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Archive for category Plots
If you’re exploring characters for your story, this exercise might help. Triskele Books is holding a creative writing summer school and I’ve contributed this snippet to uncover interesting tensions that make a scene sizzle. And once you’re there, you’ll find several other storybending assignments from seasoned fictioneers. Step this way.
I’ve had an interesting question from Ben Collins.
I have read that each part of a novel should contain a ‘disaster’ and that every scene should either contain conflict or be deleted. Is this too rigid a formula, or do you think it is correct?
That’s a good question with a lot of answers.
So let’s take it apart.
‘Every scene should either contain conflict or be deleted’
I certainly subscribe to the view that every scene should feel like it’s moving forwards. Something should change, and in a way that keeps the reader curious.
In my plot book I talk about the 4 Cs of a plot – crescendo, curiosity, coherence and change. You can hear me discuss it here with Joanna Penn on her podcast. Three of those Cs are relevant to this question – curiosity change, and crescendo. Crescendo is a sense that the pressure is building – which, if we’re thinking in terms of formulas, comes from a constant state of change.
So what about that other C, conflict? Well, plots come from unstable situations. They can be epic scale – character flaws, character clashes, impossible choices, regrets in the deepest recesses of the soul, attacks from outer space. They can be tiny – two protagonists who irritate the hell out of each other. Good storytellers will sniff out every possible opportunity to add conflict to a scene.
But do you need conflict in every scene? It depends what you’re writing. In a high octane thriller, you need to pack in the punches. If your book is quieter, your developments might be sotto voce. Nevertheless, it’s good to think of keeping the story bounding forwards, in whatever steps would be suitable for your readers.
Beware of overdoing it, though. Even the fastest-paced thriller or suspense novel needs downtime scenes or you’ll wear the reader out. Relentless conflict is exhausting after a while. The most famous illustration of this in action is the campfire scene in an action movie. Usually before a climax, there’s a quiet scene where the characters get some personal time, in a safe place away from the main action. This is a great time for a romance to blossom. Or to drop in a personal piece of back story – a character can finally tell their life story. It lets the tension settle so that the audience is ready for the final big reckoning.
Is it keeping up the sense of change? Well yes it is, because it usually deepens the stakes. The characters might grow to like each other more. It might add an extra moral dimension, so there’s a deeper reason to right a wrong. And the reader will feel more strongly bonded to the characters, so it becomes more important that they succeed – which is onward movement in the pace of the story.
Remember I said earlier on that a change in a scene might be a change in the reader’s understanding? This is an example.
So your scene should definitely contain a change. But there’s a wide definition of what that might be. Each scene should deepen the sense of instability and trouble. It should have something that makes the reader think – that’s not what I expected, or this is now a bit more perilous.
And now to part 2 of the question:
First, let’s define what might be meant by parts. I’m guessing this will be the major phases of the story, or acts. If you’ve seen my posts on story structure you’ll already know what that means. You’ve already got a steady pace of change, with each scene adding something to keep the reader curious. As well as this, you need bigger changes. Something that breaks the pattern and punts everything off in a different direction.
And yes, it might be a disaster. It’s usually something that makes the situation much worse, and sends the story off in a new direction. The murderer strikes again. The Twin Towers fall. The husband begins an affair. It’s a point of no return. a one-way threshold.
So Ben asked: Each part of a novel should contain a ‘disaster’ and every scene should either contain conflict or be deleted.
Let’s amend that statement: each act of a novel should contain something that propels the story into a new, more serious direction; a point of no return. And every individual scene should contain a change, whether big or small.
Thanks for the pic KIm Stovring on Flickr
Clear as mud? Let’s discuss. What would you say?
I’ve had this question from Elizabeth Lord: I have just finished your book Nail Your Novel and found it extremely helpful for the rewrite phase of my novel. You mention graphs as a way to see where plots are plodding and character arcs intertwine – do you have any examples?
What a good question! Diagrams coming up.
First, though, a bit of explanation. Readers get bored if the plot appears to be predictable – ie the characters start with a goal and proceed doggedly towards it, step by step by step. This is a linear plot and it looks dead dull, like reading the syllabus for an education course, not a story. So when the characters have a clear goal at the start, we try to introduce developments that upset expectations. They’re going on the Orient Express? Great. Make one of them miss the train. Now everyone has a new problem that matters far more.
The major changes diagram
So your first drawing exercise is to go through the plot looking for points where you throw in a development that changes the characters’ priorities in a significant way. Make a ‘didn’t expect that’ diagram.
You want several of these developments, BTW, and they’ll probably be the main turning points in the story. Note also that they’re emotional. They’re about changing the characters’ goals – the things they want, the things that matter to them. So early in the story, they’re trying to catch a murderer. By the end of the story, they’re trying to stop the murderer killing their wife. Or murderer and detective are embroiled in a towering love affair.
The highs and lows diagram
Another helpful diagram might look at the main characters’ emotional state throughout the book. You want them to feel increasingly pressured and troubled, and you want their worst moment to be the climax of the book. So try a diagram where you look at their levels of joy and achievement versus despair. The joy part isn’t so important, although you want to give your characters a few breaks so that the disasters are more agonising – and also to show what matters to them. Make sure the despair increases in magnitude as the story proceeds.
The un-convenience diagram
You can look for smaller reversals too. You might not realise you’ve made everything too easy for your characters. Every time they need to accomplish something, make it harder than they expect. Or make it backfire. You can check on this by going through your manuscript and drawing a little circle whenever you’ve thwarted your characters.
If you have a lot of little circles, you’ll probably keep your reader gripped. If you haven’t, you know to throw some spanners into their spokes.
Compare your plot strands at a glance
If you have several plot strands or main characters, you could combine them on one diagram and use different colours. Thus you will see, at a glance, how your character arcs intertwine and if you like the harmony of their highs and lows. Or you might spot a general lull where several characters seem to be having a successful run – in that case, it might be good to rework the story and introduce a setback or twist. If you’re the kind of person who has music manuscript paper lying around (how stylish of you), you could draw your diagrams on the staves, like lines for different instruments.
X-ray your plot
The serious point is this: these exercises are ways to extract and visualise important plot mechanisms that might otherwise be invisible to you, and help you fix problems with the structure and pacing. Have fun!
Elizabeth’s question was inspired by a section in Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence. There’s also a lot more about plot and structure in Writing Plots With Drama, Depth and Heart: Nail Your Novel 3.
Do you draw diagrams to assess your plot – or any other aspect of your book? Share them here!
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This week I’ve been pouring my grey cells into edits for Nail Your Novel 3 so I hope you’ll forgive this brief hiatus in my blogging schedule. The third Nail Your Novel book finally has a title (Writing Plots With Drama, Depth & Heart), a cover and most of its insides. I’ve been adapting and greatly enlarging the posts I’ve published here into an in-depth exploration of what plot is, how it works and how to write a good one. In asking these questions I’ve taught myself a thing or three as well.
If you’re eager for a taster right now, one of my recent shows at Surrey Hills Radio discussed plot – you can find it on this page as show no 6 (we’re working on getting proper titles but we don’t have control of the website!).
The plot book should be out within the next month … hopefully. I’m waiting for comments from my critique partners so I reserve the right to be coy about the actual release date in case they find a howling omission or other embarrassing disaster. If you want to know the very moment it’s out, you can get my newsletter here.
I’ll be back with a proper post next week. I hate to miss a week but sometimes we need to. How about you? Do you have a strict blogging schedule? What makes you bend it? Til next time… R xx
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The warm heart is the bond we feel with the central characters. It is the pleasure of spending time in their company. I hesitate to call it liking; it may not be so simple. Our attachment may be to just one person and their flaws and troubles, or it may be to a web of relationships. It is affection, but rough-edged. It is warm, but it might not be cuddly. It’s push and pull, trouble and strife, idiocies and idiosyncrasies. But it is where the reader feels at home.
And then there is the dark heart. The dark heart is jeopardy. The shadow at the end of the alleyway. The characters may have other problems in the story. They may fight miscellaneous foes. But the dark heart is an ultimate disturbance that will demand a day of reckoning.
Two long-running TV shows illustrate this in action. Fringe has both hearts. The central characters form a story family. Some of them are bonded by filial ties: the father, Walter; the son, Peter. There’s Olivia, the FBI agent who becomes Peter’s lover. There’s Astrid, a lab assistant sidekick who becomes a close friend. They are the warm heart of the show; the humans who have real and complex relationships and sally forth to do battle. And Fringe has its dark heart. The characters are on borrowed time; every day brings them closer to a confrontation they cannot escape.
One heart down
By contrast, Doctor Who, whose title character actually has two hearts, only has one of them working.
The story’s warm heart is in good shape. The Doctor and his TARDIS companion always have a vibrant relationship that brings us back week after week. We also get drop-ins from the extended story family: the Doctor’s wife; the occasional friendly alien he befriended while saving them. Previous companions are also available. This creates a galaxy family bonded by experience and affection.
The warm heart beats strongly. But the dark heart does not.
Now that might seem like nonsense. Doctor Who is all about getting into danger and fighting monsters, right? But they don’t treat these as seriously as they treat the character universe.
The threats are often negligible. Too often, the Doctor wins with a gadget, some fast-talking, an asspull or a vague wave of the omnitalented sonic screwdriver. He never has to raise his game to win. And the scriptwriters frequently bend the rules of their own show – thus disrespecting their own universe.
Although each series has an overall arc, which is where the dark heart should be beating its dreadful rhythm, it is false. It never produces a confrontation that will really put the Doctor on his mettle, or that could credibly destroy him. Even if the writers trick it up to look like that, he’s usually freed in one bound, and does not have to go through the wringer.
Because the writers don’t make us believe in the dark heart, the warm heart loses some of its power. You could say this demonstrates that we need the story to be taken as seriously as the characters are. Controversial.
Fringe goes one step further to genius. Here is why: the warm heart created the dark heart. Walter Bishop committed a crime that started an epic war. His son died, and so he opened a wormhole to a parallel universe and stole him back. The flawed warm heart let the dark heart in.
In a great story, the warm heart and the dark heart pump each other with life. The dark heart makes the warm heart more precious. And the warm heart makes the dark heart more terrible.
Let’s discuss some stories – film, TV or prose – with warm and dark hearts. Buffy, anyone?
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My novel is more than 170,000 words without the back story, which I had to cull because it was 70,000 words. I tried eliminating it; the book was a shallow disaster. I’ve tried summarising; it interrupted the story without explaining what was going on. The problem is that the culture and setting are predicated on an event 70 years before the story begins. This is key to the protagonist’s behaviour, attitude and circumstances.
The villain is involved 5 years before the story starts and works behind the scenes against the protagonist, who thinks the villain is dead. But if I don’t introduce the back story involving him, a lot of the story doesn’t make sense and characters’ reactions are hard to understand – especially in later books. I’m grateful for any suggestions.
Wow, Henry, I can see you’ve got a lot to squeeze in. And it’s far too much for the reader to catch up with. We need to restructure your story. This is what I would do.
Solution 1 – Try to simplify
DOES the story have to be this complex? Has it run away with you as you’ve added events and complications?
I frequently get myself into this kind of fix. I invent far more than I need. At some stage, I take a hard look and decide what I can streamline.
Take a blank sheet of paper and write down only the most important pieces of history. How do you decide that those are? They’re what help your readers understand the problems of your protagonist.
From other information you’ve told me, I know you’re writing a dystopia. There’s no better model than other novels that do it well – try Fahrenheit 451 and Nineteen Eighty-Four. Both have a heck of a lot of explaining to do, but never overwhelm the reader. They begin with the protagonist on an ordinary day, coping with a feeling they don’t fit with the world. This is accessible and relatable to everyone, and lets the reader connect with the character’s humanity. So look at your world’s problems in terms of what disturbs or distresses your protagonist in their normal life.
Both those novels do eventually reveal a lot of back story. We do get to World 101 – why it’s in such a mess, on a knife edge and who made it that way. But we don’t find out for some considerable time. First, we bed in with the characters. When the larger chunks of back story are revealed, they are parallel to the protagonist’s state of mind. They come at a stage where the character is curious to ask these deeper questions: how did we go so wrong? How can I get out of it?
If you do this, you will see how little of your back story you need to get the plot running. Concentrate on the characters and what makes life hard for them – and preferably harder than for other people in the story, so that they are the canary in the coal mine. The protagonists of Fahrenheit 451 and Nineteen Eighty-Four are first and foremost unhappy misfits. Second, they are echoing a sense of humanity gone wrong.
Even so, the authors might not have told us everything they had developed. So while you’re simplifying, look out for ideas you could leave out (even if you’re proud of them).
You made the back story this complex because it interests you, right? It’s become as important as the present story.
For instance, your villain had his heyday before your narrative starts. Why not write that story? And the main events happened 70 years before – that could be another story.
You could twine them together as parallel narratives – like The Godfather. Vito Corleone’s life is one strand: his son, Michael Corleone, is living in the world Vito made.
Now I can understand why you might not have thought to spotlight these stories. The outcomes, as we know, must be that baddies triumphed – a downbeat ending. But some books go like that – especially books about worlds. Think of A Game of Thrones – an epic series where some characters succeed and some fail. Your villain’s victory could surely be a dramatic story. People must have opposed him; he can’t have got away without a fight. Even if he succeeds, you could also suggest a twinkle of hope, a scrap of resistance that won’t stay quiet for ever.
Solution 3 – add a newcomer
Another way into a complex world is to introduce it through a proxy character like John Carter in Edgar Rice Burroughs’s series, who arrives on Mars from Earth. All the civilisation is new to him, which means he has to acclimatise along with the reader. (Same as John Carter in ER.)
You could also begin with a character growing up in the world, and having it explained – like Suldrun in Jack Vance’s Lyonesse series.
Thanks for the pic patriziasoliani
What would you say to Henry? Are there any books you would add to his reading list? Share in the comments!
Dystopias, Nineteen-Eighty-Four and Fahrenheit 451 are among the books and topics tackled in Nail Your Novel: Bring Characters to Life. Out now in all formats, including (ahem) combustible.
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Characters and personality. Not the ones in your books: I’m talking about you, the brain that’s parked snugly behind your eyes and the temperament that feels the urge to write. Sometimes our human wiring is not ideal for creating the kind of havoc we need for stories – which is quite amusing in its own way.
Anyway, I’m enjoying this conundrum today at Authors Electric – do jump the gap and see.
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Once upon a time, an idea caught your eye. You wanted to spend tens of thousands of words exploring it. Maybe you now can’t remember that, or the work you’ve done has left you weary and muddled.
If we’re talking about an idea that hasn’t been written yet, the first thing I’d do is make it new again. Recreate the gut ‘wow’.
OMG I must write this
I forget everything I’ve tried to do with the idea so far. I identify what grabbed me when the idea was fresh and new.
I also forget what anyone else has done with it, if they have. It’s easy to end up intimidated by other treatments, especially if I’m frustrated. I disregard all that and find what originally demanded I work with the idea.
I create a mood board. I write down random phrases, images, dialogue snatches that the idea suggests to me. As a shorthand I might note moments from other novels or movies, or snatches of music. Anything to capture the excitement I first felt.
Make it fun
The chances are, I’m disappointed with the pointless work I’ve done so far. Ideas will flow better if I’m not reproaching myself. After all, the original idea came unbidden.
As much as possible, I make this process feel like play. Instead of typing on a computer, I write by hand. I often use the gaps in expired appointments diaries, scribbling notes in a different-coloured pen, or using the pages upside down. This lets me brainstorm without judging the results. Or I go somewhere I don’t usually write – cafes, a bench overlooking a view, a Tube train.
If you use Pinterest you could also start a board for your idea, but I’m not disciplined enough and will probably get lost on a browsing spree.🙂
Where to take the idea?
Once I’ve made the idea feel new again, I start thinking about where it can go.
I start new lists for
- characters and what they want
- dramatic events that fit with the idea.
Batteries recharged, I can now face looking at what others have done. I search on Amazon for books tagged with keywords. LibraryThing has even better tags – here’s the page for My Memories of a Future Life and its tags, which I can click on to find other books that tackle the same subjects. (I would do the same on Goodreads but haven’t been able to work out how.) I also use the website TV Tropes (here’s how I use it to fill gaps in my story outline). All these resources will suggest the kinds of events, characters, conflicts and quests I could have.
Importantly, they’ll also help me discard some possibilities. In the novel I’m working on at the moment, I get a heartsink feeling whenever I look over some of my notes. Clearly I’m not interested in that aspect of the characters’ world, even though other writers have tackled it. So I’ll play it down.
When is the idea strong enough?
Ultimately the idea is strong enough when I know:
- who the hero is and who or what might oppose them
- what people are trying to do
- how it will get worse
- what the setting is
- why it will take a long time to reach a resolution
- a rough structure – what kicks off the drama and various twists that will form the turning points. Sometimes I decide the end beforehand, or I let it find itself once I’m writing.
You might have covered all these bases but the story still seems limp. In that case, beef up the material you have –
- increase the stakes so that the goal matters more to the characters
- make it more difficult for them to get what they want
- turn up the conflict between the characters.
You don’t have to get it all instantly
This is important. Some ideas need to be shut away and wiped from your fretting brain. If the idea looks feeble, don’t junk it. Give it a sabbatical. The Venice Novel, which I talked about in the TV Tropes post, has worn out my ingenuity for now so I’ve put it in the deep compost department. Meanwhile another novel I thought I’d worried to shreds has – to my surprise – woken up with real substance. I’m working on the detailed outline. For now I’m calling it The Mountain Novel.
Partner it with another idea
Sometimes an idea doesn’t have enough juice on its own. But it’s still worth working it as far as you can. A few key elements in My Memories of a Future Life and Life Form 3 began as separate story ideas. Negligible on their own, they harmonised perfectly in a bigger work.
Don’t be afraid to restart
Sometimes we go wrong with an idea or get lost. If I’m in the early stages, trying to work out what to do with an idea, I return to the pure inspiration and look for a stronger angle. If I’ve already drafted and the story doesn’t seem to matter enough, I look at ways to turn up the heat. (Speaking of which, thanks for the distillation pic Brankomaster.)
Have you had to strengthen a story idea? What did you do? Share in the comments!
You can find tips for researching, outlining and what makes a robust story in my book, Nail Your Novel – Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence. Available on Kindle and in print. Book 2 is now under construction – sign up for my newsletter for details as soon as they become available. You also might like my multimedia course with Joanna Penn – more than 4 hours of audio and slides with an 86-page transcription – find it here.
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Gamebooks, for the unnerdly, are interactive adventures (sometimes called Choose Your Own). The story is printed in scene sections, out of order, which end with a choice – trust the blind beggar or not, decide whether to look for your enemy in the town or the desert. Although I’m not a gamebook fan (apologies to those who are), I’m finding the process rather interesting.
Choices and consequences
First of all, what happens in each thread depends on the character’s personality and previous moral choices. So if they’re captaining a pirate ship, in one version they’re jolly tars and in the other it’s mutiny.
Choices are crucial to good stories. Stuff happens – not because a god dumped events into the plot, but because characters did things, usually under pressure. In a gamebook these choices create a unique path through the adventure. But whatever kind of story you’re writing, the chain reaction of choice and consequence is an essential.
Experimenting with scenes
To proof Dave’s books, I’m not reading one thread at a time, but front cover to back – which is jumbling the story into random episodes. It also means I encounter each scene in many versions.
This was like an x-ray of my plotting and revision process. I make copies of each scene and write umpteen iterations looking for tighter tension, more resonant changes, more interesting (but honest) ways to keep the reader on their toes. In fact my outtakes are rather like my novel in gamebook form, with all its possibilities – what if she says this, what if the characters had met before in different circumstances, what if y had happened before x?
(In fact Dave said this experimenting was part of the fun – he could play each scene several ways instead of having to settle for a single one as he would in a novel. The pic shows his flowcharts. BTW, the print books are Lulu editions for proofing only. Yes, we know the covers are horrible.)
Exploring possibilities is something that writers are often scared by. Often they want to keep a scene the way they first imagined it. But the more we squeeze a scene to see what it can do, the stronger a novel will be.
Because the gamebook contains many journeys, there are also many ends – deaths that are daft or valiant, failures to complete the quest, heroic rescues, solutions where honour wasn’t fully satisfied. Usually only one ending hits the mark. (In gamebooks that’s traditionally the last paragraph, by the way.)
Finding the right ending in a novel usually takes a lot of false starts. But you don’t get there unless you try all the permutations of success or failure and the shades between.
Get the experimenting mindset
To get in the experimenting mood, grab a gamebook and read it in a way it’s not intended to be – from page 1 to the end. You’ll see the many ways an encounter can go, the options for a scene of dialogue, the possibilities for your ending. Once you’re loosened up, go back to your WIP and play.
(Here’s the titles that are currently available in the series I’m proofing for Dave, but gamebook fans can probably point you to other goodies.)
Thanks for the signpost pic Shahram Sharif
Do you feel able to experiment with your stories? If so, what helps you? Share in the comments!
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It’s called Television Tropes and Idioms. But don’t be fooled by its name. Tropes doesn’t mean cliches; it means story conventions and readers’ expectations. In fact, you can use the site as a cliche and stereotype warning – it tells you what’s already been done to death so you can keep your story and characters fresh and original. And the site includes movies and novels as well – of all types, all genres (and even stories that don’t fit easily anywhere).
I’m using it to fill gaps. At the moment I have a rudimentary cast of characters and a fundamental conflict, so I need to see what else could gather around it. Poking around in the subject sections (‘topical tropes’, in the left sidebar) suggested a lot more places I could take the characters and ways to develop the plot. It also gave me ideas for more defined roles my characters could play.
If you want to hit a particular genre, zip down the left-hand sidebar and look up ‘literature’ and you’ll find a list of categories to clarify where you fit. You can also check you’ve covered enough bases to satisfy readers and identify possibilities you might not have thought of.
But even if you don’t fit traditional pigeonholes (like certain folks I could mention), you can look up story ingredients, such as ‘war’, ‘betrayal’ or ‘family’ – just for instance, under the latter you get a delicious sub-list with suggestions like ‘amicably divorced’, ‘hippie parents’, ‘dysfunctional’.
Some writers get their first inspirational spark from a setting – if that’s you, you can research how other authors have done your setting justice, from pre-history to ‘4000 years from now (and no jetpack)’.
One of the other things I like about it – very much – is its tone. No judgements are made about whether genres are fashionable, overworked, lowbrow or highbrow. It’s all about celebrating how stories work – or sometimes don’t. As we know, that comes down to the writer’s skill anyway, not whether a ‘subject’ is en vogue. And after a few hours in the company of their rather breezy descriptions, not only will you be better informed, you will be spurred to avoid the lazy story decision.
If you’re sprucing up your outline – especially as NaNoWriMo looms – spend an afternoon exploring Television Tropes and give your story a thorough workout.
Do have any go-to sites when you’re planning a novel – and how do you use them? Share in the comments!
You can find tips for researching, outlining and what makes a robust story in my book, Nail Your Novel – Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence. Available on Kindle and in print.
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- Writing a slow-burn book? Three surprising ways to measure progress August 21, 2016
- The ethics of ghost-writing August 14, 2016
- ‘A fire was in my head’ – The Undercover Soundtrack, Sandra Leigh Price August 12, 2016
- 10 eye-opening tips to add impact to your storytelling August 7, 2016
- An exercise in character and story development – guest spot at Triskele Books August 4, 2016
- 5 essential habits I learned while ghost-writing – guest post at Jo Malby July 29, 2016
- ‘Music brought me closer to that amalgum of confusion, self-pity and nostalgia’ – The Undercover Soundtrack, Anne Goodwin July 28, 2016