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Photo credit: Painting by Alice Fisher, a SOHP narrator.
By Caitlin Tyler-Richards
It’s been awhile, but the Oral History Review on OUPblog podcast is back! Today’s episode features OHR contributors Drs. Linda Crane and Tracy McDonough answering OHR Managing Editor Troy Reeves’s questions about the Schizophrenia Oral History Project and their article, “Living with Schizophrenia: Coping, Resilience, and Purpose,” which appears in the most recent Oral History Review. This interview sets the record for our shortest podcast, clocking in at 9 minutes, 30 seconds. But what it lack in quantity it makes up for in quality!
Professor Emeritus Lynda L. Crane, PhD, and Associate Professor Tracy A. McDonough, PhD, are in the Department of Psychology at the Mount St. Joseph University in Cincinnati, Ohio. Over the last several years, they have created an oral history project of life stories of persons with schizophrenia. Their website, Facebook page, and Twitter feed are all ways to learn more about and connect to their work.
The Oral History Review, published by the Oral History Association, is the U.S. journal of record for the theory and practice of oral history. Its primary mission is to explore the nature and significance of oral history and advance understanding of the field among scholars, educators, practitioners, and the general public. Follow them on Twitter at @oralhistreview, like them on Facebook, add them to your circles on Google Plus, follow them on Tumblr, listen to them on Soundcloud, or follow their latest OUPblog posts via email or RSS to preview, learn, connect, discover, and study oral history.
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When writers get stuck, it is usually because one or more of the three plot elements has been ignored by: • Concentrating on action only, forgetting that character provides interest and is the primary reason that people go to the movies and read books. • Organizing solely around the character and overlooking the fact that dramatic action provides the excitement every story needs. • Forgetting to develop the overall meaning or the thematic significance of their stories. When the dramatic action changes the character at depth over time, the story becomes thematically significance.
It's tough to juggle all of these elements at once. We end up trying too hard. Our writing suffers. We become stiff and self-conscious. The joy of writing diminishes.
This isn't such a bad thing, if you're committed to being a writer. Learning the craft of writing is constant. The more you know, the more you appreciate how much you don't know.
In a plot consultation, the omissions slowly become clear to the writer. The more she understands both her strengths and her weaknesses, the faster she is able to identify what isn't working, why, and how to proceed.
The only way to know our strengths and weaknesses is to get feedback -- from a critique group, an editor, a plot consultant, or by individual plot analyzation.
Plot is made up of three intertwining threads: • Character emotional development • Dramatic action • Thematic significance In other words, the protagonist acts or reacts. In so doing, he or she is changed and something significant is learned.
When you write, do you juggle all three plot lines at once? Or, do you write one plot line a draft? Always curious about other writers' process......
Read the rest of this post
23 Comments on JUGGLING PLOT LINES, last added: 3/12/2008
Nope, I write the entire story in dialog first. Then I go back and add action. Then I add details. if not for my critique group, I'd never add character. I need other writers to help me see my blind spots -- character.
shortfilmtexas said, on 3/5/2008 8:02:00 AM
I wish I had the creative energy left at the end of the day to write like I did 3 years ago. Maybe your blog will help me get back into a groove.
first timer said, on 3/5/2008 8:27:00 AM
one per draft for me, an erotic, romance, suspense thriller writer. You can see why it takes me so many drafts. thanks for the invite. i think i can do this.
Nature Nut /JJ Loch said, on 3/5/2008 9:33:00 AM
Great post, Martha!
I juggle instinctively now but still have more to learn. That's why the editing process is so crucial. In my earlier writing I was hell bent on finishing the ms and sending a submission off so I could pace the floor waiting for a reply.
Now I've learned to take my time and make sure the story works before sending it out. LOL And I start another project and don't waste time worrying over the submission.
Hugs, JJ
Chris Weidner said, on 3/5/2008 9:58:00 AM
I wish I had the creative energy left at the end of the day to write like I did 3 years ago. Maybe your blog will help me get back into a groove.
livvy said, on 3/5/2008 12:17:00 PM
Anonymous,
What a great idea. I'll have to try your method to see how it works out for me.
Anonymous said, on 3/5/2008 3:10:00 PM
Let's see. My process. I'd have to say it comes at once. I map out all the different parts the best I can at first. Then I write what I mapped. That works just fine for me until my character gets a different idea. Likelightening
wordtryst said, on 3/5/2008 8:31:00 PM
Hi Martha! Thanks for dropping by my blog. You're always welcome!
My process differs with different projects. I developed the first two books (a romance and romantic suspense) from outlines. For the memoir I made a list of themes and wrote on each one, and for the mainstream novel which is only about 15% written, I've been jumping around in time with only a vague idea of how all the frames are going to be put together.
I suppose the best way to describe my process is intuitive.
Becky Levine said, on 3/6/2008 3:27:00 PM
Martha,
This whole juggling act has just gotten harder for me, as I start a YA historical novel. Now I've got the history thread to keep in the air, too!
I tend to plot the action things in the outline, with notes about how the actions connect up with the characters. But when I'm writing, and I get stuck and try to step back, what helps me with the pacing and balance is to remember/focus in on where the hero needs to be on his/her journey. For some reason, I can see those "sags" in the story line better than I can see the action "sags." Once I realize where my hero needs to be, I start hunting around for an action to get them there.
Theme, theme, theme...still working on keeping that egg in there without making an omelet!
dancing hawk said, on 3/6/2008 4:49:00 PM
I have no idea what I do. It just comes gushing out of me. And there it is.
Martha Alderson said, on 3/6/2008 7:09:00 PM
Hi JJ,
Shortfilmtexas, I bet you're using up more creative energy than ever, just in a different way. Keep checking back. You just never know.......
First timer, I advise a plot planner line for each plot thread -- a colored map showing the way. I chuckled when I read your admission of being "hell bent on finishing..." Been there. Felt that.
Livvy, nice to see your name again. I have seen some of your very kind comments on Amazon. Thank you so much. Truly. Your generosity humbles me. I now have a blog on the book page. Check it out.....
Becky, I see you keeping all those threads neat and tidy. Of course, omelets are my favorite.....
Being part of the community of writers is like no other.....
Martha Alderson said, on 3/6/2008 7:11:00 PM
Hi JJ,
Shortfilmtexas, I bet you're using up more creative energy than ever, just in a different way. Keep checking back. You never know.......
First timer, I advise a plot planner line for each plot thread -- a colored map showing the way.
JJ, I chuckled when I read your admission of being "hell bent on finishing..." Been there. Felt that.
Livvy, nice to see your name again. I have seen your kind comments on Amazon. Thank you so much. Truly. Your generosity humbles me. I now have a blog on the book page. Check it out.....
Becky, I see you keeping all those threads neat and tidy. Of course, omelets are my favorite.....
Being part of the community of writers is like no other.....
Martha Alderson said, on 3/6/2008 7:12:00 PM
Shortfilmtexas, I bet you're using up more creative energy than ever, just in a different way. Keep checking back. You never know.......
First timer, I advise a plot planner line for each plot thread -- a colored map showing the way.
JJ, I chuckled when I read your admission of being "hell bent on finishing..." Been there. Felt that.
Livvy, nice to see your name again. I have seen your kind comments on Amazon. Thank you so much. Truly. Your generosity humbles me. I now have a blog on the book page. Check it out.....
Becky, I see you keeping all those threads neat and tidy. Of course, omelets are my favorite.....
Being part of the community of writers is like no other.....
The Trendsetter said, on 3/6/2008 10:04:00 PM
Hi Martha,
What an amazing blog! Plot indeed is one of the crucial elements in writing fiction.
For me, plotting is about characters having conflicts and how they go about solving them.
Well, I usually write my fiction based on these two components of plot - scenes and sequels. I alternate them. In the scenes, the dialogues between characters must be significant and such helps to move the story forward. While in the sequels it helps the readers to understand what’s going on after the scene is completed – or vise versa.
In both scenes and sequels, the characters can reveal their thoughts about his or her interactions with the other characters. I weave all three plot lines in the scene and sequel – bit by bit. I scatter them along these two components.
It’s not an easy task for me – when I plot my fiction I have to bring all the elements on the table – the characters, theme, dialogue, setting,… everything. I don’t isolate plot from these elements.
And don’t even mention the style!
For me, it all counts towards making the plot vivid and bursting with energy from scene to scene and sequel to sequel.
Regards,
Julia
Venessa G. said, on 3/8/2008 10:03:00 PM
I'm definitely a seat of the pants type of writer. My strengths are dialog & characters, my weakness is description. I do well with action scenes but I can't spot a theme unless someone knocks me in the head with it. My rough drafts are very, very polished and I detest doing revisions.
I think I'd make a better editor ;)
VG
livvy said, on 3/10/2008 10:03:00 AM
Hi Martha!
Thanks for the 411 on your blog on the book page on Amazon. I have started a few postings there with some questions that I had.
I kindly await for your responses there when you get a chance.
Thanks.
Martha Alderson said, on 3/10/2008 2:08:00 PM
Hi Livvy,
Where are your questions???? I can't find them on the book page blog of mine. Please advise.
Sincerely, martha
livvy said, on 3/10/2008 3:06:00 PM
Hi Martha,
I'm referring to the Posting area on the Amazon page for your book. When I go on the site, the questions are there. Anyhow, I will post each question here under separate postings. Thanks.
Liz
livvy said, on 3/10/2008 3:10:00 PM
GOALS VERSUS DREAMS
While rereading your book for inspiration, I came across a few points that I would like some clarification on.
On page 146-147 of your book, you state:
"Sometimes, the long-term, overall story goal is something the protagonist dreams of having. Dreams are things we wish for..., but not necessarily things we can attain. Goals come from dreams. Goals are under our control; they are quantifiable and measurable. Dreams involve a bit of magic...The protagonist's long-term story goal may, in fact, be more a dream than a goal."
Then on page 187 which is Appendix Four, which you show an example of a Character Emotional / Psychological Plot Information Worksheet, you have listed for the particular story in example:
The Overall Story Goal; The Protagonist's Personal Goal; and the Protagonist's Dream.
So what is the difference between a Protagonist's personal goal and Dream?
The grand question is if a Dream is not attainable and goals are, then how can the long-term story goal be more of a dream than a goal? Don't we want to have a story goal that is eventually attainable at the end of the story resulting from the character's internal & physical journey?
If we utilize a "Dream" as "THE STORY GOAL" and the only way to attain it is with a little magic, wouldn't that be more like "deus ex machina"? A writing device that cheats a reader out of a more realistic and natural occurance of events?
Would it make more sense to refer a protagonist's dream as his/her desire instead?? which can be separate from the story goal and not always attainable. So when this desire/dream is attainable, it gets attained or resolved at the resolution, since the climax is reserved for resolving the Major Story Goal.
I look foreward to hearing back from you soon and anyone else who would like to contribute to this posting, to clear this up for me.
Thanks in advance!
livvy said, on 3/10/2008 3:13:00 PM
SUMMARIES
Martha,
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? I'm confused. Your clarification would help.
Also,
On CIRCUMSTANTIAL and SEQUENTIAL SUMMARIES:
In your book, you highlight these 2 types of summaries: Circumstantial and Sequential summaries.
I was wondering why you singled them out. Was there a particular reason or purpose or were you just illustrating some examples of summaries?
Is there a better time to use one over the other?
Are there other types of summary conventions in addition to those two?
Thanks!
livvy said, on 3/10/2008 3:16:00 PM
POINT OF NO RETURN
Martha,
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".
However, 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?
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.
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.
Your logic on this would be very appreciated.
Thanks.
livvy said, on 3/10/2008 3:19:00 PM
NEW BOOKS FROM MARTHA???
Martha,
I like your Blockbuster Plots Book and find it essential and beneficial in the writing process. And this Blog is great. You have been extremely generous with your knowledge and inspiration.
I wanted to know if you have any plans to produce either an updated / expanded version of this book or perhaps a new book that might focus on another aspect of writing???
I would definately love to see you write a book on Character Development or REVISION! Or perhaps a book on various other Plot structures that either align with the 3 act structure or deviate from it!
Was also wondering if you could include the names or link of the historical fiction (novels or short stories??) that you mentioned in your bio that you have published. I would love to read and learn from some of your writing as well!!
Thanks!!!
veryheaven ouverture said, on 3/11/2008 9:24:00 PM
dear martha, thank you so much for asking me to comment on your post.
as former editor at the german news mag and consulting editor for established publishing houses it´s hard to forget about "the censor and the profi" in my own writings. my strenght definetly lays in emotional writing. i cannot make up plots. the scenes must "feel" good and somehow possible, true to me and the "storytellers" personal structure. making a bestseller asks for "adoption" and to meet with general acceptance. in his book "How to write a bestseller" Robert McCrum gives four golden rules - that´s fine for the success-seeker. for the "original" spirit i only recommend: if it "feels" okay for you, let the reader follow, discover and respect you and your "plot" :-) sincerely yours, veryheaven
My dear friend Tracy is now taking part in a weekly round table radio discussion, with several women called Women of Grace and Freedom. It's located here on Blog Talk Radio.
0 Comments on My Friend on Blog Talk Radio as of 1/1/1900
One of the most fascinating aspects of being a plot coach for writers is learning about other writers' writing process.
Usually, I find that writers have a preference for communicating their projects through one plotline initially over the other three plotlines --- character emotional development, dramatic action, and thematic significance.
Most writers divide into one of two groups -- developing characters versus developing action. However, every so often I find a writer who approaches a story through the thematic significance or deeper meaning of the piece. Recently, I worked with a writer who not only excelled in thematic significance, she was drowning in it.
Sara, I'll call her, is a memoirist. Throughout the plot phone consultation, Sara’s fears of not being able to do what she had set out to do constantly interrupted the flow. Her self-doubts about her abilities and worthiness were doing to her what they do to all of us -- stall, cripple, and damage the writing process more than any lack in actual writing abilities.
To protect herself from her fears, Sara stayed in her head. She seemed incapable of bringing the story down into her body. As difficult as it was to get her to consider the dramatic action needed in her story, she was oblivious to developing the characters. Sara had spent years intellectualizing her memoir. She had never written a word.
Sara had strong beliefs she was determined to bring forward, points to prove, judgments to render. When given the chance to stay in the intellectual, Sara's voice grew strident. I sensed she had to force herself to bite back true anger. Yet, her bitterness was the very emotion preventing her from actually ever writing her story. To get around her anger about the unfairness of the establishment, I kept asking her to consider the protagonist's (her) transformation and what actions got her there.
We finished the consultation after more than three hours with a good plot planner in place. However, I worry about whether or not she’ll ever get beyond her self-doubts and anger to actually get out of her head and write the story. I hope so. The story has merit. We’ll see….
*FYI: For a technique to determine what parts of your life to include and which to cut in your memoir, go to http://www.blockbusterplots.com and click on Memoir Writers.)
**FYI: Sure, lots of natural-born storytellers excel at all three approaches to writing at once. But, for the rest of us, a firm understanding of our strengths and weaknesses can help us achieve balance in creating our stories.
I have a test for writers to determine whether they are a character-driven writer versus a dramatic action-driven writer on http://www.blockbusterplots.com/test.html
OR
Ask yourself if you prefer to develop the character and break down at coming up with conflict, tension, and suspenseful dramatic action? Or, are you great at creating breakneck excitement on the page, but come up short when it comes to character?
OR
Do you live through your mind and like to intellectualize about life? You could be best at developing thematic significance. Are you active and live through movement and your body? You could be best at developing dramatic action. Are you spiritually driven -- this does not mean religious, but spiritual? You could be best at character emotional development.
0 Comments on Drowning in Meaning as of 1/1/1900
sra224 said, on 1/15/2008 7:42:00 AM
Maybe talking about her story is enough for her. I know lots of people who talk a good story. Few who are still and quiet enough to actually call themselves writers. Writers write. Right? Everyone else talks about writing.
livetowrite said, on 1/15/2008 7:51:00 AM
This post of yours gave me just what a needed: a kick in the pants to get back to my writing. Thanks.
beckylevine said, on 1/15/2008 8:56:00 AM
Hey, can you give us a better pointer to that test you have on your website--I want to see if YOU can answer the question of what I plot first.
I usually start seeing fun scenes--in my WIP, two kids will be acting in a performance of Hamlet, so I'm going to have a LOT of fun with the sword fight. And, natch, there has to be SOMETHING with the skull. And I have a scene where I know the other hero (sidekick) gets to tell off a truly obnoxious character. Then, as I start thinking more about character and theme, I sort of start attaching those to the scenes I've visualized and adding more--like I now know that telling-off scene is going to resonate with the whole theme of the book.
It's kind of a mish-mash. Which is why I want to take your test!
It's so hard to separate yourself from the book--I feel for "Sara." I think writing for kids has helped me step a bit further away from my own "crud." Or I'm only dealing with my past crud, and that's long enough ago that I get to put some power behind my characters, so they don't have to put up with the things I did. Maybe. :)
ne·o·phyte said, on 1/15/2008 9:33:00 AM
I, too, get stuck in my fear of what I write not measuring up, that no one will care to read it, that it will have no merit.
I have purchased and read your book "Blockbuster plots pure and simple" and I still don't understand. I'm starting with a basic logline for a plot and don't know how you come up with scenes if you don't even know what the story is about. It would seem to me that in order to create scenes or follow the plot planner portion of the book you need to know more about how the story is going to unfold than you know when you just get the idea. It feels like there is a step missing between the initial idea and being able to come up with scenes.
What am I missing?? Please help! Thanks, Muriel
Dear Muriel, Often, with a firm understanding of the Universal Story form and the natural trajectory of a story, writers can better come up with scenes needed to create a story.
If character most intriques you, start with the character emotional development profile (info can be found in BBP, on the website, and in entries below).
If dramatic action ideas bubble forth, start with the action.
Study the three biggest scenes in a story: The End of the Beginning, The Crisis, and the Climax (in the second half of BBP -- Plot Planner portion of the book -- also, the blog has info on these three critical scenes below).
See if you can visualize any of those scenes in your story.
How do you get your character from the beginning to the End of the Beginning? What events are you interested in exploring, writing? Do you plan to use any true historical events? How can those events work into creating one of the three major plot lines (examples are in the book and below)
or....
Start with whatever you've got. Write that in scene. Then ask yourself: because that happens, what happens next.... Write that scene. Then ask yourself again -- if that happens, what happens next?
Hope this helps.
I'll put the word out for other writers to give their ideas as well.
Great good luck.
Sincerely, Martha
0 Comments on Subject: Help!! as of 1/1/1900
Writer in Training said, on 1/7/2008 6:54:00 PM
Gotta just start. Somewhere. Anywhere. Look at the scene tracker headers for inspiration.
beckylevine said, on 1/7/2008 7:54:00 PM
The middle is the hardest. Always. Try and think about where your hero has to end up--not necessarily in the actual story, but where HE think he has to go. And then think about goals and obstacles. If he sets a goal for a scene, and he fails (which he has to for most of them), what is he going to try next. What is the new goal/plan.
For example, say your detective is trying to solve a crime. His first plan is to interview a witness. When he gets to the witness' house, he finds her dead--no interview. What might he do next? He might search her house, see if there is a clue about why she was killed. He might go back outside and talk to the neighbors and see if they saw anyone going into her house. Or he might hide in the closet and eavesdrop when the police show up.
Again, what is your hero's plan in any given scene. When that plan is finished, whether successfully or not, what's his new plan?
Try going from there! And good luck!
Kendra said, on 1/8/2008 5:40:00 AM
Every comment I've read here is correct because there just isn't any one way to get from point A to point B. This is all more art than science. Tools can help you focus but they can't take remove the step of getting into your story and your characters. Let your creativity and imagination flow.
Personally, I jump ahead to a point/place I know I want to reach. I call it a goal point. Then I get my character into my head (or get into my character's head) and figure out what must happen to reach my goal point. Sometimes I even work backward from my goal point.
Sra224 said, on 1/8/2008 6:54:00 AM
Isn't what Muriel asked what writing is all about? Wedding imagination to plot and structure understanding? Kendra says it's more art than science. Yet, knowing the science of writing (plot and structure) frees up the imagination. At least it does for me.
Anonymous said, on 1/8/2008 10:33:00 AM
Helpful post and comments.
Martha Engber said, on 1/8/2008 11:11:00 AM
Hey Muriel.
Plot, in my mind, comes down to one thing: what does your protagonist fear most?
You, as the author, have to drive her toward that fear. What actions she takes to escape is what we call plot.
If she fears abandonment most, abandon her. How does she respond? Abandon her again, though in a harsher way. What does she do? Abandon her again and again until she has no more evasive moves and has to face that fear. There's your climax.
Once you know your character's greatest fear, I have no doubt you'll be able to move through Martha A's plot process successfully.
Good luck!
Luisa said, on 1/8/2008 7:17:00 PM
Congratualations Muriel! You are right where you need to be, at the beginning. You have a story to tell, a seed kernel of an idea, a trip to take, and, well, how to get started and where to head is a natural starting place! What is that story about? Just settle in and do a little fleshing out to get a sense of what is calling to you in the first place. Martha has wonderful questions about what the hero or heroine wants, why, and what stands in the way. Good place to dig, and find out whatstory you want to tell, why, and what stands in the way. We are never far from our characters' dillemas! Have some fun with this, and you'll be on roll with the book's guidance once the jouney is underway. WW
beckylevine said, on 1/9/2008 8:47:00 AM
Martha (Engbar!),
I really like that. I usually look at it as what does she NEED most, but that's all pretty much based in fear. I have a tendency when I'm writing to shy away from the complications, the "bad stuff," and I have to push myself to keep throwing it at my hero. It's the only way they'll be able to change, grow, etc!
Becky
Nature Nut /JJ Loch said, on 1/14/2008 6:48:00 AM
OOh, glad I found this blog. :D
I let my characters tell me the story line by what they whisper in my ear. I know the story premise and the ending and let the characters fill the rest in.
The following are questions that came up after the last post. Thought the questions and answers might help other writers so I include them below. Happy plotting...
Q: So basically it’s the scene(s) in the climax section that we have to watch out for in terms of the final CED, to see if the character has evolved from the initial fatal flaw in the beginning of the story?
A: Yes, the scene in the Climax is what each and every scene has been driving towards throughout the entire story, which is why it's a good practice NOT to go back and start over again until you have written all the way to the Climax and are pretty sure what that scene is. If you find yourself in that cycle of constantly going back and beginning again, you'll perfect those early scenes that may end up being cut when you finally understand the Climax. Once you know the Climax, you have a much better idea of how best to begin the project.
Q: And what you are saying is that it is suffice by just marking it in a different color to denote the arc or character journey in emotional development? Subplots, therefore don’t need to be marked separately in Plot Planner because it is intertwined within the Dramatic Action?
A: Some subplots deserve their own Plot Planner. In that case I recommend that one line is above the other so you can see how the subplot works with the major Dramatic Action and Character Emotional Development plot.
Q: On the last question, so summaries don’t show thematic details?
A: On a subtle level, thematic significance shows up everywhere ~~ in scene and summary ~~ though word choice, mood, etc. However, you only plot out scenes on the Plot Planner and on the Scene Tracker.
Q: (Anyways, how would we know to mark the summaries for Theme in plot planner if we don’t even track that info in scene tracker). Is my understanding then to just mark those scenes (not summaries) whether above or below the line, that have thematic details, correct?
A: This is true only in later drafts. The Thematic Signficance does not always emerge until after the story becomes more stable ~~ beyond the first couple of drafts. In the early drafts, don't worry about the Thematic Significance. You'll have enough to work with just honing down the Dramatic Action plot and the Character Development plot.
I apologize if I seem to be reiterating my questions, I just want to make sure I am interpreting your response correctly. I know you are extremely busy and I really do appreciate all of your help.
ps. You're right, PP and ST is addicting. And I have resumed back to my writing with more confidence! By the way, I ordered your DVD with the focus on CHildren Writers and eagerly await to be enlightened by your method again. Perhaps by watching you explain your method, I'll get a greater sense on everything you have written in your book.
A: Yes, I believe you will get a greater sense of how the Plot Planner works and how the Character Development profile helps to build the Character Development plot line. Let me know what you think.
Q: Was also wondering, are all of your DVD workshops pretty similiar and touch on everything that is on the book or do you delve into any advance topics on plotting for example with the DVD you have that uses Memoir of a Geisha?
A: The DVDs are different in that they are live workshops that were taped (some better in quality than others).
Thanks in advance Martha for everything and for your continued support!!!
A: Thank you, and great good luck with your project!
0 Comments on Elements of Plot as of 1/1/1900
livvy said, on 10/30/2007 7:36:00 PM
Thanks Martha for your continued commitment in providing such a great and useful tool. Your tools are so simple to use, they're almost brilliant. Your DVD was also very helpful! A great supplement to the book and highly recommend. Everytime I reread your book, I continue to find additional nuggets of worthwhile information. Thank you again for honoring your book's techniques the way you do on your site!
Martha Alderson said, on 10/30/2007 10:25:00 PM
Hi Livvy,
You are so kind. Thank you for your comments.
Distilling the abstract concept of plot to a simple, concrete level is not as easy as it sounds.
However, I didn't want learning to use the tools to take time away from writing, but rather I wanted to make the tools simple in order to enhance and inspire and stimulate the muse.
My goal when I wrote the book was and continues to be to support writers in the actual act of writing.
Many comments I receive from writers indicate that when they hit a rough spot or lose energy for their stories, by merely switching from writing to filling in the templates, their creative juices begin to flow again and, before they know it, they are back to the actual writing.
The plot tools I offer are not the end, but merely the means to the end. In other words, I offer up the tools to help you not only write, but to finish your project in a way that pleases you, and ultimately your readers and audience, too.
Thanks again, and please feel free to post any other questions that may crop up. I may not always answer very quickly, but I am always here and willing to help.
Good luck!
livvy said, on 11/6/2007 11:20:00 PM
I would love to see you come out with another book Martha! Do you have anything in the works any time soon?
Since watching your DVD, I am now reading AL Capone Does My SHirts. Great book!
I will definately keep in touch and let you know how things are progressing. If anything else comes up, I will definately blog you a question. For now, I have tailored your tools for preplotting / plotting and am more focused in my writing. At least now, I have a clearer sense of direction in knowing that many if not most of the key elements of a scene/story are not being forgotten. This is definately a great tool to have during revision.
I look forward to reading more of your monthly tips as time goes by! Thanks again.
The following are questions Livvy had after my responses in the 10/11 post below.
Q: I did have a question on your Folly example (note: Folly is a mystery by Laurie R. King). You said to use one color to write “arrival” to note Dramatic Action above the line? Then you said to use another color to write “fragile” to note the Character Emotional Development below the line? So am I supposed to plot two points for the same scene? I thought it was either or. Or are you saying for the initial CED, to just note it underneath “arrival” above the line in a separate color just to distinguish it from each other as the beginning emotion? So then for future CED tracking, do I keep it below the line?
A: Yes, to your first question. Both the Dramatic Action (DA) notation and the Character Emotional Development (CED) notations go above the line with different colors to distinquish from each other. Why above the line? Because in the arrival scene we know that the Character is not in control due to her emotional state and the reality of what she has undertaken. Therefore, there is conflict, tension and suspense in the scene and so, belongs above the line.
No is my answer for your second question. The only CED notations that go below the line are the ones where the protagonist is in control. For instance, when she throw away all her medication, we know that in that moment she is in control. This dramatic action is a major symbol of how she is trying to become even more in control of her life.
Q: Are the CEDs that are plotted below the line supposed to show just the progression of the protagonist’s internal flaw or is there a way to show a relationship subplot as well?
The way I look at it, I view the Dramatic Action as the “A” story (or Plot) which is the problem in the outer world that needs to be solved. I am thinking that CED would be the “B” story (or subplot) which is the internal conflict or fatal flaw, which reveals what the protagonist needs to achieve internally in order to help resolve the external goal of the plot. So basically, Plot is dependent upon the Fatal Flaw or “B” story for resolution. But then you need a “relationship” subplot or “C” story to validate whether or not that internal change has occurred in relation to something in the outer world.
A: If how you "look at it" best serves your writing, I recommend that you proceed that way. Personally, I find that the different plot threads can't always be separated in this way, in that they are too interdependent on each other. For example: sometime after she has thrown her pills into the water, she becomes paranoid of sounds she hears. Feeling compeltley empty, she wades into the water. We, the reader, find this alarming attempt at squelching her paranoia, putting an end to her suffering, an act of trying to commit suicide. Yes, what triggered the paranoia is external, but also internal, too.
Folly is definitely Character-driven, but is also a mystery ~~ who attacked her at home and is out to get her? A subplot also turns the story into a murder mystery when she attempts to find out who murdered her great uncle.
In the end, when she shows in the Climax behavior that she could never have demostrated at the beginning or even middle of the story due to all that came before, we know that she has been tranformed at depth by the dramatic action throughout the story.
Q: Can some of the scenes / summaries that are plotted Below the line in the plot planner show Thematic significance? Or does Theme details only correlate with scenes above the line?
A: Thematic details, if you're deliberate about including them, happen in scenes both above and below the line. They are not dependent on tension, conflict and suspense.
0 Comments on Plot and Subplots as of 1/1/1900
Martha Alderson said, on 10/18/2007 11:36:00 AM
I wanted to give a word of caution for writers reading the past couple of posts:
PP and ST can be addicting. Don't get so carried away with plotting that you find yourself organizing instead of writing...
Great good luck with your writing...
Livvy said, on 10/19/2007 1:43:00 AM
So basically it’s the scene(s) in the climax section that we have to watch out for in terms of the final CED, to see if the character has evolved from the initial fatal flaw in the beginning of the story? And what you are saying is that it is suffice by just marking it in a different color to denote the arc or character journey in emotional development? Subplots, therefore don’t need to be marked separately in Plot Planner because it is intertwined within the Dramatic Action?
On the last question, so summaries don’t show thematic details? (Anyways, how would we know to mark the summaries for Theme in plot planner if we don’t even track that info in scene tracker). Is my understanding then to just mark those scenes (not summaries) whether above or below the line, that have thematic details, correct?
I apologize if I seem to be reiterating my questions, I just want to make sure I am interpreting your response correctly. I know you are extremely busy and I really do appreciate all of your help.
ps. You're right, PP and ST is addicting. And I have resumed back to my writing with more confidence! By the way, I ordered your DVD with the focus on CHildren Writers and eagerly await to be enlightened by your method again. Perhaps by watching you explain your method, I'll get a greater sense on everything you have written in your book.
Was also wondering, are all of your DVD workshops pretty similiar and touch on everything that is on the book or do you delve into any advance topics on plotting for example with the DVD you have that uses Memoir of a Geisha?
Thanks in advance Martha for everything and for your continued support!!!
Martha Alderson said, on 10/29/2007 6:39:00 PM
Please see the 10-29 post for the answers to the above questions.
Q: How do you specifically track emotional development within the plot planner?
A: Using the Plot Planner template, plot the scenes in the Beginning ¼ of your project either above or below the line, depending on if the character is in control (above the line) or an antagonist of some sort holds the power (below the line). Note the aspects of the Character Emotional Development (CED) introduced as is now ~~ flaws, fears, secrets and all. Use a different color from the notes you write for the Dramatic Action (DA) plot line.
For example, in Folly by Laurie R. King, the protagonist is introduced as fragile, doubtful, exhausted, and fearful upon her arrival at the island. In one color, write “arrival” to note DA. In another color, write “fragile and fearful” to indicate the CED at this point.
Feeling fragile and fearful and on the edge is not a temporary emotional state (the temporary emotions belong under the “Change” column of the Scene Tracker). Feeling fragile and fearful and on the edge is where she is in her overall lifetime emotional development due to what has come before (the backstory).
The Middle section shows scenes above or below the Plot Planner line that show how the character's current emotional development affects her life on a deeper level. In the Middle, the shorthand for her emotional development usually shows how her internal antagonists ~~ her fears, flaws and secrets ~~ sabotage her from reaching her goals.
In Folly, the Crisis ~~ the scene of most intensity in the story so far ~~ the protagonist is on the brink of a full-blown breakdown. This serves as a wake-up call, a moment of no return. She now understands the extent of her fragility, but she is also given a glimpse into who she could be with focused and conscious effort.
The End shows her CED in terms of the degree to which she keeps control as she works her way to mastery. The moment of true mastery is shown in the Climax.
In essence, each set of notes in the color for CED should show a visual pattern of the CED arc.
Q: On page 156 under the PLOT PLANNER section, you mention on finding a scene where the character emotional development is at its peak. Using your scene tracker tool, how would I go about finding one?
A: Divide all the scenes on your Scene Tracker and divide by ¾. Around that mark, look for the scene where the emotional stakes are at their highest.
Q: Within the PLOT PLANNER section of your book, you have a chapter on plotting the Thematic significance. I see how it is being done through scene tracker, but how is it being plotted on the plot line so that a visual representation of the theme is seen on the plot line? I take it that was your purpose for this section and not to revert back to scene tracker? I’m a little confused as I am taking it for granted that Plot Planner and Scene Tracker should be two separate tools.
A: Yes, the Plot Planner allows you to see the different plot threads as they interplay together throughout the project. By plotting the scenes above or below the line and indicating the three plot line elements, each in a different color, a writer is able to see the ebb and flow of their scenes at the overall story level.
The Scene Tracker is meant as a way to see how the different plot threads work together within each scene.
Q:I'm confused about the definition of "scene" in the first and second halves of the book. In the first half, I was instructed not to include summaries as scenes, but in the second half (the plot planner), it says that scenes that go "below the line" include summaries. I'd already weeded out the summaries from my scene list, and now I'm confused.
A: Some of the information you may want to keep track of on your Plot Planner sometimes comes in the form of summary. Scene, however, is where the story unfolds.
0 Comments on Character Development and Dramatic Action as of 1/1/1900
Livvy said, on 10/12/2007 9:37:00 PM
Wow! Thanks for continuing to enlighten me in plotting. Your responses definitely helped cleared up some questions that I had. Now that I’m really getting to understand plotting, I am really loving your book!!!!
I did have a question on your Folly example. You said to use one color to write “arrival” to note Dramatic Action above the line? Then you said to use another color to write “fragile” to note the Character Emotional Development below the line? So am I supposed to plot two points for the same scene? I thought it was either or. Or are you saying for the initial CED, to just note it underneath “arrival” above the line in a separate color just to distinguish it from each other as the beginning emotion? So then for future CED tracking, do I keep it below the line?
Question # 2. Are the CEDs that are plotted below the line supposed to show just the progression of the protagonist’s internal flaw or is there a way to show a relationship subplot as well?
The way I look at it, I view the Dramatic Action as the “A” story (or Plot) which is the problem in the outer world that needs to be solved. I am thinking that CED would be the “B” story (or subplot) which is the internal conflict or fatal flaw, which reveals what the protagonist needs to achieve internally in order to help resolve the external goal of the plot. So basically, Plot is dependent upon the Fatal Flaw or “B” story for resolution. But then you need a “relationship” subplot or “C” story to validate whether or not that internal change has occurred in relation to something in the outer world.
Which brings me to my question, if DA is being plotted above the line, and CED is being plotted below the line, HOW do I plot the “relationship or “C” story?
Question # 3. Can some of the scenes / summaries that are plotted Below the line in the plot planner show Thematic significance? Or does Theme details only correlate with scenes above the line?
Thanks in advance!!!
Martha Alderson said, on 10/14/2007 10:37:00 AM
Hi Liz, Thank you for your comments about the plot answers to the plot questions.
For more on character emotional development versus emotional change in each scene go to www.blockbusterplots.com to the plot tips page.
I have a deadline, but will answer your other questions as soon as possible.
Thanks again, Martha Alderson founder of Blockbuster Plots for Writers http:www.blockbusterplots.com
Martha Alderson said, on 10/17/2007 11:36:00 AM
Hi Livvy,
I have cut and pasted your questions into the next post. Thought others might like to read the Q & A and might not find it in the comment section.
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.
0 Comments on The Payoff as of 1/1/1900
Anonymous said, on 7/25/2007 11:33:00 AM
I get confused about crisis and climax ~~ which is which
Martha Alderson said, on 7/31/2007 7:29:00 AM
Hi Anonymous,
Thank you for your comment and question.
The Crisis generally occurs about 3/4 of the way through the entire story. It is the scene of the highest intensity so far and serves as a wake-up call to the character.
The Climax comes at the end of the story and shows the character doing something they were unable to do in the beginning and needed all the dramatic action to transform them to the point they could do it now.
Go to www.blockbusterplots.com and click on the tips page for more help.
Thank you, Martha
Becky Levine said, on 8/4/2007 9:52:00 AM
Martha,
This one's so tricky. What finally cleared it up for me was the idea that the Crisis is where the hero discovers or earns the tool/strength/power in themselves with which they can conquer the villain/bad guy. And they do so. That's not enough, though, because the bad guy is still part of the "unordinary" world. Then they have to TAKE that strength back into the ordinary world with them and prove that they still have that strength, use it to make the necessary difference in the ordinary world.
Man, it's as hard to explain as it is to write!
Martha Alderson said, on 8/5/2007 3:36:00 PM
Hi Becky,
Thanks for your comments!
Everyone's "take" on this is helpful because you never know when the right combination of words will finally click for someone.
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.
Nope, I write the entire story in dialog first. Then I go back and add action. Then I add details. if not for my critique group, I'd never add character. I need other writers to help me see my blind spots -- character.
I wish I had the creative energy left at the end of the day to write like I did 3 years ago. Maybe your blog will help me get back into a groove.
one per draft for me, an erotic, romance, suspense thriller writer. You can see why it takes me so many drafts.
thanks for the invite.
i think i can do this.
Great post, Martha!
I juggle instinctively now but still have more to learn. That's why the editing process is so crucial. In my earlier writing I was hell bent on finishing the ms and sending a submission off so I could pace the floor waiting for a reply.
Now I've learned to take my time and make sure the story works before sending it out. LOL And I start another project and don't waste time worrying over the submission.
Hugs, JJ
I wish I had the creative energy left at the end of the day to write like I did 3 years ago. Maybe your blog will help me get back into a groove.
Anonymous,
What a great idea. I'll have to try your method to see how it works out for me.
Let's see. My process. I'd have to say it comes at once. I map out all the different parts the best I can at first. Then I write what I mapped. That works just fine for me until my character gets a different idea.
Likelightening
Hi Martha! Thanks for dropping by my blog. You're always welcome!
My process differs with different projects. I developed the first two books (a romance and romantic suspense) from outlines. For the memoir I made a list of themes and wrote on each one, and for the mainstream novel which is only about 15% written, I've been jumping around in time with only a vague idea of how all the frames are going to be put together.
I suppose the best way to describe my process is intuitive.
Martha,
This whole juggling act has just gotten harder for me, as I start a YA historical novel. Now I've got the history thread to keep in the air, too!
I tend to plot the action things in the outline, with notes about how the actions connect up with the characters. But when I'm writing, and I get stuck and try to step back, what helps me with the pacing and balance is to remember/focus in on where the hero needs to be on his/her journey. For some reason, I can see those "sags" in the story line better than I can see the action "sags." Once I realize where my hero needs to be, I start hunting around for an action to get them there.
Theme, theme, theme...still working on keeping that egg in there without making an omelet!
I have no idea what I do. It just comes gushing out of me. And there it is.
Hi JJ,
Shortfilmtexas, I bet you're using up more creative energy than ever, just in a different way. Keep checking back. You just never know.......
First timer, I advise a plot planner line for each plot thread -- a colored map showing the way.
I chuckled when I read your admission of being "hell bent on finishing..." Been there. Felt that.
Livvy, nice to see your name again. I have seen some of your very kind comments on Amazon. Thank you so much. Truly. Your generosity humbles me. I now have a blog on the book page. Check it out.....
Becky, I see you keeping all those threads neat and tidy. Of course, omelets are my favorite.....
Being part of the community of writers is like no other.....
Hi JJ,
Shortfilmtexas, I bet you're using up more creative energy than ever, just in a different way. Keep checking back. You never know.......
First timer, I advise a plot planner line for each plot thread -- a colored map showing the way.
JJ, I chuckled when I read your admission of being "hell bent on finishing..." Been there. Felt that.
Livvy, nice to see your name again. I have seen your kind comments on Amazon. Thank you so much. Truly. Your generosity humbles me. I now have a blog on the book page. Check it out.....
Becky, I see you keeping all those threads neat and tidy. Of course, omelets are my favorite.....
Being part of the community of writers is like no other.....
Shortfilmtexas, I bet you're using up more creative energy than ever, just in a different way. Keep checking back. You never know.......
First timer, I advise a plot planner line for each plot thread -- a colored map showing the way.
JJ, I chuckled when I read your admission of being "hell bent on finishing..." Been there. Felt that.
Livvy, nice to see your name again. I have seen your kind comments on Amazon. Thank you so much. Truly. Your generosity humbles me. I now have a blog on the book page. Check it out.....
Becky, I see you keeping all those threads neat and tidy. Of course, omelets are my favorite.....
Being part of the community of writers is like no other.....
Hi Martha,
What an amazing blog! Plot indeed is one of the crucial elements in writing fiction.
For me, plotting is about characters having conflicts and how they go about solving them.
Well, I usually write my fiction based on these two components of plot - scenes and sequels. I alternate them. In the scenes, the dialogues between characters must be significant and such helps to move the story forward. While in the sequels it helps the readers to understand what’s going on after the scene is completed – or vise versa.
In both scenes and sequels, the characters can reveal their thoughts about his or her interactions with the other characters. I weave all three plot lines in the scene and sequel – bit by bit. I scatter them along these two components.
It’s not an easy task for me – when I plot my fiction I have to bring all the elements on the table – the characters, theme, dialogue, setting,… everything. I don’t isolate plot from these elements.
And don’t even mention the style!
For me, it all counts towards making the plot vivid and bursting with energy from scene to scene and sequel to sequel.
Regards,
Julia
I'm definitely a seat of the pants type of writer. My strengths are dialog & characters, my weakness is description. I do well with action scenes but I can't spot a theme unless someone knocks me in the head with it. My rough drafts are very, very polished and I detest doing revisions.
I think I'd make a better editor ;)
VG
Hi Martha!
Thanks for the 411 on your blog on the book page on Amazon. I have started a few postings there with some questions that I had.
I kindly await for your responses there when you get a chance.
Thanks.
Hi Livvy,
Where are your questions????
I can't find them on the book page blog of mine.
Please advise.
Sincerely,
martha
Hi Martha,
I'm referring to the Posting area on the Amazon page for your book. When I go on the site, the questions are there. Anyhow, I will post each question here under separate postings. Thanks.
Liz
GOALS VERSUS DREAMS
While rereading your book for inspiration, I came across a few points that I would like some clarification on.
On page 146-147 of your book, you state:
"Sometimes, the long-term, overall story goal is something the protagonist dreams of having. Dreams are things we wish for..., but not necessarily things we can attain. Goals come from dreams. Goals are under our control; they are quantifiable and measurable. Dreams involve a bit of magic...The protagonist's long-term story goal may, in fact, be more a dream than a goal."
Then on page 187 which is Appendix Four, which you show an example of a Character Emotional / Psychological Plot Information Worksheet, you have listed for the particular story in example:
The Overall Story Goal; The Protagonist's Personal Goal; and the Protagonist's Dream.
So what is the difference between a Protagonist's personal goal and Dream?
The grand question is if a Dream is not attainable and goals are,
then how can the long-term story goal be more of a dream than a goal? Don't we want to have a story goal that is eventually attainable at the end of the story resulting from the character's internal & physical journey?
If we utilize a "Dream" as "THE STORY GOAL" and the only way to attain it is with a little magic, wouldn't that be more like "deus ex machina"? A writing device that cheats a reader out of a more realistic and natural occurance of events?
Would it make more sense to refer a protagonist's dream as his/her desire instead?? which can be separate from the story goal and not always attainable. So when this desire/dream is attainable, it gets attained or resolved at the resolution, since the climax is reserved for resolving the Major Story Goal.
I look foreward to hearing back from you soon and anyone else who would like to contribute to this posting, to clear this up for me.
Thanks in advance!
SUMMARIES
Martha,
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? I'm confused. Your clarification would help.
Also,
On CIRCUMSTANTIAL and SEQUENTIAL SUMMARIES:
In your book, you highlight these 2 types of summaries: Circumstantial and Sequential summaries.
I was wondering why you singled them out. Was there a particular reason or purpose or were you just illustrating some examples of summaries?
Is there a better time to use one over the other?
Are there other types of summary conventions in addition to those two?
Thanks!
POINT OF NO RETURN
Martha,
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".
However, 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?
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.
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.
Your logic on this would be very appreciated.
Thanks.
NEW BOOKS FROM MARTHA???
Martha,
I like your Blockbuster Plots Book and find it essential and beneficial in the writing process. And this Blog is great. You have been extremely generous with your knowledge and inspiration.
I wanted to know if you have any plans to produce either an updated / expanded version of this book or perhaps a new book that might focus on another aspect of writing???
I would definately love to see you write a book on Character Development or REVISION! Or perhaps a book on various other Plot structures that either align with the 3 act structure or deviate from it!
Was also wondering if you could include the names or link of the historical fiction (novels or short stories??) that you mentioned in your bio that you have published. I would love to read and learn from some of your writing as well!!
Thanks!!!
dear martha, thank you so much for asking me to comment on your post.
as former editor at the german news mag and consulting editor for established publishing houses it´s hard to forget about "the censor and the profi" in my own writings. my strenght definetly lays in emotional writing. i cannot make up plots. the scenes must "feel" good and somehow possible, true to me and the "storytellers" personal structure. making a bestseller asks for "adoption" and to meet with general acceptance. in his book "How to write a bestseller" Robert McCrum gives four golden rules - that´s fine for the success-seeker. for the "original" spirit i only recommend: if it "feels" okay for you, let the reader follow, discover and respect you and your "plot" :-) sincerely yours, veryheaven