At our bi-weekly Okinawa Military Community Writers meeting, Kyle led off the discussion with an exercise in developing the main idea of a short story, novella, or book. He posted about this and covered the 5 Ws that can help a writer summarize the story they intend to write.
I hope to build on that here with some additional tools or techniques for devising a plot line. Your mileage may vary, but hopefully one of these options will prove useful.
So you want to write a book…
Anyone setting out to write hopes to create something new and interesting, a unique contribution to their genre–and that’s a noble aspiration, of course. That might make some of these formulaic approaches seem unpalatable.
The thing to remember about a formula is it exists because it works.
Readers expect certain elements in particular genres… and this is not bad. A reader should have a decent idea what to expect based on the cover, back copy, and the first few pages. The tale may be familiar in structure, but unique in the telling, which makes it a fun read.
Deviating from the standard plan can be creative. Deviating too much is detrimental unless you telegraph it from the beginning.
In one of his excellent lectures on writing, fantasy author Brandon Sanderson brings up the example of a fellow writer who got published around the same time as Sanderson’s first book, Elantris. Sanderson’s book sold well and launched his career. The other fellow’s book sold poorly. What started as one type of novel (fantasy coming of age) suddenly became an entirely different book (dark and gritty science fiction) about three-quarters of the way in. Obviously other factors could be at work in this example, but when a book doesn’t deliver on its promise, that turns readers away.
That’s where planning and plotting can help. If we understand the commitment we’re making and the steps we should take in order to fulfill that promise, it’s easy to give readers what they will like.
“But I write free and unrestrained,” one may protest. “An outline or plot is a straitjacket in a padded room, an orange jumpsuit in a prison cell. I won’t go willingly.”
Pantsers (those who write by the seat of the pants) can still find use in these tools and structures. However, instead of using one to start an outline, the pantser can use these to guide the first major revision. If we’ve done our job as writers, the rough first draft will have elements of story and theme and proper flow between events, leading from whatever kicks off the thrill ride to the explosive climax. Figuring out the main structure of a story–even a free-writing journey of creativity–can illuminate what works and what fits, or highlight what should be cut to make the end result leaner and tighter.
Get your writing on LOCK
James Scott Bell writes about the LOCK method in Plot and Structure, among other books. The elements are:
- Lead – a compelling or interesting character we’re going to care about enough to read through an entire novel.
- Objective – the important goal or need driving this character into action they might otherwise avoid
- Confrontation – the opposing forces or agents keeping the Lead from a quick solution
- Knockout – an unexpected yet exciting ending that wraps up the conflict while blowing the reader’s mind
The stakes in the conflict have to be high–usually involving death. That doesn’t mean the lead or some support character must literally be hanging from a cliff or targeted in a sniper’s scope. Death can be professional (disbarred as a lawyer, kicked out of the military, imprisoned for a crime, or simply shamed and humiliated), or personal (divorced by the spouse they love, abandoned or rejected by their child, trapped forever in regret and frustration at what might have been).
Varying the Variables
A technique I picked up from George Guthridge during a fantasy writing workshop involves sorting out the variables and reasons that sum up the conflict, almost like a math formula.
(Variable 1) (verb phrase) (variable 2) because (reason).
For example, “A hopeless loser gets his life mixed up with his wealthy twin because neither knew the other existed.” So we get all the variations on The Prince and the Pauper, such as Freaky Friday, the Parent Trap, and a number of plots for one-off episodes in cartoons and comedy shows.
The trick here is to ensure that most of the equation involves some new or interesting. One of the variables can be boring–the hopeless loser, for example–but the rest must be exciting for the equation to work.
For example, the hopeless modern-day loser is trained to use magic by an enigmatic centuries-old sorcerer because only together can they close the portal to Hell in the middle of Times Square.
Okay, that’s been done, but the point is only one part of that equation feels like it fits in the mundane everyday world.
Filling Out the Outline
Guthridge also taught a skeletal plot structure that lays out the protagonist’s character arc, around which all the rest of the story will build. Here are the pieces of that framework:
- The Protagonist (what’s interesting about him or her?)
- Has an emotional / inner problem (what’s the backstory that led to this personal issue?)
- But an outside problem arises (what happens that forces the protagonist to face their issue and backstory?)
- Protagonist tries a solution that not only fails, but makes things worse (how are the stakes raised as a result?)
- Repeat 4 with another failed solution that builds the conflict and deepens the crisis
- Repeat 4 if you have space for a third failed solution and the resulting increased tension
- Protagonist solves the outer problem (without help from God, luck, friends, family, deus ex machina stuff)…
- And in so doing also solves or overcomes their inner problem
This will establish the main thrust of your character’s journey. Plotters can use it to start an outline; pantsers can look for how what they’ve written conforms to this kind of arc and revise accordingly.
Characters Change… Maybe?
Some books and speakers insist that a story is a series of events where characters change. This isn’t always true.
While considering the path a character will take (or has taken in the first draft), it may be that he or she remained firm in their convictions, against all the odds and pressure to change. Some stories are about people whose unwavering beliefs carry them through seemingly insurmountable odds. The tension builds with the increasing temptation to give in, and readers wonder, “Will they break? Will they sell out?” We’re satisfied when they don’t. Think of Captain America in the Avengers movies, who states that sometimes when all the world pushes you to move, you have to stand your ground and say, “No, you move.”
Conversely, plenty of stories involve the transition from an old belief or worldview to a new take on reality. Most “apprentice” novels and coming-of-age stories involve an underdog who becomes a master of their craft while developing the internal confidence to stand up for themselves.
A character may stand firm or change views–then we can reveal if their decision will end well or poorly for them. Maybe it’s a mistake with dire consequences, a cautionary tale. The unwavering person might not be able to survive a changing world (alas, Ned Stark!), and the person shifting their beliefs might live to regret their decision. Either of these can be a satisfying (if not happy) resolution to a character’s arc.
Nothing New Under the Sun
None of these structures or techniques are first-seen, unheard of, unique experimental snowflake novels. They don’t have to be. Everything we do and create is derivative of something we’ve seen or experienced–that’s what makes it relatable. The familiarity of the structure puts readers in a comfortable place, but each writer’s individual twists or combinations of ideas build a fresh experience that keeps the writing from feeling like what we’ve seen before. On top of that, no one tells a story exactly the same way; the use of voice and style in writing puts the spice in the casserole of words that will satisfy a hungry reader.
I hope the tools above and the 5 Ws from Kyle’s post help spur some creative writing. Whether following a recipe is easier, or looking at a picture and winging it is preferred, let’s get cooking and serve up something delicious.