TECH: Macro-Level Plotting

[mbarker.livejournal.com]

original posting: Tue, 27 Apr 1993 18:32:02 JST

(say, if any of you other well-known authors - especially the soon-to-be published rascals whom I must congratulate - would care to make some suggestions, it would be appreciated.)

Recently I mistakenly admitted that while I thought Scene & Structure was good at micro-level plotting, it didn't measure up on the macro-level. The question was immediately raised at to what I would recommend for macro-level. Good question. Wish I had a good answer.

Basically, though, I think both novels and short stories need some organization above the scene-sequel sequence. The problem comes in trying to work out that higher-level organization. Lots of hints around, including those in Scene & Structure, but...

Suppose (for the moment) that we start (as suggested by jc, once upon a time) with the end of the story - or as Scene & Structure suggests, with the question and answer (beginning and end) that we as writer want to pose and suggest to the reader. The first step is defining and refining those two points as clearly as possible in our own minds, at least partly by laying out the scenes that present them to the reader.

Now, (again thanks to jc) that final scene has requirements. I.e., for the characters to act the way we want them to, various previous events must have occurred (they need certain motivation, goals, information, etc.). As a trivial example, if it is important that the hero have a broken leg in the final scene, we may have to have someone break it in an earlier scene. Or as a famous quote has it, if someone gets shot in the last scene, we had better load the gun before that (I know that's not exactly what he said - it's a paraphrase that suits my purpose, ok?)

So lay out the scenes leading up to that final scene.

This is where the "stepping stone" approach recently described in WD seems useful to me. That author suggested using a single sheet of paper and tossing the intermediate scenes in the space between the opening and closing, then linking them. This allows and encourages flexibility in ordering the scenes, and I think it's a good idea.

Scene & Structure has seven "heuristics" (rules of thumb) for ordering the scenes:

1. scenes move main character further and further from quick achievement of goal
2. scenes develop series of new and unexpected troubles, although not obviously related
3. scenes require character to handle unrelated problem before returning to original action line
4. interleaved subplots
5. plot assumption puts deadline (ticking clock) into action
6. plot arranged so that options dwindle
7. plot arranged so that complications and developments previously hidden are revealed

These help, but... I still feel as if I'm punching in the dark. Even with jc's notion of tracing backwards from the "climax" to the initial scene, I'm not sure I know how to pick the scenes that really belong and how to reject the silly scenes that may spring to mind which do not belong. Guess I need to practice, practice, practice - and hope I get inspired.

Of course, maybe I'm just being silly. If I have a reasonable set of scenes that moves smoothly and well from point A to point B for me, there's no real reason to worry if someone else uses a different set of scenes, takes the bus, or otherwise goes by a different route. Even if I take a different route tomorrow, the important thing is that I got from there to here, not which of the several ways to do it I used (as long as they are "acceptable"). The "best" route, the most "artistic", and other figments are worth considering briefly, but not worth getting hung up trying to select.

The main notions that seem to be current are (a) "borrow" a plot from some other source or sources (b) make sure to use heavy dashes of "motivators" and "hooks" to make the plot as exciting as possible.

John Gardner suggests that there are three main ways to plot:

1. borrow some traditional story or action drawn from life
2. Work backward from climax
3. Work forward from initial situation

He stresses that the event (or plot) needs to be startling, curious, interesting to you. I.e., you need to feel something, be stirred by the event. Then you need to think about what the characters involved are like, thinking/feeling what kind of person does this and why, eventually deepening into theme. Along the way, you'll have to work out scenes to show dramatically each of the main points - who these people are and why they do what they do, so that the climax is inevitable yet surprising.

Again, heuristics, but interesting ones.

A list of "motivators" from "Steal This Plot" by June and William Noble: (the "book" consists of fragments illustrating these from the classics - ok, but I sure wish they had more explanation of what to do with these wonderful classic plots.)

Vengeance
Catastrophe
Love/Hate
Chase
Grief/Loss
Rebellion
Betrayal
Persecution
Self-Sacrifice
Survival (deliverance)
Rivalry
Discovery (Quest)
Ambition

They suggest that these (among others) are the kinds of motivations that drive the conflict in a plot - i.e., put these in a situation with characters and plot will be revealed.

They suggest that these be used to put "spin" on the motivators, but that they are not.. not powerful enough (?) to make a plot by themselves:

Deception
Material Wellbeing (change up or down)
Authority
Making Amends
Conspiracy
Rescue
Mistaken Identity
Unnatural Affection (my gloss: forbidden love!)
Criminal Action (including murder)
Suspicion
Suicide
Searching
Honor/Dishonor

Other books (especially Roth's _The Fiction Writer's Silent Partner_) have similar lists, including more or fewer categories with additional details and explanations of the necessary characters or action in some cases (e.g. Revenge requires at least two characters and has the initial harm, the decision to revenge, setting up the revenge, and "slamming the trap" as necessary parts).

Perhaps the real clue lies in copying the "old masters" - just outright steal those plots and keep working with them until one day you've absorbed plotting at such a subliminal level that it happens automatically. Something like the great cook - use the recipes until you start reacting below the level of consciousness - then let your intuition handle mixing the spices and deciding if the dough has the right consistency?

I do think that part of the trick is working with stories that excite you, that catch your emotions and interest, and telling them (at least mentally) to a friend that you're trying to keep interested. That (mental) companion will help make sure you concentrate on the "right stuff."

So, back to the question, what's a good book on macro-level plotting? Good question. Right now, I'm not all that impressed with anything I've read, which includes:

How to Write a Damn Good Novel - Frey
How to Write Plots that Sell - Rockwell - good ideas about some of the many places to find plot ideas
Plot - Dibell
Scene & Structure - Jack M. Bickham - excellent micro-level approach
Steal This Plot - June and William Noble - bits and pieces from a variety of "literary" sources
Structuring Your Novel - Meredith and Fitzgerald - a "literary" approach to novel writing
The Art of Fiction: Notes on Craft for Young Writers - John Gardner
The Fiction Writer's Silent Partner - Martin Roth - lists and more lists - excellent creativity aid
Theme & Strategy - Tobias - I thought this was fairly good.
Writing the Novel - Lawrence Block - Block is always good.

Incidentally, my "writing bookshelf" (more of a stack, really) also
includes:

Characters & Viewpoint - Card
How to Write SF & Fantasy - Card
Revision - Reed
How to Write Science Fiction - Matthew J. Costello

plus a stack that I haven't read yet.

(I'm working on John Gardner's "The Art of Fiction" right now - even though it seems to make light of the idea of useful techniques to do writing, it also may very easily be the best description of the process of empathetic reasoning that underlies writing that I've seen. Let you know.)

Incidentally, I've seen a number of pieces suggest that you start with the characters, that the plot will automatically come clear as you consider them. Every time I try that, the plot comes blear. Anyone know what I'm doing wrong?

(ok, I know I'm just a manic barboy who gets called eccentric on the good days, but I really do wish I understood plotting better. anyone want to lend a helping hand? even a paw? heck, I'll even look at a tentacle...)

TECH: Scene and Structure Book Summary

[mbarker.livejournal.com]

original posting: Thu, 29 Apr 1993 18:32:01 JST

Please note that this is a summary of what I consider the important parts of Bickham's book. It does not reflect all the material in his book (you really should read it), nor does it contain a lot of my normal fascinating prose stylistics. Having said that - hope it gives you a few clues about a reasonably good craft book...

Scene & Structure
Jack M. Bickham
Writer's Digest Books, 1993

One point to make clear at the beginning is that Bickham is NOT prescribing the form of presentation. You should use your best dialogue, description, and other tools to drape and form the selected scene. All that he is describing is the bare bone structure that underlies your writing. How you doll it up is left to your discretion - whether you like scenic description, stream-of-consciousness inwardness, flashback fantasies, or some other way of covering the structure is your choice. He is definitely NOT providing a canned plot for you to work with, although you might use his tools to extract such a plot from your favorite book or two...

The main structural component described is the sequence of scene and sequel.

A scene starts with the goal of a viewpoint character, proceeds through conflict, and ends in tactical disaster for the viewpoint character. The reader responds to the goal by forming a scene question, which should be specific, definite, have an immediate goal and clear connection to the overall plot goal, and have a simple yes/no answer.

A scene consists of moment-by-moment action constructed using stimulus (internalization) response pieces. Stimulus and response must be visible, usually dialogue or action, while internalization allows the thoughts of the viewpoint character to be explained.

The tactical disaster ending a scene should be an unanticipated but logical development that answers the scene question, relates to the conflict, and sets the character back. The three possible endings are no (simple failure); yes, but... (conditional success - usually setting up a dilemma); and no, plus... (failure, plus new problems).

While scenes may be linked with a transition (simple change in time, place, viewpoint), the full element needed is a sequel, containing emotional response, thought, decision, and new action. In a sense, the scene acts as stimulus, which must be followed by sequel acting as response. If a sequel must be skipped (due to time pressure, etc.), there should be a later "flashback" sequel, completing the sequence for the reader.

A story (basically novel) begins with a significant change that threatens the main character's self-concept. This, in turn, causes the character to form an intention or story goal in response, which provides the reader with a story question. The end of the story occurs when the story question is answered. The story focus must be on material that relates to the story question.

To plan a story -

1. identify the main character's self-concept
2. pick a significant event that threatens that self-concept
3. determine the moment of change that you will start with
4. lay out the intentions/goals the character will attempt to use to fix
5. lay out a plan of action for the character to try
6. determine when/where/how to answer the story question

Bickham suggests the following major ways to structure the scene/sequel sequences:

1. scenes move main character further and further from quick attainment of goal
2. scenes develop series of new and unexpected troubles, although not obviously related
3. scenes require character to handle unrelated problem before returning to original action line
4. interleaved subplots
5. plot assumption puts deadline (ticking clock) into action
6. plot arranged so that options dwindle
7. plot arranged so that complications and developments previously hidden are revealed

One point should be made clear - a scene/sequel sequence is NOT a chapter. Bickham points out that "chapter breaks" are a relic of earlier publishing (when novels were published as serials), and you should never use a chapter break as a transition. Place chapter breaks at the moment of disaster ending a scene, in the middle of conflict, or some other point that keeps the reader reading. Bickham suggests that most chapters have more than one scene.

(my gloss - remember 1000 nights and a night and make each chapter break a cliff-hanger!)

The book also contains a large amount of material dealing with problems in handling scenes, variations you might want to try, and other fine points. There are plenty of exercises, annotated examples, and so forth to make this a useful study book.

-----------------------
Strategy Worksheet

Main character's self-concept
Significant event that threatens self-concept
Moment of Change to start with
Intentions/Goals to fix
Plan of Action
When/Where/How answer story question
Scene Planning -

Move further and further from quick path to goal
New and unexpected troubles
Unrelated problem that must be solved first
interleaved subplots
deadline (ticking clock)
dwindling options
hidden complications/developments revealed

-----------------------
Scene/Sequel Worksheet
Scene (consists of Stimulus - Internalization - Response)

Goal:
Conflict:

Who?
Where?
How long?
Twists (4+):

Disaster (No!, Yes, but..., No, plus)

Transition
Sequel

Emotion (description, example, discussion)
Thoughts (review, analysis, planning)
Decision
New Action

-----------------------

TECH: Keep It Real

[mbarker.livejournal.com]

Keep It Real by Lynn Flewelling in Writers Digest Nov. 2004, pg. 56-57.

"Make your readers believe that the fantasy world you've created actually exists by researching your setting."

You might not think of realism as an ingredient in fantasy, or in general fiction, but Lynn argues that a good setting helps readers suspend their disbelief and dive in. So to engage and entrance readers with an alternate world of dazzling wonders, you start by convincing them with a plausible, lively, internally consistent backdrop.

"Setting is the bedrock of your story." So get the facts right. Now if you are making up a world from whole cloth, you need to have at least a nodding acquaintance with weather basics, towns, trade routes, cultures, etc. Or you could model it on the one world we know well, but then you're back to checking out details in reality.

In either case, "the real world is the fantasy writer's scrapbook." [and I venture to say for any fiction writer!] Real history, geography customs and religions are great sources for guidance and inspiration. Do your homework -- go places, use the internet and other tools to dig, or use your locale, since you know it well. Even there, take a good hard look, and you may surprise people with the raccoon that lives in the local park. And when you can, add to the sensory palate with some experience. Try a little bit here and there. Pick up and swing that maul that the plumber uses. Try out some foods. Scribble or jot notes about it, too, so you can remember what that red ant tasted like, or what looking in a lion's mouth makes you feel. (Did it really smell like that?)

Some cautions. Beware anachronisms and inaccuracies. The historical setting crumbles when dialogue uses modern slang, or horses, guns, and so forth just keep going and going. Also, while you as writer need to know all the background details, most of that should not show up on your page. No info dumps -- long dissertations on how something works. Think of details as the spice of the story, not the meat and potatoes. Watch for emphasis -- if you spend a total time describing something the reader expects it will be important to the story. Make sure to use the antique mallet that you lovingly described, or the reader will hit you with it

Finally, especially in fantasy, beware the "oh, wow" details. These glaringly unusual elements are usually added hoping to get readers to think that the setting is exotic. However, the usual response to pink trees or other oddities that aren't integral parts of the setting is to throw the reader out of the story because they're trying to figure out how that could work.

So, when you're working on your setting, you need to get the facts. Do the research. And watch for inconsistencies such as anachronisms and inaccuracies. Avoid dumping loads of information, strive for the finely selected detail rather than the raw quantity. Anything you spend time on needs to play an active role in the story. And don't tease the readers with exotic frills unless they are a legitimate part of the setting. Glued on scenery falls off too easily.