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My May Days project involves coming up with an outline for a book I've been thinking about writing for, maybe, ten years. I got started with research and a few notes twice. But with my last few writing projects, I've been trying to get away from the organic writer thing and do more pre-writing plotting. So that's what's happening this month.

Sometime before I wrote my last, for the time being, unpublished book, I invested in a copy of Plot & Structure by James Scott Bell. As a result, I've been very interested in plots starting with a disturbance to the main character's world. I really don't care for the give characters a problem thing that I've heard so much about, but a disturbance to their world makes all the sense in the world to me. In fact, that's how almost all my books began before I'd even heard anything about disturbing a world. Disturbing people may come naturally to me.

Needless to say, that's how my May Days project is starting, with a disturbance.

Looking at my Plot & Structure notes this morning, I saw that Bell talks about plot patterns. I have three significant characters, and I'm going to try to give each one of them a different pattern, which is more or less their goal. For instance, one character's plot pattern/goal is revenge, the second's is a quest, and the third's is what Bell calls "one apart"--a loner who is forced to act.

Now, sometime in the past I found the following story structure at a website called Storyfix:

Think in terms of four-parts to your plot.



Part 1. Set up.

Part 2. Collecting information. Either the author, or the protagonist  Some people will talk about complications at this point in a story, but as an organic writer, that leaves me wondering “What complications? Where am I supposed to get those?” Sending my character out to collect more information about what’s happening to her or her world, makes more sense to me and it’s phrased dynamically.


Mid-point—Plot Twist or maybe where Protagonist Changes

Part 3 Protagonist uses information

Part 4 Ending

I like that structure because it is so simple. And it tells me what to do. And it is a structure, not a formula, like the give-your-character-something-to-want-and-then-keep-it-from-her thing that I have also heard a lot of in the past.

So this is what I'm working on this month with my May Days project.

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Here's a straightforward of the classic three-act structure of a novel. 

http://ingridsnotes.wordpress.com/2013/03/29/three-act-structure-a-pair-of-spanx-for-your-novel/

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By Sheryl Scarborough

If the writer’s closet of useful tools could be likened to Carrie Bradshaw’s fabu walk-in,  masterful accessories such as simile and metaphor would equate to exquisite Louboutin’s and Jimmy Choo’s footwear… exotic word choices would sparkle like Tiffany’s finest… and you would most likely find three-act structure in the drawer labeled: Spanx!

This is my way of saying Three-Act Structure may not be sexy, but once you try it, you’ll wonder how you ever lived without it. What exactly can Three-act structure do for you? I’m glad you asked.

• Simply organizing the main points of your manuscript into a structured beginning, middle and end will give you a comfortably shaped body of character, narrative and pace.  (Spanx, baby!)
• Three-act structure streamlines the creative process, allowing you to focus on great dialog and important story points, not the organization of them.  (When you’re busy being brilliant who wants to organize?)
• Which part of your story belongs in each act can be defined in enough detail that, once you learn it, you will never forget it.  (Can you just give me the crib version? Yes. Read on!)

There are plenty of whole books, which define Three-Act structure and demonstrate how it works. For the purpose of this blog I’m just going to give you the basics. Three-Act structure is a specific way to balance and pace your story. The breakdown is simple:

Each Act encompasses a certain number of pages. This is the pacing part. Each act also plays a specific role in telling your story. This is the structure part.

In Act 1 the purpose is to introduce your characters and orient your reader to the setting and world you imagine.

Act 2 is where your story develops; this explains why it’s twice as long as Act 1 and Act 3.

Act 3 should be reserved for the exciting climax and conclusion of your story.

Act 1: Think of a Knight on a Quest… 

Act 1 should answer WHO, WHAT, WHEN and WHERE… but not why. It should install your character in his world in a way that quickly orients your reader. Use Act 1 to identify your main character’s problems and introduce us to his friends and foes. Establish his goals and make us care about him.

If you’ve done your job, Act 1 is when your reader develops empathy with your main character. You need for this to happen… don’t blow it. The transition at the end of Act 1 is the point where your character commits to a course of action and your reader settles into her chair and thinks, “okay, here we go.”

Act 2: Facing the Two-Headed Dragon… 

If Act 1 is a Quest, then Act 2 is a series of challenges… sort of like facing a two-headed dragon!  In Act 1 your reader has learned WHO, WHAT, WHEN and WHERE. By the time she reaches Act 2 she wants to know WHY.

In Act-1 your job was to establish your character’s goal.

In Act 2.1, your job is to play keep away with that goal.

Just like in real life, adversity creates character.  The goal of the first half of Act 2 is to throw a series of try/fail obstacles into your character’s path. With each test your character’s commitment becomes apparant. Each time he fails, you deepen his character and reveal more about him… this is how readers find out what he wants and needs and especially how invested he is in his goal.

Not only will your character come alive through these challenges, but as you raise the stakes your reader will become more involved, intrigued and invested in your story.

The length of the trial and error portion of your story is dictated by Three-Act structure. In the first half of Act 2 you are writing toward the mid-point, which is a mere 25% of your total story.

The Mid-point: It Changes Everything…

The Mid-point can be a down moment – the catastrophic end of your character’s goal. Or, it can be an up moment – a moment of shaky success that’s so tenuous and delicate your reader will be worried that this is just one more thing for the main character to lose.

Just remember, the purpose of the Mid-point is that it changes everything.

The Second Half of Act 2: Rebuild the Character’s Goal… 

Depending on your Mid-point you have either destroyed your main character’s goal or you have pushed it to such a pinnacle that it is in jeopardy. In either case, the second half of Act 2 asks “now what” or “what now.” This is where you begin to rebuild your main character’s goal. To keep the reader intrigued you must keep the pressure on your main character. Achieving his goals should be hard and take real grit and determination. This is what keeps a reader in their seat.

You also want to begin to bring your storylines together in the last half of Act 2 so that you won’t crowd the climax and conclusion of your story with loose ends.

The End of Act 2: Your Character’s Darkest Moment

Pull out all the stops and really make this moment count. This is the low point your reader has been worried about for your entire novel. And now you must give it to them. Slam your story down on your main character with all the brutality you can muster and I guarantee your reader won’t be able to stop reading.

If you have built your story to this moment, the hopes and dreams that your reader has for your main character will carry them over the end of Act 2 and straight into the climax and conclusion.  They won’t be able to put down your book.

Act 3: The Unexpected and Long-Anticipated…

“Act 3 begins with the unexpected and ends with the long-anticipated.“ 

                                                            Author, Ridley Pearson

What this means, is as you conclude your story, you want to make the ending as exciting and unexpected as possible… and yet you want to fulfill your promise to the reader and wrap up the story they expected you would tell. In most cases, your main character will achieve a satisfying goal – maybe not the goal he started out with, but one the reader will accept as a good conclusion to your story.

Example: staying with my Knight on a Quest theme, the end of my story should involve rescuing the Princess – or in my case – The Prince.

But don’t forget to keep an element of surprise… your reader will be working with you to create a successful conclusion to your story.

My surprise that my Knight was really my Princess will be all the more delicious to my reader.

Three-Act structure is writing with purpose!

For more information, check out some of these books that do a good job explaining Three-Act structure:

King, Vicki. How to Write a Movie in 21 Days. HarperCollins Publishers, 1993. Print.

McKee, Robert. Story: Substance, Structure, Style and the Principles of Screenwriting. New York: ReganBooks, 1997. Print.

Schmidt, Victoria. Story Structure Architect. Cincinnati, Ohio: Writer’s Digest;, 2005. Kindle Edition.

Snyder, Blake. Save the Cat!: the Last Book on Screenwriting You’ll Ever Need. Studio City, CA: M. Wiese Productions, 2005. Kindle edition.

Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. Print.

Or, you can write to me at mediasherpa@gmail.com

Sheryl Scarborough learned Three-Act structure during her 20 year stint as an Award-winning writer for children’s television. Now, a recent graduate of the Vermont College of Fine Arts MFA program in writing for children and young adults, Sheryl has turned her creative attention on writing young adult mystery/thrillers.

Follow Sheryl on Twitter: @scarabs

Read more by Sheryl on her blog: Sheryl Scarborough Blog

The blog post was brought to you as part of the March Dystropian Madness Series.

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By Sheryl Scarborough

If the writer’s closet of useful tools could be likened to Carrie Bradshaw’s fabu walk-in,  masterful accessories such as simile and metaphor would equate to exquisite Louboutin’s and Jimmy Choo’s footwear… exotic word choices would sparkle like Tiffany’s finest… and you would most likely find three-act structure in the drawer labeled: Spanx!

This is my way of saying Three-Act Structure may not be sexy, but once you try it, you’ll wonder how you ever lived without it. What exactly can Three-act structure do for you? I’m glad you asked.

• Simply organizing the main points of your manuscript into a structured beginning, middle and end will give you a comfortably shaped body of character, narrative and pace.  (Spanx, baby!)
• Three-act structure streamlines the creative process, allowing you to focus on great dialog and important story points, not the organization of them.  (When you’re busy being brilliant who wants to organize?)
• Which part of your story belongs in each act can be defined in enough detail that, once you learn it, you will never forget it.  (Can you just give me the crib version? Yes. Read on!)

There are plenty of whole books, which define Three-Act structure and demonstrate how it works. For the purpose of this blog I’m just going to give you the basics. Three-Act structure is a specific way to balance and pace your story. The breakdown is simple:

Each Act encompasses a certain number of pages. This is the pacing part. Each act also plays a specific role in telling your story. This is the structure part.

In Act 1 the purpose is to introduce your characters and orient your reader to the setting and world you imagine.

Act 2 is where your story develops; this explains why it’s twice as long as Act 1 and Act 3.

Act 3 should be reserved for the exciting climax and conclusion of your story.

Act 1: Think of a Knight on a Quest… 

Act 1 should answer WHO, WHAT, WHEN and WHERE… but not why. It should install your character in his world in a way that quickly orients your reader. Use Act 1 to identify your main character’s problems and introduce us to his friends and foes. Establish his goals and make us care about him.

If you’ve done your job, Act 1 is when your reader develops empathy with your main character. You need for this to happen… don’t blow it. The transition at the end of Act 1 is the point where your character commits to a course of action and your reader settles into her chair and thinks, “okay, here we go.”

Act 2: Facing the Two-Headed Dragon… 

If Act 1 is a Quest, then Act 2 is a series of challenges… sort of like facing a two-headed dragon!  In Act 1 your reader has learned WHO, WHAT, WHEN and WHERE. By the time she reaches Act 2 she wants to know WHY.

In Act-1 your job was to establish your character’s goal.

In Act 2.1, your job is to play keep away with that goal.

Just like in real life, adversity creates character.  The goal of the first half of Act 2 is to throw a series of try/fail obstacles into your character’s path. With each test your character’s commitment becomes apparant. Each time he fails, you deepen his character and reveal more about him… this is how readers find out what he wants and needs and especially how invested he is in his goal.

Not only will your character come alive through these challenges, but as you raise the stakes your reader will become more involved, intrigued and invested in your story.

The length of the trial and error portion of your story is dictated by Three-Act structure. In the first half of Act 2 you are writing toward the mid-point, which is a mere 25% of your total story.

The Mid-point: It Changes Everything…

The Mid-point can be a down moment – the catastrophic end of your character’s goal. Or, it can be an up moment – a moment of shaky success that’s so tenuous and delicate your reader will be worried that this is just one more thing for the main character to lose.

Just remember, the purpose of the Mid-point is that it changes everything.

The Second Half of Act 2: Rebuild the Character’s Goal… 

Depending on your Mid-point you have either destroyed your main character’s goal or you have pushed it to such a pinnacle that it is in jeopardy. In either case, the second half of Act 2 asks “now what” or “what now.” This is where you begin to rebuild your main character’s goal. To keep the reader intrigued you must keep the pressure on your main character. Achieving his goals should be hard and take real grit and determination. This is what keeps a reader in their seat.

You also want to begin to bring your storylines together in the last half of Act 2 so that you won’t crowd the climax and conclusion of your story with loose ends.

The End of Act 2: Your Character’s Darkest Moment

Pull out all the stops and really make this moment count. This is the low point your reader has been worried about for your entire novel. And now you must give it to them. Slam your story down on your main character with all the brutality you can muster and I guarantee your reader won’t be able to stop reading.

If you have built your story to this moment, the hopes and dreams that your reader has for your main character will carry them over the end of Act 2 and straight into the climax and conclusion.  They won’t be able to put down your book.

Act 3: The Unexpected and Long-Anticipated…

“Act 3 begins with the unexpected and ends with the long-anticipated.“ 

                                                            Author, Ridley Pearson

What this means, is as you conclude your story, you want to make the ending as exciting and unexpected as possible… and yet you want to fulfill your promise to the reader and wrap up the story they expected you would tell. In most cases, your main character will achieve a satisfying goal – maybe not the goal he started out with, but one the reader will accept as a good conclusion to your story.

Example: staying with my Knight on a Quest theme, the end of my story should involve rescuing the Princess – or in my case – The Prince.

But don’t forget to keep an element of surprise… your reader will be working with you to create a successful conclusion to your story.

My surprise that my Knight was really my Princess will be all the more delicious to my reader.

Three-Act structure is writing with purpose!

For more information, check out some of these books that do a good job explaining Three-Act structure:

King, Vicki. How to Write a Movie in 21 Days. HarperCollins Publishers, 1993. Print.

McKee, Robert. Story: Substance, Structure, Style and the Principles of Screenwriting. New York: ReganBooks, 1997. Print.

Schmidt, Victoria. Story Structure Architect. Cincinnati, Ohio: Writer’s Digest;, 2005. Kindle Edition.

Snyder, Blake. Save the Cat!: the Last Book on Screenwriting You’ll Ever Need. Studio City, CA: M. Wiese Productions, 2005. Kindle edition.

Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. 3rd ed. Studio City, CA: Michael Wiese Productions, 2007. Print.

Or, you can write to me at mediasherpa@gmail.com

Sheryl Scarborough learned Three-Act structure during her 20 year stint as an Award-winning writer for children’s television. Now, a recent graduate of the Vermont College of Fine Arts MFA program in writing for children and young adults, Sheryl has turned her creative attention on writing young adult mystery/thrillers.

Follow Sheryl on Twitter: @scarabs

Read more by Sheryl on her blog: Sheryl Scarborough Blog

The blog post was brought to you as part of the March Dystropian Madness Series.

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When writing a novel, one common admonishment is to keep in mind the goal of entertaining the reader. Fiction’s purpose is to entertain; non-fiction’s purpose is to inform. But the lines between the two can often blur, as when non-fiction uses narrative techniques.

This week, I’ve been reading Cory Doctorow’s book, For the Win and he uses info dumps like crazy, putting in lots of technical discussions, potentially boring information. He does it–and it works? What is he doing right?

Story comes first. For the Win is first and foremost a wide-ranging global story of online gaming and how the workers across the world join together to fight for better working conditions. There’s a strong plot, strong goal and an interesting series of developments.

Interesting characters. Doctorow also pulls together a fascinating cast of characters, drawn from the four corners of the globe. There’s the uneducated, but smart Indian girl from the slums, a disillusioned teen from California, Worker activist from Singapore, determined striker from China, and equally fascinating radio personality from the Pearl Delta of China. They are all fleshed out with real-world needs, wants, goals, and their individual circumstances come alive.

Setting. For each character, their setting is particularized with specific sensory details. You get spicy chai and well-water in an Indian slum juxtaposed with the luxury of a wealthy California home.

In short, Doctorow tells a stirring, interesting tale.

But he goes a step farther. As long as he has your attention, he wants you to know something about the online gaming world. If you look at the top ten world economies, many of them are virtual worlds and economies of an online game. Sometimes, he stops and gives an info dump on economics, gaming rules, worker unions and so on. And sometimes, he has one character ask another to explain something.

For example, the Indian girl who is such a great gamer they call her General is uncertain about economics. She asks the college-graduate economist to explain something, then because the General dosen’t understand the complicated economics, the Economist explains further, in simpler terms.

It works. Really, it shouldn’t work, it’s an info dump and at that point of the novel, Doctorow is just trying to teach me–the reader–something about economics. (I am denser than the General sometimes!) And I don’t mind a bit. I keep reading. Because in the context of the exciting story, I don’t mind a bit of explanation, in fact, it adds to the enjoyment of the story, because I understand motivations and the worker’s dilemmas better. Doctorow makes me root for the worker’s revolution because I understand it better.

If I was just reading about economics, my eyes would glaze over. Reading this novel, though, I am fascinated and I try harder to understand. It matters because he’s made me like the General and hope that her life gets better.

Likewise, if you need another example of how an info dump works well in a novel, read Doctorow’s book, Little Brother.

Go ahead: break the rules and give us an info dump in your novel. But please–tell a story first.

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Why did you decide to write the story in a sort of prose poetry form? Was it just to give Ivan a believable voice, or was there another reason?

I am not entirely sure. I tend to look at structure before I look even at plot,* which is probably why plot is a struggle for me.** I think about what the book looks like and how it feels.*** Maybe that discipline is helpful for me in terms of finding the right words.

But when I look at big sprawly novels, sometimes… my husband just finished [writing] 500 pages. I marvel at it, because it’s so symphony and I’m so chamber music.**** I just don’t think that way, and it seemed really appropriate that since I was working with an animal voice that it would be small and poetic.

Read the rest of the interview at School Library Journal's Meet the Latest Newbery Winner: How Katherine Applegate Created a Modern-Day Classic



*yes
** oh, yes
*** yes siree
****exactly!

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A narrative arc is a necessary part of fiction and is often a key component of nonfiction, especially narrative nonfiction. The arc indicates that there is some sort of progression.

Emotional Progression. The most common sort of progression is for the emotions to build to a climax. If two characters are arguing, the intensity, complexity and depth of the argument grows over the course of the story. It is mad, madder, maddest. If it is a verbal argument, it spills over into physical actions.

Character Progression. Similar to the first is the progression of a character through stages of change. This could be a change from doubt to faith, or loyalty to betrayal. The direction of the change can be in any direction, from moral to immoral or vice versa. The main thing is that there isn’t a steady state for the character, but there is change.

Plot Progression. This is partly the time-line of the story, but plot progression also implies that the events included int he story are intertwined in some way that leads to a bigger event or an event that means more than the previous events.

For narrative nonfiction, there can be other sorts of progressions, which will mimic or replace the narrative arc. Fiction writers will want to pay attention to these, too, because within a story, there may be places where some information would benefit from strategic organization. For example, my first picture book, THE RIVER DRAGON, had a series of descriptions of a dragon’s voice. Here’s the progression I used in which the metal mentioned became more base and the sounds became louder: a voice like the clink of copper coins, voice like the gong of a brass cymbal, and voice like a hammer on an iron anvil.

Here are some other options for progressions.

Time-line. The life and times of a scientist, for example, may be enough of an arc for some articles or simple books.





Physical progressions. For some nonfiction, it may be enough to organize the information around some physical characteristic. Perhaps discuss birds in order of size starting with the tiniest hummingbird and progressing through condors and other large birds. Or, you may discuss birds beaks and organize on that basis.

Logical progression. Often narrative nonfiction attempts to logically explain some issue. Here, the organization revolves around the logic of arguments, that of laying out the basic thesis and then providing supporting information.

Spatial progressions. Little used, but often effective, is a spatial progression. Here, you may describe the countryside to the north, then east, south and west. The progression may go from a person’s hat to their shoes.

When we write and readers read, we are looking for meaning, for coherence and cohesion. We want the writing to make sense of events, rather than a random collection of facts. Even browsable nonfiction imposes some sort of organization on facts, by grouping elephants on one page and mice on another. Look for narrative arcs and progressions to help you create the strongest organization possible.

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For those of you who missed my talk at the 10th Annual SFWC, I share the handout.

In Honor of the 10th Anniversary of the San Francisco Writers Conference

10 Tips to Immediately Create GREAT PLOTS for Your Novel, Memoir, Screenplay
By: Martha Alderson, aka Plot Whisperer

GREAT
1) Generate external dramatic action excitement with a concrete goal for the character in every scene
2) Rather than tell the protagonist’s backstory in summary, show what she is unable to do today because of her backstory wound
3) Establish scenes by cause and effect
4) Activate the 4 energetic markers first and fill in all other scenes later
5) Test yourself for what you’re really trying to say in your story, what your story is really trying to say, for the thematic significance

PLOTS
6) Plot the territory of the antagonists in the Middle as an exotic world to the protagonist
7) Love the first ideas that come to you in the rough draft. In subsequent drafts, replace your initial ideas with ones that provide more depth and are more closely tied thematically to the whole of the story and are connected by cause and effect
8) Optimize your protagonist’s character emotional development transformation as you plot and write by keeping an eye out for the gift she brings
9) Take your story all the way from beginning to end before going back and writing the beginning again
10) Start plotting at the Climax and think backwards to the beginning

For More PLOT TIPS:
• How Do I Plot a Novel, Memoir, Screenplay? 27-step free tutorial at http://www.youtube.com/user/marthaalderson
• http://plotwhisperer.blogspot.com/ Best Writing Advice blogs as awarded by Writer's Digest 2009 & 2010 & 2011 & 2012
• http://twitter.com/plotwhisperer
• http://www.facebook.com/pages/The-PlotWhisperer/129253400461923?ref=ts
• http://www.blockbusterplots.com

(****NOTE: For those of you who are following along as you write a story from beginning to end following one prompt at a time, I'll start back in tomorrow at the MIDDLE. Gives you time if you need to catch up.)

Knowing what to write where in a story with a plot allows for a more loving relationship with your writing. Whether writing a first draft or revising, if you falter wondering what comes next in a story with a plot, follow the prompts in The Plot Whisperer Book of Writing Prompts: Easy Exercises to Get You Writing.

Today, I write.

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My illustration is intentionally messy. Many writers would give the middle-end a steeper slope. Credit: Elizabeth Humphrey

Now that school is back in session, I’m getting geared up to play editor-mom. That is, reading drafts of stories and reports, trying to be supportive without, well, rewriting the some of the work. I love reading the beginning stories, but it continues to astound me that we read countless stories to children, but if you ask them to tell you what happened in a story, the storyline seems bland or flat. The stories don’t seem to go anywhere.

Often the flat story is how the children process the stories, as well--even if the story involves a boy, his dog, kidnappings, and international spies. If I ask my children what happened in TinTin (the movie or the comic books), I may get the response about the cute dog and nothing about the story’s plot.

The plot of a story may be compelling, but it is not necessarily what we notice all the plot points as we learn about storytelling. (After all, when was the first time you diagrammed a novel’s plotline?)

As we develop as writers and readers, we start learning about plotting our stories. It helps us to discern what writers we like—fast-moving books generally have tightly written plots with conflicts that crackle from the pages. But even so, plots can still be a confusing muddle.

How do you plot a story? How do you ensure the plot points are strong and build to the middle and bring the story to a good conclusion? Take your time.

Often the stories our children tell—and ones that we attempt to write—are missing the dramatic question and the conflicts that advance a plot. The question and conflicts help to tease out what the story is really about and helps to answer the question: “So what?”

Work those out as you work with your draft. It’s not a one-time happening, but something that is massaged along your novel or short story’s journey.

Sure, the cute dog is important, but he’s vitally important because he and his actions help move the plot along.

Do you sketch out your plot points in an arc in the beginning, middle or end of writing your story's first draft?

Elizabeth King Humphrey is a writer and editor living in North Carolina. She enjoys using various colored pens to plot her novel’s storyline, but sometimes gets carried away and starts doodling instead.

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I recently did a revision of a short novel manuscript, based on editorial Notes. The Notes were not specific, rather quite general. You see stories of 15-page editorial letters, but this was the total opposite. Basically, the story seemed out of focus and the interest lagged at a couple points.

Refocus the Story

Wow. What a vague comment. But immediately I knew what the problem was.
My story has a main plot — Parties– and two subplots, Bugs and Music. In the original draft. Chapter one focused on Parties/Bugs, but chapter two went to Music/Bugs.

What is the main plot? Parties.
But when chapter two went to Music/Bugs, it threw the main plot out of focus. Instead, I moved the Music/Bugs to chapter three and pulled a later Parties chapter up to the chapter two position. Of course, that meant smoothing out transitions and timelines, something easy to do; it was also easy to get wrong, because it was tiny things that indicated the timelines. “Later that day. . .” “. . .from yesterday.” I am very bad at finding all of these small edits and am relying on some critiques to make sure I didn’t miss something.

Besides the position of the subplots, I also realized that one subplot had too many scenes. In the short novel that I’m working on, I didn’t have much room for each subplot, so when Bugs got four pretty major scenes, it threw off the focus again. After evaluating the four scenes, I realized that one was slightly repetitious and I could cut it without affecting the overall story. That strengthened the Bug climax because the two lead-up scenes were enough and it left this remaining scene more fresh and fun.

Finally the Notes suggested that the climax of the main Parties plot was too short. Duh. It was only half a chapter. In the revision, it begins in the next-to-last chapter, and continues through most of the last chapter. Making the climax of the main plot longer, gives it more weight.

Overall, here’s what I did:

• Cut a Bugs scene.
• Rearranged the order of Parties plot, Bugs subplot, and Music subplot.
• Strengthened the Parties main plot by enlarging the final Party scene.
• Created more tension throughout by tweaking the emotional impacts of events.

All of that because the Notes said the story was out of focus and the final Party scene needed to be longer. It’s what we do: we revise.

Nook Kindle PDF Look for it in the iBook store.

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The Biggest Mistake Writers Make and How to Avoid it at Writer Unboxed has a big connection to my long-term thinking about plot. The article is written by Lisa Cron, whose book, Wired for Story, I happen to be reading.

I am not the only writer who struggles with plot. What I've come to believe is that those of us who find plotting hard do so because we don't know the story we want to write about yet. Our ideas come in the form of scenes or situations. There is no "something that happens to somebody and what it means." Without the basic story that we can describe in a sentence, how can we possibly create a plot? "Wouldn't it be neat if someone woke up and found she could fly?" describes a situation. In order for it to become a story, what happens to that character as a result of the situation and what it means to her life have  to be worked out

So we all have to learn how to back up and figure out the story. The horse (story) really needs to go before the cart (writing the story).

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If so, 21 Plot Shapes and the Pros and Cons of Each could be for you.

I found this article over a month ago and e-mailed the link to myself so I'd remember to read it. It worked! I just found it in my in-box and did, indeed, read it.

It took some effort on my part, though, because at first I thought all the different line drawings describing plots were a joke. But, no, it's for real. And many of them do make sense. Fortunately, the author, Mette Ivie Harrison (turns out I've written about her before here at OC), used a lot of children's/YA novels as examples, and I happened to have read them. Plot 2 relates to The Hunger Games and 3 to The Queen of Attolia. Plot 7--Holes. Plot 19--Some books by Holly Black. Many of the other plot shapes relate to well-known books, TV shows, or movies.

My two favorite lines appear in Plot 14. "There is no climax, no high moment, no resolution. There is only death."

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Reasons why the conflict in your manuscript may not be working.

http://www.hilarytsmith.com/2012/09/gas-in-trunk-why-your-conflict-isnt_13.html

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How to integrate conflict into the overall structure of your novel. 

http://childrenspublishing.blogspot.com/2012/09/building-deep-conflict-into-novel.html

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Every scene must end in disaster. Really? EVERY scene?
OK. Most scenes.

I only say that every scene must end in disaster because if I give writers wriggle room, they run with it. So, yes, let’s work on the premise that every scene must end in disaster. What disaster? How do you choose?

Progressions. In general, your disasters need to be some sort of progression from bad to worse to absolute worst. Look at your story to find the natural progressions and then try to exaggerate a bit. For example, if a ballerina wants to try out for a dance part, what would be the absolute worst? Showing up drunk, out of shape and sloppily dressed–looking and acting like a bum.

Is that too extreme? Probably. So, back off the Worst scenario to find something reasonable: an injured Achilles tendon; just recovering from emergency appendectomy; a secret habit of drinking; grieving from a family death or tragedy. I like to plan the worst possible then back off from that for about mid-story and back off from that for the story opening. Working backward from Worst seems to ensure for me that I actually GO to the Worst and don’t try to avoid it.

Multiple Disasters. Also think about the subplots and how each of their narrative arcs can add to the overall disasters. By the time you slot into your story plan the Bad/Worse/Worst for the main plot and for a couple subplots, then you’re on your way to every scene ending in disaster. Then, you’ll just have to find ways to create disasters for the extra needed scenes of your story.

Ambiguous Disasters

One tool in your toolbox should be the ambiguous disaster. This is when the character appears to win, but in the end, s/he doesn’t. In this scene from Good Will Hunting, Will, Chuckie and their gang go into a Harvard bar (warning: PG-13 for language). Chuckie tries to pick up a couple girls and a Harvard guy steps in to humiliate him. Will steps in, though, to humiliate the Harvard guy. On the surface, Will’s intelligence wins out; but in the end, the Harvard guy wins simply because society recognizes a Harvard degree over native intelligence. It’s a great example of an ambiguous disaster: Will wins on one level but utterly fails on another. It demonstrates (Show-Don’t-Tell) exactly what Will faces in the rest of the story: society’s expectations about intelligence and the role of a college education in getting jobs.

If you can’t see this video, click here.

So, while you must end each scene in a disaster, you can let your character have some level of success–just don’t let it go too far, too early. Remember the mantra: Bad, Worse, Worst.

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Somewhere in your writer’s head is a Master Plot, an idea of what a story or novel should be like, how it should progress. For writers who don’t outline–the write-by-the-seat-of-their-pants writers–the Master Plot is hard-wired into their brains.

For the rest of us, the idea of a Master Plot is helpful.

Hero’s Journey. The hero’s journey can be used for anything from Star Wars to the middle grade classic, Bridge to Terabithia.

Christopher Vogler’s explanation of the Hero’s Journey is excellent. The basic stages, along with the corresponding character arc are these:

• Ordinary World – Limited awareness of problem
• Call to Adventure – increased awareness
• Refusal of Call – reluctance to change
• Meeting the Mentor – overcoming reluctance
• Crossing the First Threshold – committing to change
• Tests, Allies, Enemies – experimenting with 1st change
• Approach to the Inmost Cave- preparing for big change
• Supreme Ordeal – attempting big change
• Reward – consequences of the attempt
• The Road Back – rededication to change
• Resurrection – final attempt at big change
• Return with Elixir – final mastery of the problem

You write comedy or humor and want a plot for a novel?
John Vorhaus, in The Comic Toolbox adapts the hero’s journey into a Comic Throughline.

Similar to the Hero’s Journey is Peter Dunne’s adaptation to a story in which two main characters influence each other, or one character drastically changes a second. The Emotional Structure details how the characters interact. This could be a sort of Rivalry story, a Love story, a Forbidden Love story, or even one of Pursuit, Rescue, or Escape. The main thing here is that two characters act upon each other. Dunne suggests that Acts 1 and 3 are about the outer plot, while Act 2 is the inner journey.

There are other “master plot” ideas, but in discussing the idea of master plots, I like one strategy that Jack M Bickham discusses in his book, SCENE AND STRUCTURE. His “scenic master plot” includes a three-chapter self-contained subplot in the middle of the story, something exciting like a chase scene.

“Chapter Seven. Hero viewpoint. He is embroiled in his three-chapter quest. . . an action sequence, preferably physical: a car chase, a face-to-face confrontation with violent words and emotions, perhaps even an attack on the hero’s life. . .The end of the chapter is at a new disaster which will allow no time for sequel [evaluating what just happened], or at some turning point in the middle of the ongoing scene. This chapter hooks instantly into the next.”

I’ve always thought this was brilliant. Right when the novel is in danger of lapsing into a sagging middle, you insert a subplot of action that resolves over three chapters, while keeping the reader engaged. Of course, it must feed back into the main story after those three chapters and be integral to the story. But it solves so many pacing problems.

Do you have a sort of “Master Plot” that you write by?

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Your story is a chain of actions and reactions, each leading to the next one. 

http://jamigold.com/2012/11/actions-and-reactions-the-end-all-be-all-of-storytelling/

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Avoid doing these with your plot. 

http://lornacollins-author.blogspot.com/2012/11/plot-pet-peeves.html

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Nook Kindle PDF iTunes on the iPad, look for it in the iBook Store

Welcome to the first Fiction Notes Podcast, where you’ll learn six ways to use the Shrunken Manuscript.

I teach a novel revision retreat; in order to attend, you must have a complete draft of a novel and we spend the weekend talking about how to revise that manuscript. The workbook for that is Novel Metamorphosis: Uncommon Ways to Revise. Traditionally, we only go into depth on the Shrunken Manuscript technique in the retreat, but for the first time publicly, I’m going to explain six ways to use the Shrunken Manuscript. It’s a fitting topic for Fiction Notes’ first Podcast.

ShowNotes for Fiction Notes 001: Shrunken Manuscript

1:45 Instructions on Shrinking a Manuscript
3:32 Seeing your strongest chapters
8:49 Seeing your major plot points
11:49 Seeing your antagonist v. protagonist
14:22 Seeing your character arc
17:17 Seeing your scenes
18:42 Seeing your novel’s pacing

Items Mentioned in this Podcast:

• The Writer’s Journey by Christopher Vogler
• The Scene Book by Sara Scofield

Need more information on revising a manuscript?

• Click here for information on hosting Darcy Pattison’s Novel Revision Retreat in your area.
• The workbook for the retreat is Novel Metamorphosis: Uncommon Ways to Revise. Order now. Learn many other uncommon ways to revise your novel and break through to publication, or break out your novel to stronger sales.

Podcast FAQ

How do I listen to the podcast?
You can listen to it by simply clicking on the arrow on the Podcast PlayLink.
You can also download the podcast and play it on your iPod, iPhone, etc.
You can embed the podcast onto other websites. If you do this, please let me know! (darcy at darcypattison dot come).

The podcast will soon be syndicated on iTunes and when it is syndicated, you can use a variety of apps to download and listen to it from a variety of platforms, such as iPod, iPhone, iPad, Android, etc.

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If you were reading any of my tweets or viewing my Instagram pictures this past weekend, you know that I was hard at work integrating a new plot twist into my novel.

The ending of my current novel project has always haunted me. I’ve revised it several times and it never felt right. A couple of weeks ago I had an A-ha Moment and figured out how it could work — but it involved a huge plot twist that I would have to incorporate throughout the whole novel. Even though I knew it would cause me headaches and some rewriting, it was the right thing to do. It just felt right. A kind of writer’s intuition.

At this point, I had all of my scenes in chapters, so I revisited the spreadsheet of my novel and plugged away at incorporating elements of the new plot twist, which included moving scenes around, writing scene revision notes, and creating a list of new scenes.

But I found myself juggling papers and switching back and forth with my computer screen. It was making me batty so I decided that I would create a plot grid on the wall in my office.

I got the idea from Christina Farley. She has a fabulous blog post and YouTube video on how she creates her plot grid. There are many ways to do one. The main benefit is viewing your whole novel at a glance.

Being a plot chick, my grid is based on the 3-Act structure. I love author Alexandra Sokoloff’s Story Element Checklist, which uses screenwriting structure and tailors it to novels. But even if you just break your story down into 3 parts — beginning, middle, and end — that will work as well.

Here’s a quick summary of my plot grid:

For each of Act in my novel (I have my Act 2 broken down into two parts), I put a sticky note that represents one chapter with a sentence describing the scene(s). Sticky notes allow you to move things around easily. I used a specific color for each Act in the novel.

For the inciting incident, sequence climaxes, midpoint, novel climax, and resolution, I use purple sticky notes so I could easily identify these important chapters and how they are spaced out.

Now I can see at a glance how to better work in my plot twist and change things around if needed. It also lets me see my characters and settings to determine if the frequency works too. There are many ways to utilize a plot grid.

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How to build your story through a series of causes and effects. 

http://childrenspublishing.blogspot.com/2013/01/three-ways-cause-and-effect-can-build.html

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If you're a pantser (that is, one who doesn't outline), this seven-point plot overview system is a must. 

http://lizwritesbooks.com/2012/05/the-7-point-plot-system-aka-save-the-cat-for-pantsers/

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Analyze your favorite children's novel to see how it conforms (or doesn't) to the criteria identified by James W. Hall in Hit Lit: Cracking the Code of the Twentieth Century's Bestsellers (see my Monday post).  These features include:

1. A page-turning "high concept."
2. A controversial issue of the day.
3. A setting against the backdrop of an important time or place in history.
4. A main character ejected from his/her childhood home/country/Promised Land (e.g., Tara).
5. High information about a topic the reader likely knows little about (nuclear subs, the Holy Grail).
6. A secret society
7. City mouse vs. Country mouse
8. Grappling with one's concept of a higher power
9. The American Dream (or nightmare)
10. Rebels, misfits, loners -- characters who feel out of place among their peers
11. Broken families

We can probably discount feature #12 -- sex -- when examining most books is this genre. :)

To be honest, most novels that I can think of aimed at kids over the age of 8 or 9 seem to meet at least half of these criteria.  Numbers 10 and 11 seem almost universal.

What do you think?  --Jeanne Marie

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I’ve been reading through the first book in Rick Riordian’s new series, The Lost Hero. He has a nice breezy style that is full of adventure. And I’ve especially been noticing the subplots. There is an overarching plot of overthrowing evil and setting the universe to rights again. But each character has a specific role in that plot and his/her own subplot. Jason, Piper and Leo must each struggle with their parental god and what that heritage means. Each must overcome weaknesses and obstacles.

In other words, built into the basic structure of these stories is a rich set of characters, each with his/her own subplot.

Plan for subplots in your novel

Before you write your next story, ask yourself if your cast of characters are richly and deeply drawn. Does each have a subplot that will feed into the main plot? For my WIP, I realized that the main character was rich and deep, but the supporting characters were vague, aimless. I am working now to enrich them before I start writing.

One main question is how will the secondary characters feed into the main plot. The subplot must be tangent to the main plot in some way, deal with similar issues or sub-issues or something that adds to the main plot. It can be a surprise, or an enrichment, or a contrast. But the relationship can’t be random.

I am also thinking about settings and wondering if some settings from one subplot can be reused in another subplot or the main plot. Props can also be reused. In other words, what can I use to tie the plot and subplot together in richer, deeper ways?

Writing a subplot in your novel

Subplots, by definition, are sub. They don’t take up as much space as the main plot; the emotional resonance isn’t as great as the main plot. Some subplots I’ve dealt with seem to take over a story. The challenge is to get the balance right, so the reader is never surprised at what happens. I’m monitoring the emotional impact of subplot scenes v. main plot scenes. How much space does each take up? What’s at stake in each? The main thing is to keep the main thing the main thing; but at the same time, keep the sub thing a rich little thing that enriches the main thing.

Revising a subplot in your novel

Generally, I need to enrich subplots, my first drafts are thin. Again, I am looking for ways to interconnect subplots and the main plot, ways to reuse bits of dialogue, settings, props or otherwise mirror events. It’s a time to stand back and evaluate the subplot for what it adds to the story (or what it could add with revision) and make sure it is pulling it’s weight.

Subplots enrich and deepen stories. My job this week is to work on my secondary characters and give them substantial subplots.

Nook Kindle PDF Look for it in the iBook store.

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