Hi there, now I am in plotting mode for Sean Yeager Blade of the Quel, here are some thoughts on what to consider when devising and reviewing the plot of your next story. Gathered from various sources and personal experience, I hope you find these pointers helpful in your story plotting.
- Characters drive plot
- Plots as sequences of actions and consequences
- Unexpected challenges or barriers enrich a plot
- Red herrings matter
- Line up an unexpected twist or three
- Know your resolution outline early
- Flow charts, notepads, and whiteboards are your friend
- Keep it plausible
Characters drive plot – What the characters want, how they go about getting what they want, and what their capabilities, drive the backbone of any story. If you map out the sequence for each major character it will help drive the substance of a story plot. Obviously, stories focus on what the characters do and how they interact, and this is shaped by their drives, their motives, their capabilities/weaknesses, and agendas. In addition, characters should evolve in their outlooks and behaviours after major experiences and during a series. It keeps things interesting for everyone if we care about the characters and ‘how’ they progress towards their goals. In fact, I would say ‘how’ is possibly the most important aspect of all. As in a character overcoming weaknesses and challenges that are unique to them, so that we care.
Plots as sequences of actions and consequences – It can be useful to use flowcharts to map out sequences of major events. This can consist of chains of events and what characters do as a result. Whether as parts of an overall plot, an arc for each character, or as the spine of the whole story. This can also evolve and act as a rough guide as the writing progresses and new thoughts arise (driven by characters and fresh ideas). Nothing has to be 100% set in stone until the final draft, but 60 to 80% firm helps. Write in pencil or wipeable marker – easily amended.
Unexpected challenges or barriers enrich a plot – As a plot technique, devising the barriers (challenge/solution cycles), particularly in mid-story, can be tough. Beginnings and endings tend to be easier in my experience. One approach I find useful is to think about the worst, best, and most unexpected things that could happen to characters as a result of their previous actions or plot events. Putting your characters through the ‘wringer’ can lead to great interactions and fun writing. Where do they need to go? Why? What compels them to take deviations along the way? And what stops them in their tracks – forcing a change of some kind?
Red herrings matter – As the writer, being aware of possible continuations and signalling that the characters are human and consider them can be very useful. Introducing dead-end clues or explorations within the plot is a great way of introducing humanity to the characters and the next layer of plot surprises. Few people in life go directly from start to outcome without distractions and setbacks along the way.
Line up an unexpected twist or three – To keep a reader turning pages there are many ingredients – quality, pace, wit, subject matter, caring about the characters etc. To encourage readers to finish a book and read more in a series requires the ‘not knowing what’s going to happen next’ aspect in a work. If a story is too predictable, it will usually be weaker as a result. So, throw in some planned surprises at intervals in the story. These can also help overcome the ‘flabby middle’ issue many books suffer from.
Know your resolution outline early – Some people like to be ‘pantsers’. I confess to being very much the opposite. Either way, its important to know what the story is building up to and at least the options you have in mind for how the story’s central conflict will be resolved. I say options, because foreshadowing and plausibility are important in the plotting and writing. There can still be different possible outcomes given realistic factors explored in the story, but it is important to know where you are heading – or you’ll never get there.
Flow charts and whiteboards are your friend – Whatever works in taking ideas down and exploring where they can lead. Again, nothing is set in stone until the final draft. I find mapping out complex plot lines helps. Also, getting away from the screen for plotting, and having a folder with various sections that I build up during plotting and preparing to write. It includes various headings – Characters, Plot Outline, Backstory, Includes, Questions to self, Brainstorm pages, Detailed scene by scene workings, Twist ideas, Writing prompts etc.
Keep it plausible – Bottom line, avoid deus ex machina and variations. No reader likes a character doing something completely out of character ‘just because’. Or a happenstance coincidence that is unlikely. Far better to have chains of cause and effect that make sense within the story’s logic. It is still possible to explore interesting areas, depending on the genre and to have an unexpected outcome. However, ‘the butler’s unknown son’s aggrieved lover did it’ is plain annoying. It’s right down there with ‘it was all a dream’. And Harry Potter fans skip a paragraph – ‘love conquers all, just because’ is copping out and a form of deux ex machina. A protective magical object/spell would have worked better and would have been easier to explain. e.g. Harry’s parents used an ancient ‘love pact’ spell which only works if one of them dies protecting Harry and by all wearing an object – thus Harry was a) saved b) splintered Voldemort’s soul without him knowing due to the spell and object he was wearing. I could go on, but please consider the main point – story logic needs to make sense. It can still be elaborate. Just because, is not a satisfying or plausible explanation for a major plot point after thousands of pages. And core plot implausibilities / inconsistencies are just plain annoying. Avoid them by explaining ‘how’ in plausible terms consistent with the story’s build up.
Above all, have fun plotting. I know some people find it tough to plot a story – and it is as with anything really worthwhile, but a good story will develop given time and repeated effort. Some people don’t plot at all – not sure how they manage that – and all speed to their writing! Personally, I think of it as designing the film I want the book to be. And until I am convinced a plot would make a good film, I don’t start writing the book. I figure that if the spine of the plot is good enough, the rest of the book can be refined and polished over the many editing passes that follow the first draft.
Best of luck and have fun writing.
D.M. Jarrett
For more information about the Sean Yeager Adventures children’s book series visit:
www.SeanYeager.com
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