TECH: Super Structure: Care Package (part 8) (360 words)

[mbarker]

 Original Posting Feb. 1, 2019

Whoo! So we’re off to a great start, with disturbance. Next? James recommends we take a look at a care package. What does he mean by that?

“The Care Package is a relationship the Lead has with someone else, in which he shows his concern, through word or deed, for that character's well being.”

So, the main character does something, or says something, that shows they care! Which gives us a little glimpse of the humanity of the main character, and makes us sympathize with them. Even if they are evil, this gives us a bit of hope that they might be reformed! So... a care package...

James gives us several examples. A thriller, where the main character takes care of his autistic brother, and teaches fifth grade. Hunger Games Katniss takes care of her mother and sister. Star Wars Luke starts out taking care of his uncle and aunt. Dorothy in the Wizard of Oz takes care of Toto!

That care package shows us the main character being unselfish. Also, it’s something that we get a glimpse of early on, usually a relationship from before the story starts. Later, there’s another one called Pet the Dog. Don’t get them confused... pet the dog is the Lead helping someone out in the middle of trouble, while the care package is something they were doing when they got in trouble.

One reason for tossing this in early... to build emotional depth for your story.

For plotters and outliners, this is the emotional foundation for the story. It’s often a piece of the backstory that really brings out the story. Pantsers, on the other hand, may just want to pause and ask what kind of relationship the Lead might have that shows they care?

The point is, show us that the main character is human. “Don’t be afraid to show humanity: caring, flaws, foibles, doubts, inner conflict, love, passion, anger, frailty as well as strength.”

Give us a care package!

Hum... the disturbance shows us the character getting in trouble. The care package tells us that this is someone we should support.

Disturbance, care package... what’s next? An argument?

Stay tuned!

TECH: Super Structure: The Argument Against Transformation (part 9) (620 words)

[mbarker]

 Original Posting Feb. 8, 2019

The argument against transformation? Yep. Disturbance to get things moving, a care package to show us this person is someone we want to care about, and then...

The Argument Against Transformation

This is a very interesting beat, because James points out that it's not always there. But, if it is there, it's a great way to frame the character arc. So what is it?

Well, James suggest we start with theme. What's a theme? Lots of different definitions around, but James suggests thinking about it as a "life lesson learned." Something that the character learns by the end of the story, a truth for them to take away in their future life. A transformation of the character, or at least the way they view the world.

So, for example, in the Wizard of Oz, Dorothy learns… You know, there's no place like home! But, early on, Dorothy argues that there ain't no such place. Everyone is upset with her, Auntie Em tells her to go away, and all of that leads into somewhere over the rainbow. About as far from home as possible, right? Dorothy is arguing against the eventual transformation.

James shows us the same thing happening in Casablanca, It's a Wonderful Life, Lethal Weapon, To Kill a Mockingbird, and Hunger Games. Sometimes it's short, sometimes it's more extended, but fairly often there is an argument by the lead, by the main character, against the transformation, the lesson that they will learn. So that transformation, that life lesson learned at the end, works with the argument against the transformation to close the arc.

So why does this work? Well, basically, because readers expect it. They've been trained to expect the main character to argue against the transformation, and then to get hit with it at the end. They like it!

James offers some hints for plotters and pantsers who are trying to develop an argument against transformation. For the pantsers, or discovery writers, he suggests taking a break and writing a little fun piece. Just write a short bit told by the lead, the main character, explaining all the reasons they should not be involved in this story.

For plotters, he suggests using the argument against transformation to help push your plan. While you are working on developing the lead, talk with them, and see if there isn't a "no" that they are holding onto. Something that they just don't believe is going to happen… Or maybe I should say a belief that they do not hold?

The great part about this beat is that it pits the beliefs of your lead, of your main character, against the story events. So it builds conflict, and makes that final transformation stand out.

Now, given how often we find out what the theme is after we finish writing the book or the story, I suggest that sometimes you may have to come back and work on this beat as part of your revision process. If you don't see one upfront, relax. Go ahead and write the book or story. Then, with an idea of what the transformation is, what has changed for your main character, think about where you might slip an argument against the transformation into the beginning of your story. Go ahead and put it in during revision.

So, we have disturbance and the care package setting things up so that we know there's trouble and we care about the person in the middle. The argument against transformation comes from that person, and really says I don't want to change, I don't want to be affected by this disturbance. But...

All right. Three out of 15 beats. Next, trouble brewing. Kind of like the bubble, bubble, toil and trouble kettle?

EXER: You are now entering the Twilight Zone...

[mbarker]

 Original posting Feb. 13, 2019

Some of you may remember this great old TV show. Well, your assignment is to go over to

https://en.wikiquote.org/wiki/The_Twilight_Zone_(1959_TV_series)

and take a look at the lengthy collection of introductions there. Pick one, any one (or more, if you feel brave) and...

Write a little story about it. Go ahead, a bit of flash fiction, perhaps a longer piece. Make Rod Serling smile...

TECH: Super Structure: Trouble Brewing (part 10) (380 words)

[mbarker]

 Original Posting Feb. 15, 2019

Right! Disturbance, care package, argument against transformation, and next, we have trouble brewing. Smell the conflict burning?

James suggests that the trouble brewing moment, beat, or scene usually happens about halfway through Act 1. You’ve got the disturbance up front, a care package that convinces us this is a worthwhile character (just a little dose of caring makes the character go down...), maybe an argument against the transformation, mixed well with scenes introducing setting, characters, and actions, but now there’s “a whiff of big trouble to come.” That’s right, a portent, a foreshadowing, a change in the wind. This is not the major conflict, that would drag us into Act 2 territory, but it’s a strong hint that bad things are ahead. A mysterious sound, maybe worried talk among the characters...

Why toss this in? Well, you’ve introduced your characters, set things in motion, and laid out the world or setting to some extent already. There is some conflict and tension, mostly between characters. But the trouble brewing moment ups the stakes, giving us a glimpse of the mountains ahead, the overriding conflict that is going to shape it all.

James suggests that both plotters and pantsers think about how often the brew gets stirred with some surprising information. So, think about bits of information that might be revealed to make your trouble brewing moment boil. Another way to work this out is to look at what the villain is up to over there in the shadows. Could whatever they are working on make a flash in the scenes, making the characters jump?

By the way, James suggests that anytime you are planning or writing and you aren’t quite sure what the main characters, scenes, or plot should do next, looking at what the other characters are doing offstage can be a useful tool. Just let the main line rest for a moment, and do some brainstorming about what the rest of the characters are up to. Think about how that ties into and influences the main characters and action, and... see what happens!

So. Basically, this is a dash of foreshadowing about the big trouble that is ahead. Think of it as spice in the middle of the Act 1 brew, just a hint of what is coming. The percolator making that first lazy burp, maybe?

And then we’re headed for the first doorway of no return! Watch for it!