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One of the more difficult aspects of creating a compelling Dramatic Action plot for highly creative, so-called right-brained writers is to come up with concrete goals for the protagonist.
I have written an article for March issue of The Writer magazine that will be out in bookstores mid-February and will not go into all the details about the importance of goals, examples of goals in literature, and how to create them -- you can read the article for more.
What I do want to cover here is the difference between the long-term protagonist goal(s) and the short-term scene goals.
This goal is different than the Goal column on the
Scene Tracker template.
The Scene Tracker Kit is designed to help writers create plot at the scene level. An essential element of scene is the protagonist's part in the scene which revolves around her goal. The scene goals are the steps she takes in hopes of reaching her long-term goal.
Both Goal elements demand a clear vision of what the protagonist desires on a concrete, attainable level. These goals much be within the protagonist's capabilities of achieving (of course you will develop all sorts of antagonists, both internal and external, to interfere with her success). However, the more well-defined the protagonist's goal at the overall story level and scene-by-scene the more grounded the reader in the story as they know what is at stake and when the protagonist is getting closer to her goal or is sent further away from her goals.
For more on Goal setting:
Hi Martha,
Here's a question that I'm almost too embarrassed to ask.
My SceneTracker is strong from Chapter 1 Scene 1 through Chapter 3 Scene 7.
I have the big scene for Chapter 5 Scene 15.
It's the empty 7 scenes between that is making me anxious and doubt myself. I could develop characters in each scene and provide their POVs but I feel like I should know the flow and what will happen next "because she did this ...."
Does this happen to others?
And what would be the best way to prime the muse to have the characters tell me the rest of the story?
Do your characters "talk" to you? I've heard writers say this.
What do you honestly think?
Writing in North Carolina
Dear Writing in North Carolina,
One technique would be to leave the scenes empty for now and forge ahead.
If you believe that the Climax -- the final big scene before the Resolution at the End -- determines what comes before, the sooner you reach the Climax the better.
Sounds like creating Dramatic Action filled with conflict, tension, suspense and curiosity is intuitive for you and Character Emotional Development less so. Why do I say that? You wrote first that "I could develop characters in each scene" and followed with your gut feeling: "I feel like I should know the flow and what will happen next "because she did this ...."
Stay in your strength while keeping the goal of writing your first draft all the way through. The important thing is whatever keeps you writing.
My characters seem to take up residency in every aspect of my life for as long as it takes me to finish a project, which can be a long time. I usually know the end before I begin. I take it draft by draft by draft, knowing each draft will deepen my vision of the project as I sink deeper into the story and spend more and more time with my characters.
Look to research to help dream up and develop scenes. Once you know:
1) what the character wants
2) what stands in her way
3( What she stands to lose
4) The character's flaw
Find inspiration and ideas in researching the unusual world you'll develop in the Middle, any major historical, political, spiritual, scientific events during the time period including contemporary.
I'll put the word out for input from other writers.
Good luck.
Sincerely,
Martha
By: Martha Alderson, M.A.,
on 10/29/2007
Blog:
Plot Whisperer for Writers and Readers
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The following are questions that came up after the last post. Thought the questions and answers might help other writers so I include them below. Happy plotting...
Q: So basically it’s the scene(s) in the climax section that we have to watch out for in terms of the final CED, to see if the character has evolved from the initial fatal flaw in the beginning of the story?
A: Yes, the scene in the Climax is what each and every scene has been driving towards throughout the entire story, which is why it's a good practice NOT to go back and start over again until you have written all the way to the Climax and are pretty sure what that scene is. If you find yourself in that cycle of constantly going back and beginning again, you'll perfect those early scenes that may end up being cut when you finally understand the Climax. Once you know the Climax, you have a much better idea of how best to begin the project.
Q: And what you are saying is that it is suffice by just marking it in a different color to denote the arc or character journey in emotional development? Subplots, therefore don’t need to be marked separately in Plot Planner because it is intertwined within the Dramatic Action?
A: Some subplots deserve their own Plot Planner. In that case I recommend that one line is above the other so you can see how the subplot works with the major Dramatic Action and Character Emotional Development plot.
Q: On the last question, so summaries don’t show thematic details?
A: On a subtle level, thematic significance shows up everywhere ~~ in scene and summary ~~ though word choice, mood, etc. However, you only plot out scenes on the Plot Planner and on the Scene Tracker.
Q: (Anyways, how would we know to mark the summaries for Theme in plot planner if we don’t even track that info in scene tracker). Is my understanding then to just mark those scenes (not summaries) whether above or below the line, that have thematic details, correct?
A: This is true only in later drafts. The Thematic Signficance does not always emerge until after the story becomes more stable ~~ beyond the first couple of drafts. In the early drafts, don't worry about the Thematic Significance. You'll have enough to work with just honing down the Dramatic Action plot and the Character Development plot.
I apologize if I seem to be reiterating my questions, I just want to make sure I am interpreting your response correctly. I know you are extremely busy and I really do appreciate all of your help.
ps. You're right, PP and ST is addicting. And I have resumed back to my writing with more confidence! By the way, I ordered your DVD with the focus on CHildren Writers and eagerly await to be enlightened by your method again. Perhaps by watching you explain your method, I'll get a greater sense on everything you have written in your book.
A: Yes, I believe you will get a greater sense of how the Plot Planner works and how the Character Development profile helps to build the Character Development plot line. Let me know what you think.
Q: Was also wondering, are all of your DVD workshops pretty similiar and touch on everything that is on the book or do you delve into any advance topics on plotting for example with the DVD you have that uses Memoir of a Geisha?
A: The DVDs are different in that they are live workshops that were taped (some better in quality than others).
Thanks in advance Martha for everything and for your continued support!!!
A: Thank you, and great good luck with your project!
Response:
Mostly it's all about the writing and staying fluid.
But, I, too, find benefit in the movement, the lining things up getting-ready-ritual. I'm sure you're jumping forth between writing and organizing by now.
Keep imagining,
martha
Original email:
Thanks again for all your help. I've printed your scene tracker 20 times, labeled, and laminated back to back (10 laminated sheets) so I can use dry eraser and reuse them from story to story. Watch all this organization throw me into a writer's block. Oh, please say it isn't so.
I've even gone as far as laminating my blank master GMC charts, storyboard, plotline, character, conflict, conflict comparison, pertinent backstory for character GMC, character arc and romantic conflict/connection worksheets so that I can use dry erase on them and reuse them.
Geez, talk about anal, but at least it feels like I'm becoming organized. lol
Since it's OK for me to post gossip, here is Gawker's report on the YA Author Prom. Guess what? YA authors write YA because of "unresolved high school issues." And apparently? There is a "YA AUTHOR SCANDALSHEET WEEKLY." And John Green is loved by all. But we knew that!
Meanwhile, also courtesy of Gawker, Blogs Can Bring Down The New York Times!
Edited to add: Hey Gawker shows up in the Brotherhood 2.0 video of prom! And before I start complaining about my lack of invite to "the social event of the Young Adult calendar," let me say -- I couldn't have made it anyway. But I will see you all at the Printz reception. And I'm still trying to track down that scandalsheet.....
And more hot! Prom! Gossip! the Longstockings look smashing and e.lockhart has more photos!
One of the more difficult aspects of creating a compelling Dramatic Action plot for highly creative, so-called right-brained writers is to come up with concrete goals for the protagonist.
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Great post! I think may be the single most helpful post I've read since starting to blog last month.
Thank you for all of the wonderful information. I will be ordering your Tool kit, can't wait for it!!! Also can't wait for The Writer magazine to come out.
Micole Black