays a paradigm that points to important events and connections among those events. His plot points aren’t labeled with reference to the hero and his journey, but with reference to the three act structure; often, however they coincide. Field works mostly with screenwriters, so is emphasis on the three act structure comes from that.

Emphasis on Inner Plot. Peter Dunne in Emotional Structure: Creating the Story Beneath the Plot likewise has a chart of events, with a variation of the hero’s journey. Dunne, however, emphasizes the difference in the inner and outer plot, relegating most of the outer story to acts one and three, leaving act two as the character or inner plot. Same story, but with a variation when you want the story to be about two people changing each other. It won’t work, though, when the main antagonist is man v. nature or man v. himself.

To emphasize the importance of both inner and outer plots, Dunne recommends you write plot points on an index card with the outer conflict on one side and the inner conflict on the other.

Major Change at Midpoint. Another idea for patterns is from David Seigel, a screenwriting, who emphasized that at the midpoint of a story, there must be a change in the main character’s goal. It’s the understanding that interesting characters grow and their needs and wants change because of events. His classic example is from The Lion King. In the first half of the story, Simba wants to be happy; in the second half, he wants to be restored to his rightful place as king of the lions. Seigel said that without this major change, stories are ineffective. He basically falls in with the hero’s journey type structure, but puts his emphasis on this major shift of the story. (Seigel had his plot paradigm on line at one time, but it’s no longer available.)

6. Emphasis on Writing in Scenes

One other variation in writing and plotting novels is the emphasis or de-emphasis on writing in scenes. Screenplays and theater plays must be written in scenes, but novels can be fuzzier about this and still succeed. However, I think there’s value in learning to write in scenes, as it keeps a story focused better. Dwight Swain’s classic Techniques of the Selling Writer, is followed by Jack Bickham’s Scene & Structure. One of the most helpful on scene writing is Sandra Scofield’s The Scene Book: A Primer for the Fiction Writer.

When you write in scenes, it’s possible to plan every scene in a novel, as Swain and Bickham recommend. But generally, you need some other paradigm of the overall structure to do a good job of it.

7. MICE quotient

There are other approaches to plot patterns that I find less helpful; nevertheless, knowing them sometimes makes it easier to be bold in doing something different. For example, Orson Scott Card in Character & Viewpoint discusses the MICE quotient: stories are governed either by their milieu (For example, fantasy which invents and explores a new world), an idea (mysteries), a character (romance or character novels) or an event (an imbalance in the world, an injustice that must be put right). The author’s focus on one of these elements determines what actually makes it into the story.

For example, on The Lord of the Rings, it could be classed as an event story, with the Dark Lord disturbing the balance of the world order. Card argues, though, that it is rightly understood as a milieu story. The story begins in the Shire, travels through Middle Earth, and as it is destroyed by the battle, it returns to the Shire; Frodo can’t remain there, though, because he’s been too damaged by his contact with evil, and takes the boat ride with the elves across the Western Sea. If it was just an event story, the story ends with the defeat of the Dark Lord. But as a milieu story, it doesn’t end until we see the end of Middle Earth.

8. Author’s idiosyncratic plot pattern

Hero’s journey overlaid with the process of grief. Pattern can also come in the shape of any process of change or growth that a human might undergo. For example, in my novel, The Wayfinder, I used the process of grief as a structure: loss, denial, acceptance, healing, You can even combine several of these structures: the process of grief overlays the hero’s journey for a more complex structure.

Patterns can come from any other source: you can think of a novel as peeling away layers of an onion; as way-stations on a long journey; as episodes.

What plot patterns work best for you?

Books Mentioned in This Series

• Bickham, Jack. Scene & Structure
• Card, Orson Scott. Character & Viewpoint
• Dunne, Peter Emotional Structure: Creating the Story Beneath the Plot
• Field, Syd.
• Noble, June & William. Steal this Plot.
• Scofield, Sandra. The Scene Book: A Primer for the Fiction Writer.
• Swain, Dwight.Techniques of the Selling Writer
• Tobias, Ronald. 20 Master Plots
• Vogler, Christopher. The Writer’s Journey.
• Vorhaus, John. The Comic Toolbox.

Websites Mentioned in This Series

• Free Write to Let Characters Reveal Themselves
• Idea, Idea, Character, Character, Character, Setting
• Plot Starts with Character
• Randy Ingermanson’s Snowflake Method

Next: Enhancing the Basic Plot

Goodreads Book Giveaway

Wisdom, the Midway Albatross

by Darcy Pattison

Giveaway ends March 11, 2012.

See the giveaway details at Goodreads.

Enter to win