Meandering through Plot and Structure (4)

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So let's see. Bell has talked a little about why a plot is important, given us the LOCK approach (lead, objective, confrontation, knock out), and . . . it's time for another session.

Next he has a brief look at some of the plot varieties that people talk about and how they compare to LOCK. For example, love has boy wanting girl, plenty of resistance, and the knockout ending -- he gets her or he doesn't. Internal or external objectives, physical, psychological, or social confrontations, and the LOCK covers them all.

He also talks a little about the difference between literary and commercial plots. At least according to Bell, literary plots focus on the inner life of a character, and are often little bit leisurely. Commercial plots are more likely to keep the action going. Sometimes people talk about character driven and plot driven. But basically it isn't an either/or but more of a continuum.

In regards to the charge that this is formulaic writing, Bell points out that the formula for an omelet is simple. However, the cook, the spices, and all the rest of it means that some omelets should be fed to pigs while others are high cuisine. Interesting point.

And here is where Bell plays with the analogy, pointing out that characters, settings, and dialogue are some of the spices that you use to make your writing unique. He ends the section with a suggestion that scene selection is one of the strongest spices. And as writers, we need to avoid the clichés. When you're looking at which scene to write, stop for a minute, make up a quick list of possibilities, and look for the one that isn't quite so obvious.

Okay. So that's Chapter 1, really focusing on introducing Lead with Objective faces Confrontations until the Knockout ending -- LOCK. Add the spices of characters, settings, and dialogue, and you're well on your way. Now let's see. Bell finishes with four exercises. You might want to try them.

First, he suggests taking 10 minutes and free writing your response to: "When readers read my novels, I want them to feel [fill in the blank] at the end. That's because, to me, novels are [fill in the other blank]." Free writing means just write it and don't worry about the details, let your fingers fly and your thoughts roam where they will. Of course, when you finish, go back and look at what you said. You don't have to show this to anyone else, it is for you to reflect on your own thoughts.

Second, he suggests taking some of your favorite novels and analyzing them using LOCK. Look at how they work.

Third, he suggests writing a quick plot for a current idea. Just use one line for each element in LOCK:

My lead is a [fill in the blank]
Her objective is to [fill in the blank]
She is confronted by [fill in the blank] who oppose her because [fill in more blanks]
The ending will be a knockout when [fill in the final blank]

Once you have the four parts in hand, the rest of his book helps you fill in around them.

Fourth, and final, he suggests keeping a spice collection! In other words, as you read, travel around the world, and so forth, keep track of:

Unique settings
Colorful characters
Dialogue that works
Scenes with tremendous impact

Think about what makes each of these things useful.

So there's chapter 1. 21 pages out of about 230, and a kind of simple template to help us build plots. Focus on the lead character, make sure they're going somewhere, make sure they have opposition, and provide a knockout ending.