Category Archives: story structure

The Facebook 15 Authors Meme

I’ve been tagged twice for this on Facebook. Maybe after I finish up here I’ll figure out how to do it there.

You’re supposed to write a list of 15 authors who have influenced you and will always stick with you. Part of the directions: “Don’t take too long to think about it…”List the first fifteen you can recall in no more than 15 minutes.”

Oh no, honey. Thinking is what I do!

1. Ayn Rand- There are so many reasons her work will always stick with me. Reading her fiction, and The Romantic Manifesto…well, she changed my life in some ways. The way I think, my ability to cope with some of the crazy I see around me–I don’t want to get too into that stuff. As a writer, she helped me understand the concept of Hero in a way that reading a few hundred romance novels hadn’t quite done yet. And she helped me see the usefulness in the character arcs of secondary players. Perhaps most of all, she taught me that a great novel is more than just a story. A great novel is about something, and the concept of theme is not something that should be left behind in High School English class.

2. Johanna Lindsay- I read the few dozen of her historical romances that were available when I was a teen. At that time, Harlequin was very tame and pretty much PG. Lindsay’s books were my first exposure to the rated R world of adult romance. While I think those books probably did more for my interest in costuming, sewing, and medieval housekeeping than the writing stuff–because historical = research = OMG no–I definitely got stuff from all the Lindsays. The way she could pull out and develop secondary characters to star in later books, the humorous interactions between characters who are close to each other, ideas about what makes for likable characters and what can redeem a character or what appears to be a bad or doomed relationship, an understanding that there’s a structure beneath romances and fiction in general.

3. Nora Roberts- I came to Nora kind of late in my reading. I’m not really sure why. Some things I learned from Nora: Characters don’t always have to be orphans to be likable; sometimes family or close friends really add dimension to the story and even make some of the writing a lot easier. Which leads to the next point, the hero and heroine don’t have to exist alone together, in a vacuum, for the entire story. It’s ok to try new things: straight contemporary, suspense, girlfriend stories, family sagas, paranormal, science fiction–and still have it be romance at the heart of it. I also learned a lot about series metaplot from reading her trilogies.

4. Shannon McKenna- She’s not a big name, but man, can she write some heroes. These are probably classified as erotic romantic suspense. They’re definitely romantic suspense, but there’s a lot of sex and it’s pretty hot. McKenna’s heroes are amazing in the same way as Suzanne Brockmann’s Navy Seals–only I think they’re even better. They’re these over-the-top Alpha males on the outside, with this creamy center of insecurity and desperation when it comes to the heroines. I think I’ve understood attraction to a flawed hero from my teens and the bodice-ripper novels, but McKenna showed me how to appreciate weaknesses.

5. Linda Howard- She’s great at coming up with story concepts. In a romance, you know the characters are going to be together at the end of the story. Howard makes me want to know how. She’s also great at choosing elements that eventually come together as scenes that move me. And that’s what I want from fiction: I want to be moved.

6. JR Ward- Who doesn’t love the Black Dagger Brotherhood? Her heroes have that same ultra-Alpha on the surface, but kind of messed up and in need of TLC quality that you now know I’m into. Another thing I get from Ward: be brave. She’d gotten plenty of criticism about her use of language, her names, her creative spelling, deus ex machina endings, but hey, I’ll bet the piles of money soften the blows. This is her world, she’s running it. People claim to be annoyed with this or that, but she stays true to her world and ultimately they keep reading because she’s just that good. She makes me want to be that good.

7. Kate Forsyth- Here’s an author who just made me want to create a fantastic world, and to people it with a cast of heroic characters in an epic struggle. Fantasy isn’t always easy for me to read, but this world was just so incredibly rich, the storylines so amazing, the characters so wonderful…And as to that, the villains were so well developed. Can’t say enough about these books–certainly I shouldn’t say “so” again.

8. L. Neil Smith- The Probability Broach is an amazing book. While as a writer, this was one of the books made me want to write libertarian fiction (but for girls), I think it’s always going to stick with me as the first time I was able to read about anarchy without simply dismissing it.

9. Laurell K. Hamilton-Her early work made me want to write a kick-ass heroine, and the change in her work made me really appreciate how much I loved the early voice that she lost. Part of the delight for me in the first few Anita Blake books, was the freshness of Anita’s voice, the unexpected Dr. Seuss references, that kind of thing. She was part of waking me up to the power of voice.

10. Janet Evanovitch- Stephanie Plum: not the most kick-ass girl I’ve ever met, and she showed me the power of creating a character who had some room to grow, someone readers could identify with and really root for. Evanovitch is another one for amazing voice. So much about One for the Money makes me smile just because it reminds me of home, of people I feel I’m familiar with. She made me want to sound, not like a writer, not like an amalgamation of all the books I’ve ever read, but as the me I am in my head and with my friends.

11. Anne McCaffrey- I don’t think you can spend any time in Pern without being touched by it.Not only did I fall hard for Lessa, kick-ass, underdog heroine, not only was I drawn in hard by the relationship between Lessa and F’Lar, but the storyline and the world-building were incredible. After the first books, going backward in time to see how it started, and then filling in the gaps in the history of the world–it just blew my mind.

12. Diana Gabaldon- Look, Outlander was the only one I could read, but it’s not going anywhere. Jamie, his capacity for bravery and sacrifice, but also the innocent sweetness of him, is always going to stick with me.

13. Harlequin- The retired Harlequin Gothic and later Harlequin Intrigue lines pumped out romantic adventures every month that even a babysitter could afford, and then dream on. These books replaced the YA I had been reading partly because they could ALWAYS be counted on to be about the romance. I guess this was when I really started to understand about commercial genres, and really started to get serious about penning my own romances. There was a lot to be learned from these, and a lot of it was about what not to do, but that’s no less important. I learned what I like in a story and in characters, what works for me as a reader and what doesn’t, and I found some authors and stories for my keeper shelf.

14. Debra Webb- is one author I found through Harlequin Intrigue. I loved her Colby series, about a private detective agency. In addition to being good stories, very well written, I learned a lot and started to get ideas about how I might one day structure books in a series. I learned about spinoffs, plots that carry over several books, using an epilogue for good (instead of to annoy me).

15. I know we all love books, but, to me, fiction is fiction. Often I think we should do a better job of learning the names of the writers behind the television and movies that really stick with and influence us. Obviously, Joss Whedon’s work is huge for me, but there’s no way he can do all that alone, and I feel like I should know more names in this category. A few random shows that have caught at my imagination: Buffy, La Femme Nikita, V, Battlestar Galactica (1978), Battle of the Planets (G-Force), Superfriends, Batman, Thundar the Barbarian, X-Men, Wonder Woman, He-Man, Dungeons and Dragons (animated, 1983), Days of Our Lives, Santa Barbara, Voltron, Veronica Mars, 90210, Firefly…

So…take on the meme if you want, but I’d love it you’d share your thoughts on any of the above, or if you’d like to share one or two of your own favorites, and what they’ve meant to you.

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Filed under books, characters, ideas, love, me me me, romance, story structure, writing

Setups, Flawed Characters, Ginger or Maryann?

Last night I finally got my files uploaded for the print version. They’ve been reviewed, and I had a problem with my title page, so I have to get that fixed this morning, and then upload the interior file again. But it seems like that was the only issue, so I might be able to order a proof copy tonight.

This morning I’m doing some thinking about first acts, how I understand them, and how I approach them. What follows may be a lot of me talking to myself, so don’t let all the yous get to you.

For me, the first part of a book is all setup. The actual story, the thing your characters are going to have to work through—you’re not into that yet. In fact, the point where you actually get into that doesn’t even happen until the end of this section.

Now, you can’t just do nothing here. You can’t just go about describing the characters, their environs, their backstories, etc, and not having anything going on to engage the reader. That’s about as much fun as watching someone else play Barbies. There should be something going on, something the reader is going to want to know more about.

So you’ve got a character (or characters) and a something going on. And part of what the reader wants to know is: how is this something going to affect the character? When is she going to a) either become aware of what’s really going on, and/or b) have to deal with this? And then what’s going to happen? While she’s reading on, to get to that moment when things come together and you come to that point of shoving your character through the door into the story world, you’re feeding her lots of important information about the world and the people in it, you’re planting seeds, doing a little foreshadowing, but, most importantly to me, you’re setting up your character arc.

The stories I love best are those in which a character learns and grows, is changed by the events of the story. I think I probably especially love characters who seem a little hard to love when they’re first introduced.

Take Lost’s Sawyer as an example. (Oh, I’d like to.) He’s not a nice man. In fact, he’s a criminal. Not only is he nasty to everyone on the island with the name-calling and the constant lashing out, he also does things like gathering up and “claiming” as many supplies as he can so that he can profit from everyone’s plight. I think there’s a part of Sawyer that remains inherently selfish at the core, which keeps his character consistent. But in a show in which the challenges presented by the island transform many characters, helping them find the inner hero that may lie within all of us, I think Sawyer is the one whose change is the most dramatic, and therefore the most moving. (Or I could be just blinded by the dimple. It happens.)

Spike is another example of this kind of character. Someone who starts off really enjoying the killing, especially of slayers. Until he falls in love with one, and is changed by that love, and by his story into someone who ultimately—does something spoilery that’s pretty selfless. You know what I’m talking about.

So yeah, I guess I’m into that. Characters need to have a starting off point in which they are somehow less that they’re going to be at the end point. And in a series, in which they’re going to appear in more than one story, that means they’ll need even more room to grow.

They have got to be likable in some way, and often, with flawed characters, that’s a matter of empathy. When a reader talks about characters that seem real, what they’re saying is that they felt empathy, they recognized something that they’ve felt, or at least something that they understand, in something that your character feels. There has to be something they connect to. This is why they tell us to make the character care about something.

Spike had Drusilla, for example, showing that he was capable of some kind of love, even if it wasn’t the nicest relationship to watch. Later, he formed the same kind of obsessive attachment to Buffy. And we really got to see how it hurt him, to be so constantly rejected by her, to feel that she was so unattainable, because he was so unworthy. To feel the hopelessness of that obsession, even if one hasn’t been a vampire obsessed with a slayer who won’t have them–a lot of people can still relate to, and be moved by, those kinds of feelings. And that’s what keeps them tied to Spike as he waits for his moment, his opportunities for growth (internal, not always conscious), and to win the Slayer’s affections (external).

But be advised, it doesn’t work for all readers all the time. If you present flawed characters, not everyone is going to connect, empathize, or wait around for them to get better. Sometimes a reader will be so turned off by something your flawed character did or said that, not only will she give up on them, but the book, and you as an author. Our different tastes, experiences, the issues that can pull us in or make us throw the book at the wall, that’s all part of what it is to be human and sentient, and makes all these varied stories possible.

After all, it’s this variation in taste that makes possible questions like:

  • Angel or Spike?
  • Sawyer/Kate or Sawyer/Juliette?
  • Marvel or DC?
  • Ginger or Maryann?

And where would the internet be without that?

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Filed under books, characters, Hush Money, ideas, love, romance, story structure, Talent Chronicles, tips, writing

Fire bad, tree pretty, sequel hard

It seems simple enough, right? You already know a bunch of your characters, you’re comfortable in your world, you’ve got a solid story under your belt, and you know what you’re doing, right?

Oh, no. This is not as easy at it looks.

But you knew that, right? I mean, you’ve read enough sequels to know that getting it right is a dicey business.

Here’s my problem with reading sequels: I read them back to back. I hate waiting to find out what’s going to happen next, and waiting six months to a year?? Oh no. Lack coping skills. So yeah, I have to stick my head in the sand to avoid spoilers, especially on the big ones, but it’s a small price to pay. Equal opportunity binge-er here! I also don’t watch TV and instead wait for the entire season or, preferably, series, to be out on DVD before starting to watch the episodes back to back.

Anyway, when you don’t have six months to forget the details, when you’ve just read the book, tossed it aside, and pounced on the next one, eager to find out what happens, re-reading everything you just read is incredibly frustrating. As the ebook trend grows, as “out-of-print” becomes a thing of the past and more people are able to find all the books in a series, in order, whenever they stumble upon it, this will be an issue for even more readers.

The answer, I think, is to start each book like it’s totally new and fresh. Forget about the previous book and every adorable word you put in there, every remarkable moment you lived through with those characters that you want to reminisce about (but suggesting that they want to reminisce). The reader’s here to find out what happens now.

In the first book, when you’re starting out, you know that you’re developing a character for the reader. You’re not dumping her, her vital stats, living arrangements, most traumatic moments, and grocery list on page one. You’re doling out tidbits as you go, as they become relevant to the story.

Well book two? Same goes. The event of book one are now part of the character, part of the backstory of book 2. You know better that to dump a lot of unnecessary backstory into your book, right?

Objection, your Honor! Relevancy?

Now, in case you haven’t figured this out, this is me, talking to myself. Heroes ‘Til Curfew is kicking my butt. What I know about not bogging a story down with irrelevant backstory and useless detail, and what I seem to really want to write, are two different things.

This is way harder than I thought it would be.

I’ve never written a book two before. I’ve never completed a book one I thought was worth following up on before. So now I’m in this whole new world in which I see this whole series of books before me…

This is a skill-set that I seriously need to learn. And I will.

While I work on this, any thoughts? Advice? Commiseration? Are there book twos you’ve just thrown at the wall because you didn’t want to hear about book one anymore?

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Filed under Heroes 'Til Curfew, Hush Money, story structure, Talent Chronicles, tips, what not to do, writing

Blueprint Series part 13: Battling Threads

Now that we’ve learned how to plot from beginning to end, I’m going to talk about what to do with the subplots and other threads you might have hanging around in your story. (For Part 1 in this series, click here.)

I’m calling these threads because sometimes “subplot” feels like too much word for these. So we might be talking about subplots in the way you think of them, or we might be talking about themes, or just things you want to develop and remember to follow.

A friend recently had a specular, freak-out meltdown over her WIP because she went to look at her outline, and there were points there that didn’t make sense, things that seemed left out or left hanging, and the outline itself was no longer a treasure map but sort of an encyclopedia of Huh?

There were a number of reasons why this happened, but essentially it all came down to her not having spent the time to understand her threads, work them through, and tie them into the plot. Consequently, when she had thrown an idea onto the outline that made sense when she thought of it, she later had no idea how to relate it to the story. And this story was an intrigue that really grew in terms of having a lot of different threads to follow. Complexity is great, scary fields of tangled threads and seeming randomness are not.

It took hours of talk therapy to get all the information out of her. It was all there, and it was mostly all good, it just took a long time to straighten it all out, tie it all together, and show her what she really had. On the bright side, it taught me stuff about the process.

But after all this work, and getting to The End, I don’t think you’re going to like it…

Step 13: Battling Threads

  1. List different the different threads/subplots in the story.
  2. For each thread, list its major plot points, and/or how it relates to the plot point moments in the central plot as described above.

Things you might list as threads:

subplots

themes

the constant battle against the inner demon

your romantic relationship

another relationship the character has, like a friendship

a mystery

something a secondary character is doing that will affect your main plot later in an important way

something going on in the background, like events in the town that enhance the setting

Like some of the things we talked about with regard to characters and setting apply here. Namely relevancy and connections. While you’re working through these threads, trying to build them as plotlines, look for ways to tie them back in to the main story. When the main plot points in your main storyline take place, how are these threads affected? How can you use what you already have to build on these ideas? If you need a distraction for your main characters or a red herring to distract the reader, choose from threads you’re already using rather than making up an unrelated incident.

Not all threads will have all their major plots–or at least, if they do, those won’t necessarily happen on the page. It’s probably not true for all stories that plotlines should interweave. I’m sure there are some that keep seemingly independent storylines going without tying them together until some shocking reveal at the end. If that’s how you roll, more power to ya.

I’d guess the important thing is just to be aware of your plans. Keep good notes for yourself, so that you don’t lose any of those great ideas, and you’re not letting threads slip and lie half developed and forgotten as you work.

After this, the only thing left to do is to actually outline. I continue to do this in Word, just making a list of scenes with brief descriptions or bullets of what needs to be shown and why. I then work through the writing of each of the four parts, stopping in between to make notes on changes or new things that developed during the writing.

After all this, I think I need a bit of a break to finish up my own outline for my current project. If you’ve followed the series, I want to say a special thank you. I hope you’ve found it useful. Please feel free to come back and comment (any ol’ where) and tell me how it’s going.

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Blueprint Series part 12: Fleshing Out Part 4

You know what you need to bring your story to a conclusion, but how are you going to make that into a whole quarter of your story? Does it have to be? We’re going to talk about that and some other stuff today as we work prepping part 4 of your story. (Click here for part 1 of this series on story development.)

To answer my own question above, my personal opinion: No, your 4 parts do not have to be equal quarters and your Part 4 doesn’t have to be quite as long as Part 2 or Part 3. But neither should it be so truncated that it seems a lot shorter.

This is one of the many balancing acts we face in writing. Your final act should be that exciting thrill ride we talked about yesterday, full of jarring impacts and forward motion. But it also should not be over so quickly that your reader feels she’s just invested hours in a build-up to something that was over too quickly. That’s a risk if you move from your SPP directly to your final showdown against the antagonist. At the same time, if there’s a long and complicated sequence of events to set up that showdown, your risk slowing everything down and disappointing your reader in a different way.

I just thought I’d throw some worries at you while you think through this, because I’m mean like that. As you’re outlining, you may find that you have more scenes or fewer scenes in your Part 4 than you did in other parts. Maybe it will take you more words to describe all that action, and that will maintain your balance. Hopefully you’ll be writing your climax using the kind of exciting language that will make it a fast read, make your reader power through to keep turning pages to see what happens, and that will provide the balance you need.

What you do not want to do here, is to plan a lot after your exciting climax. Don’t you DARE make me walk back to the Shire with you. Seriously. I’ll go home with your character to see how it all worked out, to see her get her reward, but I don’t need another journey right now, and I certainly don’t want another adventure of any kind.

I’ve got my post-victory buzz on. Don’t bring me down, man.

So let’s look at the Blueprint…

Step 12: Fleshing out part 4

  1. What is the climax of the story?
  2. How do the characters come to terms with their inner demons?
  3. Are there any loose ends to tie up?
  4. What is the happily ever after moment?

Not a lot of questions to work with there, but, at this point, you don’t need them. There is nothing extraneous in your climax. It deals with setting up the antagonist and knocking him down. And to do this, the protagonist overcomes her inner demon, that thing that’s been holding her back all along. It’s her grit, determination, and what she’s made of herself through the training that living through this story has given her, that allow her to win. Not luck, not some guy (unless he’s a co-protag and she saves him right back), not some kind of out of nowhere magic. Your protag saves the day and defeats her foe. She couldn’t have done it back when we met her, but she’s a different person now. Right?

Do you have any loose ends to tie up? Any subplots that need resolving, mysteries to be explained, identities to be revealed Scooby-Doo style? Like I said above, once you’ve impacted the reader with the emotion of the win, getting to THE END as quickly as possible is usually best for everyone. Every page she has to turn after that risks diluting the emotional high she paid for in the book price and hours invested in reading.

(It’s probably obvious that I don’t believe in epilogues. Epilogues that do not advance the series are most often gratuitous frolicking in the story world for an author who just doesn’t want to let go yet. Some readers also don’t want to leave the story world and these characters, and enjoy a drama-free scene of martial bliss 9 months later or whatever. Put it on your website and give those readers a reason to check that out and look at your other projects. The only epilogue type I favor is one with the purpose of dropping a seed that will grow into the next book. Horror movies are good at that type of final scene, but then, making you uncomfortable is the point of a horror movie. And making you feel WIN! is the point of romance, IMO.)

What’s your Happily Ever After moment? You’ve just saved the world from a monstrous, soul-sucking demon from hell? What are you going to do next? This is where you give the protagonist her reward, or the clear promise of it, for all her hard work through the story. Because what’s harder than changing and growing? Sometimes part of this moment in your story is about your protagonist realizing what she’s learned and how she’s changed, especially in stories for younger readers who expect that moral of the story, -what we’ve learned from this after school special- type moment. Often stories end with a punch line. This isn’t so much a joke (although it is often humorous and further breaks reader tension) as a bit of an emotional punch, and is often particularly affected when it is seeded throughout the story in some way.

It seems like we’re done (except for writing), but I still have at least one more thing I want to talk about. Tomorrow I’m going to talk about Battling Threads in your story, and how you might consider dealing with your subplots. Even if you don’t plan to add a subplot, there are still threads of different types that weave in and out of your main action story, and it’s important not to leave them hanging or let them grow into a tangle that impedes your main plot.

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Blueprint Series Part 11: Fleshing Out Part 3

I hope yesterday’s post helped you start to think through what my CP calls “The Valley of the Shadow of the Middle.” Middles are hard for a lot of writers. Today we’ll be working our way through the second half of this often desolate landscape. (If you’d like to start from the beginning, check out part 1 here.)

Part 3 of the story takes us from the MP (midpoint), which changed everything yet again by providing us with a whole new picture of what’s going on, to the SPP (second plot point), the event that will send your characters hurtling toward the story’s climactic end. Smack in the middle of those two points we’ll place PP2 (pinch point two), a reminder of the antagonistic force that’s more terrifying than ever.

Step 11: Fleshing out part 3

  1. How does the hero react to the Midpoint event? What’s different now?
  2. How does the heroine react to the Midpoint event? What’s different now?
  3. How do the characters take proactive action?
  4. How are the characters fighting their inner demons? How will you show that?
  5. What is Pinch Point 2? How will you show the evolution of the antagonistic force?
  6. How do the characters react to PP2?
  7. Is there a Black Moment in the sense of a break-up or break down of relations between the hero and heroine?
  8. Is there an all is lost moment where everything seems impossible for your characters? How do they react to that?
  9. How does the SPP come about?

In part 3, your protag is a different person than the one we’ve seen before. She’s not doing this for the same consequence avoidance reasons that dragged her into this mess. She’s in it now, and she’s becoming the Warrior we always knew she could be. If she could just learn that lesson, fix that skewed world view that would let her get past her inner demon, you know she’d be kicking some serious antagonist tail. But she’s not quite there yet.

So yesterday we talked about what a big deal the MP was. Something happened that really changed things in the story. How? What’s different now? How does it change your characters, and how will you show that?

Now that your characters have survived the the first half of the story, they’re hardly the wilting pansies they once were. They’re done running and hiding and trying to avoid conflict. What’s their plan of action now?

Remember how I said your protag wasn’t quite ready to win because she has to overcome her inner demon first? Remember to remind the reader about that too. Because this flaw she has is probably going to cause her problems come PP2…

Know who else has survived the story this long? Your antagonist. Remember that you’re keeping the odds stacked against your protag team and as they evolve, so does your antagonist. He’s bigger, meaner, and more bad-ass than ever. And he shows that by whooping your characters’ butts at PP2.

This may lead to an all is lost moment for your protagonist. I know I’m often very moved by those story moments in which the protagonist has taken such a beating, the odds seems so impossible, you almost want them to give up and go home, to stop taking all this punishment in a battle that seems hopeless. But that’s not who your protag is. It’s just not in them to give up (because you’ve got a fabulous climactic ending planned!), so they’re going to have to pick themselves up. Give them a story moment to wallow first, if you want to.

Note to romance writers: So much of romance now is action-oriented. Back in the day, we had a lot of historical and contemporary tales that were mostly two people moving through a story together, and much of their conflict was with each other. Today, with the huge popularity of subgenres like romantic suspense and paranormal romance, it seems wise to follow the advice of those who write in the thriller and suspense genres. But to do it with the kind of character depth, interpersonal drama, and loads of sexual tension that make romance what we love.

The “Black Moment” in romance, is something that happens that breaks your two characters apart, at least for a time. It is often followed by a “dark period” in which the characters brood separately and secretly long to patch things up. If you’re writing romance and working with this popular construction, your Black Moment and dark period will probably happen through this second half of part 3.

And now the SPP. In this scene, we turn that last corner that sends us into the sequence of events that make up your climax. In roller coaster terms, we’re at the top of the big rise, and the SPP is the thing that’s going to push us into a downhill sequence of terrifying and exciting events over which we have no control. (Ok, we do, but this is what a good part 4 often feels like for a reader.)

So what is the Second Plot Point? One way I like to think of it is as the delivery of the missing piece of the puzzle. After PP2, your characters are pretty defeated. It doesn’t seem like they’ll be able to go on. But the SPP brings some information that allows them to act. And through acting, they bring about the story’s final showdown.

And look! A middle! As someone who’s wandered the Dreaded Valley many times, there’s not much that’s more satisfying than laying out a rich middle and seeing my characters’ path running through it. I hope this helps you map out yours. And if you get bogged down and depressed listen to The Middle for a pick me up.

The last of the 4 main parts tomorrow! We’ll be filling in some of the detail that lead us to The End.

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Blueprint Series Part 10: Fleshing Out Part 2

If you’re like me, you have some solid ideas for the beginning and ending of your story, but the middle is a little bit mushy. I’ve found that there’s nothing like a little story architecture to help you set up some intermediate supports and start getting inspired. (If you’d like to see how we got to this point of story development, click here for part 1 of the series.)

Looking at my Blueprint, I can see that this pretty much all comes out of what I learned from author, Larry Brooks. If you haven’t checked out his Story Structure series, bought the ebook, and subscribed to his blog, let me just suggest those steps again. I don’t get anything for mentioning it, Larry doesn’t even know who I am. I just recommend this because it made a huge difference for me in terms of how I work and my ability to finish things. Also, if you don’t know what these terms mean, you might want to read for that, or at least check back to part 5 of this series.

Part 2 starts in the aftermath of the FPP (first plot point) and ends with the MP (midpoint). Halfway between those two points is PP1 (pinch point one). So here’s what we’ve got:

Step 10: Fleshing out part 2

  1. How does the hero react to the FPP event?
  2. How does the heroine react to the FPP event?
  3. What are the characters’ new goals?
  4. What is their retreat and regrouping?
  5. What is their plan to take action and how is it doomed?
  6. What is Pinch Point 1? How does the antagonist force take center stage in this scene of Part 2?
  7. How are the main characters affected by PP1?
  8. How will you move into the Midpoint scene or sequence?

Part 2a might come together fairly quickly for you, once you get these questions answered. Something big happened at the FPP, something so big that it forced your characters into the story world. And because of the stakes you set up in part 1, there’s no going back for these guys. So now what do they do?

Well, first they react to what just happened, because, in some way and to some extent, it was life-altering. So how do your main characters react to the FPP event? Do they pack everything up and leave on their quest? Do they go into hiding? Do they turn to someone for help? Do they do something really stupid? Do they seek out a guru to teach them karate or some other skill that will help them defeat the antagonistic force?

Sometimes, this part of the story is about the protagonist gathering forces. That could mean seeking out a mentor to learn a new skill, going on a quest for an important magical item, finding and assembling a team and possibly training them…

At the FPP, your antagonistic force was really revealed. It shook up your protag’s life. Now she’s got to pull it together, so she pulls back from the situation to think a bit. Write out whatever you can think of about this process of reacting, retreating, and regrouping.

Your protagonist, being a proactive character, then comes up with some sort of plan. Whatever it is, that alone isn’t going to do it. She just doesn’t know enough yet, doesn’t have the experience, doesn’t have what it takes. Because really, if she did, this story would be way short. So where the flaw? How do you see this failing?

Now get ready to put the smackdown on your protag, but here comes PP1. The antagonistic force shows itself once again. Even if your heroine has retreated to the mountains to learn kung fu and recruit ninjas, the reader will still benefit from being reminded how badass the antagonist is, and so will your characters. Be afraid. Be very afraid. We always admire people who are afraid, with reason, and move forward anyway. So right in the middle of part 2, plan how to remind us of your antagonistic force and highlight the weakness of your protagonist.

What does this do to your protag and her team (if she has one)? She might have to do some damage control to keep people from leaving. She might have to get a new idea or new direction. She might have to find her way back from the alternate dimension to which the antagonist flicked her like lint off his robe.

The second half of part 2 is building the sequence of events that will lead to your midpoint. At the MP, something is learned or revealed that changes everything. Maybe it just changes it for reader, or maybe everyone’s in on it. But whatever it is, it puts this whole situation in a different light. The MP brings in the element that turns your protag from a Wanderer into a Warrior. Up until the midpoint, she’s probably been governed more by the avoidance of consequences than anything else. What happens at your midpoint that makes her go, Oh, honey, it’s on now.

Figure out what that is, how to show it, and the sequence of events and scenes that will get you there, and part 2 will complete itself. (Just add writing.)

Tomorrow we’re on to part 3, the second half of the middle. Hope you’ll join me.

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Blueprint Series Part 5: Main Plot Points

(I’m not sure what happened with the scheduling of this post, but I apologize for the delay and for the fact that it’ll be two today with another one this afternoon.)

If you’ve been following, you’re totally bored with the following:

If you’ve just arrived, I’m doing this series explaining the story blueprint I use. I’ve got a link to the file on my download page–see tab above. Click here for Part 1.

But now it’s over and we can move on to our focus today:

Step 5: Main Plot Points

  1. What is the Second Plot Point?
  2. How does the SPP event or sequence of events force the main character into the climax of the story?
  3. What is the First Plot Point? What is the event or sequence of events that brings the characters into the story world?
  4. What is the Midpoint of the story?
  5. How does the MP change everything? How does it put your characters into attack mode?

That’s it. I’m just asking you to come up with 3 things today. But they’re really important things.

This all comes out of a brilliant series of articles on Story Structure by author, Larry Brooks. Click here for Part 1. Read the whole series, then buy his book on the subject and read some more. If you want to know how to make a series of unfortunate events that makes a story, rather than a pile of them that makes a mess of dreck, reading Larry is great place to start.

Ok, so there’s no sense in me repeating everything I just linked to. So to boil down what you need to know for this part, I’ll explain that we’re talking about a classic 3-Act structure, in which the middle act is broken down into two parts, separated by the midpoint. Because that’s awkward to talk about, for now until the end of time, we’ll be talking about the story in terms of 4 parts. These parts will be separated by 3 key plot points. So the story goes like this:

  • Part 1
  • First Plot Point (FPP)
  • Part 2
  • Midpoint (MP)
  • Part 3
  • Second Plot Point (SPP)
  • Part 4

Now, especially since these are out of order, you’ll probably have a much easier time understanding what I’m asking of you if you go read through the Storyfix series and come back. But I’ll do my best to explain what these things are and include.

Part 1 is the setup of your story. While it will have a something that hooks the reader, things will happen in there that are important, etc, the story hasn’t actually started in part 1. Grasping this, by the way, has been huge for me. In part 1 you’ll need to be introducing most or all of your characters. You’re giving us a sense of where your protagonist is, both in terms of place and place in the world. What is his life like now, before everything changes? What does he need? What does he want? What does he have to lose?

Did I mention that everything changes? That’s your FPP, and it’s the most important moment in the story. This is the thing that pulls your character from where he is and sets him on the path toward his destiny (which is the story’s end). And it’s probably going to be something your character is reluctant to do because, hey, scary, plus there are probably things in his life he doesn’t want to risk. But whatever happens at the FPP is such that he MUST move forward into the story world.

After the FPP, your hero and your story move into Part 2 in which your hero makes an effort but…let’s face it: if he were man enough to take this on, the story would be over. He’s got a lot of work to do. There are some different ways to approach part 2, as failed attempts to deal with the problem, as avoidance, as gathering a team to combat the problem or focusing on training…

Part 2 ends at the MP. And this is a big turning point in your story. There’s something that happens here that puts a different spin on things, shows everything in a new light, changes everything again. Again, endless options and you’ll want to go and read more about midpoint elsewhere. But it’s something that really changes things for your character and puts him into attack mode.

Because that’s what part 3 is about. Your hero really stepping up his game and approaching this problem with a new outlook or commitment or whatever.

Part 3 ends with the SPP. The Second Plot Point is the thing that sets the wheels in motion for the sequence of events that lead to the climax. Sometimes it’s the last piece of the puzzle falling to place. That bit of information the hero was lacking to really go after the villain, whether that’s knowing the villain’s location, discovering his weakness, or the hero finally getting the right size gear to finish his giant mecha warrior robot beast. I don’t know. You figure it out.

I do this backward because, like I talked about in the last post, I need to know that where I started is going to get me to where I’m going in an effective way. I probably either know the FPP or have a good idea of what kind of FPP I need. So I focus on the SPP first, trying to figure out what kind of scene I will need to plunge these characters into the series of scenes that leads to and makes up my climax. From there I can sort of refine whatever idea I had about the FPP to give me a starting point. Then I can work on the MP and try to figure out how things escalate, what big deal will happen in the middle, and how it will change my characters.

The order in which you choose to do this doesn’t really matter. I think it’s really something you work on all at once and keep refining as you work deeper into the story.

If, after reading the Story Structure Series over at Storyfix, you still feel a little unsure of how that works and need more examples, poke around at the site some more. Larry’s also been doing deconstructions of movies as examples of how the structure works and how to recognize the main points. (Then get his book and read it.)

By now you’re getting a good, solid idea about what your story is and how it’s going to play out. You might want to take a little time to let that marinate. Meantime, since you know what it’s about enough to talk about it now, we’re going to go on to some Pitch and Blurb stuff next time.

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