When writers get stuck, it is usually because one or more of the three plot elements has been ignored by:
• Concentrating on action only, forgetting that character provides interest and is the primary reason that people go to the movies and read books.
• Organizing solely around the character and overlooking the fact that dramatic action provides the excitement every story needs.
• Forgetting to develop the overall meaning or the thematic significance of their stories. When the dramatic action changes the character at depth over time, the story becomes thematically significance.
It’s tough to juggle all of these elements at once. We end up trying too hard. Our writing suffers. We become stiff and self-conscious. The joy of writing diminishes.
This isn’t such a bad thing, if you’re committed to being a writer. Learning the craft of writing is constant. The more you know, the more you appreciate how much you don’t know.
In a plot consultation, the omissions slowly become clear to the writer. The more she understands both her strengths and her weaknesses, the faster she is able to identify what isn’t working, why, and how to proceed.
The only way to know our strengths and weaknesses is to get feedback — from a critique group, an editor, a plot consultant, or by individual plot analyzation.
Plot is made up of three intertwining threads:
• Character emotional development
• Dramatic action
• Thematic significance
In other words, the protagonist acts or reacts. In so doing, he or she is changed and something significant is learned.
When you write, do you juggle all three plot lines at once? Or, do you write one plot line a draft? Always curious about other writers’ process……
Nope, I write the entire story in dialog first. Then I go back and add action. Then I add details. if not for my critique group, I’d never add character. I need other writers to help me see my blind spots — character.
I wish I had the creative energy left at the end of the day to write like I did 3 years ago. Maybe your blog will help me get back into a groove.
one per draft for me, an erotic, romance, suspense thriller writer. You can see why it takes me so many drafts.
thanks for the invite.
i think i can do this.
Great post, Martha!
I juggle instinctively now but still have more to learn. That’s why the editing process is so crucial. In my earlier writing I was hell bent on finishing the ms and sending a submission off so I could pace the floor waiting for a reply.
Now I’ve learned to take my time and make sure the story works before sending it out. LOL And I start another project and don’t waste time worrying over the submission.
Hugs, JJ
I wish I had the creative energy left at the end of the day to write like I did 3 years ago. Maybe your blog will help me get back into a groove.
Anonymous,
What a great idea. I’ll have to try your method to see how it works out for me.
Let’s see. My process. I’d have to say it comes at once. I map out all the different parts the best I can at first. Then I write what I mapped. That works just fine for me until my character gets a different idea.
Likelightening
Hi Martha! Thanks for dropping by my blog. You’re always welcome!
My process differs with different projects. I developed the first two books (a romance and romantic suspense) from outlines. For the memoir I made a list of themes and wrote on each one, and for the mainstream novel which is only about 15% written, I’ve been jumping around in time with only a vague idea of how all the frames are going to be put together.
I suppose the best way to describe my process is intuitive.
Martha,
This whole juggling act has just gotten harder for me, as I start a YA historical novel. Now I’ve got the history thread to keep in the air, too!
I tend to plot the action things in the outline, with notes about how the actions connect up with the characters. But when I’m writing, and I get stuck and try to step back, what helps me with the pacing and balance is to remember/focus in on where the hero needs to be on his/her journey. For some reason, I can see those “sags” in the story line better than I can see the action “sags.” Once I realize where my hero needs to be, I start hunting around for an action to get them there.
Theme, theme, theme…still working on keeping that egg in there without making an omelet!
I have no idea what I do. It just comes gushing out of me. And there it is.
Hi JJ,
Shortfilmtexas, I bet you’re using up more creative energy than ever, just in a different way. Keep checking back. You just never know…….
First timer, I advise a plot planner line for each plot thread — a colored map showing the way.
I chuckled when I read your admission of being “hell bent on finishing…” Been there. Felt that.
Livvy, nice to see your name again. I have seen some of your very kind comments on Amazon. Thank you so much. Truly. Your generosity humbles me. I now have a blog on the book page. Check it out…..
Becky, I see you keeping all those threads neat and tidy. Of course, omelets are my favorite…..
Being part of the community of writers is like no other…..
Hi JJ,
Shortfilmtexas, I bet you’re using up more creative energy than ever, just in a different way. Keep checking back. You never know…….
First timer, I advise a plot planner line for each plot thread — a colored map showing the way.
JJ, I chuckled when I read your admission of being “hell bent on finishing…” Been there. Felt that.
Livvy, nice to see your name again. I have seen your kind comments on Amazon. Thank you so much. Truly. Your generosity humbles me. I now have a blog on the book page. Check it out…..
Becky, I see you keeping all those threads neat and tidy. Of course, omelets are my favorite…..
Being part of the community of writers is like no other…..
Shortfilmtexas, I bet you’re using up more creative energy than ever, just in a different way. Keep checking back. You never know…….
First timer, I advise a plot planner line for each plot thread — a colored map showing the way.
JJ, I chuckled when I read your admission of being “hell bent on finishing…” Been there. Felt that.
Livvy, nice to see your name again. I have seen your kind comments on Amazon. Thank you so much. Truly. Your generosity humbles me. I now have a blog on the book page. Check it out…..
Becky, I see you keeping all those threads neat and tidy. Of course, omelets are my favorite…..
Being part of the community of writers is like no other…..
Hi Martha,
What an amazing blog! Plot indeed is one of the crucial elements in writing fiction.
For me, plotting is about characters having conflicts and how they go about solving them.
Well, I usually write my fiction based on these two components of plot – scenes and sequels. I alternate them. In the scenes, the dialogues between characters must be significant and such helps to move the story forward. While in the sequels it helps the readers to understand what’s going on after the scene is completed – or vise versa.
In both scenes and sequels, the characters can reveal their thoughts about his or her interactions with the other characters. I weave all three plot lines in the scene and sequel – bit by bit. I scatter them along these two components.
It’s not an easy task for me – when I plot my fiction I have to bring all the elements on the table – the characters, theme, dialogue, setting,… everything. I don’t isolate plot from these elements.
And don’t even mention the style!
For me, it all counts towards making the plot vivid and bursting with energy from scene to scene and sequel to sequel.
Regards,
Julia
I’m definitely a seat of the pants type of writer. My strengths are dialog & characters, my weakness is description. I do well with action scenes but I can’t spot a theme unless someone knocks me in the head with it. My rough drafts are very, very polished and I detest doing revisions.
I think I’d make a better editor 😉
VG
Hi Martha!
Thanks for the 411 on your blog on the book page on Amazon. I have started a few postings there with some questions that I had.
I kindly await for your responses there when you get a chance.
Thanks.
Hi Livvy,
Where are your questions????
I can’t find them on the book page blog of mine.
Please advise.
Sincerely,
martha
Hi Martha,
I’m referring to the Posting area on the Amazon page for your book. When I go on the site, the questions are there. Anyhow, I will post each question here under separate postings. Thanks.
Liz
GOALS VERSUS DREAMS
While rereading your book for inspiration, I came across a few points that I would like some clarification on.
On page 146-147 of your book, you state:
“Sometimes, the long-term, overall story goal is something the protagonist dreams of having. Dreams are things we wish for…, but not necessarily things we can attain. Goals come from dreams. Goals are under our control; they are quantifiable and measurable. Dreams involve a bit of magic…The protagonist’s long-term story goal may, in fact, be more a dream than a goal.”
Then on page 187 which is Appendix Four, which you show an example of a Character Emotional / Psychological Plot Information Worksheet, you have listed for the particular story in example:
The Overall Story Goal; The Protagonist’s Personal Goal; and the Protagonist’s Dream.
So what is the difference between a Protagonist’s personal goal and Dream?
The grand question is if a Dream is not attainable and goals are,
then how can the long-term story goal be more of a dream than a goal? Don’t we want to have a story goal that is eventually attainable at the end of the story resulting from the character’s internal & physical journey?
If we utilize a “Dream” as “THE STORY GOAL” and the only way to attain it is with a little magic, wouldn’t that be more like “deus ex machina”? A writing device that cheats a reader out of a more realistic and natural occurance of events?
Would it make more sense to refer a protagonist’s dream as his/her desire instead?? which can be separate from the story goal and not always attainable. So when this desire/dream is attainable, it gets attained or resolved at the resolution, since the climax is reserved for resolving the Major Story Goal.
I look foreward to hearing back from you soon and anyone else who would like to contribute to this posting, to clear this up for me.
Thanks in advance!
SUMMARIES
Martha,
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? I’m confused. Your clarification would help.
Also,
On CIRCUMSTANTIAL and SEQUENTIAL SUMMARIES:
In your book, you highlight these 2 types of summaries: Circumstantial and Sequential summaries.
I was wondering why you singled them out. Was there a particular reason or purpose or were you just illustrating some examples of summaries?
Is there a better time to use one over the other?
Are there other types of summary conventions in addition to those two?
Thanks!
POINT OF NO RETURN
Martha,
On your Blog, under the Plot Consultation page, you have an image of your plot planner which shows The Beginning section of the planner to be disconnected from The Middle section. However, in your book, the plot planner is different and is shown as one fluid line.
I know that in one of your DVDs (not in your book), you mentioned that the reason for this is that the end of the Beginning Section is to be considered as the “Point of No Return”.
However, I’m a little confused. I thought that the “Point of No Return” is considered to be the Crisis, which is the Turning Point right before the ending of The Middle Section of the plot planner.
Isn’t it in the Crisis, where you mentioned on page 158:
“you want your protagonist to be confronted with her basic character flaw…that she can no longer remain unconscious of her innerself”. Thus, “This creates the key quesiton: in knowing her flaw, will the protagonist remain the same or be changed at her core?”
So wouldn’t after that revelation, the protoganist cannot turn back to who she or he was, because she is changed?
I was wondering then, how do you figure that the end of The Beginning Section which is considered to be the inciting incident, the “Point of No Return”?
I believe at this point of juncture (the inciting incident), the protagonist still has options to either accept or refuse the “call of action” because he/she is still being ruled by his/her character flaw. But with the crisis, now there is moment of enlightenment which cannot be ignored. Thus the protagonist must proceed forward.
Playing devil’s advocate here, I suppose it would make more sense to make the Point of No Return as early as possible in the story, because if you don’t make it compelling enough for the Main character to HAVE to move forward from the onset of the story, then that means the story goal question is weak.
Your logic on this would be very appreciated.
Thanks.
NEW BOOKS FROM MARTHA???
Martha,
I like your Blockbuster Plots Book and find it essential and beneficial in the writing process. And this Blog is great. You have been extremely generous with your knowledge and inspiration.
I wanted to know if you have any plans to produce either an updated / expanded version of this book or perhaps a new book that might focus on another aspect of writing???
I would definately love to see you write a book on Character Development or REVISION! Or perhaps a book on various other Plot structures that either align with the 3 act structure or deviate from it!
Was also wondering if you could include the names or link of the historical fiction (novels or short stories??) that you mentioned in your bio that you have published. I would love to read and learn from some of your writing as well!!
Thanks!!!
dear martha, thank you so much for asking me to comment on your post.
as former editor at the german news mag and consulting editor for established publishing houses it´s hard to forget about “the censor and the profi” in my own writings. my strenght definetly lays in emotional writing. i cannot make up plots. the scenes must “feel” good and somehow possible, true to me and the “storytellers” personal structure. making a bestseller asks for “adoption” and to meet with general acceptance. in his book “How to write a bestseller” Robert McCrum gives four golden rules – that´s fine for the success-seeker. for the “original” spirit i only recommend: if it “feels” okay for you, let the reader follow, discover and respect you and your “plot” 🙂 sincerely yours, veryheaven