The Place For My Writers Notes

Original posting 31 Dec 2009

Writers Digest, February 2009, pages 55-56, had an article by Steve Almond with the title, "The Great Plot Test." I'm still not sure whether great modifies plot or test, but I think he means a way to test for great plots, although it might be a great test for plots, too. You decide...

Steve start out by telling us that "one of the many annoying things I do to students at workshops is to force them to provide written critiques about one another's work." One reason to do this is that most of us can see the problems in somebody else's work easier than in our own. Another reason is that becoming a better writer requires developing the ability to critique -- eventually, your own work.

Next, he points out that he asks them to start their critiques by stating what the story is about in a single sentence. He says most of the students start out trying to list all the events -- and that's not what he's looking for. Instead...well... "pretend you're on a bus and the person sitting next to you asks what you're reading and you say a short story, and they ask what it's about." That's the sentence we're looking for.

Now, admittedly, this means we're going to leave out a bunch of stuff. But stories and novels need to have a concrete core -- usually an intense desire or fear. Steve defines plot as "the mechanism by which your protagonist is pushed up against his or her core desires and fears." Sure, there's more to writing than just that, but "every successful novel and story features a main character driven by some clearly defined desire, whether romantic, emotional or practical."

So when we write, and when we critique, we need to clearly identify pay attention to that core -- which is the one sentence summary.

Steve points out that students often have stories that never really reveal the protagonist's passion. Simple alienation and frustration just isn't all that interesting. Now revealing the thwarted desire underneath that ... ah, you might have a story there!

Similarly, many student stories suffer from plot drift. If you're not sure who the central character is, or what he or she wants, then you get a mishmash of bits and pieces. And as the plot drifts, the summary sentence bloats. And readers wonder where things are going.

Third, even when you pick a single plot, sometimes it just isn't pushed enough. Once you set up the conflict, push it. Make sure that the stakes are high, and that the hero or heroine really agonizes over the decision -- and then remorselessly play out the hand. Once you have your hero and their desire, force them to face all their feelings, and the results.

And we have exercises! Yeah, Steve!

1. Read over a copy of your latest short story or novel. And, of course, boil the plot down to a one-sentence summary. What's the core of your story?
2. Then check -- are there elements of the story that don't contribute to that plot? Try cutting them. Did you lose anything essential? (Tink's note: save them for later. At least, I feel better putting those clippings in a file for later, even if I do kind of lose track of all the clippings mouldering in files)
3. If you can't summarize the story in a single sentence, consider: Did you establish the protagonist and his desires clearly enough? Is there more than one plot? Which one is the most compelling?
4. Take a look at your favorite short story or novel and think about how events are structured. Is it fair to say that the events are engineered to push the protagonist against his deepest desires and fears?

Tink's ramblings...

So, the great plot test is to see if there is a one-sentence summary that really boils the story down to its core. And if there isn't, to develop one, and pare things down to that core.

Write!