TECH: Meandering Our Way through Plot and Structure (14)

[mbarker.livejournal.com]

Originally posted 30 August 2007

Meandering Our Way through Plot and Structure (14)

[darn, I can't remember whether I posted one of these this week or not? Oh, well, if I did, here's a bonus, and if I didn't, here's to catching up!]

And as fall begins, we find ourselves deep in the heart of Plot & Structure by James Scott Bell looking at middles. Not the ones with bellybuttons, but the middles of stories, which often share that unfortunate tendency to flab and drag. But never fear, Bell has pointed out the need for good opposition, adhesive to keep them together, and ARM-- action, reaction, more action. Stretch the tension and raise the stakes. But what do you do when everything starts to drag?

That's today's final part about middles, at least in Chapter 5. How to energize a lethargic middle. Sounds like someone has been eating too much? Here's Bell's list of some points to spark things up:

1. Analyze the stakes, and make sure that the main character will lose something significant if he or she does not achieve his or her objective
2. Strengthen the adhesive -- make sure that the lead  and  the opposition are really stuck together
3. Add another level of complication, just when you thought things were bad, there's one more twist
4. Add another character that makes the Lead's life much more difficult
5. Add another subplot -- use this carefully, since subplots need to be organically related to the main plot, not just tacked on. Romantic subplots, family issues, lurking secrets might work.
6. Push on through the wall. Sometimes the problem is just that you are tired. Keep going. Take some time off, relax, have some fun, and then push ahead again.

Okay, what if the middle really is overweight and bloated? Too much going on and you know that you don't want to write an 800 page brick. Three suggestions:

1. Combine or cut characters, taking two or more characters and turn them into one. Too many allies or too many opponents? Some minor characters may be cute but unnecessary.
2. Absorb a subplot. Tighten it up and make it disappear in the main plot actions. Skip the sidetrips.
3. Trim the dullness. If the scenes aren't full of conflict, the talk doesn't sizzle with tension, and the reaction scenes just keep on going - tighten them up.

Bell ends Chapter 5 with five exercises. The first four focus on your story -- define what your Lead will lose if they don't achieve the objective. Make sure the opposition character is well rounded -- what is admirable about the character, why are they doing bad things, and where are they stronger then the hero? Take a scene that you've written it has conflict or tension, and stretch it. Then look at the stakes -- plot, character, and society -- and raise them to the max.

Finally, number five is to pick a novel that didn't work for you. Now reread it and see if you can figure out how to fix it up. Write a letter to the author suggesting changes -- you don't have to mail it, but really make it a good critique and suggestions for improvement.

Beginnings, middles, what do you think is next? You probably got it right, but I think I'll make you wait until next week when we dive into Chapter 6.

And remember - opposition, glue, ARM, stretch that tension, raise those stakes, and keep that middle tight and tough!

Write?