writercises | Entries tagged with structure

Original posting 2022/3/9

And the last of the bunch! Climax (or battle), what does it mean?, what am I going to do now? and where are we now? All from https://luisanaduarte.com/2018/03/02/trubys-22-steps/

19. Battle
During the battle, the goals of the protagonist and the opponent should be crystal clear. There should be no confusion about what each side is fighting for. The story’s plot and subplots usually converge of this point. The winner of the battle achieves their goal.

My comment: The climax, the face-off between the hero and the villian, the final showdown. This is where the whole plot has been aiming, now make it come alive!

20. Self-revelation
The moment after the battle where the protagonist comes to a deeper understanding of their self and what they fought for and perhaps won. The revelation should be meaningful and life-altering. Show, don’t tell, what the protagonist learned/understood. The revelation can be moral and/or psychological.
At the same time, and usually surprising the audience, the opponent can have a change of heart through the protagonist’s revelation.

My comment: Okay, so here the protagonist sees what they have done to themselves, and what they have done, in this story. Final revelation, as the battle fades away...

21. Moral decision
The moral decision is the course of action that the protagonist will take once the self-revelation happens. The protagonist, if that’s the route they’re going for, can even choose to dismiss the moral and/or psychological revelations. It is through the moral decision that the audience learns what the protagonist is truly ‘made of.’

My comment: Now that the hero knows themselves, what are they going to do? What are they planning to do with the rest of their life?

22. New equilibrium
The new stasis in the story world. The ‘new normal’ the protagonist lives in once the goal has been achieved or lost.

My comment: And what about the world around them? Has it changed? What happens to it in the aftermath of that battle?

So, we have the battle, and the results of that, both for the protagonist now and in the future, and for the world around them.

It's interesting that these 22 steps really don't say much about the plot. There's a lot of reflection on the character, the setting or world, and so forth, and on how the revelations of the story affect the character.

Go ahead. Make Truby's steps your own! Take your work in progress, and see how these steps fit your work. Make some notes about the things that don't quite fit, too. And think about whether you want to incorporate some of these steps in your process, your outlining, or whatever.

Write?

mbarker

Original posting 2022/3/8

One more time! More revelations, and a really big problem. https://luisanaduarte.com/2018/03/02/trubys-22-steps/

16. Audience revelation
At this moment, the audience is privy to crucial information before the protagonist.
This is when the audience sees something that the hero doesn’t and learns a vital piece of information. This gives the audience a clearer picture of the stakes and the power of the opponent. In addition, it also heightens the tension of the story.

My comment: Maybe a hidden twist? Something that the audience can see, but our poor battered hero can't? Oh, no, will they realize that in time?

17. Third revelation and decision
The protagonist is given all the facts that are crucial to the story (like the true identity of the opposition or whatever the audience learned before the protagonist), and the actions they’ll have to perform in order to achieve their desire. This information usually emboldens the protagonist and gives them an extra motivation to reach their goal.

My comment: Gotcha! Now the protagonist knows what they have to do, and what it's going to take. So... grit your teeth, and let's do it!

18. Gate, gauntlet, visit to death
The highest moment of tension before the final showdown between the hero and the opponent.
Visit to Death: Can be psychological, and might appear at an earlier moment in the story (perhaps in the apparent defeat).

My comment: The blackest moment of all!

So, in these three, the stage is being set, and we're really watching the protagonist wrestle with what they have to do. Will they do it?

Go ahead, see if you have these steps in your work in progress. Do you need them?

Write!

mbarker

Original posting 2022/3/7

A few more steps from https://luisanaduarte.com/2018/03/02/trubys-22-steps/

12. Drive
The way that I think about this is a football drive. Which are the plays that the protagonist is going to ‘call’ in order to achieve their goal?

My comment: Aha! Now we're laying out the middle. These are the steps that the protagonist plans to take, what they expect to have happen on the way to that goal. I suppose these might also be the try-fail cycles (remember those?), where the protagonist tries to do something, and... yes-but, no-and hits. Yes, they succeed, but in succeeding, learn about a new challenge, or no, they fail, and in failing, learn about more problems.

13. Attack by ally
The hero of our story is never perfect, otherwise, what would be the point of the story?
The attack by an ally is the moment when the protagonist begins to diverge from their moral compass and gets called out by a true ally. This can result in a schism between the protagonist and the ally (because no one likes a goody-two-shoes). This attack also gives the story a deeper conflict, where the protagonist must decide whether or not to follow a moral path.

My comment: One of those problems along the way! The faults and failures of the protagonist get called out by an ally! And what does the protagonist do?

14. Apparent defeat
All hope is lost and the protagonist is about to give up in the pursuit of their desire. This is the lowest point in the story and the reader might be uncertain if the protagonist will succumb to the opponent, or rally and succeed.

My comment: The dark valley, the black hole in the middle of the story? This also sounds like some of the other plot structures I've seen.

15. Second revelation and decision: Obsessive drive, changed desire and motive
Yay, the protagonist rallied! Perhaps with a changed perspective on their desire or a different goal, the protagonist continues in their pursuit.

There can also be an ‘apparent victory’ for the protagonist at this point. However, the stakes will be raised even higher when the ‘apparent victory’ dissipates.

My comment: And the protagonist bounces back! Keep going, and raising those stakes. So, it feels to me as if that drive step is really where we take the plan from step 10 and really lay out what's going to happen. Then we have some major plot points to hit, the attack by an ally, the defeat, and the second revelation/decision. So we're filling in the middle, step by step.

As usual, you might consider applying these steps to a work in progress.

Write?

mbarker

Original posting 2022/3/6

And, here we go again! This time, a plot piece, and plan and counter-plan? From https://luisanaduarte.com/2018/03/02/trubys-22-steps/

9. First revelation and decision: Changed desire and motive
A threshold in the story that becomes a point of no return for the protagonist. Usually prompted by new information. The revelation can change the protagonist’s desire. Each revelation adds levels of complexity to the plot.

My comment: another actual plot piece! So we got the spark and the goal, the thing that kicked off the action, and where the character thinks they are going. Now we get some kind of revelation and change in what the character wants. So something started the character moving, and now as they get started, bam! Something pitches them into a real journey beyond what they ever imagined they would be doing.

10. Plan
The protagonist’s blueprint to achieve their desired goal. If you want a good story, the protagonist shouldn’t succeed on their first try to execute the plan.

My comment: okay, so we’re digging into what the character plans to do, what they are going to try to do. Lay it all out...

11. Opponent’s plan and main counterattack
Whether because they are trying to achieve their own goal, or actively keeping the protagonist from achieving theirs, the opponent attacks the protagonist’s plan. These attacks can and should come at different points in the story and can be both overt or covert in nature.

My comment: On the other side, we have the plans that the antagonist is making. Ho, ho, ho...

The first threshold of no return? Sure, here we go, out into the big bold world... And both sides lay out their plans for what is going to happen. Of course, we all know what happens to plans, right? Especially when the bad guys have a little plan of their own.

Exercise? Sure, try out these steps on your own work.

Write!

mbarker

Original posting 2022/3/5

Okay, next batch from https://luisanaduarte.com/2018/03/02/trubys-22-steps/

Looks like one bit of plot/action, a goal, and a whole group of other characters…

4. Inciting event
The ‘spark’ moment that brings the character’s situation from bad to worse. This event also challenges the character into action.

My comment: aha! Here we go with an actual event, the kickoff start to things! Okay…

5. Desire
The goal that drives the character and the story. Usually, the desire grows/intensifies as the story progresses, raising the stakes for the character.

My comment: what does the character want? Okay, that’s what is specific to this story, to that spark we just noted.

6. Ally or allies
The best buds. Those characters that give aid/advice to the main character. The allies can also have a goal. Sometimes, the ally’s and main character’s goals are the same, promoting collaboration.

My comment: Who does the character have along for the trip? It’s good to have friends!

7. Opponent and/or mystery
Opponent: This ‘bad guy’ doesn’t want the main character to achieve their goal. This relationship is usually the most important one in the story as it provides conflict to the story.
Mystery: The opponent can be a mystery at its roots, therefore giving the protagonist the task of discovering their antagonist, and defeating them.

My comment: okay, the antagonist. If we have allies, there’s probably somebody causing trouble, too.

8. Fake-ally opponent
A ‘sneaky’ character whom the protagonist initially believes is their ally. There is usually heartbreak and deception for the protagonist when the truth is discovered.

My comment: ah, it isn’t bad enough that there’s a protagonist, we need someone who betrays the good guy, too? Okay…

So, in this set of steps, we add in something that kicks off the action, a goal for where we are going, and a set of other characters, both pro and con.

Again, if you like, you could try applying these steps to your own work in progress. Or even start a new work, just playing with these steps, to see where you go!

Write!

mbarker

Original posting 2022/3/4

Hum, that’s interesting. I was listening to the Writing Excuses podcast this week, and they mentioned a plot structure I hadn’t run into before. Truby’s 22 Steps? Google gave me a set of links to examine, and… interesting. Let’s take a look at some of them…

https://luisanaduarte.com/2018/03/02/trubys-22-steps/ has the whole set, with some descriptions. Looking at them, let’s take the first three, since they seem to be somewhat independent of plot or action, more digging into the character…

1. Self-revelation, need, and desire
Self-revelation: The character’s realization of what they need to change/accomplish.
Need: Both a psychological and a moral need.
Desire: The character’s main goal.
These three are elemental when discovering where your character will end up.

My comment: Okay. Start with what the character thinks they need to change or accomplish. Add in a need, and a desire. Mix well, to get an idea of where this character is going.

2. Ghost and story world
Ghost: The history of the character. That which still haunts the character and may cause struggle. Basically, the character’s ‘backstory.’
Story World: Simply, the world surrounding the character and their daily life.

My comment: aha! The character’s background, where are they coming from, and what is the world like around them. Sure…

3. Weakness and need
Weakness: The flaws in the character. Can be moral and/or psychological. Usually, characters have both. In other words, the internal damage of the character that impedes them from becoming their best self.
Need: The change the character must go through in order to become their best self.

My comment: So, we have a flawed character, who needs something to become great? Okay, where do they have problems, and what do they need to achieve.

It seems to me as if these three steps are really aimed at understanding the character. What do they think they need, where are they coming from (and what surrounds them), and what do they actually need? Sure, let’s work up the character to start.

What do you think? Do you usually start with these steps?

Exercise? Well, if you have a work in progress or one that you are thinking about, consider these three steps. Can you fill in the details of these for your character?

Write!

mbarker

Original Posting 2022/01/02

Hum... over here, https://writingexcuses.com/2021/12/26/16-52-structure-is-a-promise/, they're talking about how the various frameworks, structures, or whatever you like to call them make promises to the reader. For example, there's the hero's journey, seven-point story structure, Save the Cat beats, Hollywood formula, M.I.C.E. Quotient, and various others. Probably some others that I can't think of right now.

Along with the various tropes and so forth of genres! I mean, when you stumble across that first dead body in the living room, you might guess you are in for a mystery ride, with a private eye, or perhaps a detective, or even a funny stranger who just stumbled into things, but you have some idea what is ahead. Lots of suspects, clues and red herrings galore, maybe a chase scene or two, and the infamous gathering where we find out what it all means...

Anyway, it's something to consider. Which frameworks or structures do you like to use? What do they do for you? How do you keep them from becoming too obvious to the reader, and still make it easy for the reader to follow along? What twists or combinations do you use, or might you consider trying?

What about new genres or different ones to try? Want to mix a little romance into your mystery? Or vice versa? How about science fiction or fantasy added to your tale? A bit of historical retrospective? Go ahead, mix them up and see what happens!

Write!

mbarker

Original Posting May 3, 2019

James ended his book with a short section that starts out, "Super Structure is all about making sure the power of story – the guts and blood and heart and emotion of it – connects to the reader in the most effective form." Use the signposts, the 14 beats. But if you want to try another approach, or rearrange things, go for it.James suggests that knowing the structure, the framework that he provides here, can help make your stories better, clearer, stronger, more powerful.He says that the principle is that the power of story is proportional to the experience of the reader, and the experience of the reader is proportional to the soundness of the structure. So, get the structure right, and… Everything else will follow.Basically, use Super Structure, the 14 beats, to render a solid story. Fill it in with your voice, vision, characters, dialogue, scenes, surprises… Your style! It really isn't a straitjacket, it's a tool to help you put together a story that really works for the readers.The final bit in the book is a reprise or collection of the reminders. It's a checklist of the little bits and pieces that James used at the end of each section.Similarly, I think I'm going to end this series with the 14 beats, but looking at kind of how I think they hang together. First, there's a thread of trouble or conflict. Disturbance, trouble brewing, a kick in the shins, mounting forces, and the final battle. Second, there is a thread of engagement with the character, making us care about the character. It starts with the care package, and continues with pet the dog. Then there's the transformation, the change in the character. That one starts with the argument against the transformation, turns around the mirror moment, hits the blackest darkness with lights out, adds a ray of hope with the Q factor, and finishes with transformation. Then, we've got two real traffic signals, the doorways of no return #1 and #2. Each of them marks the boundary between acts, and serves as a one-way voyage to the next act.Or, you can look at it this wayDisturbance. What's wrong here?Care package. What's good about this character?Argument against transformation. Why this character isn't going to change!Trouble brewing. A glimpse of the real conflict ahead.The doorway of no return #1. Here we go!A kick in the shins. Ouch, there's real trouble ahead.The mirror moment. Who am I? What is this going to cost me?Pet the dog. I can still take time to help someone else.The doorway of no return #2. And now, I'm committed!Mounting forces. Let's gather the good guys and the bad guys!Lights out. This looks bad!The Q factor. But wait, maybe…The final battle. And now, we fight!Transformation. The character really has changed.There you go. It's a simple set of beats that you can use to help outlining or discovery writing.Actually, as an exercise, you might take a movie or a story that you like, and see if you can identify the beats in it. Also, take a look at what else is in there. I think you'll find most of the beats are there, plus a fair amount of other good stuff.Now, take something you're working on, and try looking for those beats… Or add them in, if they aren't quite there.

mbarker

Original Posting April 26, 2019

Transformation. The coda, resonance, final note…What makes this beat? Well, it's transformation! The character has changed in a significant way. They may be a whole new person, or just a stronger person. Go back to the Mirror Moment. "Who am I?" The transformation is into a different person. "I'm going to die!" The transformation is into a stronger person.Now, how do we prove the transformation? If they are a stronger person, often just by surviving and returning to normal life. If it was a fundamental change, though, we need to show it. Maybe they sacrifice themselves or something, maybe they give up the icon that has kept them going. One way or another, show that they are transformed.Now, why do we have this here? Basically, the story needs a character change. And here it is! Show the transformation. Readers want emotional engagement and completion. Give it to them.James suggests as a hint that you can plot starting with the transformation. What feeling do you want readers to have after they read your work? What change in the character does that? How do they go about surviving? What could they give up?Just as a reminder, readers want to worry about the characters. Get them engaged with the character, and then make them worry. Will this character get out alive? How has the experience changed them?So, we have come full circle, all the way through the 14 beats of Super Structure. Once more, quickly?Act I1. Disturbance. Something's happening here...2. Care Package. Hey, he's a nice guy!3. Argument against Transformation. No way am I going to change!4. Trouble brewing. Wow, that's not good!5. Doorway of No Return #1. We're off to see the Wizard!Act II6. Kick in the Shins. Ouch, there's a Final Battle up ahead!7. The Mirror Moment. What, me? No...8. Pet the Dog. I can't just ignore that call for help...9. Doorway of No Return #2. Slamming the lid on the boiler...Act III10. Mounting Forces. Everyone's here!11. Lights Out! And it looks bad for our hero!12. Q Factor. But... there's a ray of hope.13. Final Battle. And it's time to fight!14. Transformation. And here's the payoff...Look at how they tie together, too. Disturbance, Trouble brewing, Kick in the Shins, Mounting Forces... all lead up to the Final Battle. Care Package and Pet the Dog make us like the character. Argument against Transformation, Mirror Moment, Lights Out, Q Factor, and Transformation are all about the character and their change. The two doorways? Those are the transitions between Acts, one-way slides from one set of problems to the next. Cool, right?

mbarker

Original Posting April 19, 2019

"Every great ending is a Final Battle inside or outside the main character. Sometimes a mixture of both."So, in Act I, we had Disturbance and Trouble Brewing to kick off the action and warn us that the final battle was ahead. In Act II, we had The Kick in the Shins to remind us, and the Mirror Moment when the main character really decides they have to do it. The Doorway of No Return #2 slammed shut behind us, Mounting Forces gathered, Lights Out made us sweat, the Q Factor gave us hope, and now…The Final Battle!Okay, so this is the focus of Act III, the ending or resolution of the whole story. Outside? We're looking at physical forces. Big or little, will the main character have the courage to fight? Will they win? Inside? A psychological battle! Will the Lead have the courage to be transformed?So why do we have this piece here? Well, this is the point of the story, what everything leads up to. It's the resolution, the satisfaction, the completion. The Final Battle is what makes the story happen.James gives us a hint. Go back and look at your Mirror Moment. If it was a "I'm going to die" moment, the Final Battle is likely to be physical. If it's "Who am I and what have I become?" Then the Final Battle is likely to be interior, a dilemma, psychological.And, we have a reminder. The arc of the story is a quest for courage. If it's courage to fight overwhelming odds, the Final Battle is against outside forces. If it's the moral courage to do the right thing, then the Final Battle is against inside forces. Don't forget you might have a tragedy, where the main character loses and dies (physical death!), or doesn't do what's right and dies professionally or psychologically. (I have to admit, I'm a Disney kid, I love a happy ending, though!)It seems to me that part of the trick to getting this right is really going back and looking at what you have promised in all the other pieces. Remember those pieces I mentioned at the start? Make sure that The Final Battle lives up to all those. Yes, it's a battle, so you can have loose ends and chaos, but… Try to take care of the issues you raised in those other parts. Of course, some people start by outlining or even writing up this part first, and then make the rest of the story match up with it.

mbarker

Original Posting April 16, 2019

I'm sure you all remember Q in the James Bond movies, who carefully handed Bond some gadgets and told him not to play with them. Why? Well, at the end, Bond often escaped the doom descending on him using those gadgets. But, if he had just pulled them out of his socks at that point, we would all groan. However, Q handed them out way ahead of time. So…"In fiction, the Lead character reaches a point near the end when everything looks lost. Lights Out! What he needs is courage and motivation for the Final Battle. This is where the Q Factor comes in."The Q Factor is an emotional push, set up back in Act I, that provides inspiration or instruction at a critical moment in Act III. Sometimes it's an icon or a physical object. Sometimes it's just a memory, a voice in the head. Sometimes it's something that just reminds the Lead about… It's something that encourages the Lead. Sometimes it's a negative example, where the Lead thinks something like, "If I give up, I'll be as bad as…"Why is this here? Remember the death stakes. When you face death, you are afraid! When all that stands in front of the Lead, he's going to be tempted to run. What makes him stay and fight?The Q Factor, an emotional boost, just when it's needed.So, how do you figure it out? Well, James suggests brainstorming Q factors! Make a list of physical items, mentors, characters embodying cowardice and moral corruption. Then, choose one that you like. Write a scene early in Act I that ties this element emotionally to the Lead. You may want to put a reminder in Act II. Oh, you might have The Q Factor before or after Lights Out.James finishes with a reminder. The story is about a character using force of will to fight death. That's not just analytical. It's emotion that moves the main character to action, and The Q Factor is a spark for that fire.So. Doorway of No Return #2 slams behind us. Mounting Forces gather for the Final Battle ahead of us. Lights Out as we face the Final Battle. And... the Q Factor gives us a glimmer of hope, a beacon to guide us, a song to sing as we head into battle!

mbarker

Original Posting April 7, 2019

Lights Out!All is lost! There is no way to win. The forces against us are too strong. The dilemma that we face has no good choices. This is the beat that really makes your readers sweat. What's the worst thing that could happen? And it does!Now why do you put this in here? Well, looking at the Hero's Journey, this is death and rebirth. The final cleansing. And there's a real catharsis here. Beyond death, the recovery makes us sing.James suggests that whether you are a plotter or a pantser, keep looking for possible endings. Plotters may do this while outlining. Pantsers, do it all the time. Keep a list of your ideas. One of these may be your real ending. But one of the others may be your Lights Out beat, when everything seems to have fallen apart.And James's reminder? Well, endings often involve sacrifice. Rebirth comes after death. Death is often the sacrifice of what we want most. That's when the lights go out.Like Mounting Forces, this section provides examples, but is somewhat sketchy. It's very much going to depend on your story. Think about the death that your lead faces -- physical, professional, psychological -- what they thought they were going to do about it, and what could happen to make them sure they can't win. Betrayal, broken promises, the secret weapon isn't there, whatever makes the darkness blacker, blacker, blackest. Which makes the victory even sweeter and brighter in The Final Battle!It's interesting to me that he puts this after The Doorway of No Retreat #2. I'm not sure that it has to be quite that late. You may want to put this earlier, somewhere in Act II.What's next? The Q Factor!

mbarker

Original posting March 22, 2019

Okay! Act II is closing down, and through this door… Act III! There is no turning back. This is the doorway that leads to the final battle and the resolution.Let's step back a moment. Act II is where the major action of our story happens. The stakes, according to James Scott Bell, are death, physical, professional, or psychological. The lead, main character, protagonist, our hero has to fight! Act II is "a series of scenes where the character confronts and resists death, and is opposed by counterforces."Then, The Doorway of No Return #2… And Act III begins! Usually, this doorway involves a major crisis or setback, some kind of a clue, a discovery, a revelation… And it sends us on toward the final battle.Now, why do we have this? Well, Act II could just keep going, but the Doorway of No Return #2 sets up the final battle. Now, three act structure says that Act III is about one fourth or less of your book. So that's where you find the Doorway of No Return #2.James gives some hints for plotters and pantsers. Plotters? You may want to leave this until you are well into your outline or even writing. Everything up to this point affects it. The characters, scenes with happy surprises, new events. It all feeds into the Doorway of No Return #2. So leave yourself room to make this great.Pantsers? Discovery is the name of the game for you. So this one really works. Just keep in mind, and think about it from time to time. If possibilities hit you, go ahead and write them down. Then, when you're ready, pick the best one or a brand-new one and go for it.James also has a reminder. Don't use coincidence to get your lead out of trouble. A crisis or a setback is more trouble, so that's okay. But, a discovery, a clue, a revelation really needs to be earned. Make the lead work for them, do something to get them.Act I started off with a disturbance, which led to The Doorway of No Return #1. Then we had a kick in the shins, the mirror moment, and other complications and troubles that led to The Doorway of No Return #2! With The Final Battle looming ahead of us.Kind of like crossing the United States. First you have to get across the Appalachians, then you can wander around until you hit the Mississippi, and across the great flatlands… And there's the Rocky Mountains looming in the distance!How do you get this door right? I'd suggest (a) wait a while. Outlining, writing, see what pops up. (b) Brainstorm a list! What sets up the Final Battle? What key step does the lead need to take? What changes that forces them into that final battle? Now, pick the best one.

mbarker

Original Posting March 8, 2019

All right! We've gone through the Doorway of No Return #1, crossed out of Act I into Act II.

Act II? The middle, where most of the action takes place, setting up Act III, the resolution, climax, final confrontation, and so forth. So, our hero sets forth blithely along the path, off to do great things, and...

Gets a kick in the shins?

Yep.

James tells us that we need a kick in the shins! "An obstacle, the first real test in the death stakes of Act II." Some new trouble, the first challenge headed for that major confrontation in the future.

Don't wait too long. Go through the Doorway of No Return #1, and… Where's the problem? Give us that kick in the shins. Complication, emotional jolt, something to deepen the emotional and internal stakes. An outer obstacle? Trouble, but… You probably still want the big question to be a little bit mysterious.

Now, why do we want this here? Well, James reminds us that we are building tension and conflict. This is just the first hit of Act II. It's leading to bigger and better obstacles. But it does kick off the complications and action of this part.

How do you come up with it? Well, James suggests that whether you are a plotter or a discovery writer, when you are ready to figure this out, stop and do some brainstorming. What obstacles, what opposition, what characters can get in the way of the lead? They've gone to the doorway, and are heading onward. What can go wrong? Come up with 15 or 20 ideas. Yes, include the wild ones! Then, pick out the best. Which ones really make you excited? Put them in order, from bad to worst. That bad one? That's probably your Kick in the Shins.

James reminds us that trouble or conflict is really at the core of story. Every scene needs a little. This one helps make sure that we know the hero isn't going to get everything easily. So… Kick them right in the shins!

Now, the kick in the shins comes fairly early in Act II. We're headed towards The Mirror Moment next, but… There's some space in between. Go ahead, add in your complications and scenes. First, wake-up your readers with that kick in the shins, and then keep going!

On the way to the mirror…

mbarker

Original Posting Feb. 28, 2019

Wait a minute. Disturbance, care package, argument against the transformation, trouble brewing, doorway of no return #1... these all sound good, but that’s not a whole story? I mean, it’s not even a whole beginning.

Step back and think. Signposts, stepping stones, pick your metaphor. These are important pieces that you can use, but, yes, you will need to mix in other stuff. If you are doing a short story, say of the thriller variety, you might even try to do a couple of these together. E.g., you might have the disturbance and the care package together, right there at the start. Let’s face it, the common bit with the girlfriend/wife/daughter missing/kidnapped/whatever right at the start brings in the disturbance and a hint of a care package. The hero may very well sneer and tell us they aren’t going to change, even as the phone rings and the villain laughs... yep, an argument and trouble brewing? And we’re only a few sentences in!

On the other hand, a novel may very well spread these out, adding in plenty of other material. Scene and sequel, action and reaction, side stories and minor characters... you don’t have to do it all on the first page.

So. At least as I see it, James is recommending these as structural members for your story, which you get to place within your story, along with the rest. Nowhere near a complete plot outline, but... that means you get to do it your way!

Whether you build it as an outline, and then write, or just dive in and write, looking up occasionally to see whether you've gone past the signs or not, these are useful pieces for you to incorporate.

Nice.

(No, this will not be included on the test. What test?)

mbarker

Original Posting Feb. 22, 2019

The Doorway of No Return #1! (Too bad we don't have a soundtrack... we could have ominous music playing to set the mood...)

Almost makes me think about a game show -- behind door number 1, we have... But, no, seriously...

This is a key transition between Act 1 and Act 2. As James points out, in the beginning, Act 1, we find out who are the main characters? What's the situation? We have the disturbance up front, and the trouble brewing to hint at the real big trouble ahead. Plenty of conflict and tension, because that makes good scenes. But... the story really starts with the confrontation in Act 2. And between all the good stuff in Act 1 and the fun and games of Act 2, we have the Doorway of No Return #1.

Hum. Let's see. Disturbance and care package, to kick things off and make us care about this character. Maybe an argument against the transformation to set up the character arc, the growth in the character that will come? A healthy dose of trouble brewing to let us know that there is trouble on the way. Interspersed with scenes and such to introduce the setting, characters, and so forth. And then...

The Doorway of No Return #1!

When you take this step, when you turn and go this way on the path, there is no way back! You are committed, and must face death (physical, professional, psychological) and overcome it, or die!

What's ahead? High stakes trouble! Civil war, professional disaster, psychological toil and trouble... and when you step through this door, you go from the ordinary world into the dark world of the unknown, where these troubles lurk. Act II is all about the death stakes.

Now, why do you need the Doorway of No Return #1? Well, readers want that transition, that marker, to let them know that it's time for the main event. So... slam the door, have a twister blow your heroine off into Oz, or whatever, but tell the reader that the setup is over, and we are about to pull the curtains back on the real troubles.

James recommends doublechecking that your beginning has a disturbance in the opening, and a character worth following (Disturbance? Right! Care package? Right! Huh... he doesn't mention the Argument against the Transformation or Trouble Brewing, but think about those, too, okay?).

Then craft your scene that forces the character forward. Think about what could happen to make them take this step, to make the commitment. Can they resist? Well, what else could twist their arm, or convince them to walk into the trouble with their head up and eyes open? Oh, and one other thing to think about -- is it early enough? Sometimes we stretch the beginning out a little, but it's better to have the Doorway of No Return #1 as early as possible. So think about whether you can slide it up, and get them into the real conflict earlier.

Let's make a handy-dandy checklist out of that.

1. Do I have a disturbance in the opening pages to kick things off right?
2. Do I have a care package to show us that this character is worth following?
3. Do I have an argument against the transformation to foreshadow the character change or theme?
4. Do I have trouble brewing to hint at the problems ahead?
5. Does my Doorway of No Return #1 force the character to step through and commit themselves?
6. Can they resist? How can I close those escape hatches?
7. Is the Doorway of No Return #1 as early as possible?

Alright? Now, James reminds us that a story really is about a character who confronts challenges and overcomes them with strength of will. If there is no action, no conflict, no problem or challenge for the character... nothing happens. On the other hand, sometimes you have things that are outside the character's control -- a twister blowing your house away! -- a door slamming behind the character, a landslide... and those plot thrusts can be good for your character, forcing them into action even when they are a little reluctant to take that step.

One way or another, your character has to step out of the ordinary world, through the Doorway of No Return #1, and into the dark world of Act 2. That's the final step of Act 1.

So behind the Doorway of No Return #1, we have... Act 2, with death (physical, professional, or psychological) waiting for our character! Open that door... and step into trouble.

Write?

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!

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?

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!

mbarker

Original Posting Jan. 25, 2019

(for anyone just joining us, I'm walking slowly through James Scott Bell's book Super Structure. Today, we're on the very first beat in his list.)

Disturbance! The first signpost along the way. Bell starts by asking us what the first shot after the credits is in the Wizard of Oz. No matter what you might think, it’s a young girl running on a dirt road, with her dog, looking back over her shoulder. She’s obviously frightened, but we have no idea why. But we do know that something is disturbing!

That moment of disturbance, of upset, is what you want to start your story with. Not laying out the wood for a fire, but lighting the match.

Bell warns us that too many manuscripts start with what he calls the Happy People in Happy Land Fallacy. A chapter with no conflict, no trouble, nice characters, nice world... an ordinary life in an ordinary day.

What isn’t wrong with these people! Bell says, “The problem is the scene is too boring to hold our interest. ... what hooks a reader to a character is not how nice they are, but what trouble, challenge, or change threatens them.” Disturbing, right!

So, make trouble. Stir the pot! Right away.

Bell gives us some examples. Twilight starts with Bella’s mother driving her to the airport. We’re thrust right into the change! Or you could allude to a terrible change coming, as Dean Koontz does. Or perhaps a disturbance that has already happened, and will be explained? Intriguing first lines are always good...

Or sometimes the first paragraph just ends with a jolt, a hook that pulls us in. “Across the room sat the man who murdered his father.” Ouch! Disturbing...

Even literary (character more than plot) stories often have disturbing beginnings.

Bell reminds us that the opening, the start, of your story is what makes it work. Agent, editor, reader... they all want to see an opening that engages us, right away. Disturbance does that. “Trouble is the lifeblood of fiction.” So, as the old song says, “We’ve got trouble my friends, right here...”

So, how do you get that opening? Bell suggests writing several opening lines. Try out an opening with two characters in a tense dialogue.

Conflict, trouble, disturbance!

By the way, if things are slowing down or you aren’t sure what to do next with your story, try a little disturbance, trouble, conflict. Sprinkle disturbances throughout your story. Keep the pot boiling...

And make sure to start with a healthy disturbance!

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mbarker - TECH: Truby’s 22 Steps, 19-22
mbarker - TECH: Truby’s 22 Steps, 16-18
mbarker - TECH: Truby’s 22 Steps, 12-15
mbarker - TECH: Truby’s 22 Steps, 9-11
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mbarker - TECH: Truby’s 22 Steps? First 3!
mbarker - TECH: What structure do you use? Why?
mbarker - TECH: Super Structure: The Final Word (part 21) (575 words)
mbarker - TECH: Super Structure: Transformation (part 20) (450 words)
mbarker - TECH: Super Structure: Final Battle (part 19) (400 words)
mbarker - TECH: Super Structure: Q Factor (part 18) (400 words)
mbarker - TECH: Super Structure: Lights Out (part 17) (300 words)
mbarker - TECH: Super Structure: Doorway of No Return #2 (part 15) (500 words)
mbarker - TECH: Super Structure: A Kick in the Shins (part 12) (400 words)
mbarker - TECH: Super Structure: Act I review (part 11b) (299 words)
mbarker - TECH: Super Structure: Doorway of No Return #1 (part 11) (750 words)
mbarker - TECH: Super Structure: Trouble Brewing (part 10) (380 words)
mbarker - TECH: Super Structure: The Argument Against Transformation (part 9) (620 words)
mbarker - TECH: Super Structure: Care Package (part 8) (360 words)
mbarker - TECH: Super Structure (part 7) (400 words)

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