BLOCKBUSTER
Begin by knowing who protagonist is at the climax
Locate what your story says about life, the deeper meaning. For PB, the take-away
Open with a character minus the skills, strengths & abilities needed at the climax
Commit to the primary plot of your story
Know who carries the emotional weight of your story, the heart
Break your story into ¼ The Beginning, ½ The Middle, ¼ The End
Use the protagonist’s flaw to interfere with reaching her goal
Start at the end and plot your way backwards
Turn episodic events into scenes with cause and effect Establish protagonist’s flaw in scene #1
Rather than tell the protagonist’s backstory in summary, show what she is unable to do
PLOT
Plot the territory of the antagonist in the middle as an exotic world to the protagonist
Love 1st ideas & replace with depth more closely tied thematically to the whole
Optimize character development by keeping an eye out for the gift she brings
Take your story from beginning to end before going back and starting again
Today I write.
~~~~~~~~
PLOT WORKSHOPS and RETREATS
WRITER PATH PLOT and SCENE RETREATS in the heart of the Santa Cruz Mountains. May 30 – June 1 Join Jordan Rosenfeld and me deep in the Santa Cruz Mountains. Your story deserves to be told. Your writer’s soul needs to be nourished. Learn to identify and write the key lynch-pin scenes that build a page-turning story, master crucial scene types and go deeper into your plot by applying the three key layers that run through all great fiction: action, emotion and theme. Reserve your spot now for the 1st Annual Writer Path Retreat Spring 2014.
A PATH to PUBLISHING
Pre-orders now available for an entirely new support system based on PlotWriMo for writers ready to Revise Your Novel in a Month.
For more: Read my Plot Whisperer and Blockbuster Plots books for writers.
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Watch your delivery of backstory ~ the story of what, in the past, made the character who they are today (in story time).
From the hundreds of novels, memoirs and screenplays I have analyzed for plot workshops and plot retreats for more than twenty years and as I complete the final, final edit -- well, there is still the galleys to come, but still..., on the Plot Whisperer book (the cover is up on Amazon and the book ready for pre-order!), I have come to appreciate that beneath every great story beats the Universal Story.
For those of you more literary minded, 3rd Annual International Plot Writing Month is not an attempt to establish literary rules and regulations. Far from it. Nor, do we want to rob you of the riches of your minds and souls. Quite the opposite.
If you are joining us for the first time, please scroll down to Day One. The reason I do not provide a "hot" link to the post is because doing so will take you only to that day's post and you want to work your way through all past seven posts to catch up.
To depict character emotion beyond the cliches -- slamming things down and shouting when angry, dancing and singing when joyful -- takes having felt the emotion yourself as a writer or the intuitive ability to detect the subtle exaggeration of common external behaviors that signal deeper emotion.
The further I put myself out there teaching, writing, consulting, living, the more vulnerable I feel.
Writers Plot Retreat took place in the Santa Cruz Mountains in Northern California
Listen to yourself. Write the way that feels right to you.
The Middle
You're itching to get back to writing, aren't you?
If you are just now joining us on this month-long journey of analyzing the plot and structure of the Dramatic Action, Character Emotional Development, and Thematic Significance of a draft of your screenplay, memoir, or novel, Welcome!
Welcome to Day Eleven.
If you are joining us for the first time, please scroll down to Day One. The reason I do not provide a "hot" link to the post is because doing so will only take you to that day's post and you want to work your way through all past seven posts to catch up.
The Plot Planner I create for writers during an On-going Plot Phone Consultations (and encourage all writers to create for on their own for their individual writing project) is simply a line that divides scenes into "above the line" scenes and "below the line scenes." Living in the present moment is difficult for most people. Only while daydreaming or night dreaming, through mediation, under hypnosis, or while in the zone of writing or some other passion and with practice, can we stay mindful or conscious of the present moment for a sustained period of time. Usually our minds are darting into the future, whether the next 10 minutes or 10 years from now, or into the past, what just happened or what happened long ago. Reading is a mindful activity. When the writing is good and in scene, a reader reads the words, but rather than pay attention to them, becomes engaged with the characters. This keeps the reader in the present moment -- not real time present moment, but story time present moment. Watching a scene unfold on the screen or while reading it on the page, we experience a sense of flow. A story written in scene creates its own time and a sense that the present moment is all that exists. As we sink into the world of the characters, we surrender even our emotions to the illusion. This strengthens as we come to know the characters and care for them, even to worry about them. Our bodies respond on a visceral level; our hearts beat faster. We laugh and weep, present and involved in the story world itself. Elements that entice a reader or moviegoer to sink deeper into the dream: 1) Characters who invoke interest in the reader or movie-goer 2) Conflict, tension and suspense that sustains excitement 3) Only enough back story to inform that particular scene and triggers in the reader or movie-goers curiosity and investment in the dream 4) Clarity into whom and what to root for in the story 5) Consistency in story pacing versus missteps that can jolt the reader awake 6) Right sensory details that deepen the overall story (dream) mood 7) Foreshadowing that offers enticement (flashbacks can create time disorientation). 8) No hint of the author in the story versus author intrusion 9) The right balance between Scene and Summary 10) Payoffs in the dramatic action and the character emotional development at just the right moments. Once the lights go on in the theater or we put the book down, it takes a moment or two to remember that the people in the story were an illusion. Often, it is necessary to consciously detach from the world on the screen or the page in order to return to real life and regain a sense of real time. The best stories are when we are with the characters and so in the trance of the moment that there never seems to be a good reason to put the book down or to pause the DVD. Lured deeper and deeper into the dream, we are unable to stop watching or stop reading until we find out if what we fear will happen does indeed happen, or not.
It`s like hell in Southern Norway, a three week heatwave is just about to drain all energy from nearly everybody, but I guess we`ll survive. Hope all is well with you. I`m having trouble finishing my book, don`t know how to continue to the end. It may be better as soon as the heat goes, hope so. I look at your scene tracker every day, again and again and I see how clever you are to grip the meaning and help writers like myself. But now? The more I read it the worst it get. Maybe I should get one hour with you if it get any worse? Answer: I'm sorry about your weather. I do wonder how much the heat is contributing to and influencing your lack of progress. I send you thoughts of a cool and calming air floating through your mind and bringing peace, both with the temperature, but mostly with your story. Don't forget: the first draft is supposed to be like "vomit-on-the- page" -- horrible, embarrassing, messy, infantile, etc.... No matter how terrible, once you have a first draft, you are then able to refine, hone-in, smooth out, bring meaning and beauty to your work. A first draft is critical both for the final product, but also for you to know you have finished what you started (though there will obviously still be lots of work to do). You are being tested. Writing to the end is not for the faint- hearted. I know you can do it!!!! I'm always available for another hour. I'm more than happy to get you back on track. See how you feel and let me know. Three links you may like to read: 1) my blog speaks a bit about what you are going through -- http:// plotwhisperer.blogspot.com/ 2) the page to sign-up for another consultation, if you so decide -- http://www.blockbusterplots.com/consult/ongoing.html 3) my 89 year-old Swedish-born mother's blog I thought you might get a kick out of reading -- http://svensto.blogspot.com/ I believe in you!!! Keep at it...... Response: Thank you so much. What you said about the first draft made it so much better for me. I feel now that I can finish, and then I start to refine and change all that awful stuff. My God, this is just so wonderful, I must have been blind dumb and deaf to not think about that. You really put it into place for me dear angel. Gosh!!! I`ll let you know how I progress, and you are so right about that throw up feeling when I read it and never thougt of it as my first draft. Hallelujah!! And if I get stuck again I`ll call out loud and clear. Lokking forward to read your mothers blog, thank you. The terrible heat is gone and I pray to heaven it does not come back. Last night thunder and lightening and lots of rain, wonderful. And oh, should I print out my first draft before I start anew, or work on what I have rigt here on my computer. How do others do it and what do you think is best? Sorry to bother you so much, hope you forgive me for that. Thanks a thousand times for your belief in me, I know you mean it and I`ll work all I can and remember your good advice, that first draft is blah.... Ps. I just have to tell yoy, that nobody here talk about first drafts, but I guess they write more than one, but never tells about it. You sort of have to help yourself so I`m happy I found you, thanks again. (NOTE: I'll address her question about rewrites in the next post...)
One of my favorite writers recently attended at a meet-the-agents day in NYC where she pitched her latest writing project to a slew of agents. She returned home with a headache and a long list of interested agents. Now that the excitement and nervous energy is abated, she's left with burn-out and overwhelm.
Daily, I gain strength from a quote of Goethe's: "What you can do or dream you can, begin it Boldness has genius power and magic in it." He also said, "It is almost impossible in the present day to find a situation which is thoroughly new. Only the matter of looking at it can be new, and the art of treating it and representing it." Your unique voice comes from how you: Listen for it. Hone it. Trust the process.
I recently perused the stacks for reading material with several writer friends. One of them picked up a book and exclaimed, "Does it have a plot? I'm not reading one more book without a plot!"
Writers want to cram everything right up front.
"I know all their history, why would I want to withhold it from the reader?"
"I wrote it that way."
"It's the good part."
Writers spend lots of time imagining and writing every little detail about a character's past, be it for a child or an adult. So, of course, writers would want to tell everything right away. Perhaps, in the process, even show off a bit how clever they are. Until, one understands how curiosity works.
Not telling everything makes the reader curious. Curiosity draws the reader deeper into the story world. The reader wants to fill in the "who," "what," "how" (the "where" and "when" have already been clearly established right up front to ground the reader). They keep reading. This is good.
Tell the reader only what they need to know to inform that particular scene. This is especially true in the Beginning (1/4 mark). During the first quarter of the project, the character can have a memory. But, for a full-blown flashback, where you take the reader back in time in scene, wait until the Middle.
(PLOT TIP: If you're absolutely sure you absolutely have to include the flashback, try using one when you're bogged down in the middle of the middle.)
Click on green highlighted plot concepts for further explanations via video. Each time a concept is referenced you are directed to new information about the Universal Story and writing a novel, memoir or screenplay.
Visit Plot Series: How Do I Plot a Novel, Memoir, Screenplay? on YouTube. A directory of all the steps to the series is to the right of this post. Enjoy!
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In completing the first draft of your screenplay, memoir, or novel, you likely encountered countless ambiguous and difficult elements, all of which, no doubt, spurred you yet closer to finding your true voice of creativity and expression. Yet, even within the catalyst for creative production that we all desire, some structure and guidelines often prove helpful.
THE END: TRANSFORMATION
The End (final 1/4 of the story) is made up of more than the Climax (which we covered Day Nine). When you followed the assignment for Day Eight, I trust you were able to remember and plot out scenes from this final section besides just the Climax.
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What we are doing here at the 3rd Annual International Plot Writing Month is dry and analytical compared to the magical and mystical process of writing the first draft. However, processing your story through your intellect and analyzing it wipes away befuddlement and leads to clarity of character goals and motivation which in turn helps to create convincing expression and emotion.
The work we do here, like the plot workshops I teach, is divided between explanation and time for development of the THREE MAJOR PLOT LINES for your individual project. For the sake of convenience, the explanation here gives independent consideration to the dramatic (action), emotional (character development), and thematic aspects of story, but keep in mind that all aspects of a successful writing project must become integrated into the total structure to create its unity, and that achieving this unity is the goal of every writer.
Today is two-pronged:
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Easy access to San Jose airport
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Often comments from others are more an indication that something needs work. In our zeal to support our fellow writers, we come up with all sorts of solutions. However, what's most important is to know something isn't working and for you to come up with what is the best fit.
I just don't want you to get into trying to please everyone else.
Most important is your relationship to the story.
The story will tell you everything you need to know.
Ask the story what is best and then listen...
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Following are several posts that deal with the Middle (1/2). My hope is that they may stimulate more insight about what works in your Middle and where you might put a bit more attention.
The Middle
Crisis
Crisis
The Middle
Consider the Reader
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What character flaw continually sabotages the protagonist?
What antagonists get in her way? (Remember, the Middle is the territory of the antagonists.) (Use as many as you need to create tension, conflict and suspense...)
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To gain the most out of this month, please follow along day-by-day, beginning at Day One (scroll down to find Day One and get started).
The Beginning
The work you did yesterday -- Day Thirteen -- creating a Plot Planner for the Beginning (1/4) of your story -- comes in handy today.
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In order to achieve the best results from this 2nd Annual International Plot Writing Month, I advise scrolling down to Day One and working your way back to today. As I have explained earlier, this month is completely different in tone and approach to the process you recently used to complete your project's first draft.
Now, rather than give into the mysterious and mystical process of allowing a story to develop, this month is devoted to a more methodical analyzation of the ideas and scenes you have already processed. Whereas the first draft often relies heavily on faith and patience, this month, we ask you to take what you have created and revise it into a form that is satisfying to a reader.
The magic that came in draft one is for you the writer. What comes in subsequent drafts is for the reader.
As for Day Eleven, I am undecided what to cover next: the Beginning (1/4) or the Middle (1/2)?
While I wait for inspiration, I will summarize what we have covered thus far.
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What we are doing here at the 2nd Annual International Plot Writing Month is dry and analytical compared to the magical and mystical process of writing the first draft. However, processing your story through your intellect and analyzing it wipes away befuddlement and leads to clarity of character goals and motivation which in turn helps to create convincing expression and emotion.
The work we do here, like the plot workshops I teach, is divided between explanation and time for development of the three major plotlines for your individual project. For the sake of convenience, the explanation here gives independent consideration to the dramatic (action), emotional (character development), and thematic aspects of story, but keep in mind that all aspects of a successful writing project must become integrated into the total structure to create its unity, and that achieving this unity is the goal of every writer.
Today is two-pronged:
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Characters grow and change based on the Dramatic Action they experience during the story. If the action is simply action with no conflict, tension, or suspense, the story does not move and the character does not grow.
In today's consultation, the writer has a tagline that is so snappy and compelling, it could sell the project alone. I was excited to hear more about her character who, based on the Character Emotional Development Profile, fits my classic definition of a great protagonist = a strong, flawed character unafraid of taking big risks and willing to show a bit of a dark side (This writer's protagonist hasn't shown the dark side yet. When we plot out the 2nd half of the project, I'll be curious to find out whether a dark side emerges... or not.)
The plot for his project works, but the execution scene-by-scene falls short. Too many scenes fall "below the line." The potential for popping them above the line is terrific so long as when he writes the next draft, the writer focuses on writing the scenes from this new point of view = creating conflict, tension, and suspense and /or curiosity in every single scene. Well... I exaggerate. A story benefits from quieter scenes, too, but even those "below the line scenes" create more intensity and depth if they have a pallor of tension, a hint of conflict, a whisper of overarching suspense (Gawd, I can tell I'm tired...).
For more Plot Tips on creating scenes above and below the line, go to:
International-Plot-Writing-Month-Day_26 (NOTE: this is a day from last year's International Plot Writing Month that takes place in December and is designed to support writers who are in the process of creating the rough draft of their stories now in NaNoWriMo)
Second Draft
Elements of Plot
Plot & Subplots
Character Development and Dramatic Action
(NOTE: For more articles about creating conflict, tension, and suspense, go to the top, right corner of this webpage and in the white, rectangular box write tag words for what you're interested learning more.)
(NOTE: Another critical element of a good plot that reveals itself on a Plot Planner is Cause and Effect. For a simplistic definition, visit my Twitter.
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A writer who is "sick of agents" and wants to take back control over her own life considers going the self-publishing route. Following is my "take" on the subject:
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Plot as a noun is what happens in a story. More specifically, the plot of a story is the dramatic action that transforms the main character and provides meaning.
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In the 60s, Curtis Mayfield sings of a new world order, a change of mind for the whole human race. Marie Elena Gaspari dances to it in the 90s. The old world order falling away.
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Great rewiev!Thanks!
This is a fabulous blog, Martha, thanks so much for such good instruction.
Dear Plot Whisperer Martha,
Your advice "Not telling everything makes the reader curious. Curiosity draws the reader deeper into the story world." is golden. When I edit my hard-working clients' manuscripts, I see their desire to 'inform' (especially in the first quarter of the story); and I give them this analogy: "Engaging the reader within the first 5 pages is so much like hooking attention on a first date, the next five pages on a second date, and so on, and so on. Intrigue the reader, not overwhelm her/him." Martha, I am so excited that your new book will be available in October! Lucky us writers and manuscript consultants! Cheers to you! Sincerely, Teresa LeYung-Ryan, author of Build Your Writer's Platform & Fanbase In 22 Days: Attract Agents, Editors, Publishers, Readers, and Media Attention NOW and Love Made of Heart
Thanks for visiting and commenting, Elizabeth!
Thanks for your kind words, essay writing!
Great advice, Teresa. (Fun to find you here!) I remember going over this in a plot workshop and a writer coming up after to say she had learned not only about how to pace the introduction of her protagonist, she learned more about how to present herself to others, too...