1) Question:
What is a good percentage mix of Dialogue, Introspection and Narrative? Is there a good mix, or is it just what fits the story? Suspense romance writer -Florida
Answer
A story unfolds in scene, of course. And, scene is usually made up of dialogue and always action. But the dialogue I’m talking about is dialogue that advances the plot, NOT dialogue that is mere information dumping.
Introspection can give insight into the inner workings of the character, but is inherently flat and thus slows the plot. Therefore introspection should be used sparingly. This also goes for narrative. Telling–summary–puts distance between the reader and the story. Showing–in scene–draws the reader deeper into the story. Use “telling” sparingly.
2) Question:
I noticed that on page 189 which is Appendix 5, you plotted the beginning Summary in the “A Lesson Before Dying” by Ernest J. Gaines Plot Planner example.
Why is that so? I thought we were not suppose to plot summaries? Is it because this is the very first opening sequence which introduces the inciting incident which happens to be a Summary and not a Scene? You note on this page that “this story begins with Summary, establishing the overarching conflict”. I’m confused. Your clarification would help. -New York
Answer
You’re right — you are not suppose to plot summaries for the reason stated above.
The Plot Planner is a device meant to give you a visual picture of your story. I stress scene over summary primarily because the #1 problem I see many writers make is “telling” the story rather than “showing” the story. Summary may introduce vital information and thus is helpful to have available on your “visual plot map.” However, I would indicate on the Plot Planner, if/when you include a summary. That way you can assess the frequency with which you use telling in place of showing for pivotal scenes.
3) Question:
I’m presently working on my plot planner and was reviewing your book again and was curious again about a few things you mentioned about summaries and would like some clarification please. -New York
On page 74, why do you ask to “determine if there is conflict in the scene or summary you are analyzing” if we are only to analyze and track scenes?
Answer
You’re right!! Drat! Thanks for catching the discrepancy. I’ll delete summary in that statement in the next printing of the book. Thank you.
4) Question:
Also, on page 67, you noted that “if your story begins with a summary there may not be any real action to indicate on the scene tracker. Summary is telling and so it does not usually involve real action.” So are you saying that if you start your story with a summary and it has some action that we should track it on the plot planner (and this would be the only scenario to track summaries?)?? I’m only asking this as you noted that summary does not “usually” involve real action. So when a summary does involve real action, is it still a “summary” or a “scene”??
Answer
Hmmmm, does summary ever involve real action? Summary “tells” about action that has happened. What is important in a story is the action that is happening moment-by-moment on the page. True action is the step the character takes right now at this moment in story time. Again, I think you have picked up an oversight in the editing of the book. I apologize for any confusion this has caused you and will change the wording in the next printing. Thanks again for your help!
***Any of you writers out there have any comments or help to offer??? Thank you in advance.
livvy
Thanks Martha. Your clarification on your intentions for plotting scenes and just “noting summaries if necessary” finally sunk in. Basically, we don’t track summaries, just note them on scene tracker when they do appear. As for the plot planner, its optional to note summaries as well, in order to track the frequency of summaries that are used in the “telling” of vital information instead of “showing”.
livvy
Hi Martha,
What about your theme example on Tom Sawyer? You mentioned that there are no specific thematic details on Chapter1. So what does the asterisk with the “T” stand for in scene tracker? Thx.
Stella
Hi, Martha!
I think it is important to remember that introspection stops the plot and too much can utterly kill the momentum. However, I don’t think there’s an ideal percentage division of plot-dialogue-introspection. Each project is different and each writer is different, so you always need to recalibrate according to the situation.
If that makes sense. *scratches chin*
livvy
Genre also tends to influence the amount of introspection / narrative that a story may have (get away with, or what readers will expect or accept), such as in the romance genre where characters tend to be more expressive about their emotional makeup. But at the end of the day, I agree with Stella, there is no specific percentage. Every story is unique.
I always find though that it’s important though to make sure that at the least, in the pivotal scenes, that we do show the emotional development of the main characters. And introspection is one way to do it. It just shouldn’t be over done.
Nature Nut /JJ Loch
I have found in reading other’s work that characters summarizing the events within the chapters happens too much with beginning writers. I fell victim to this also when I first began writing fiction, and my critique partner told me not to repeat myself because the reader already knows that information. So I try to use that sparingly as I advance the story. And I keep looking forward by using an outline for a checkpoint to make sure the plot stays on track.
Telling and not showing is also a common mistake a beginner writer makes because they don’t jump into the character’s skin but view him or her from a distance.
Beautiful post.
Hugs, JJ
Anonymous
In real life we can’t be transformed by thinking about it. We can’t show our transformation by telling about it. Same in stories I guess. Actions speak louder than words.
Brian H. Gill
Good points have been made, about ratios of dialog, introspection and narrative, and so forth.
Exact percentages of each element? I don’t think that’s the right approach.
The point in the comment that jumped out at me was livvy’s, on genre.
Example, from one of my projects:
“I watched rain run down the window like yesterday’s tears. I had time for it: I hadn’t had a case in a month. Then she walked in. I should have kept looking at the rain.”
That story’s going to be very, very heavy on introspection and narrative, I’d say – but that’s okay, since it’s expected of stories of that sort.
I think you’re on track: the ‘show, don’t tell’ is a good idea – as a rule.
There are always exceptions, like James Joyce’s “Ulysses.” That rambling door stop of introspective prose made a big hit in the literary circles.
But, have you noticed that there haven’t been many successful imitations? It’s like writing a story, using only words beginning with the letter “w” – it can be done, but it’s more a technical tour de force than anything else.
If there were one phrase for a reader to hang on to in your post, I think it would be “…dialogue that advances the plot, NOT dialogue that is mere information dumping.”
I’ve been guilty of writing expository dialog, but am repentant and determined to mend my ways.
On the other hand, I still think that writing a story as if it were being filmed – with heavy use of dialog – is a good idea.
I haven’t gotten my fiction published, though: so there may be something wrong with that notion. Non-fiction has been another matter, but that’s another story. 🙂
Plot Whisperer
Great comments. Always learn so much.
Hope you’re getting all this, Anne-Marie….
Thanks for commenting. Looking forward to learning more.
Michael J. Kannengieser
Hi,
Whenever I plot a story, I never consider what the percentage mix of plot, introspection and narrative is until I begin editing.
Typically, I use dialog to drive the story. Introspection comes easily for me if I am writing in the first person. When writing in the third, I work introspection for the character into his/her dialogue.
The challenge there is to continue to move the story using dialogue, yet, open the reader into the character’s thoughts and soul. The mix which works comes from the plot and whether or not it is sufficiently satisfied based on all of the elements and vehicles employed to tell the story; and, whether or not the characters were strong enough to tell the tale. I appreciate this thought provoking question. Thanks for letting me answer.
-Mike.
Anonymous
I wish I could help you guys but writing to me, like love, is such a mysterious, evolving process, to set such exact parameters can actually kill the best most spontaneous moments. I’m sure Martha would be the first to tell you that her book is to be used as a guide and like any fabulous recipe, keep the best parts in but leave room for the surprises…Mary Kennedy Eastham, Author, ‘The Shadow of a Dog I Can’t Forget’
Look for her novel ‘Night Surfing’ in early ’09
jennifer solow
I think of dialogue as a texture that gets woven in with introspection, summary and description ‘textures’. When the texture gets too thick with one thing, it usually means I need to switch to something else.
I often start chapters bang in on the middle of a conversation but soon I realize my characters are yabbering on too much. I stop, look around the room at the sights and smells and feelings and try to connect with that.
When the end of a chapter packs an emotional punch, I sometimes start the next chapter with some relief – like description, introspection or backstory.
Introspection, for me, comes disguised as summary and description. Rarely do I let the characters ponder on indulgently – instead they describe the scenario. Through that I get the insights into their emotional state.
I think when you print your manuscript out you can see it the most clearly. If you squint at your pages, you’ll see the ‘texture’ appear. Too many broken up bits of dialogue page after page and you might want to consider adding another element. Vice versa is less true – many stories have very little dialogue (not mine, though…I’m a dialogue monster!).
You can see it clearly in Chapter 1 of my novel, THE BOOSTER. My temptation is always to ‘over-dialogue’ but I tried to slow down and let the reader know what was happening in Jillian’s mind:
http://www.jennifersolow.com/booster.html
Plot Whisperer
Hey, Mike, thank you!! All the readers of this blog benefit from hearing different “takes” on the same issue. Allows for lots of different styles of learning in that we each have such unique ways of expressing ourselves.
Even more, hearing so many different writers’ comments allows us to appreciate how there are no hard and fast “rules”, thus freeing us to create in our own style.
As a friend once said, you can get away with anything as long as the writing is great……..
Mary, you write: “….keep the best parts, but leave room for the surprises….” Love that!!
Jennifer, I, too, am a visual learner. Your tip is a valuable one.
Again, thanks to each of you, one and all……
Dorlana
Great Q&A!
Does it move the story forward? That’s something I constantly must face in my stories. I have to make myself see that just because I like it doesn’t mean it should be there. delete, sob, delete, sob.
Anonymous
Good stuff