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Posts Tagged comic book writers
This post was provoked by a tweet. I was working on Nail Your Novel 3 and tweeted that instead of writing ‘the three-act structure’ I’d written ‘the three-cat structure’. Keyboard possessed by Blake Snyder?
Teddi Deppner (@tmdeppner), who you might have seen commenting here from time to time, rejoined:
‘I sure would like to see alternatives to the 3-act structure. Especially for non-movie, non-novel storytelling.’ She elaborated:
‘I want to write serial fiction that offers an experience more like an ongoing TV show (instead of a novel)… I wonder how comic book writers structure their stuff? Maybe that would be similar, too…’
It happened I knew just the man…
‘Not sure that I do use 3-act structure. I just write each episode as it comes, like a TV show. Structure emerges, not planned.’
Darn! There I am, writing about structure for my next book, and I’m nearly trounced by my own team. Dave has always been sceptical of writing ‘rules’. I persisted…
‘But does the structure follow the 3-act pattern?’
‘In retrospect, you can see a 3-act structure in each season.’
3 and 4-act structure
In case you’re scratching your head, here’s a catch-up. Briefly, the ‘act’ structure is all about where you put crescendos and twists in your story. There’s a general pattern that turns out to be most satisfying to audiences – a major change at roughly a quarter in, then another one at the three-quarter point. That’s three acts. It’s also good to have another change at the halfway point, which actually makes four acts, but some people don’t count that so they call it three. Why three? It’s beginning, middle and end. Simple.
Whether you call it three acts or four, it works so well it’s been translated into a fundamental formula. Some writers use it to outline before they start. Some use it to troubleshoot – if the story feels flabby, you can tighten it by restructuring to fit this shape. If you have a long-running story with characters and plotlines that mature at different rates, you can construct each of the arcs so they hit those markers.
… and back to Dave. As I said, he’s wary of the idea of storytelling ‘rules’ or ‘principles’, preferring to write by instinct. Indeed he told me that many years ago, a friend came back from a writing course with news of a wondrous formula – this three-act thingy. Dave had never heard of it, and indeed had already published several books. However, when he investigated further, he found he’d structured them with the major crescendos and twists at the quarter points.
This is how it is with writing – or any art. We all understand some aspects innately. For others we find it helpful to be shown a rule or a principle. In my case, I understood structure and pacing from the get-go. I struggled, though, with ‘show not tell’ and needed a good bit of nagging to grasp it.
Thanks for the pic, Sandy Spangler
Which writing rules do you find easy and which do you find difficult, either to grasp or to accept?
Update December 2014: The ebook of Writing Plots With Drama, Depth and Heart: Nail Your Novel is now available on pre-order. It will go on live sale on Twelfth Night, 5th January, and if you order beforehand you can get a special pre-order price.
‘On the twelfth day of Christmas my true love sent to me… Twelve drummers drumming, eleven pipers piping, ten lords….’ Is that too complicated for an opening scene?
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