The Place For My Writers Notes

original posting: Fri, 2 Jan 1998 19:31:54 EST

Based on the book "20 Master Plots (And How to Build Them)" by Ronald B. Tobias. ISBN 0-89879-595-8.

Master Plot #16: Sacrifice

(p. 191) "Originally the concept of sacrifice meant to offer an object to a god to establish a relationship between yourself and that god..."

(p. 193) "That may be the point of sacrifice: It always comes at a great personal cost. It may cost your character her life, or it may cost in profound psychological ways. Your character should undergo a major transformation."

"Your protagonist may begin this transformation from a lower psychological state, in which she's unaware of the nature and complexity of the problem that confronts her. But circumstances (or Fate, if you prefer) suddenly propel your character into a dilemma that demands action. She must make a decision. She can take the low road, which is the easy way out (run, play it safe, etc.) or she can take the high road, which is the hard way and comes at a great personal cost...Generally, your character will balk at doing the right thing. Sacrificing yourself is never easy."

Instantaneous, intuitive sacrifices make nice drama, but "we're more intrigued by the profound internal struggle of a person who must make a decision that will either result in shame (for taking the easy way out) or honor (even though it may cost him his life)...."

(p. 194) "The foundation of sacrifice as a plot is character; the act of sacrifice itself is a manifestation of character, and so it's secondary to it."

Structure:

First Dramatic Phase: Introduce the protagonist. In most cases, this will be a person apparently without ideals (unless the sacrifice itself is the ideals...) This highlights the struggle between immoral egoist and the decision of real conscience.

(p. 196) "By setting the foundations of character, you will make believable the transition from a selfish state to a selfless state. You can't just turn a character around 180 degrees and reverse her attitudes and actions by a simple event. You must show convincingly how the character _could_ get from point A to point Z. ... The plot question is, 'Who will he help? And how? What will make him change his mind and come out of his shell.'"

Second Dramatic Phase: What's wrong?

(p. 197) "In the second dramatic phase the character should be confronted with a moral dilemma that has no easy solution. Your character may try to find that easy solution at first--he may avoid doing the right thing--but eventually the truth and the choices become obvious. That doesn't mean you should be obvious, becasue that will make your story predictable and uninteresting. We shouldn't ever be entirely sure what your protagonist will do. There may be a real chance that he _won't_ do the right thing. People do rationalize. They do find easy ways out that salve their conscience. In this plot, doing the right thing often comes at a high price."

Make sure the stakes are big enough, and the motives clear. This doesn't mean that fate of the universe always has to hang on the horns of the dilemma, but the protagonist (and others) should have meaningful involvement. Don't forget that self-esteem or other psychological stakes cost, too.

Third Phase: You've made your choice, now pay the price...

(p. 199) "As you develop your third dramatic phase, focus on the payment your character must make to make his sacrifice. Most stories about sacrifice build up to this point: It is the moment of truth for your character. Will he or won't he do the best thing? ... In this phase you should concentrate on two major aspects:
- the actual sacrifice of your character and how it affects him
- the effect of the sacrifice on the other characters

Watch our for over-sentimental or melodramatic pitfalls. Don't exaggerate at this point.

(my note: watch out for the tendency to cheapen the sacrifice by the sudden miraculous "save". Yes, readers like a happy ending--but having a deus ex machina swoop in and keep the protagonist from paying the full price of the sacrifice won't make them happy.)

Checklist:

1. Does your story show the great personal cost of the sacrifice? Is your protagonist playing for high stakes, either physical or mental?
2. Does your protagonist undergo a major transformation during the course of the story, moving from a lower moral state to a higher one?
3. Do the events force the protagonist to make a decision?
4. Is there an adequate foundation of character so that the reader understands his progress on the path to making the sacrifice?
5. Do all events in the story reflect the main character? Do they test and develop character?
6. Does the story show clearly the motivation of your protagonist so that the reader understands why he would make that kind of sacrifice?
7. Does the line of action show through the line of your character's thought?
8. Does the story have a strong moral dilemma at its center?

Okay? Got Tobias's notions well in mind? Then let's consider what might provide the seeds of a story about sacrifice...

How about a possible goal for our protagonist? Pick a number from one to six:

1. Fulfilling a duty
2. Seeking to protect another
3. Wanting to be the best
4. Gaining redemption
5. Paying a debt
6. Gaining power

Okay? Got your goal? (no, don't cheat, go back and pick one now...we'll wait...that's better, now we can go on.)

Think about the protagonist a bit. What kind of a character are they? Is this going to be a hard goal for them? What would they have to sacrifice...aha! Pick another number from one to six, if you please?

1. Love
2. Honesty
3. Family
4. Honor
5. Friendship
6. Innocence

Now, let's run these right into each other. Suppose that you have a choice between the goal you first picked and this new quality. For example, maybe your protagonist really wants to be the best (at what? you decide!) but also has family obligations. Which one will win? Will the protagonist decide to sacrifice the desire to be best for the demands of the family, or will they sacrifice their family on the altar of ambition?

(note: if you really don't like your goal or your quality, feel free to come up with your own alternatives. Conflicting goals make fine dilemmas as they stretch a character between them...)

So...make a list of at least five specific steps that your character might need to make in pursuit of their goal. Pick the one you want to show the character trying to do. Then make a list of at least five ways that the "quality" could conflict with that. E.g., how does love conflict with gaining power? Or how does honesty, family, honor, friendship, or innocence cause trouble for our character in trying to reach their goal?

Psst? Got another number? One to six?

1. A Star of David
2. A ring
3. An old newspaper clipping
4. A doily (you know, those lace things?)
5. An action figure (which show or movie? you decide!)
6. An empty box

What does this have to do with your story? I don't know, but don't forget it. I'm sure it will be an interesting point, perhaps one of those motif thingies that bobs up and down throughout the story, providing English professors with endless hours of amusement trying to figure out the metaphorical imports and exports in lengthy reports...

Step back and set up the character. What is the initial scene (plus flashbacks, if needed?) that you'll use to show us who this person is? What are the faults and foibles of this person, and how can a quick telephone conversation/bar fight/leaving work scene show us...oh, that's right, you're going to answer all these questions?

Then consider the scene(s) you'll need to get them into the dilemma and show us the struggle going on, the stakes, the deepening trap that will not let them take any easy way out...

And, of course, develop that last scene, where the protagonist makes their choice and stands by it, even at the cost of their own life.

Having figured out this much, you might consider writing the story.

Polish, revise, and make us ache with your protagonist as they sacrifice...

(don't forget to doublecheck the checklist up there.)

Write!