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Jay Greenstein

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The Grumpy Writing Coach #6 - Superheroes and plotting
by Jay Greenstein   
Rated "G" by the Author.
Last edited: Wednesday, March 02, 2011
Posted: Thursday, February 24, 2011

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The New Writer
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If you want to learn plotting, read a comic book.

     People sometimes ask me what books they might read to learn the craft of fiction writing, and I usually suggest, Dwight Swain’s Techniques of the Selling Writer, or perhaps Debra Dixon’s GMC: Goal Motivation and Conflict. But lately, I’ve been telling them to read a comic book, because everything that matters can be found there. Batman can teach you how to write.
      People often look down on comic books and those who write them as somehow unworthy, but many of them are master writers, who know their craft, and know what really matters, so far as getting a story told.
     So let’s look at a typical comic book and see what makes it tick.
     When we enter the story things are going well. Our hero, Atomic Wedgie-Man, has a nice supply of criminals to thwart, who never seem to wise up to the fact that they can’t win, so, life is good. This is pretty much what you can expect at the beginning of any novel. We meet and get to know the characters. They have dreams and plans, but we know that things will go to hell pretty rapidly, because it’s the nature of stories to have that happen.
     And sure enough, on a routine patrol Wedgie-Man encounters a problem, the foe who refuses to be classified. Our hero tries the usual things, but they prove ineffective. It’s not a serious problem, but because of some unexpected ability, or device, the criminal escapes. It’s not yet a serious problem, but it is troubling, and our protagonist seems to have lost the skirmish. He needs to treat his wounds, salve his damaged pride, and think of what to do next.
     In a novel, we often call that the inciting incident. Your protagonist’s comfortable and stable world has been knocked over. Perhaps he’s just met the woman who makes him say “wow!” and she seems uninterested. Perhaps the pilot of an airliner has just learned that one of his passengers is a madman. Whatever it is, uncertainty has just entered the story, and a new long-term goal has been defined. It might be revenge, survival, or a date for the prom, but it’s something the protagonist both wants and needs. And, it’s something with just a bit of urgency to it, which brings with it what the reader feeds on: tension.
     So, with a new plan, and renewed dedication, Wedgie-Man reenters the fray. But, victory is not his, and his nemesis not only wins again, our hero must retire from the field or lose everything. Things have just gotten a whole lot more serious. Our protagonist may be wounded, he may escape thru some “just in case,” contingency he carried into battle, but make no mistake, he has lost the battle, and knows it.
     An in our novel, despite everything our hero has done, the girl he favors still thinks him a fool. Worse, she’s showing interest in the man who wants her only to thwart our hero.
     And that sequence continues—regroup and rethink, try the new plan, and fail again—in scene after scene, as the stakes are raised and the focus inexorably narrows. One by one the options fall away. In fact, things become so serious, and so personal, that Wedgie-man questions his own dedication, and the need to continue—as do we. As readers, we may even suggest he say to hell with it. Yet, what choice does he have? One by one, as we watch, his options disappear, till all that’s left is to run or risk all in a hopeless final confrontation. But flight, while it may be attractive, isn’t one of his options. Perhaps the city is held hostage, endangering many lives. Perhaps a woman who Wedgie-man loves or respects will be harmed if he fails to act. Whatever the reason, he has no choice but to continue, though the situation appears hopeless.
     And so we have the black moment, when the climactic battle has been joined, and our hero is on the threshold of defeat. In that moment, in desperation, our hero looks around seeking something, anything, that might be used to turn the tables. And there it is, the lucky break that poetic justice says must be there. It may be a piece of discarded chain lying within reach. It might be a handful of dust snatched from the floor. It could be the admission or compromise the protagonist swore never to make, thus changing his definition of what he will and will not permit himself to do. For Wedgie-man, it might be a chance glimpse of the antagonist’s waistband protruding at the back of his pants as he bends over to administer the death-blow. But whatever it is, we take advantage of the hero’s one true and reliable weapon, dumb luck, in order to snatch victory away from the antagonist. A reach, a grab, a quick pull and Atomic Wedgie-Man is once again victorious.
     And that climactic moment, as always, brings us to our feet, cheering. Our hero has prevailed, and all that remains is the denouement, where the hero learns what the prize is, for having been steadfast and heroic.
     Okay, laugh if you will, but that sequence encapsulates humanity’s hopes and dreams, and has been bringing cheers from listeners, viewers, and readers for thousands of years. It’s what made the movie Rocky so memorable, and it fueled the latest Batman movie. It played out in The Devil Wears Prada, and in every Nora Roberts novel.
     But is it simply a formula? Is it, “Do this,” followed by “Next, do that,” with no talent or creativity involved” Does it reduce our writing to a sheeplike, “me too,” status? Of course not. Godzilla and Changeling both follow that same path. Does that mean there’s no creativity that went in their creation? Are they simply different tellings of the same story?
     Yes, they are, in the respect that the constantly rising tension, alternating with places where a reader can “catch their breath,” followed by the climax and the denouement, play out as they always have. But are they lifeless retellings because of that? Of course not. They’re a recognition of human nature, and desires. They’re what has often been called the hero’s journey.
     Can we vary from the formula? Sure, if you do it knowingly. But would you want to read a story, and invest hours in following a protagonist who, in the end, turns out to be unworthy of the time you’ve spent with him/her? Do you want the story to end, after the hero has been steadfast and resourceful, in defeat with no hope of redemption, and the hero unchanged from when we met him/her—or dead? Maybe, as a change of pace, and if the author can deliver an exciting and satisfying reading experience. But, read that as a steady diet? Absolutely not.
     So what should you be looking at to learn how to write? I’ll still go with the two I usually recommend, first, but for a good overview of how and why it works, read a comic book.




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