Insecure Writers Support Group, Plot

Greetings everyone. It's time for the ISWG post, created by Alex J. Cavanauh. Great idea don't you think? If you would like to read what others have written in this insecure bloghop click here.

For my submission I'm going to talk about plot.

Oh yeah, plot.

I have never liked the word 'plot.' Sorry but it sounds too much like plop.  So what do you do? Do you plop down a plot? I mean, really. Couldn't we find a more descriptive word to discuss and use to replace the word plot?

What about the word structure? Doesn't a good story have structure? Every detail in it's place. Mapped out to perfection, or at least an attempt at perfection?

Or how about the word framework? When you build a house it must have the frame in place before you can put up the walls, paint it, clean it and arrange furniture.

I recently received a critique about a story I wrote that said I didn't have a plot. It's a romance. You know, boy meets girl, love and marriage. Isn't that the plot of a romance? I don't know. I don't usually write romance. 

I had a book on plot and I wanted to re-read it, but we have moved so many times in the last four years that I fear it has been lost or packed away in a mysterious box. So for now I will just ask the questions above.

Advice is welcome. What do you think?
Nancy

I am looking for experienced critique partners. I have more than 25 years of experience to offer you. Let me know in the comments if you're interested.

If you would like to read my epic fantasy, 'The Treasure of Carmelidrium,' click the link on the right hand side below the book cover. A reveiw is appreciated.

Plot: Ascension and Descension

This post concludes my study of plot. If you wish to reexamine any of the plot post you can find the links at the bottom of my blog under plot. One thing that we have learned overall is that a plot drives your story like a road map. The plot defines if the driver is action, event, or any number of things or if the driver is the character, better known as character driven. For the two plots, ascension and descension we will study characters. In these plots it is your job to introduce your character and allow the reader to know them before the events of the plot kick in to either make them heroes or villains.

Ascension and descension are opposites in every way. Ascension introduces a character that is either deformed in some way yet ordinary on the inside or is ordinary and will make extra ordinary choices by the end of the book. Think about a monster, visually gross on the outside, someone we wouldn't want to get to know, someone that is certainly stereo typed yet when the reader, through the eyes of another character, gets to know this person realizes that; hay, this is a wonderful person. Think, The Elephant Man by Sir Frederick Treves, or The Hunchback of Notre Dame by Victor Hugo and others. For an example of the ordinary character we can study, The Death of Ivan Ilyich by Tolstoy. I must confess that I haven't read this story so I am going on Tobias description entirely. I am so impressed however, that I plan to make this a must read. We meet Ivan at his funeral and learn that he is an ordinary man through the dialogue of the other characters who are not so sympathetic to Ivan. Again, I haven't read this. What draws me to this story is that he is ordinary. My favorite characters are as real as I can make them plus whatever talent or circumstance I can devise to make them great. Psychology is a good place to start when developing characters.

In descension we have the ordinary character usually who is faced with an extraordinary event that changes him or her for the worse. Once again, you must introduce us to the character so we see them before the event. Often times the event is greed, like winning the lottery or coming into some money. It may be that the character spends a lifetime in a job or marriage and becomes disillusioned to the point of doing the wrong thing. Money and power are the greatest forces of corruption that we know of. Most of these stories have one or both at the center of your characters downfall.

In both plots you are dealing with human psychology and it is all the more important for you to have a goal for your characters and a message that you want to drive home. How does the character respond to the forces around him or her.

As with all other plots there are three acts.
1. We meet the character before the big change.
2. We experience the change with the character. It may be immediate or gradual.
3. Your character overcomes or is overcome by his or her flaw.

In both cases, what is the purpose of the story? What do you as a writer want to say about life? Can we control our fate to create a better future or does greed, power, wealth get the better of us?

In both these plots, your character is the central focus. All other characters are drawn into the plot by him and react to circumstances because of him. For better or worse, give the reader a strong, forceful character. Even the ordinary man cannot remain so under these two plots.

For a further study of this plot and others I recommend, 20 Master Plots and how to build them by Ronald B. Tobias. It is a great read, as I have taken from this book for all these post.

Next week I will start a new series based on the things we should all learn about writing. If you need further help, I am offering classes for just $25.00. Each class will study various writing techniques plus a critique of your work. Go to my other blog, The Writing Craft to learn more.

I hope you all enjoyed this series.
Nancy

Plot: Wretched Excess

What do you think of when you see this title, Wretched Excess? For me I think of over eating. I have a weight problem and things translate into that for me rapidly. But I don't over eat. I tend to eat the wrong thing. Too many carbohydrates. My body says…ooh, I get to store more food. But I digress. Wretched Excess in the form of a plot is when the normal character is pushed by circumstance to act in a manor that isn't socially acceptable or when the abnormal character does the same thing.

Let's start with the normal. It shouldn't be too much of a stretch in today's economy to imagine the couple who has fallen on hard times. After years in a good job one or both lose their job, then their home and are thrust on the street to stand in line at a homeless shelter or to live in unfavorable conditions. In this dire situation one or both begin to live outside what is acceptable behavior in society.

This has actually happened to me. Though my husband is gainfully employed he makes half his previous income and we have lost our home. As a result, I live in a two bedroom apartment instead of a home paid for by years of mortgage payments. So far, I haven't reached the level of wretched excess, but I can imagine it with depth and detail because of my own experience.

Of course, this may be any number of situations. Our examples for this post is Shakespeare's plays, Othello, King Lear, Hamlet and Macbeth. In each play the protagonist is driven to break the rules of society. It's been years since I read King Lear and Macbeth, but I remember well that both Othello and Hamlet were driven 'mad' by their situations.

On a more modern note, I thoroughly enjoyed the movie, 'Dick and Jane Have Fun.' Perhaps I have lost some of you. And maybe I liked it because our home was in jeopardy when I saw it. Here is a movie where the protagonist loses his job because the CEO is a crook and Dick is an unknowing fall guy. To make matters worse, he had encouraged his wife to leave her job. This leads into a job search for Dick that is less then productive and totally embarrassing. Meanwhile Jane is desperate to keep the truth from the neighbors. After many embarrassing moments they start to rob stores and banks' making ridiculous what is a serious offense in society. At one store they force the staff to make them a coffee at gun point. In the end, they save the day for all the ex-employees and to avoid a spoiler in case you haven't seen the movie I will not tell you how.

The point of this little excursion into a modern movie is that you as a writer do not have to cast this plot, Wretched Excess, into tragedy but you can make it a comedy. It is up to you. Just remember, good writing starts with believable characters. Whatever the catalyst for your plot is, it must be believable.

Act 1:
We see our characters in a normal setting. The event strikes a blow that will begin to change who and what they are.

Act 2:
There is a gradual loss of control for your character. The reader witnesses his or her spiral out of control. Don't hide your characters struggles. You want the reader to have sympathy for the character no matter his crimes. The villain however, is another matter. The villain must be bad with no redeeming qualities or at least very few. The villain in the movie, 'Dick and Jane have fun,' is the CEO who is rich and flaunts it while his ex-employees suffer the consequence of his actions.

Act 3:
This begins at the point where the character loses control and spirals downward breaking the rules of society. At the end you almost always have, murder or mayhem, or on a lighter note, the protagonist pulls it together for a spectacular finish that leaves the reader cheering.

Now for the question. In my current whip, the secondary plot is Wretched Excess. Because it is the secondary plot, the protagonist doesn't lose control but must save others as the villain intends to destroy many of them.

Next week the plot will be Ascension & Descension. My spell check doesn't like the spelling of descension, but that is how it is spelled in the book, 20 Master Plots and how to build them, by Ronald B. Tobias. Next week's plot is also the last one.

Do you plan to use, Wretched Excess in any plot form?

Nancy


Do you need help with your writing? I'm offering affordable classes so come by and let me know what burning questions you have about your writing at The Writing Craft.

(This is post 300).

Plot: Discovery

Human nature. We as a group of mammals are distinct in that we struggle to learn who and what we are. The plot today, discovery, is about this struggle. Because of that it is a character driven plot at its heart as well as an important plot.

This plot differs from Maturation because it is about the process of discovery. In maturation, we have a character that grows up into themselves. In discovery, we have a character that learns who they are.

Many children's books, young adult, are based on this plot. Young people more than adults are constantly asking the questions about who they are, what is their purpose, why this or that. As adult writers, are greatest struggle with a plot such as discovery is the temptation to preach. Make sure you tell your story through your character to avoid such an outcome.

Character driven: Your task as a writer is to make that world and the people in it so real that the reader can bridge the fantasy or words with the reality of belief. Ronald B. Tobias, 20 Master Plots and how to build them.

Act 1:
Establish who your character is but don't spend much time on this. Get to the catalyst quickly. Flashbacks are an important tool in this plot. But don't give us a hundred pages at one sitting or you risk losing the reader. Yes, there are some gifted writers who can do this, but if you are new to the craft, avoid lengthy flashbacks or back story.

Act 2:
The middle of any plot can get bogged down. In this plot, discovery, it is important to delve into your character's personality. Who are they? What is the struggle, the challenge? What is the character flaw that puts them into the current situation? What must they learn? In Death of a Salesman, by Bowman. (The book not the play). The character learns that he led an incomplete life because he never loved anyone or married. What ever the revelation is for your character, it must be BIG. Don't make it trivial. If your character is a peacekeeper, don't give this revelation after a family argument. It must be bigger than that. Avoid melodrama.

Act 3:
Your character begins to fully understand what and who they are. In Death of a Salesman, the character understands what he has lost and learns to appreciate the love of a young couple who has given him shelter. He understands that he is dying. If your character is a peacekeeper as I mentioned above, they must understand the nature of their true calling and its cost.

While I was reading the section in Tobias book, 20 Master Plots and how to build them, about this plot, discovery. I couldn't help but think about Harry Potter. In the first chapter of the first book how much time did J. K. Rowling spend in Harry's past? Zero. We are presented with an infant who is delivered to relatives and left on the doorstep in a wicker basket by some rather odd people. Two wizards and a giant. We learn about Harry's past in flashbacks handled with the use of dialogue and visions. Harry is a baby. He doesn't remember his past until a vision reveals bits and pieces of it over the course of seven books. Masterful.

Over many years of learning the craft of writing I have attended conferences and workshops and in all of them I have heard the advice that states, no back-story in the first three chapters. This is excellent advice and I follow it, but…what I have learned after reading many books by talented authors is that this is a base guide that occasionally must be broken. How you break it is crucial. There is no substitute for excellent writing. If you are new to the craft, don't despair, the act of writing will develop the necessary skills you need to move forward. I am developing a line of classes to help if anyone is interested and will announce it soon.

Next week the plot is: Wretched Excess                                                   

Are you plotting a book with discovery as the main plot?

Nancy

Plot: Sacrifice

Had to change it up, it's Indian Summer!

In the beginning, written stories that involved sacrifice meant that some one or some thing was sacrificed for the gods, or for the Hebrew God. Blood must be shed. Today, sacrifice might mean that a person offers something important to them for an ideal and not for a god. Sometimes this includes their life but it isn't a requirement.

As a writer, it is important to study your characters personality. Establish their background and belief system so the reader understands what it takes for them to set aside their beliefs to make the sacrifice that is required. Or maybe, it is their belief that causes them to make a sacrifice. The price for this is usually deep and personal cost. Does this sacrifice or lack of sacrifice make your character a hero or does it shame them, discredit them. What price do they pay?

Case study:
High Noon starring Gary Cooper and Grace Kelly. He is a moral man who can't allow a killer into town even though he has already turned in the sheriff's badge and plans to relocate with his new bride, Grace Kelly. She is a Quaker and hates violence but will put aside her beliefs and take up arms to save her husband. In the movie, we don't have time to visit the internal struggles of the characters for their decisions. In a book, you as the author must detail the internal struggles to satisfy the reader.

Casablanca starring Hunphrey Bogart and Ingrid Bergman. Bogart's character appears as a callous man but in a flashback we learn that he suffers from a broken heart and loves Bergman's character. Ultimately, he sacrifices his own safety for hers.

In both examples I have taken a quick look. As writers we need to delve into the depths of our characters. For this plot the setting must be small. One location is best. In High Noon it was the town and railway station. In Casablanca it is the lounge that Bogart's character owns. By limiting the setting, you create more tension.

Act 1
Meet the characters. Are they selfish or do they have an intense belief system that they must follow?

Act 2
Your character is confronted by a moral challenge. The events of the story challenge them and force them to make a decision. Do they follow their code or do the turn their back and why? If your character is selfish then you must establish why they would reach out and help someone. Remember, people are driven by their own beliefs and so should your characters be.

Act 3
How does this sacrifice affect your character and the characters around them? The strongest sacrifice comes at a great personal cost.

This is truly an overview. All the plots that I have featured deserve more study before you select one and start to write. My daughter asked me about plots today as I was preparing this post. Our family tends to do fun things on the spur of the moment. I told her that as a writer, we may decide on a trip but we'd better take a road map so we won't get lost. That is what a plot is. A map with many roads. Choose one but don't worry if you need to change directions to make the middle a little more exciting. That is called a plot twist or a secondary plot.

Next Monday the plot will be: Discovery

Are you working sacrifice into your current manuscript or a future one?

Nancy

Plot: Forbidden Love

Plot: Forbidden Love

Hurray! I'm back. We're moved. My Mom is doing well. I have story ideas from two months of packing and moving and not getting to write. But…I am having trouble with the internet connection. It won't let me visit any of you. Please be patient, I haven't forgotten you and I am working to fix the problem.

Monday's theme, plot.

Today we are talking about Forbidden Love. This is the tragic romance. As many of you might have guessed, forbidden love and other love plots may be interwoven into any book as a sub-plot. It isn't necessary for you to think this is just romance, though romance certainly uses all these plot devises.

What is forbidden love? Today we live in a society much more tolerant of forbidden love and equally less tolerant of what the ancient people thought about forbidden love. For example, many ancient societies tolerated adultery more than our society. Personally, I think that is a great achievement that we are less tolerant, especially for women. Time past, a man could do anything he wanted but a woman couldn't. Although, Ancient Rome and Greece encouraged multiple partners and homosexual love for both men and women. And, the Ancient Egyptian Pharaohs married their own siblings to keep the kingship in the family. Don't get me wrong, I am not advocating for anyone to break a personal moral code. We are talking writing and crafting a story to be compelling and to deal with issues that may not be the writer's personal experience. Yes, in this case friends, write what you don't know. LOL

On with the plot.

There are several types of forbidden love.

Adultery:
You're married with another partner.

Incest:
You have a thing for your sister or brother, mother or father, and you act one it.

Homosexual love:
Men with men and women with women.

May - December romances:
Either sex is retirement age or older and the other is just out of their teens. Of course, it isn't necessarily that extreme. I'd say a good twenty to thirty year gap between the two is traditional.

In every example you don't necessarily have bedroom scenes. Sex isn't the only component.

Ask yourself this:
What is it that drives my character into the arms of the antagonist or minor character in forbidden love?

This is about tension, psychology, inner turmoil, what the partners give to one another, or don't give. The characters should learn something about themselves and the world. In each case, 99% of stories written about forbidden love end in tragedy. One or more of the characters die or are injured to the point of disability.

Act 1:
Establish your characters and introduce the future lovers to each other. What is it that draws them to one another? What society taboo are they about to break.

Act 2:
We enter the reason for each other, the heart of their interest. All is well. By the end or act 2, something happens to drive a wedge between the two. Either the world begins to interfere, their families and friends, or something with each of them or one of them affects the relationship.

Act 3:
One or both die or are permanently disabled by someone or something. Society has stepped in or a spouse. Something is preventing their relationship from continuing. Of course, you can break this rule and write a happy ending instead.

There are many stories out there about forbidden love. Oedipus, who ended up killing his own father who was king and marrying his own mother who is queen because it was prophesied he would and the king had sent him away as a child. Romeo and Juliet and similar stories. Their families are feuding. Quasimodo and Esmeralda in The Hunchback of Notre Dame. Adultery; we have, Madame Bovary who seeks love outside her marriage. The Scarlet Letter and Anna Karenina to name just a few. Death in Venice is the tragic end of an older man who loves a young boy. Harold and Maude is an example of May - December love where the woman is older than the man. A real life example is Ashton Kutcher and Demi Moore. Ask yourself this, will this love end in tragedy? Probably not unless you are into children. Ashton will never have his own unless they elect a donor Mom.

I could go on, but I am sure you're well aware of the boss and secretary scenario and the unfortunate student/teacher affair that seems to pop up yearly in the news.

Next week we will explore the plot: Sacrifice.

To read more about this and any other master plot pick up the book, 20 Master Plots and how to build them, by Ronald B. Tobias.

Are you writing about forbidden love or do you plan to add this tension packed plot idea to a future work?

Nancy

Plot: Transformation

We continue our exploration of plots with transformation. This is a character driven plot. What does that mean? It means that as the writer you need to understand your character. His weaknesses, his strengths, his fears, and his desires. It means that you must be able to effectively let the reader see this character and experience those character traits and it means that you need to know what will happen to the character to change him.

Transformation is related to metamorphosis. If you missed the discussion on metamorphosis you can go here to read it. Metamorphosis is how the character changes literally to become something else. Think in terms of a human becoming some type of other creature from vampire to werewolf and more. Or maybe the character is an animal to begin with that becomes human.

Transformation is about the human character and what happens that causes a person to grow. Examples of catalysis that you might use are:

A comfortable childhood and how the lessons of adulthood change this person.
War…need I say more?

The search for identity. I remember as a teenager asking many questions along this line of thought, trying to discover who I really was and what I should do with my life. This underlying reason may take your character into the dark places of his mind.

The character that is forced to deal with the dramatic moments in life; divorce, death, job loss to name a few.

These are all intense moments in a characters life. But, you need not have such a dramatic crisis; you may choose a simpler event. Your character may have low self esteem and the event that changes them may be the attention of another character, real or imagined.

The list of examples is long:
The Last Picture Show, by Larry McMurtry
The Paper Chase, by John Jay Osborn
Indian Camp, by Ernest Hemingway
The Red Badge of Courage, by Stephen Crane
Catch-22, by Joseph Heller
Dr. Jekyll and Mr. Hyde, by Robert Louis Stevenson
Kramer vs. Kramer, by Avery Corman
Pygmalion better known as, My Fair Lady, by George Bernard Shaw (The play didn't have a happy ending).

Act 1:
The incident that begins the change in the protagonist life. Remember, we need to know who your character is emotionally.

Act 2:
We see the full effects of the inciting incident of the first act. How does this event change the character? How do they feel? What do they think about it? What is the internal process the character is going through?

Act 3:
You're not done. There is yet another incident that defines the result of the character's transformation. Now we see the lessons that your character has learned, has experienced and how this has changed him. This process allows your character growth.

Oh yes, this can be a sub-plot just like all plots can be.

There you have it. Do you have a character in your WIP that is undergoing transformation? If not, do you have a favorite transformation based book? What is it?

Based on information found in: 20 Master Plots and how to build them, by Ronald B. Tobias. You can find this book in most book stores or on Amazon. I highly recommend it.

Next Monday is July 4, a rather big deal in the USA. I will not be blogging that day. I'll be back on Wednesday, July 6 next week too. This week I will have a post on Wednesday and Friday.
Nancy

Plot: Underdog

Now I'm feeling my age! Every time I think 'underdog,' I see a cartoon dog flying. But regardless of our past, there is a plot that is based on the idea that the protagonist isn't equal in strength, power, wealth, or any number of things you can think of, with the antagonist. Did I lose you? Let's just say, the antagonist has the upper hand in more ways than one.

Your underdog character is the average person in type. That means the reader can relate to him. In real life, many of us have experienced some kind of overwhelming obstacle. It may be a health issue, or a disagreement with a parent, sibling, teacher, anyone in your life. They have the upper hand, something they can use to control the circumstances. It could be a job that is changing rapidly, or a requirement that you are morally opposed to. Regardless of the challenge, the obstacle, the issue, you feel that there is nothing you can do. This is one character trait of the underdog. Put that character in harms way.

In, 20 Master Plots and how to build them, Tobias uses the fairy tale Cinderella as the example to illustrate the underdog plot. He mentions Disney's version but believes the Grimm story titled, Aschenputtel, is a better example since the step-sisters are also beautiful but lack Cinderella's moral convictions. Rather than repeat what Tobias said I will use another Cinderella story, my favorite, the movie 'Ever After,' by Andy Tennant and starring Drew Barrymore, Anjelica Huston and Dougray Scott. We won't quiver over the details that this film has a medieval servant who is totally Americanized and way too independent for her time. It was a charming tale and one we, or I, would like to believe was possible. In this movie there are no fairy godmothers or magic birds, no dancing rats or North American pumpkins.

Cinderella does suffer at the hand of a step-mother who is driven by jealousy more than by rank, though she uses her title to justify what she is doing. Cinderella has one excessively spoiled step-sister and one who has sympathy to spare. She is clearly the underdog, made into a servant with attitude. She hasn't lost her compassion for those around her and because of this she is driven to rescue a servant sold into slavery by the king, by dressing up as a lady of the court. All dressed up with servant shoes on, she meets the prince and tries to hide from him. But like any good man, he pursues the one who isn't interested in him. (In my epic fantasy, my prince does the same thing with my heroine; I wrote it before this movie came out.) But that sub-plot isn’t new to me or to the movie. It's based on reality.

Act 1:
We meet our hero when his life is normal just before the protagonist enters or is made into a protagonist by events that take place. Within a paragraph or page or by the end of the first chapter events go down hill rapidly for our hero. The antagonist has the upper hand and things don't look too promising.

Act 2:
The hero moves into a position of strength. The tide has changed for the better and he has the upper hand. In 'Ever After,' Drew Barrymore is secretly dating the prince, Dougray Scott. They are sneaking around just like American teenagers. She speaks her mind and he thinks it's great. She feels empowered by his affection and attention. After all, he's the prince and heir to the throne of France.

In the underdog plot, act 2 is developed in 3 stages: In the movie, 'Ever After:'

A). Prince and peasant meet. He likes her and it's obvious which is great for her self esteem. She begins to move toward a stronger position.

B). She receives support from the other serving staff at her father's estate.

C). They get lost and are surprised by gypsies. Drew saves the prince's life and then they befriend the gypsies and share a kiss. It's getting hot!

Act 3:
This brings the rivals into an equal competition with each other.

In 'Ever After,' the spoiled step-sister wants to wear Cinderella's mother's wedding dress and shoes to the ball. Cinderella loses it and punches the step-sister in the face. She goes flying over the bed and later throws Cinderella's beloved book in the fire.

Cinderella gets caught with spoiled step-sisters lovely gown sneaking back into the estate after her clandestine meeting with the prince. She is punished and locked up. (Leonardo da Vinci saves her).

Cinderella attends the ball in her mother's wedding dress and is exposed as a servant by jealous step-mother and spoiled step-sister. This is the 'black moment.' She is rejected by the prince and later sold into slavery by her step-mother.

Cinderella wins her freedom and leaves the estate of her capture only to discover that the prince has had a change of heart.

The rivalry is over. When wicked step-mother and spoiled step-sister arrive at the palace they learn that Cinderella has got her man. The king makes them servants at Cinderella's request. The underdog has won and we are all cheering. Hurray!

For a more in-depth look at this plot, please read 20 Master Plots and how to build them, by Ronald B. Tobias, available through Amazon or your local retailer.

Next week: Master plot, Transformation.

Do you have an underdog in your current manuscript or do you have an all time favorite underdog?

Plot: Love, part two

Last week in part one of  Love, the plot; we looked at sentimentality and sentiment. Today we are going to look at happy and unhappy endings. Any romance author will tell you that happily ever after is a must in this genre. The readers expect it and the publishers require it. But not all romance novels are happy.

Let's take a look at some happy endings. Hollywood loves happy endings. When I think of romance I think of When Harry Met Sally, Sleepless in Seattle, While You Where Sleeping and many more. These movies are all about when boy meets girl, throw in some silly obstacles, and overcome them to create a fabulous marriage, at least we assume they get married. In When Harry Met Sally, he drove her nuts and vice versa. It wasn't until they each had been deeply hurt that they discovered the things in each other that were positive and supportive. In Sleepless in Seattle it was the distance from each other. In While You Where Sleeping it was the false engagement to one brother while the two characters struggled to understand their feelings. You could also qualify that as a lie.

I love happy endings too. Life can be fraught with loneliness, disappointment, despair and many other negative things. It is so cheerful to go to a movie, relax, have a laugh and remember when love touched your heart.

However, some stories have tragic endings. I brought up Romeo and Juliet last week. Both committed suicide when they were unable to figure out how to be together. In real life, there are stories of how married couples or college sweethearts fall out of love with each other. Perhaps the obstacles in life destroyed their love instead of bringing them closer together. Perhaps one of the characters has an obsessive personality and is abusive. The world is filled with tragic endings. All you need for inspiration is the latest newspaper. Horror films sometimes delve into this sort of relationship or a Suspense Novel might do so. There's a list of films that come to mind for this group too, like Psycho, Virginia Wolf, and many more.

Regardless of which love story you want to tell, a good plot is developed in 3 acts.

Act 1:
We are introduced to two main characters that either meet for the first time or have known each other. They may have been married for years, especially in the sad love story. It is important that you avoid clichés here. It is so easy to rely on a cliché since the love story is as old as man.

Act 2:
The lovers split. Something happens to drive them apart either by design or by the loss of love. One character may go off to a new location for a job or school. A villain may interfere by kidnapping one of the characters or presenting a challenge that the character is drawn into. Perhaps an accident occurs that either cripples one of the characters or causes their death. In the case of love lost, it is the on going story of why the characters no longer love each other and may even hate each other.

Act 3:
The lovers are reunited in the happy ending and in the unhappy ending they have completed the split. If the lovers have overcome an obstacle to be together, then you must demonstrate that their love is stronger than before. If they have made the final split then you must show how that split has affected the lovers. Did one of them die, or did they divorce. Is one of them going to declare, "Free at last…?"

To recap:
The love plot is a character driven plot. You will either write it with a sentiment or sentimentality view. The first is more original than the last which relies on well established types. 90% of love stories have a happy ending. If this is for the romance genre a happy ending is required by both the publishers and the readers. About 10% of love stories are written about how the characters fell out of love with each other, which can take a very dark twist.

There you have it. Next week the master plot is, Underdog. No, we are not talking about a cartoon character. LOL


For more on this plot and others please read, 20 Master Plots and how to build them, by Ronald B. Tobias, available from your local retailer or at an online store. Or click on the link to Amazon's site and get it there.

Are you writing a love story? What type of story is it? Do you love to read love stories? Which type is your favorite?

(Winner of one of Edie Ramer's books if  L. Diane Wolf. Congratulations Diane.)

Have a good week.
Nancy

Plot: Love, part one.

Today we are talking about love. I am not a romance writer though I do have romance in my epic fantasy. I also contribute to Romantic Friday Writers and below this post is my offering for that blogfest if you are curious. Love is tricky. You may think it is simple. However there are many kinds of love stories, which makes it universal and interesting.

When I started reading the master plot for love, I thought. How am I going to handle this in just a short post? I was worried and then I realized that this plot needed a part one and a part two.

Romance novels, just like mystery and many others have a formula which publishers want writers to follow. One of the key elements is a happy ending. But there are love stories that don't have a happy ending. Romeo and Juliet come to mind as does Love Story. I saw the movie and cried too. But regardless of a happy or unhappy ending there is one fact for the plot about love. It is a character driven plot. It doesn't matter if the characters are on the moon or in the middle of the ocean on earth; the back drop is secondary to the characters.

The second most important aspect of a love plot is to use sentiment or sentimentality. When I first read this I thought, say what? So to clarify for you a little more I am going to include a quote here.

Romance novels depend on sentimentality; a love story that tries to be unique depends on sentiment. What is the difference? The difference has to do with honest emotion vs. prepackaged emotion. A sincere work - a work of sentiment - generates its own power; a sentimental work borrows feelings from stock. -Ronald B. Tobias, 20 Master Plots and how to build them.

Now you may ask, what on earth does that mean? I know I did, but at the same time I understood. I just needed a little clarification. Tobias uses two poems to do this.

Sue's Got a Baby, by Edgar Guest:

Sue's got a baby now, an' she
Is like her mother used to be;
Her face seems prettier, an' her ways
More settled like. In these few days
She's changed completely, an' her smile
Has taken on the mother-style.
Her voice is sweeter, an' her words
Are clear as is the song of birds.
She still is Sue, but not the same-
She's different since the baby came

To My Daughter, by Stephen Spencer

Bright clasp of her whole hand around my finger,
My daughter, as we walk together now.
All my life I’ll feel a ring invisibly
Circle this bone with shining: when she is grown
Far from today as her eyes are far already.

Can you tell the difference? The first poem assumes that we are familiar with having a baby and because of this we know what the character is experiencing. The second one allows the reader to experience the joy of having a daughter in the moment with the character. Both are delightful poems. The goals of the writer are different. The first is sentimentality, the second is sentiment. The first is formula fiction; the second is a unique study of the characters emotion. Both talk about a character. One is third person, the other is first person.

Next week: Part 2, Master Plot, Love, will look at happy and unhappy endings.

For more on this plot and others please read, 20 Master Plots and how to build them, by Ronald B. Tobias, available from your local retailer or at an online store. Or click on the link to Amazon's site and get it there.

Are you writing a romance novel? If not, are you including romance in your novel? Or if you are a reader, do you prefer happy or unhappy endings?

Nancy

Plot: Maturation

Can you say young adult? Yes, this plot is at the heart of the young adult novel. It isn't limited to this genre classification, many plots feature some type of growth or change, but to mature implies growing up.

As with the previous plots this is three acts, but you must start by introducing the normal in your characters world, which may not be healthy. Think, Harry Potter. What parent or adoptive parent would make a child sleep in a cubby hole under a stairwell and not allow that child into their normal family life? Your character doesn't have to live in a healthy environment, but they still must be immature, their goals not yet defined. With this introduction, the reader can see what your characters moral state is, how does he think and act? Your character doesn't need to be perfect. In fact, most young adults have not developed the strength of character adults are modeled after. Right from wrong choices can be confused with emotions and motivations. Harry Potter didn't know he had magical powers and put his cousin in a snake display at the zoo releasing the snake that slithered away. We laughed and easily forgave him. However, if Harry had been 31 instead of 11, we may have viewed this scene differently, applying adult morals to Harry's behavior. Thus the reader understands your character before he undergoes change.

Act 1:
Now comes the catalyst, the event that you throw at your character which will change who they are. (I feel a little like Dr. Phil there. LOL). In Harry Potter, he receives an invitation to attend Hogwarts in person by Hagrid. Harry has a choice. Stay with the Dursley's or go to a wizarding school, alone, without knowing anything about wizards. This must have been scary, it must have shaken his belief system. But staying with the Dursley's would be worse. In your story, the catalyst may be a bad thing. It could be a death in the family, divorce, loss of a best friend who moved away. Magic in your story may not be a plot point but your ability to capture the emotions and confusion of your character in a believable way.

Act 2:
The choice for Harry was easy, he went to school. But in many young adult novels the character resists change. They don't want to grow up and leave the security of their home and family. This change and the characters attitude toward that change will depend on the overall goal of your plot. For Harry, it must have felt like a breath of fresh air, but for a child who is losing his parents in a divorce the feelings would be confusion, blame and acting out in a rebellious way. Even so, Harry doesn't conform to the rules at his new school. He breaks the rules all the time and learns early on that the wizard who killed his parents wants to kill him too. Most of us would want to hide if faced with this threat, but Harry is a hero and hiding doesn't occur to him.

The lessons in act 2 come at a price that is either tangible or intangible.

Quote: He may lose his sense of confidence or self-worth; he may lose all his earthly possessions. He has moved from a world that was safe to a world that is unpredictable and perhaps even hostile. -Ronald B/ Tobias, 20 Master Plots and how to build them.

In Harry Potter, the wizarding world is both wonderful and dangerous. It is certainly unpredictable but also delightful. He has made enemies on his first day and true friends as well. While the Dursley's didn't give Harry Potter the love he longed for, at least his life wasn't threatened by an evil wizard. (That he was aware of anyway).

As the author, you must test your characters and his beliefs. Does he rise to the challenge or fail?

Act 3:
How has your character changed? Have they grown? The point of most young adult novels is to have the character accept the challenge and grow up. We aren't talking Peter Pan here, oh no. Most maturation plots have a positive outcome. In Harry Potter, he faces the wizard who murdered his parents, alone. He has changed to the point that he is able to resist the temptation and lies that are offered to him and protect the object that the evil wizard wants to get. Harry wins the day. (I won't say more in case you didn't read the book or see the movie). The change in Harry is real and not just a false pretense. The change in your character must also be real.

In your story you may choose to live one day in the character's life or years. You may write a short story or a series that spans one or more life times. You may write about the nitty gritty here and now or about the ancient past, the near future or a fantastical realm. Regardless of the story type, the maturation plot makes your protagonist grow from a child into a more mature child or an adult.

Next week the master plot is, Love.



For more on the maturation plot please read, 20 Master Plots and how to build them, by Ronald B. Tobias, available from your local retailer or at an online store. Or click on the link to Amazon's site and get it there.

Do you have a young adult plot in your future?

(Happy Memorial Day)
Nancy

Plot: Metamorphosis

Happy Monday everyone, today's plot is metamorphosis. This is a character plot and while I studied metamorphosis I learned something I didn't realize before. The metamorph character is the protagonist and the antagonist is his or her prisoner or victim. I assumed the opposite, but then, I haven't really thought about this plot other than enjoying the fairy tales based on it. Think, Beauty and the Beast, The Frog Prince, along with urban fantasy such as Vampires, Wolfmen and others, oh my.

The metamorphosis plot is about change and while we have some type of beast as shown above, the problems and solutions are human, just as with the traditional, in the here and now, plots.

Most of the time the metamorphosis is a beast because of a curse: A witch cursed a prince and he became a beast or frog. A man was bitten and made into a vampire or werewolf. In nearly every case, the protagonist is waiting for the antagonist who may not realize their role in this plot. The antagonist in each of these cases happens to be female, but can also be a male character. She is either forced to be with the protagonist or is enticed and drawn to the metamorph.
The cure that the metamorph character longs for is love. When the antagonist loves the beast he is cured and restored to his human form. The cure is salvation by love.

Act 1:
Meet the beast. In this act we are introduced to the protagonist already in his or her metamorph state. We don't know why he or she is a beast, but we see them as they are and often like the antagonist in the story, we are repelled by them. Not only do they look beastly according to whatever nature you as the writer have decided for them, but they have some disgustingly beastly behaviors. They hunt animals and eat raw meat. They drink your blood, or howl at the moon. Maybe they eat spiders, yuck. So the curse of the metamorph is not just in their physical appearance but also in their behavior.

Enter the antagonist. Your beast has been waiting for this character. Now that they have met, the story is propelled forward by action and reaction to one another. By the end of the first act, the antagonist is disgusted by the sight, smell, habits of the metamorph. This character would rather be somewhere else and will fight internally or literally to be free, unless they are hypnotized by something the metamorph does.

Act 2:
Pile on the complications and show us how these two characters feel. In this act, the antagonist wants to escape and this desire will motivate the antagonist at every turn. The protagonist beast will either capture the antagonist again or be successful at preventing his departure.

Act 3:
The terms of the release have reached a climax. Does she kiss the frog? Declare her love? Murder the beast in order to release him or her from their curse because of love? In Beauty and the Beast, he is transformed back into a prince, in Dracula, he is dead with a stake through the heart.

In today's ever changing genre game, this plot is played with and incorporated into many others. Perhaps Dracula bathes in sunscreen so he can go outside during the day. Maybe the wolfman uses hot wax. Okay…I'm going over board with that one. I am currently developing a metamorph character but I am starting with her transformation so it isn't strictly a metamorph plot. In this series, my character will get to try on many roles while experiencing her new life as a woman. Like Dracula, she lives forever. Unlike Dracula, she prefers nuts and berries to anyone's blood. You may also be happy to know that there are no sparkles involved.

I know, I know…sad humor.

For more on the metamorphosis plot please read, 20 Master Plots and how to build them, by Ronald B. Tobias, available from your local retailer or at an online store. Or click on the link to Amazon's site and get it there.

Next week the master plot will be, Transformation.
Are you working on a Metamorphosis plot or have you written one?

Nancy

Plot: Temptation

Today we are skipping ahead in the book, 20 Master Plots and how to build them, to master plot; temptation. The underdog plot is recommended for later following the love plot. So, as per suggestion we are discussing temptation. I hope no one is disappointed.

Quote: To be tempted is to be induced or persuaded to do something that is either unwise, wrong or immoral. Happily or unhappily, depending on your point of view, life presents daily opportunities for us to be stupid, wrong and immoral. Ronald B. Tobias, 20 Master Plots and how to build them.

Act 1:
We are tempted. This means as a writer you must show the nature of the temptation, either small or huge, and you must show the character's reaction to the temptation. Here is the place for waffling. Back and forth thoughts on what to do. The bigger the temptation the more the character will be at odds with it.

Temptation is not the decision to water one's house plants. It is more like killing someone else's garden or a single tree that upsets the character and having them think about how to do this, fight the urge to do it, ask will I be caught, how to hide the evidence, so on and so forth. The character must rationalize their behavior following their acting on the temptation. After yielding to temptation, your character may deny internally and to others what they have done.

In our battle against temptation we often become obsessed by the thing we want. So too does your character. Show this obsession. In my epic fantasy, my antagonist, Renwyk, is driven by temptation and makes incredibly stupid decisions to prove he has a handle on things. He is obsessive in his jealousy of Prince Healden and wants everything he believes the prince has. Once Renwyk meets my protagonist, Missie, he becomes obsessed with her as well. This is one of many subplots, the main plot of my epic fantasy, The Treasures of Carmelidrium, is a quest plot. (To read about the quest plot and all other plots that I have already covered click on Plots under my previous post link at the bottom of this blog).

Act 2:
Quote: The effects of the temptation in the first dramatic phase reverberate through the second dramatic phase. (Act 2). The protagonist tries to deal with the effects of her behavior, but as is typical of moral stories, the more she tries to wriggle free from the burden of her sin, the more it oppresses her. Finally it reaches the point at which it is no longer bearable. Ronald B. Tobias, 20 Master Plots and how to build them.

Act 3:
The result of the temptation is forced open and the internal conflicts are resolved either for good (repentance) or for bad (insanity, imprisonment or death). Is your character sorry they poisoned the tree or hired someone to cut it down while the neighbor was on vacation? How did they atone for that? Did they buy the neighbor a new tree? Or did they begin to poison other trees and gardens until they were arrested and either sent to jail or locked away in a mental institution? Perhaps they took their own life by drinking the poison.

Quote: The temptation plot isn't about action as much as it's about character. It is an examination of motives, needs and impulse. The action supports the development of character, and as such, it's a plot of the mind rather than of the body. Ronald B. Tobias, 20 Master Plots and how to build them.

For an even further in-depth look at temptation and other plots purchase the book, 20 Master Plots and how to build them by Ronald B. Tobias from your local retailer or an online store. Or click on the link to Amazon's site and get it there.

Next week: Metamorphosis.

Are you planning a temptation plot or have you written one?

Nancy

Plot: Rivalry

Today we continue our plot series with rivalry.

Quote: What happens when an irresistible force meets an immovable object? No question captures the spirit of a plot better than this one. -Ronald B. Tobias, 20 Master Plots and how to build them.

We all know competitors in one form or another. We may be a competitor. Our society admires this trait especially in sports and politics. I must confess nothing turns me off more than a sibling or associate trying to prove they are better than me. I think a persons worth is defined by their moral standard, not just by their accomplishments or wealth. This however, is real life. The rivalry we are discussing today is in our stories.

What is rivalry?

A rival is a person who disputes the prominence or superiority of another. -Ronald B. Tobias, 20 Master Plots and how to build them.

Once again you have three acts. The first act is setting the scene. The protagonist and antagonist are nearly equals in abilities. They will have some quirks to make them unique. They know each other. Often they have competitive natures, but not always. Some famous rivalries include:
1. A man and animal: Moby Dick, by Herman Melville
2. God and Satan: Paradise Lost, by Milton.
3. Two men who are polar opposites: The Odd Couple.
4. A man and a woman in a classic love triangle: Jules and Jim by Francois Truffaut.

I could go on. I'm sure you can add some books or movies to the list.

No back story in the rivalry. The conflict should start in the opening scene. Remember, these two characters are rivals, competitors, challenging each other on a personal level. It's always a good idea to ask yourself when developing characters: "What's at stake?" What matters to these two characters? Does one want a clean house while the other wants to relax and watch football while drinking a beer? Does one want to prove they can shoot a gun with better precision than the other? Does one want the death of the other at any cost?

In act one; the antagonist gets the upper hand. Think Ben Hur and how he became a slave by a Roman who was his childhood friend. Act two; the protagonist is elevated once again so that these two characters are equal. The antagonist is aware of this, which brings added tension. Act three; they meet and one of them wins the day.

Some of you have noticed that many of these plots are included in books that seem to have different plots for the major story. That is true. I think the best books have strong, three dimensional characters along with plots that are woven together for the purpose of tension, action, goals, etc.

Once again, the book, 20 Master Plots and how to build them, by Ronald B. Tobias, is a much more in depth study of this plot. I strongly recommend that you invest in it. I know I have learned a lot just by reading the different plots for these Monday post.

(Just so you know Colorado State Law passed a taxation measure for online sales. Amazon doesn't allow anyone in Colorado to earn money with book promotions. Therefore, my recommendation of this book is not monetarily motivated).

Next week, the master plot is: Underdog.                                            

Are you going to write a rivalry plot?

Nancy

Plot: The Riddle

The A - Z Challenge is over. Congratulations to everyone who made it through. Today is the first Monday in May and the Plot Series is back. We will celebrate by show casing the riddle. The following quote is in the book and is so well spoken that it bears repeating.

The mystery story is really two stories in one: the story of what happened and the story of what appeared to happen. -Mary Roberts Rinehart.

In that quote is the first clue. Okay…I'm not so great with clues and that's why I'm not a mystery writer. Maybe someday I'll tackle this difficult plot but rest assured it will be hidden in a fantasy.

Quote: A riddle is a deliberately enigmatic or ambiguous question. -Ronald B. Tobias, 20 Master Plots and how to build them.

The Riddle plot has been with us since ancient times. It is a part of many fairy tales (in simple form); it dates back to ancient Greece like so many plots. The most famous riddle is: the Sphinx asks Oedipus. "What has one voice and walks on four legs in the morning, on two at midday, and on three legs in the evening?" the Sphinx asks. If you get it wrong the Sphinx will eat you. That's great motivation. Of course Oedipus gets it right and becomes king after the Sphinx falls into depression and commits suicide. The answer is: "A man, who crawls on all fours as a baby, walks on two feet when grown, and leans on a cane when aged."

In this plot, the mind is challenged not the body. The more difficult the riddle the more the reader is tested.

Edgar Allen Poe is credited with the first short story and the first modern mystery which features a detective to solve a crime in; The Purloined Letter.

So, you want to be a mystery writer? Your challenge is to incorporate numerous clues woven into the fabric of your story. They must hint at the identity of the killer, the how, where and why to the crime. The answer is there for the reader to pull out, hidden in plain sight. Readers today want a challenge. I think this type of writing must be more and more difficult as science advances. At the same time, as writers, we can manipulate all those scientific break thoughts to leave legitimate clues and red herrings. If Sherlock Holmes were alive today, he could dust for fingerprints, photograph bloody foot prints, run DNA samples through a computer, so on and so forth. If it is the little old lady who lives next door to Sherlock, she could challenge his logic and confuse him in order to mislead or be the one who solves the crime. Exciting stuff.

Like so many plots, the riddle comes in three phases:
1. There's a murder.
2. There's an investigation with lots of clues and scary adventure.
3. The killer is identified and may or may not be caught, killed, imprisoned…fill in the blank. It's your book not mine.

In the end, your story must satisfy the reader. They must feel challenged and then rewarded by your conclusion. There's nothing worse than having an ending that is obvious in a mystery. Are you up to the challenge?

Next week our master plot is: Rivalry                                                                    

For more plots and a much deeper overview of each plot you can purchase; 20 Master Plots and how to build them, by Ronald B. Tobias. It is worth your money. Amazon link.

Nancy

Plot Revenge:

Today we are talking about the Master Plot: Revenge.

But before I get into the plot I have a small announcement. I will be doing the A  - Z Challenge all April. There aren’t enough plots to land on a Monday and start with the appropriate letter of the alphabet, so the plot post will stop until the first Monday of May. 

Now to Revenge:

Your character has been wronged and now they want revenge. The how and the why is the story. For this plot you either want a high stakes game where the character tries to grasp the situation and suffers; think Hamlet, or you want a character that easily falls into the plot and carries out the revenge because circumstances present themselves to help. Think vigilante, justified to the end.

The first type, similar to a Greek tragedy, uses the mind to battle against the character’s desire for revenge, effectively employing both to achieve the end result. The character suffers in an agony of what should I do? Or the easy modern, eye for an eye, and the character makes the bad guys pay. One is mental, the other action packed. Not that the first doesn’t have action, it does, but it also has a war within the character. Each type of revenge has its place.

Revenge is a three act story.
1.    Crime: Not all revenge stories have an actual crime, some have a perceived crime. It’s all in the characters head. When you do have a crime it needs to match the characters ultimate method of revenge. For example, if your characters family is murdered, then the protagonist may plot and carry out the murders of the villain(s). If your character is robbed, then they may hunt down the villain and steal from them. Often, the crime is observed by your hero and affects their friends and family. You must show the crime or your reader will not be invested in the story, cheering the protagonist on. That doesn’t mean the reader will always like the protagonist, this will depend on how far you push it. If your protagonist is Hamlet, the reader will have empathy for the character. If your character murders their own children to get back at a wrong done them, well, the reader will hate the character. So, push the envelope, you’re a writer, but understand the significance of what you write.
2.    Plan: The second stage involves the protagonist plot to get even, the plan. The plan may be detailed or it may be ‘grab a gun and hunt the villains down.’ It may involve a chase or it may be a trap. Many revenge plots have a third character who works to try to stop the protagonist. But, not all of the revenge plots do.
3.    Confrontation: The protagonist and antagonist meet. The hero exacts his revenge on the villain. The hero either wins the day or is caught in the villains trap. It usually spells death for the one you decide will lose. Most of the time, there is violence in this plot, but not always.

Revenge is not always about murder, rape or some other serious crime. Sometimes it’s about con men, think The Sting, starring Paul Newman and Robert Redford. This was a great movie and we delighted in the intricate plan concocted by the heroes who were con men themselves.

This plot casts you, the writer, in a moral position of determining right from wrong and justifying the actions of the hero. Be aware of the consequences. There are many more points made in the book, 20 Master Plots and how to build them, by Ronald B. Tobias. I hope you will invest a few coins in the book.

Some of you have commented that many of these plots appear in stories that are clearly other types of plots. This is true. It is called a ‘sub-plot.’ In my book, The Treasures of Carmelidrium, the over all plot is that of a quest. But woven into the pages you can find other plots, among them are, adventure, pursuit and rescue to name three. A good story, one that grips the reader through out will be built on the masterful use of multiple plots and strong character development.

To view previous plot post go here:

For our next plot we will look at: The Riddle. Come back on Monday, May 2, 2011.

Of course, I hope to see you all during the A – Z Challenge in April.

Thanks, Nancy

Escape Plot:

Now we will look at the Master Plot: Escape

Last week we looked at Rescue. Escape is opposite rescue. The protagonist is in trouble. This is not an escape from any internal problems or drug or family relationships, this is a physical plot. Our hero is captured and must escape. She isn’t going to sit around and wait for Mr. Perfect to come to her aid. Oh no, she is full of ideas on how to achieve her freedom.

To set this up you need three acts in which the hero is captured and imprisoned. Next her plans and how she fails, once, twice, whatever your story calls for. Last, her escape.

The reader knows this plot. Your challenge is to make it interesting. My guess is that real life has taken some nasty turns that we can use in this plot. I’m thinking about bullies. There is nothing new about the bully as a character. But in today’s world, there is plenty new about the level to which they have fallen. Just remember, that like the Rescue Plot, the Escape Plot is physical. There must be an actual hostage scenario that our hero has fallen into. She or he must attempt freedom and lastly must achieve it. If you want to turn the tables and have the hero capture and imprison the antagonist, you can do so.

In the Escape Plot, we do not need complicated characters. It is straightforward. But like anything we do, we need to remember to make our hero believable.

If you’ve missed any of the “Plot” post go here.

For a more in-depth look at the Rescue Plot and others I recommend that you purchase: 20 Master Plots and how to build them, by Ronald B. Tobias.

Amazon link:

Next week’s Master Plot is: Revenge

Do you plan on writing a Escape Plot?

Rescue Plot:

Today our Master Plot is: Rescue

We all know this plot and I think it is safe to say that many of us have experienced minor rescue plots in our lives. What do I mean by that?

When my children were little, my youngest took off at the mall one day. Desperate, I searched for her everywhere and finally contacted mall security. They immediately went to a major department store where her father had been shopping. There, in the middle of one of those round carousels that holds clothes, was my daughter. She grinned when we found her unaware that she had been lost.

I was the protagonist, chasing the villain, (my daughter’s imagination) to rescue my innocent child who didn’t understand what could happen to her.

The dynamics of the rescue is a three act story with three main characters. The good protagonist, who chases the evil antagonist to rescue the victim. The characters serve the plot. The antagonist is always evil. The protagonist is always good. The victim doesn’t matter except that they need to be rescued.

The reader has seen this plot a hundred times or more. They know what to expect. It is our job to add interest to the chase. No cliché’s here. If your hero pursues the villain to the top of the mountain, perhaps they should parachute off the top instead of hiking back down. Here, a good imagination will serve you well.

For every step your hero makes, the villain should be prepared to counter. Make it interesting. We don’t need to know much about either character. Backstory should be used sparingly to explain the relationship between the characters. It’s all about the plot.

A three act story: Separation, pursuit, confrontation and reunion. All woven with expert care.

If you’ve missed any of the “Plot” post go here.

For a more in-depth look at the Rescue Plot and others I recommend that you purchase: 20 Master Plots and how to build them, by Ronald B. Tobias.

Amazon link:

Next week: Master Plot Escape

Do you plan on writing a Rescue Plot?

Pursuit Plot

The Master Plot today is: Pursuit

This is number 3 in our plot series. I bet you can name half a dozen movies with this plot. My favorite is, “Catch Me If You Can.” Not only is this movie based on a true story, but it had countless twist and turns and clever, eluding the good guys and hide from them some more, scenes.

So let’s examine the Pursuit plot. What does it entail? The chase, of course. This is a physical plot so the chase is more important than the characters and there must be real danger in the pursuit. The first thing you need to do as a writer is to set up the guidelines for the chase. You must tell the reader who is the villain and who is the hero, and why one is chasing the other. You must also establish the motivating incident. In the movie, the character of Leonardo De Caprio’s parents got a divorced.

In “Catch Me If You Can,” the hero is chasing the villain. There must be a reasonable chance that the character will get caught. It isn’t always the villain being chased, sometimes it’s the hero. Robin Hood comes to my mind. Prince John and the Sheriff of Nottingham are always trying to get Robin who is assisted by a gang of clever and unique bandits. We don’t want Robin to get caught.

The second aspect of the Pursuit plot is the chase itself. Open that bag of tricks. Make the chase as interesting as you can. Avoid clichés at all cost. I think that’s why I enjoyed, “Catch Me If You Can.” Who can forget Leonardo walking the halls of the airport with all those silly college girls and avoiding the FBI? Make a list of many different things that your character can do to avoid being caught and another list of ways the pursuer can think of to catch them.

The last act involves the resolution of the chase. The hero or the villain must be caught permanently. In the movie, “Catch Me If You Can,” this had an added twist of Leonardo’s character coming to work for the FBI.

This plot only needs two characters. But in my opinion, a cast of characters is more interesting. While this plot is not driven by your characters, you still need interesting characters. So build them with care and make your book stand apart from other Pursuit plots.

For more ideas and a better more in-depth description of this plot and others I recommend 20 Master Plots and how to build them, by Ronald B. Tobias.

Amazon link.

Next week: Master Plot Rescue

Are you working on a Pursuit plot right now? Do you have a favorite Pursuit book or movie?

Adventure Plot

Today the Master Plot is: Adventure, but before we get into the plot a big surprise. Denise at Reading at Dawn is doing a book review of my baby, The Treasures of Carmelidrium. Please stop by and follow them after you read it. I'm so thrilled.

What is Adventure?

Last week we covered the Quest plot. If you missed it, go here.

In the beginning…no not in Genesis, but with the Greeks, there were two plots. One was a plot of the mind, the other was a plot of the body. The Quest plot involves the mind. Oh yes, we writers add plenty of action, but the characters undergo significant change which classifies the Quest plot as one of the mind. The Adventure plot is all about the journey and the characters are there for the ride. Making the Adventure plot a plot of the body.

Adventure is doing something we would probably never do in real life. Your character hits the road to explore new places and find their fortune. It’s exotic, it’s true love, and it’s jumping off a cliff without a parachute. Maybe it’s all three. The Adventure plot begins with the first line or a breathless movie shot. We are hooked and saddle up to seize the moment. Crazy as that seems, most of us would rather watch or read about that sort of life style than live it.

Most fairy tales are Adventure plots. The hero sets off on a mission, sometimes the hero is forced. A chain of events that causes the next act, and the next, through to the end. The same event is usually the motivating factor that caused your hero to act in the first place. While the hero doesn’t change much, you still need a strong character that your readers can cheer on. Never neglect to develop your characters even in the most simplistic way.

Many romances are Adventure plots. The hero sets off to find true love. He meets woman A, then B, and finally C and lives happily ever after. Perhaps A is his best friend’s sister, she teaches him to appreciate honestly. B is the hot babe in the Laundromat who teaches him to beware of flirtatious women. C is the lady who brings great cookies to the campus bakeoff. Okay, it’s been awhile since I was in college, but you get the idea. He doesn’t learn any life altering things. He just meets the woman he can love.

The Adventure plot also involves exotic or unusual places. Now you have to rewrite every scene I just used as examples in the last paragraph. Our hero grew up in boring…insert anyplace you find dull. Now he attends college in…insert your dream local. This means research. As writers we must go to this place and experience it first hand, taking careful notes. Or we must do lots of research. Consider the library your second home. Thank God for the internet. Of course if you write fantasy, the way I do, the Adventure plot may be in another realm. But you still must have the sensation of realism for your readers. While I stated earlier that my fantasy wasn’t an Adventure plot, but a Quest plot, I still had to do research. I’ve never personally experienced war and certainly not medieval battles. Thankfully, the History Channel had many educational programs on what was used and how it felt to wield it. Making my war scenes feel more real to the reader.

Next week, the Master Plot is: Pursuit.

To read more about this and other plots I recommend that you purchase:
20 Master Plots and how to build them, by Ronald B. Tobias

Amazon link.

Are you working of an Adventure Plot? Do you have a favorite adventure book or movie?