The Writer's Craft: Modern Insights | Plotting | Chapter 4

 

The Writer's Craft: Modern Insights

(Plotting)

By Olivia Salter

CHAPTER 4

Plot and Situation in Modern Fiction Writing

Defining Plot in Fiction

Plot is the core of any story—it’s the engine that drives events and the framework that holds characters and conflicts together. Whether your story is plot-driven, character-driven, or atmosphere-driven, plot remains the essential force that moves the narrative forward. Even in stories focused on character development or atmosphere, the plot ensures that these elements evolve and intensify, leading to a climactic resolution.

What is a Plot?

Many definitions of plot exist, but one way to think about it is that plot is a structured series of events that work together, influenced by the characters' traits, and progressing toward a specific end. Unlike a tale, where events might occur randomly or simply happen to the characters, a plot ensures that every event is meaningfully connected. Each action and decision impacts the characters, and their traits influence the unfolding events in turn.

For example, consider jealousy. It might cause an event, such as a confrontation or a crime, or an event, like accidentally discovering a secret, might fuel jealousy in a character. The interaction between characters and events is what creates plot. Both must be integrated to keep the narrative moving cohesively, rather than feeling disjointed.

Plot as a Problem to Solve

At its heart, a plot presents a problem: what will happen to the characters? How will they react to the challenges they face? The problem can be internal, such as a character struggling with their emotions, or external, like a battle against nature or another person. These challenges or conflicts lead the story toward a resolution—what readers expect as the "ending"—which provides a sense of closure. This end doesn’t need to be neat or happy, but it does need to follow naturally from the events and characters involved.

Two Core Elements of Plot

1. Unity of Events and Characters: In a well-crafted plot, events and characters are interwoven. Characters influence events, and events shape the characters in return. This interaction is essential to creating a story that feels organic rather than episodic.
2. Climactic Progression: Each event in a plot should build upon the previous one, moving toward a peak or climax. This doesn’t always mean non-stop action or rising tension, but each event should contribute to advancing the story toward its conclusion. Readers should feel a sense of momentum, knowing that something is building, whether it’s an emotional resolution or a dramatic showdown.

The Three Basic Types of Conflict

Most stories fall into one of three categories of conflict, each offering a different kind of plot challenge:

1. Man vs. Nature: Here, the character is up against external, often uncontrollable forces—whether it’s a natural disaster, the wilderness, or disease. These stories often explore human endurance and resilience.
2. Man vs. Man: This conflict pits characters against each other, often in direct opposition. Whether it’s a rivalry, a battle of wits, or a physical confrontation, the drama comes from their interactions and struggles.
3. Man vs. Self: This internal conflict is about a character’s struggle with their own desires, fears, or morals. It’s introspective and often reveals deep emotional or psychological layers.

Complication and Dramatic Value

Complication: the presence of obstacles or layers of conflict—can enhance a plot, especially in action or plot-driven stories. However, it’s not essential. In character-driven or atmosphere-focused stories, adding too many complications can detract from the core narrative, disrupting the pacing and weakening the emotional impact. In short stories, which thrive on focus and brevity, it’s usually best to concentrate on a single conflict or climactic progression. Novels, on the other hand, have room for more complexity and subplots, as they can explore multiple dimensions of the story.

Plot as Drama

The essence of plot is drama—conflict between opposing forces, whether internal or external. This clash creates tension and uncertainty, keeping the reader engaged. The struggle might be between two characters, but it’s manifested in their actions and decisions, not just their internal thoughts or emotions. It’s the way these characters act and react that forms the heart of the drama.

Building the Plot: Key Elements

To effectively construct a plot, certain essential elements must be in place. These elements ensure that the story flows logically and keeps the reader engaged. Here's a breakdown of some key aspects that contribute to a well-structured plot:

1. Introduction: The introduction sets the stage for the story. It establishes the characters, setting, and the initial situation or conflict. This phase helps readers understand the world of the story and the stakes involved. The introduction should provide just enough information to intrigue the audience and set up the coming action.
2. Rising Action: After the initial setup, the story enters a phase where tension and complexity begin to build. Characters encounter obstacles, and events unfold that lead them toward the central conflict. This rising action is crucial for maintaining reader interest, as it introduces the primary problems or challenges the characters will need to face.
3. Climax: The climax is the story’s turning point—the moment of greatest tension or conflict. This is where everything the story has been building toward comes to a head. It’s often where characters make crucial decisions or face significant challenges that determine the outcome of the story. The climax can be emotional, physical, or psychological, but it must be the highest point of the narrative's intensity.
4. Falling Action: After the climax, the story begins to move toward resolution. The characters deal with the aftermath of the climax, and the consequences of their actions unfold. This is where loose ends are tied up, and the characters begin to move toward some form of closure, whether positive or negative.
5. Resolution: The resolution is the conclusion of the story. Here, the central conflict is resolved, and the characters’ fates are sealed. Whether the story ends on a hopeful note, with the protagonist overcoming their obstacles, or tragically, with defeat or loss, the resolution brings the narrative full circle.

The Role of Conflict in Plot Development

At the heart of every plot is conflict. Without it, there’s no story. Conflict drives characters to make choices and take action, and it pushes the narrative toward its ultimate resolution. A well-developed conflict not only sustains interest but also deepens the reader’s connection to the characters and their journey.

There are several types of conflict that can shape a story:

• External Conflict: This is a conflict between a character and outside forces, such as other characters, society, or nature. It’s the most visible type of conflict and often provides the most immediate drama.
• Internal Conflict: Internal conflict occurs when a character struggles with their own emotions, desires, or moral dilemmas. This type of conflict is more introspective and can lead to profound character development.

A strong plot often contains both types of conflict, interweaving them so that external events reflect or exacerbate a character’s internal struggles. This duality makes for rich, layered storytelling.

Plot as a Problem-Solving Device

A compelling plot isn’t just about conflict—it’s about resolution. At its core, a plot presents a problem that the characters must solve. Whether the story focuses on a physical challenge (surviving in a dangerous environment), a social one (navigating interpersonal dynamics), or an internal one (overcoming self-doubt or fear), the characters’ journey toward solving the problem is what drives the plot forward.

The problem-solution dynamic also allows the reader to engage with the story as a puzzle, asking themselves, "What will happen next?" and "How will the characters resolve this situation?" This sense of anticipation keeps readers invested in the story and its outcome.

Climactic Value in Plot

Not every story needs to follow a traditional structure with rising action and a single, explosive climax, but every story needs to have climactic value. This means that the events of the story must build toward something significant—an emotional peak, a revelation, or a decisive moment of action. Each scene should contribute to this build-up, pushing the characters toward a conclusion that feels earned and satisfying.

Climactic value can take many forms:

• Emotional Climax: In character-driven stories, the climax might be an emotional moment where the protagonist comes to terms with a major truth about themselves or someone else. This moment of self-discovery or catharsis is just as powerful as a physical climax in an action-oriented plot.
• Physical Climax: In action-oriented stories, the climax might involve a final battle, chase, or confrontation. The characters’ physical actions determine the outcome, and the tension comes from whether or not they’ll succeed in their goals.
• Psychological Climax: In more introspective stories, the climax might involve a character making a pivotal decision or overcoming an internal obstacle. These stories focus less on external events and more on the inner workings of the characters' minds.

Regardless of the form it takes, the climax must be a moment of resolution—where something important shifts, changes, or is resolved.

Plot as a Dynamic Framework

A well-crafted plot is more than a series of events strung together. It’s a dynamic framework that reflects the characters' growth, the challenges they face, and the ultimate resolution of the story’s central conflict. By understanding the interaction between character and event, and by carefully structuring the story to build toward a climax, writers can create plots that are both engaging and meaningful.

Situations and Plot

The situation in a story is the context or set of circumstances that define the characters’ reality. It’s the “what’s happening” of the story. However, a situation is not a plot on its own. For instance, a group of people stranded on a deserted island is a situation, but the plot emerges when we ask: How do they survive? What do they do? What conflicts arise among them?

In essence, the plot takes a situation and transforms it into a narrative by introducing conflict, decision-making, and resolution. While situations provide the backdrop, it’s the plot that propels the story forward by making the characters active participants in their circumstances.

Major Plot Structures

Different stories follow different plot structures, but a few common templates can be observed across many forms of storytelling:

1. Linear Plot: A straightforward, chronological progression of events. This is the most common structure, with the story following a clear beginning, middle, and end.
2. Non-linear Plot: A plot that doesn’t follow a chronological order. Flashbacks, parallel timelines, or fragmented storytelling can create a more complex narrative that keeps readers guessing.
3. Circular Plot: A story that ends where it began, often with the protagonist returning to a familiar situation, but changed by the journey.
4. Fractured Plot: Stories with multiple perspectives or timelines that converge at key moments, offering different angles on the same events.

Each of these structures can be used to create unique and compelling narratives, depending on the effect the writer wants to achieve.

Three Basic Themes of Plot

While plots can vary in structure and complexity, they often revolve around three core thematic conflicts. These serve as the foundation for most narratives, offering a framework that writers can use to develop their stories:

1. Conflict Between Man and Nature:

This theme centers around a character's struggle against the natural world, which can include anything from surviving harsh environments, battling disease, or contending with natural disasters. The natural world becomes an antagonist, and the tension arises from the character’s fight to overcome external forces beyond their control. In such plots, the story often explores themes of human endurance, resilience, and the fragile relationship between humanity and nature.

Examples:

• A mountaineer trapped in a snowstorm.
• A sailor navigating treacherous waters.
• A city under siege by a natural disaster like a flood or hurricane.

2. Conflict Between Man and Man:

The conflict between individuals is one of the most classic and versatile plot structures. Whether it’s physical, intellectual, or emotional, the confrontation between two or more characters generates tension and drama. This type of conflict can arise from differing goals, values, desires, or misunderstandings, and it plays out in relationships between protagonists and antagonists, lovers, rivals, friends, or enemies.

Examples:

• A detective pursuing a criminal mastermind.
• A political rivalry between two leaders.
• Two friends competing for the same prize or love interest.

3. Conflict Within the Same Man:

This is the internal conflict a character faces within themselves, often involving moral dilemmas, personal doubts, or emotional struggles. Stories driven by internal conflict focus on character growth, introspection, and the psychological challenges that can arise from facing difficult choices or reconciling opposing desires or beliefs. These stories emphasize emotional depth and character development and often result in the most transformative journeys for the protagonist.

Examples:

• A person grappling with guilt after making a life-altering mistake.
• A character torn between duty to family and personal dreams.
• A hero struggling to overcome fear and self-doubt.

These thematic conflicts form the basis of most plots, and often, more than one will be present in the same story, adding layers of complexity and depth.

Plot and Character Development: The Symbiotic Relationship

Characters and plot are interdependent; they shape and influence each other. Plot determines what happens, but it’s the characters’ decisions and actions in response to events that create the progression of the story. Likewise, a well-developed plot allows characters to reveal their traits, values, and motivations.

Here are a few ways plot and character interact:

1. Character-Driven Plots:

In these stories, the plot is shaped by the decisions, motivations, and development of the characters. The focus is on how individuals grow and change as they navigate the events of the story. These narratives often center on personal journeys, relationships, and internal conflicts.

Example:

A young artist must decide whether to pursue their dreams or conform to societal expectations. The plot evolves from the choices the character makes, exploring the consequences of each decision.

2. Event-Driven Plots:

In these plots, external events largely determine the course of the story, and characters react to these events. While character development is still important, the focus is more on the unfolding of action and events rather than internal growth.

Example:

A natural disaster strikes a small town, and the plot follows how the residents react to the crisis and try to survive. The characters' responses may be influenced by their personalities, but the driving force is the external event.

3. The Balancing Act:

The most compelling stories often strike a balance between character and event-driven elements. In such plots, external events challenge the characters, forcing them to make decisions that reveal their personalities, values, and inner conflicts. The result is a dynamic interplay between character and plot that makes the story engaging on multiple levels.

Climax and Resolution: Tying It All Together

The climax is often seen as the "big moment" in a story, but it's also the moment when the plot’s conflicts (both external and internal) reach their peak. Here, the protagonist must face the problem head-on, and their decisions and actions in this moment will define the outcome of the story. The climax should feel inevitable, the result of all the preceding events and character development.

A strong resolution follows the climax and provides closure for the story’s central conflicts. The resolution doesn’t always have to be a happy ending—it just needs to be a satisfying conclusion that ties up the story’s key themes and conflicts in a way that feels organic and earned.

In stories where internal conflict is a driving force, the resolution may involve the protagonist coming to terms with themselves, even if external circumstances don’t change much. In more action-driven plots, the resolution often involves the resolution of the external conflict, such as a victory over the antagonist or the successful completion of a mission.

The Role of Subplots in Enhancing the Main Plot

Subplots add complexity and depth to a story by introducing secondary conflicts or relationships that complement or contrast with the main plot. While the main plot drives the central narrative, subplots can provide additional emotional resonance, reveal different facets of characters, or explore themes in greater detail.

Effective subplots:

• Reflect or Contrast the Main Plot: A subplot can mirror the central conflict, offering a different perspective or reinforcing the themes of the main story. Alternatively, it can present a contrasting situation that highlights the stakes or decisions in the main plot.

Example:

In a story about a hero battling external forces to save their village, a subplot might involve their personal struggle to reconcile with a family member, echoing the theme of conflict and resolution on a more intimate scale.

• Introduce Supporting Characters: Subplots often give supporting characters their own arcs, allowing the story to explore the world beyond the protagonist’s journey. These secondary arcs can deepen the reader’s engagement with the story and its themes.

Example:

In a mystery novel, the protagonist’s partner might have their own investigation that parallels or intersects with the main case, offering a different viewpoint or critical piece of the puzzle.

• Provide Emotional Counterbalance: Subplots can also serve to lighten or intensify the tone of the main plot. For instance, a comedic subplot can provide relief in an otherwise tense story, while a tragic subplot can heighten the emotional stakes of the main conflict.

Example:

In a drama about a couple going through a difficult divorce, a subplot involving their child’s coming-of-age experience can add emotional depth and create a parallel narrative about growth and separation.

Plotting in Different Genres

The structure and pacing of a plot can vary depending on the genre of the story. Understanding the conventions of different genres can help writers craft plots that meet reader expectations while allowing for creativity and surprise. Here’s how plot might differ across some popular genres:

• Action/Adventure: Plots in this genre are usually event-driven and fast-paced, with a strong emphasis on external conflict. The protagonist is often thrust into dangerous situations and must rely on quick thinking and physical prowess to overcome obstacles.
• Romance: In romance plots, the central conflict revolves around the characters’ relationships. Emotional and interpersonal challenges drive the plot, with the resolution often culminating in the couple coming together (or sometimes parting ways, in the case of more tragic romances).
• Mystery/Thriller: Plots in mysteries and thrillers are often structured around uncovering secrets or solving a puzzle. The climax typically reveals the truth, while the rising action is filled with clues, red herrings, and suspense.
• Horror: Horror plots often center on the characters’ struggle against an external force (a monster, ghost, or killer) or an internal fear. The rising tension builds toward a terrifying climax, with the resolution often leaving lingering fear or uncertainty.
• Fantasy/Science Fiction: Plots in these genres often involve world-building and exploration of new realities. The conflict might revolve around quests, battles for power, or moral dilemmas related to technology, magic, or the nature of humanity.

Understanding the specific needs and expectations of the chosen genre allows writers to tailor their plot structures accordingly while still injecting originality and creativity into their storytelling.

In conclusion, modern fiction, plot remains the vital mechanism that transforms characters, actions, and atmosphere into a cohesive narrative. Whether your story focuses on intense action, psychological depth, or a vivid sense of place, the plot will guide it toward resolution. Understanding the interaction between characters and events—and how each step propels the story forward—allows writers to craft compelling, resonant fiction.

Mastering the elements of plot is essential for creating a story that captivates and resonates with readers. By understanding the interplay between conflict, character, and climax, and by utilizing structure, subplots, and genre conventions effectively, writers can craft narratives that are both compelling and memorable. 

Plot is not just the skeleton of a story—it’s the dynamic force that brings characters, events, and themes together. By understanding how to construct a strong plot, writers can craft stories that resonate with readers, keeping them invested from beginning to end.

CONTENT

Preface & Introduction

1. Chapter 1:   Writers and Life
2. Chapter 2:    Storytelling 1
3. Chapter 3:    Storytelling 2
4. Chapter 4:    Plotting
5. Chapter 5:    Narrative 1
6. Chapter 6:    Narrative 2
7. Chapter 7:    Narrative 3
8. Chapter 8:    Description
9. Chapter 9:    Dialogue
10. Chapter 10:  Characters
11. Chapter 11:  Atmosphere
12. Chapter 12:  Settings 
13. Chapter 13:  Short Story
14. Chapter 14:  The Novel
15. Chapter 15:  Conclusion

The Domino Effect: Crafting a Compelling Plot in Fiction Writing

The Domino Effect: Crafting a Compelling Plot in Fiction Writing

By Olivia Salter

In the realm of fiction writing, the plot is the backbone that supports the entire narrative structure. It is the intricate series of causes and effects that propel the story forward, creating a cohesive and engaging experience for the reader. Understanding how to weave these elements together is crucial for any writer aiming to craft a memorable tale.

The Chain Reaction: Cause and Effect

At its core, a plot is a sequence of events linked by cause and effect. This means that every action (A) leads to a consequence (B), which in turn triggers another action, and so on. This chain reaction continues until it culminates in the story’s climax, the pivotal moment where all the threads of the narrative converge.

For instance, consider a mystery novel where the protagonist discovers a hidden letter (A). This discovery leads them to investigate a long-forgotten crime (B), which then puts them in danger. Each event is a direct result of the previous one, creating a logical and compelling progression that keeps readers hooked.

Building Tension: The Rising Action

The rising action is where the plot thickens. As the story progresses, the stakes get higher, and the protagonist faces increasingly difficult challenges. This is where the cause-and-effect chain becomes more complex, with multiple subplots and character arcs intertwining.

Imagine a fantasy epic where the hero must gather allies to defeat a dark lord. Each ally they recruit (A) brings new skills and knowledge (B), but also new conflicts and obstacles. The rising action is a delicate balancing act, where each cause-and-effect sequence must build upon the last, escalating the tension and driving the story towards its climax.

The Climax: The Turning Point

The climax is the moment of highest tension in the story, where all the cause-and-effect sequences reach their peak. It is the result of all the events and decisions that have come before, and it often involves a significant change or revelation.

In a romance novel, the climax might be the moment when the protagonists finally confess their love for each other, overcoming all the misunderstandings and obstacles that have kept them apart. This moment is powerful because it is the culmination of the entire plot, the point where all the causes and effects converge.

Resolution: Tying Up Loose Ends

After the climax, the story moves into the resolution, where the remaining plot threads are tied up, and the characters deal with the aftermath of the climax. This is where the final cause-and-effect sequences play out, bringing the story to a satisfying conclusion.

In a thriller, the resolution might involve the protagonist bringing the villain to justice and dealing with the personal consequences of their actions. The resolution provides closure, ensuring that the story feels complete and fulfilling.

In conclusion,  crafting a compelling plot is all about understanding the domino effect of cause and effect. By carefully constructing a series of interconnected events, writers can create a narrative that is both logical and engaging, leading readers on a journey that culminates in a powerful and satisfying climax. Whether you’re writing a mystery, a romance, or a fantasy epic, mastering the art of plot construction is key to creating a story that resonates with your audience.

Writing Craft: Sequencing a Complex Plot by Olivia Salter

 

Writing Craft: Sequencing a Complex Plot

 

by Olivia Salter 

Most writers are familiar with the challenges of crafting an engaging and captivating plot for their stories. However, when it comes to sequencing a complex plot, many writers find themselves in uncharted territory. Plot sequencing refers to the art of presenting events, actions, and storylines in a way that creates suspense, builds tension, and keeps readers hooked throughout the narrative. Mastering this skill is essential for writers to deliver a well-structured and satisfying story.

So why do many writers struggle with sequencing complex plots? One reason is that they may have a multitude of ideas and storylines in their minds, making it difficult to organize them in a coherent manner. Another reason is the fear of overwhelming the reader or losing their interest by introducing numerous subplots or intricate twists. Despite these challenges, there are some effective techniques that can help writers successfully sequence their complex plots.

The first step in sequencing a complex plot is to establish a strong foundation. This involves outlining the main plot points and creating a clear vision of how the story will unfold. Writers should identify the major events, turning points, and conflicts that will drive the narrative forward. By having a well-defined structure, writers can ensure that each element of their plot serves a purpose and contributes to the overall story arc.

Once the foundation is established, writers can begin to weave in subplots and additional storylines. These subplots should complement the main plot, adding depth and complexity to the overall narrative. However, it's crucial to strike a balance and not overwhelm the reader with too many subplots. Each subplot should have its own arc, conflict, and resolution while also connecting to the central narrative in a meaningful way.

To effectively sequence a complex plot, writers can employ various techniques, such as foreshadowing, pacing, and parallel storytelling. Foreshadowing allows writers to hint at future events or conflicts, creating anticipation and keeping readers engaged. Pacing involves controlling the speed at which events unfold, balancing slower moments with high-tension sequences to maintain the reader's interest. Parallel storytelling involves interweaving different storylines or perspectives, allowing readers to experience multiple aspects of the narrative simultaneously.

Another essential aspect of sequencing a complex plot is embracing the concept of cause and effect. Every action and event in the story should have consequences that influence subsequent events. This creates a chain reaction where each event builds upon the previous one, leading to an eventual climax and resolution. By establishing clear cause-and-effect relationships, writers can create a cohesive and logical progression of events.

However, it's important to note that sequencing a complex plot is not just about creating twists and turns. While surprises and unexpected developments can add excitement to the story, writers should also ensure that there is a sense of coherence and logical progression. It's crucial to maintain a balance between keeping readers engaged and not confusing them with excessive complexity.

In conclusion, sequencing a complex plot is a challenging task for many writers, but it is not an insurmountable one. By establishing a strong foundation, integrating subplots effectively, employing various storytelling techniques, embracing cause and effect, and maintaining coherence, writers can successfully sequence their complex plots. With practice and a deep understanding of their story's core elements, writers can effectively engage readers, create suspense, and deliver a satisfying narrative.

 

Also see:

👉Free Writing Resources
👉Fiction Writing books at Amazon

 

The Art of Subtext: Beyond Plot

 

By Olivia Salter

Let’s delve into the fascinating world of subtext—the hidden currents beneath the surface of a story that captivate readers and haunt their imagination.

In this brief exploration, we’ll examine those elusive elements that propel readers beyond the mere plot of a novel or short story. We’ll venture into the realm of what lies beneath the surface: the implied, the half-visible, and the unspoken. This subterranean territory, rich with overcharged psychological materials, is often designated as the subtext of a story.

To discuss subtexts initially seems like a paradoxical mission. It’s akin to saying, “I am about to show you how to reveal the unseen” or “I wish to demonstrate how to think about the unthinkable.” Yet, between the visible staging and the enigmatic subtext, a mysterious relationship exists. Writers often employ a plethora of seemingly gratuitous details to hint at an indistinct presence lurking beneath the narrative surface. The stronger the unspoken and unseen, the more these details proliferate—a world both solid and haunted.

The Slippery Surface and the Subtextual Dimension

In fiction, the half-visible and the unspoken—the subtextual matters—are evoked when the action and dialogue angle downward. By their multiplicity, they imply as much as they reveal. Imagine a slippery surface causing you to skid into this subtextual dimension. Here, the reader slips beyond the plot and enters another realm altogether.

Let’s explore some key aspects of subtext:

1. The Art of Staging: Characters reveal themselves through dramatic placement. Their positioning on the stage—both physically and emotionally—speaks volumes about their inner lives.

2. Digging the Subterranean: What is subtext made of? How do writers bring it to the surface? We’ll delve into the layers beneath the narrative skin.

3. Unheard Melodies: Paying attention to what people no longer pay attention to—those subtle cues, gestures, and silences—leads us deeper into the subtext.

4. Inflection and the Breath of Life: Tonal shifts take us from the literal to the metaphorical. Inflections in dialogue carry hidden meanings, like whispers in the wind.

5. Creating a Scene: Characters lose their surface-level self-possession when faced with emotional turmoil. These moments reveal the subtextual undercurrents.

6. Loss of Face: The face—the mask we wear—often betrays our true feelings. When it slips or fails, we glimpse the subsurface emotions.

Practical Insights for Writers

For aspiring writers seeking practical advice, consider these examples from familiar fiction. They illustrate how subtext operates, inspires, and enriches storytelling. Remember, the unseen soul-matter lies just beneath the words, waiting to be discovered by curious readers.

So, let’s embrace the subtext—the unspoken truths, the half-visible shadows—and invite our readers to explore the haunted landscapes of imagination.

Writing Quote: The Art of Storytelling vs. Plotting in Fiction Writing

 

 

The Art of Storytelling vs. Plotting in Fiction Writing

 

by Olivia Salter 

Of course, the writer can impose control; It’s just a really shitty idea. Writing controlled fiction is called “plotting.” Buckling your seatbelt and letting the story take over, however… that is called “storytelling.” Storytelling is as natural as breathing; plotting is the literary version of artificial respiration.

― Stephen King

Storytelling is a craft that has been passed down through generations, from the oral traditions of ancient civilizations to the modern-day masterpieces found in literature, film, and other forms of media. At the heart of storytelling is the ability to tap into the universal human experience, to connect with readers on a deep emotional level, and to transport them to new worlds where their imaginations can run wild.

In contrast, plotting can feel rigid and contrived, like a puzzle that must be meticulously pieced together. While there is certainly a place for structure and planning in the writing process, there is also something to be said for allowing the story to unfold organically, to let the characters guide the narrative, and to see where they will lead you.

When a writer relinquishes control and allows the story to take on a life of its own, the results can be surprising, exhilarating, and profoundly satisfying. It is in these moments of creative freedom that true magic can happen, where characters can break free from their constraints and the plot can twist and turn in unexpected ways.

Ultimately, the best stories are those that feel alive, vibrant, and authentic, that resonate with readers on a deep emotional level, and that linger in their minds long after the final page has been turned. By embracing the art of storytelling and trusting in the creative process, writers can tap into a wellspring of inspiration and craft narratives that are as natural and compelling as the act of breathing itself. 

 

 

About the Author of the Quote

Stephen Edwin King (born September 21, 1947) is an American author of horror, supernatural fiction, suspense, crime, science-fiction, and fantasy novels. Described as the "King of Horror", a play on his surname and a reference to his high standing in pop culture, his books have sold more than 350 million copies, and many have been adapted into films, television series, miniseries, and comic books. King has published 64 novels, including seven under the pen name Richard Bachman, and five non-fiction books. He has also written approximately 200 short stories, most of which have been published in book collections. Wikipedia

Stephen King Books at Amazon

 

Also see:

👉Free Writing Resources
👉Fiction Writing books at Amazon

Writing Quote: To Plot, Or Not To Plot, That Is The Question

 

Writing Quote: To Plot, Or Not To Plot, That Is The Question

by Olivia Salter

 

 Of course, the writer can impose control; It’s just a really shitty idea. Writing controlled fiction is called “plotting.” Buckling your seatbelt and letting the story take over, however… that is called “storytelling.” Storytelling is as natural as breathing; plotting is the literary version of artificial respiration.

― Stephen King

 

 

Stephen King, a prolific and celebrated author known for his contributions to the horror and suspense genres, once famously remarked on the distinction between writing controlled fiction and storytelling. In his insightful quote, King captures the essence of creativity and spontaneity in the art of writing, highlighting the contrast between rigidly plotting out a narrative and allowing the story to organically unfold.

“Of course, the writer can impose control; it's just a really shitty idea,” King asserts, challenging the notion that meticulously planning every detail of a story is the optimal approach. While structured plotting can offer a sense of control and direction, it may stifle the natural flow of creativity and limit the narrative’s potential for unpredictability and depth.

King goes on to suggest that writing controlled fiction is synonymous with “plotting,” a term often associated with outlining the storyline, mapping out character arcs, and meticulously planning every twist and turn. This method prioritizes structure and order, aiming to guide the reader through a carefully constructed plot.

In contrast, King champions the art of “storytelling” as a more organic and spontaneous form of writing. By likening storytelling to breathing, King emphasizes its innate and instinctual nature, proposing that the best stories arise when the writer surrenders control and allows the narrative to evolve naturally.

“Buckling your seatbelt and letting the story take over, however, is called'storytelling,” King explains, painting a vivid metaphor that urges writers to relinquish their preconceived notions and let the story guide them. This approach encourages writers to trust their instincts, embrace the unknown, and let the characters and plot develop organically, resulting in a more authentic and engaging narrative.

For King, storytelling is a deeply personal and intuitive process that taps into the writer’s creativity, imagination, and emotional depth. By allowing the story to unfold without rigid constraints, writers can explore new ideas, discover unexpected twists, and connect with readers on a deeper level.

In contrast, King views plotting as the “literary version of artificial respiration,” a forced and contrived way of breathing life into a story. While plotting can provide structure and coherence, it runs the risk of stifling creativity, dampening spontaneity, and creating a predictable and formulaic narrative.

In conclusion, Stephen King's insightful quote offers a valuable perspective on the art of writing, challenging writers to embrace storytelling as a natural and intuitive process that unfolds organically. By trusting in the creative process, allowing the characters to drive the narrative, and embracing the unknown, writers can craft compelling and authentic stories that resonate with readers on a profound level.

 

About the Author of the Quote

Stephen Edwin King (born September 21, 1947) is an American author of horror, supernatural fiction, suspense, crime, science-fiction, and fantasy novels. Described as the "King of Horror", a play on his surname and a reference to his high standing in pop culture, his books have sold more than 350 million copies, and many have been adapted into films, television series, miniseries, and comic books. King has published 64 novels, including seven under the pen name Richard Bachman, and five non-fiction books. He has also written approximately 200 short stories, most of which have been published in book collections. Wikipedia

Stephen King Books at Amazon

A Quick Note on Plotting with the Freytag Pyramid in Fiction Writing for the Novice Writer by Ryker J. Phoenix

 

A Quick Note on Plotting with the Freytag Pyramid in  Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

The Freytag Pyramid is a popular tool for plotting and analyzing the structure of a story. Developed by German writer Gustav Freytag in the mid-19th century, the pyramid is a visual representation of the five-act structure commonly used in dramatic storytelling. It consists of five parts: exposition, rising action, climax, falling action, and resolution. In this essay, we will explore how to use the Freytag Pyramid to effectively plot a story.

The first part of the pyramid is the exposition, which introduces the main characters, setting, and the initial conflict or problem to be addressed. (This is also called the introduction or prologue in some storytelling models.) This is where the audience gets a sense of the story's world and the characters involved.

Next comes the rising action, where the bulk of the story takes place. This is where complications and obstacles begin to pile up, causing tension and conflict for the characters. The tension builds as the characters try to overcome these obstacles and reach their goals. There is a sense of rising action and momentum as the story progresses towards its climax.

The climax is the highest point of tension in the story and mark of transition into the final act. It is where the main conflict or problem comes to a head, resulting in a significant change or event in the story. The climax is the moment where many stories will pivot towards a final conclusion. Often, this is where the hero will make their ultimate decision or sacrifice to solve the problem.

After the climax, the story moves into the falling action, where the tension begins to wind down. The conflict is unraveled, and the characters work towards a resolution. This stage can vary depending on the story. In some cases, it is a short denouement that ties up loose ends quickly. In other cases, it might be a longer, more contemplative section, where characters reflect on the events that have occurred and process their feelings.

Finally, the story ends with the resolution, tying up any remaining loose ends and bringing the story to a satisfying conclusion. The resolution should provide a sense of closure and resolution for the characters and the audience. It is the culmination of the work put into building the story and requires satisfying exploration.

Using the Freytag Pyramid, we can see how each of these elements contributes to a well-structured story. The progression of the story is essential to creating an interesting and satisfying experience for the audience. Used wisely, the skilful implementation of these stages can support a meaningful and resonant connection with the story's themes, characters, and overall message.

In Conclusion, the Freytag Pyramid is a popular tool for plotting and analyzing stories as it provides a clear structure to follow, which can be easily understood by both writers and audiences alike. A story that follows the Freytag Pyramid has a strong narrative structure and has the tendency to engage the audience's attention, making it an effective tool for novelists and screenwriters alike. By employing the principles of exposition, rising action, climax, falling action, and resolution, one can create plots that are cohesive and satisfying to readers.

Also see:

• Freytag's Pyramid: Definition, Examples, and Usage

 

More Quick Notes for the Novice Writer

What is True Plot to the Writer by John Truby

True plot is the grand strategy the author and the main opponent use to put the hero in the greatest possible trouble and fool the reader. 

Once you know this, the entire writing game changes.

When you think in terms of grand strategy instead of individual obstacles, you realize that great plot comes from a carefully designed campaign, a sequence of moves constructed to checkmate the hero and shock the audience.

-- John Truby

 Also see:

• The Anatomy of Genres: How Story Forms Explain the Way the World Works
  

 About the Author 

John Truby (born 1952) is an American screenwriter, director, screenwriting teacher and author. He has served as a consultant on over 1,000 film scripts over the past three decades, and is also known for the screenwriting software program Blockbuster (originally "Storyline Pro"). He is the author of Anatomy of Story: 22 Steps to Becoming a Master Storyteller, a book about screenwriting skills. Wikipedia

John Truby Books at Amazon

 

The Snowflake Method For Designing A Novel by Randy Ingermanson

 

The Snowflake Method For Designing A Novel

by Randy Ingermanson

 

Writing a novel is easy. Writing a good novel is hard. That’s just life. If it were easy, we’d all be writing best-selling, prize-winning fiction.

Frankly, there are a thousand different people out there who can tell you how to write a novel. There are a thousand different methods. The best one for you is the one that works for you.

In this article, I’d like to share with you what works for me. I’ve published six novels and won about a dozen awards for my writing. I teach the craft of writing fiction at writing conferences all the time. One of my most popular lectures is this one: How to write a novel using what I call the “Snowflake Method.”

This page is the most popular one on my web site, and gets over a thousand page views per day. Over the years, this page has been viewed more than six million times. So you can guess that a lot of people find it useful. But you may not, and that’s fine by me. Look it over, decide what might work for you, and ignore the rest! If it makes you dizzy, I won’t be insulted. Different writers are different. If my methods get you rolling, I’ll be happy. I’ll make the best case I can for my way of organizing things, but you are the final judge of what works best for you. Have fun and . . . write your novel!

The Importance of Design

Good fiction doesn’t just happen, it is designed. You can do the design work before or after you write your novel. I’ve done it both ways and I strongly believe that doing it first is quicker and leads to a better result. Design is hard work, so it’s important to find a guiding principle early on. This article will give you a powerful metaphor to guide your design.

Our fundamental question is this: How do you design a novel?

For a number of years, I was a software architect designing large software projects. I write novels the same way I write software, using the “snowflake metaphor”. OK, what’s the snowflake metaphor? Before you go further, take a look at this cool web site.

On the side of the page, you’ll see an animation of a pattern known as a snowflake fractal. Don’t tell anyone, but this is an important mathematical object that’s been widely studied. For our purposes, it’s just a cool sketch of a snowflake. If you scroll down that same web page a little, you’ll see a box with a large triangle in it and arrows underneath. If you press the right-arrow button repeatedly, you’ll see the steps used to create the snowflake. It doesn’t look much like a snowflake at first, but after a few steps, it starts looking more and more like one, until it’s done.

The first few steps look like this:

I claim that that’s how you design a novel — you start small, then build stuff up until it looks like a story. Part of this is creative work, and I can’t teach you how to do that. Not here, anyway. But part of the work is just managing your creativity — getting it organized into a well-structured novel. That’s what I’d like to teach you here.

If you’re like most people, you spend a long time thinking about your novel before you ever start writing. You may do some research. You daydream about how the story’s going to work. You brainstorm. You start hearing the voices of different characters. You think about what the book’s about — the Deep Theme. This is an essential part of every book which I call “composting”. It’s an informal process and every writer does it differently. I’m going to assume that you know how to compost your story ideas and that you have already got a novel well-composted in your mind and that you’re ready to sit down and start writing that novel.

The Ten Steps of Design

But before you start writing, you need to get organized. You need to put all those wonderful ideas down on paper in a form you can use. Why? Because your memory is fallible, and your creativity has probably left a lot of holes in your story — holes you need to fill in before you start writing your novel. You need a design document. And you need to produce it using a process that doesn’t kill your desire to actually write the story. Here is my ten-step process for writing a design document. I use this process for writing my novels, and I hope it will help you.

Step 1) Take an hour and write a one-sentence summary of your novel. Something like this: “A rogue physicist travels back in time to kill the apostle Paul.” (This is the summary for my first novel, Transgression.) The sentence will serve you forever as a ten-second selling tool. This is the big picture, the analog of that big starting triangle in the snowflake picture.

When you later write your book proposal, this sentence should appear very early in the proposal. It’s the hook that will sell your book to your editor, to your committee, to the sales force, to bookstore owners, and ultimately to readers. So make the best one you can!

Some hints on what makes a good sentence:

• Shorter is better. Try for fewer than 15 words.
• No character names, please! Better to say “a handicapped trapeze artist” than “Jane Doe”.
• Tie together the big picture and the personal picture. Which character has the most to lose in this story? Now tell me what he or she wants to win.
• Read the one-line blurbs on the New York Times Bestseller list to learn how to do this. Writing a one-sentence description is an art form.

Step 2) Take another hour and expand that sentence to a full paragraph describing the story setup, major disasters, and ending of the novel. This is the analog of the second stage of the snowflake. I like to structure a story as “three disasters plus an ending”. Each of the disasters takes a quarter of the book to develop and the ending takes the final quarter. I don’t know if this is the ideal structure, it’s just my personal taste.

If you believe in the Three-Act structure, then the first disaster corresponds to the end of Act 1. The second disaster is the mid-point of Act 2. The third disaster is the end of Act 2, and forces Act 3 which wraps things up. It is OK to have the first disaster be caused by external circumstances, but I think that the second and third disasters should be caused by the protagonist’s attempts to “fix things”. Things just get worse and worse.

You can also use this paragraph in your proposal. Ideally, your paragraph will have about five sentences. One sentence to give me the backdrop and story setup. Then one sentence each for your three disasters. Then one more sentence to tell the ending. Don’t confuse this paragraph with the back-cover copy for your book. This paragraph summarizes the whole story. Your back-cover copy should summarize only about the first quarter of the story.

Step 3) The above gives you a high-level view of your novel. Now you need something similar for the storylines of each of your characters. Characters are the most important part of any novel, and the time you invest in designing them up front will pay off ten-fold when you start writing. For each of your major characters, take an hour and write a one-page summary sheet that tells:

• The character’s name
• A one-sentence summary of the character’s storyline
• The character’s motivation (what does he/she want abstractly?)
• The character’s goal (what does he/she want concretely?)
• The character’s conflict (what prevents him/her from reaching this goal?)
• The character’s epiphany (what will he/she learn, how will he/she change?
• A one-paragraph summary of the character’s storyline

An important point: You may find that you need to go back and revise your one-sentence summary and/or your one-paragraph summary. Go ahead! This is good–it means your characters are teaching you things about your story. It’s always okay at any stage of the design process to go back and revise earlier stages. In fact, it’s not just okay–it’s inevitable. And it’s good. Any revisions you make now are revisions you won’t need to make later on to a clunky 400 page manuscript.

Another important point: It doesn’t have to be perfect. The purpose of each step in the design process is to advance you to the next step. Keep your forward momentum! You can always come back later and fix it when you understand the story better. You will do this too, unless you’re a lot smarter than I am.

Step 4) By this stage, you should have a good idea of the large-scale structure of your novel, and you have only spent a day or two. Well, truthfully, you may have spent as much as a week, but it doesn’t matter. If the story is broken, you know it now, rather than after investing 500 hours in a rambling first draft. So now just keep growing the story. Take several hours and expand each sentence of your summary paragraph into a full paragraph. All but the last paragraph should end in a disaster. The final paragraph should tell how the book ends.

This is a lot of fun, and at the end of the exercise, you have a pretty decent one-page skeleton of your novel. It’s okay if you can’t get it all onto one single-spaced page. What matters is that you are growing the ideas that will go into your story. You are expanding the conflict. You should now have a synopsis suitable for a proposal, although there is a better alternative for proposals . . .

Step 5) Take a day or two and write up a one-page description of each major character and a half-page description of the other important characters. These “character synopses” should tell the story from the point of view of each character. As always, feel free to cycle back to the earlier steps and make revisions as you learn cool stuff about your characters. I usually enjoy this step the most and lately, I have been putting the resulting “character synopses” into my proposals instead of a plot-based synopsis. Editors love character synopses, because editors love character-based fiction.

Step 6) By now, you have a solid story and several story-threads, one for each character. Now take a week and expand the one-page plot synopsis of the novel to a four-page synopsis. Basically, you will again be expanding each paragraph from step (4) into a full page. This is a lot of fun, because you are figuring out the high-level logic of the story and making strategic decisions. Here, you will definitely want to cycle back and fix things in the earlier steps as you gain insight into the story and new ideas whack you in the face.

Step 7) Take another week and expand your character descriptions into full-fledged character charts detailing everything there is to know about each character. The standard stuff such as birthdate, description, history, motivation, goal, etc. Most importantly, how will this character change by the end of the novel? This is an expansion of your work in step (3), and it will teach you a lot about your characters. You will probably go back and revise steps (1-6) as your characters become “real” to you and begin making petulant demands on the story. This is good — great fiction is character-driven. Take as much time as you need to do this, because you’re just saving time downstream. When you have finished this process, (and it may take a full month of solid effort to get here), you have most of what you need to write a proposal. If you are a published novelist, then you can write a proposal now and sell your novel before you write it. If you’re not yet published, then you’ll need to write your entire novel first before you can sell it. No, that’s not fair, but life isn’t fair and the world of fiction writing is especially unfair.

Step 8) You may or may not take a hiatus here, waiting for the book to sell. At some point, you’ve got to actually write the novel. Before you do that, there are a couple of things you can do to make that traumatic first draft easier. The first thing to do is to take that four-page synopsis and make a list of all the scenes that you’ll need to turn the story into a novel. And the easiest way to make that list is . . . with a spreadsheet.

For some reason, this is scary to a lot of writers. Oh the horror. Deal with it. You learned to use a word-processor. Spreadsheets are easier. You need to make a list of scenes, and spreadsheets were invented for making lists. If you need some tutoring, buy a book. There are a thousand out there, and one of them will work for you. It should take you less than a day to learn the itty bit you need. It’ll be the most valuable day you ever spent. Do it.

Make a spreadsheet detailing the scenes that emerge from your four-page plot outline. Make just one line for each scene. In one column, list the POV character. In another (wide) column, tell what happens. If you want to get fancy, add more columns that tell you how many pages you expect to write for the scene. A spreadsheet is ideal, because you can see the whole storyline at a glance, and it’s easy to move scenes around to reorder things.

My spreadsheets usually wind up being over 100 lines long, one line for each scene of the novel. As I develop the story, I make new versions of my story spreadsheet. This is incredibly valuable for analyzing a story. It can take a week to make a good spreadsheet. When you are done, you can add a new column for chapter numbers and assign a chapter to each scene.

Step 9) (Optional. I don’t do this step anymore.) Switch back to your word processor and begin writing a narrative description of the story. Take each line of the spreadsheet and expand it to a multi-paragraph description of the scene. Put in any cool lines of dialogue you think of, and sketch out the essential conflict of that scene. If there’s no conflict, you’ll know it here and you should either add conflict or scrub the scene.

I used to write either one or two pages per chapter, and I started each chapter on a new page. Then I just printed it all out and put it in a loose-leaf notebook, so I could easily swap chapters around later or revise chapters without messing up the others. This process usually took me a week and the end result was a massive 50-page printed document that I would revise in red ink as I wrote the first draft. All my good ideas when I woke up in the morning got hand-written in the margins of this document. This, by the way, is a rather painless way of writing that dreaded detailed synopsis that all writers seem to hate. But it’s actually fun to develop, if you have done steps (1) through (8) first. When I did this step, I never showed this synopsis to anyone, least of all to an editor — it was for me alone. I liked to think of it as the prototype first draft. Imagine writing a first draft in a week! Yes, you can do it and it’s well worth the time. But I’ll be honest, I don’t feel like I need this step anymore, so I don’t do it now.

Step 10) At this point, just sit down and start pounding out the real first draft of the novel. You will be astounded at how fast the story flies out of your fingers at this stage. I have seen writers triple their fiction writing speed overnight, while producing better quality first drafts than they usually produce on a third draft.

You might think that all the creativity is chewed out of the story by this time. Well, no, not unless you overdid your analysis when you wrote your Snowflake. This is supposed to be the fun part, because there are many small-scale logic problems to work out here. How does Hero get out of that tree surrounded by alligators and rescue Heroine who’s in the burning rowboat? This is the time to figure it out! But it’s fun because you already know that the large-scale structure of the novel works. So you only have to solve a limited set of problems, and so you can write relatively fast.

This stage is incredibly fun and exciting. I have heard many fiction writers complain about how hard the first draft is. Invariably, that’s because they have no clue what’s coming next. Good grief! Life is too short to write like that! There is no reason to spend 500 hours writing a wandering first draft of your novel when you can write a solid one in 150. Counting the 100 hours it takes to do the design documents, you come out way ahead in time.

About midway through a first draft, I usually take a breather and fix all the broken parts of my design documents. Yes, the design documents are not perfect. That’s okay. The design documents are not fixed in concrete, they are a living set of documents that grows as you develop your novel. If you are doing your job right, at the end of the first draft you will laugh at what an amateurish piece of junk your original design documents were. And you’ll be thrilled at how deep your story has become.

Ways To Use The Snowflake

Are you struggling right now with a horrible first draft of your novel that just seems hopeless? Take an hour and summarize your story in one sentence. Does that clarify things? You’ve just completed step (1) of the Snowflake, and it only took an hour. Why not try the next few steps of the Snowflake and see if your story doesn’t suddenly start coming to life? What have you got to lose, except a horrible first draft that you already hate?

Are you a seat-of-the-pants writer who finally finished your novel, but now you’re staring at an enormous pile of manuscript that desperately needs rewriting? Take heart! Your novel’s done, isn’t it? You’ve done something many writers only dream about. Now imagine a big-shot editor bumps into you in the elevator and asks what your novel’s about. In fifteen words or less, what would you say? Take your time! This is a thought game. What would you say? If you can come up with an answer in the next hour . . . you’ve just completed Step 1 of the Snowflake! Do you think some of the other steps might help you put some order into that manuscript? Give it a shot. What have you got to lose?

Have you just got a nightmarishly long letter from your editor detailing all the things that are wrong with your novel? Are you wondering how you can possibly make all the changes before your impossible deadline? It’s never too late to do the Snowflake. How about if you take a week and drill through all the steps right now? It’ll clarify things wonderfully, and then you’ll have a plan for executing all those revisions. I bet you’ll get it done in record time. And I bet the book will come out better than you imagined.

If the Snowflake Method works for you, I’d like to hear from you. You can reach me through the contact page on my web-site.

Acknowledgments: I thank my many friends on the Chi Libris list and especially Janelle Schneider for a large number of discussions on the Snowflake and much else.

Best regards,

Randy Ingermanson, Ph.D.

 

Also See:

1. How to Write a Novel Using the Snowflake Method
2. Randy Ingermanson Books at Amazon

 

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

 Ten Points on Plotting by Crawford Kilian

1. Nothing should happen at random. Every element in a story should have significance, whether for verisimilitude, symbolism, or the intended climax. Names, places, actions and events should all be purposeful. To test the significance of an element, ask: Why this place and not another? Why this name and not another? Why this action, this speech, and not others--or none at all? The answers should be: To persuade the reader of the story's plausibility; to convey a message about the theme of the story; to prepare the reader for the climax so that it seems both plausible and in keeping with the theme.
2. Plot stems from character under adversity. A mild-mannered person cannot achieve his goals by an out-of-character action like a violent assault, unless we have prepared the reader for it by revealing a glimpse of some suppressed aspect of his personality that can be plausibly released by stress. And the stress itself must also be plausible, given the circumstances of the story.
3. Each character has an urgent personal agenda. Too much is at stake to abandon that agenda without good reason. We may not share the character's urgency, but we should be able to see why he cares so much about what he's doing. A character who acts without real motivation is by definition melodramatic, doing outrageous things for the sake of the thrill it gives the reader--not because it makes sense for the character to do so.
4. The plot of a story is the synthesis of the plots of its individual characters. Each character has a personal agenda, modified by conflict or concordance with the agendas of others. The villain doesn't get everything his way, any more than the hero does; each keeps thwarting the other, who must then improvise under pressure. If the hero is moving northwest, and the villain is moving northeast, the plot carries them both more or less due north--at least until one or the other gains some advantage.
5. The plot ``begins'' long before the story. The story itself should begin at the latest possible moment before the climax, at a point when events take a decisive and irreversible turn. We may learn later, through flashbacks, exposition, or inference, about events occurring before the beginning of the story.
6. Foreshadow all important elements. The first part of a story is a kind of prophecy; the second part fulfills the prophecy. Any important character, location, object should be foreshadowed early in the story. The deus ex machina is unacceptable; you can't pull a rabbit out of your hat to rescue your hero. But you can't telegraph your punch either--your readers don't want to see what's coming, especially if your characters seem too dumb to see it. The trick is to put the plot element into your story without making the reader excessively aware of its importance. Chance and coincidence, in particular, require careful preparation if they are going to influence the plot.
7. Keep in mind the kind of story you're telling. Any story is about the relationship of an individual to society. A comic story describes an isolated individual achieving social integration either by being accepted into an existing society or by forming his own. This integration is often symbolized by a wedding or feast. A tragic story describes an integrated individual who becomes isolated; death is simply a symbol of this isolation. The plot should keep us in some degree of suspense about what kind of story we're reading. Even if we know it's a comedy, the precise nature of the comic climax should come as a surprise. If we know the hero is doomed, his downfall should stem from a factor we know about but have not given sufficient weight to.
8. Ironic plots subvert their surface meanings. Here, an ordinarily desirable goal appears very unattractive to us: the hero marries, but chooses the wrong girl and turns his story into a tragedy. Or the hero may die, but gains some improvement in social acceptance as a result--by becoming a martyr or social savior, for example.
9. The hero must eventually take charge of events. In any plot the hero is passive for a time, reacting to events. At some point he must try to take charge. This is the counterthrust, when the story goes into high gear. In some cases we may have a series of thrusts and counterthrusts; in the opening stages of the plot, the counterthrust helps define the hero's character and puts him in position for more serious conflicts (and counterthrusts) later in the story. You could even say that every scene presents the hero with a problem; his response is his counterthrust. In the larger structure of the plot, the counterthrust often comes after the hero's original plan of action has failed; he has learned some hard lessons and now he will apply them as he approaches the climax of the story.
10. Plot dramatizes character. If all literature is the story of the quest for identity, then plot is the roadmap of that quest. Every event, every response, should reveal (to us if not to them) some aspect of the characters' identities. Plot elements dramatize characters' identities by providing opportunities to be brave or cowardly, stupid or brilliant, generous or mean. These opportunities come in the form of severe stress, appropriate to the kind of story you're telling. A plot element used for its own sake--a fistfight, a sexual encounter, an ominous warning--is a needless burden to the story if it does not illuminate the characters involved. Conversely, the reader will not believe any character trait that you have not dramatized through a plot device. 

 

Except from "Advice on Novel Writing by Crawford Kilian."

 

 About the Author 

Crawford Kilian was born in New York City in 1941. He moved to Canada in 1967 and now resides in Vancouver B.C. Crawford has had twelve science fiction and fantasy novels published. He has been nominated for an Aurora Award 3 times for his novels Eyas, Lifter and Rogue Emperor- A Novel of the Chronoplane Wars. His latest contribution to SF is a non-fiction book for would-be SF writers called Writing Science Fiction and Fantasy. Crawford has two more novels in the works.

To learn more about him at Wikipedia.

 

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Crawford Kilian Books at Amazon

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