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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

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.

This post of yours gave me just what a needed: a kick in the pants to get back to my writing.
Thanks.

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. :)

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.

How does one get beyond that?

I could use some tips on that.

Thank you.

Gotta just start.
Somewhere.
Anywhere.
Look at the scene tracker headers for inspiration.

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!

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.

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.

Helpful post and comments.

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!

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

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

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.

Hugs, JJ

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!

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!

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.

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...

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!!!

Please see the 10-29 post for the answers to the above questions.

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!!!

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

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.

Sincerely,
Martha Alderson
http://www.blockbusterplots.com

I get confused about crisis and climax ~~ which is which

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

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!

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.

Thanks again.

fondly,
martha