An overview of techniques for plotting a novel.

Fiction Craft: Plot

By

Robert Ferrier
(rferrier2.cox.net)


BEGINNING THE STORY

Stories begin with change. The protagonist faces an immediate threat, which leads to the story question: Will she defeat the threat? Set high stakes--such as survival, victory, happiness, revenge--or risk losing readers. Every scene and sequel must relate to the story question. If two characters discuss the clock tower at a town square, readers expect the tower to play a role later.

The Starting Line-Up

Five elements define the beginning:

1. Situation
2. Character
3. Objective
4. Opponent
5. Disaster

Author Dwight Swain arranged these into a "Starting Line-Up," testing story premise in two sentences. For example, here's the lineup for my novel, The Witchery Way:

Situation: When unknown forces sabotage his father's railroad,

Character: Josh Wade

Objective: tries to find out why.

But can he defeat,
Opponent: a drug-dealing Cherokee
witch

Disaster: who abducts Josh's girlfriend, setting a trap in snake-infested woods?

If any story element tests weak, rework your line-up. Imagine you have two sentences to
pitch your idea to an editor.

With this approach, you know the beginning, the character's goal, the opposition and the
climax. You're ready to start Chapter 1.

MIDDLE OF THE STORY

Decision moves the story from "beginning" to "middle." Between Chapters 1 and 3,
commit your protagonist to battle the threat.

Curiosity hooks readers at the beginning, suspense holds them to the end. Will the protagonist show courage and skill to resolve the story question? Link scene and sequel, raising the stakes, as the adversary gains advantage. Tempt the protagonist to quit. Yet, against all odds, he (or she) presses on. Decrease options and increase risks, until she faces a sacrificial decision point.

Middle Story Scene Elements

Use the following elements to create suspense:

1. Change

Each scene-ending disaster complicates the protagonist's path. Thus, he uses courage and wits to adjust.

2. Movement

The protagonist presses forward, absorbing hits and inflicting damage. Build a multidimensional villain, making him real.

3. Unity

Use only material that helps or hinders the protagonist's quest.

4. Diversity

Vary scene locales, conflicts and goals, even as you increase the stakes. By placing yourself in the villain's skin off-stage, new scene ideas result. Impose time deadlines on the protagonist.

Foreshadow the story's climax. As you reduce the protagonist's options, readers sense the impending confrontation.

CLIMAX OF THE STORY

A hero sacrifices self in favor of principle.

Revisit each character's story equation. Examples: Duty vs. Love. Love vs. Pride. Loyalty vs. Greed. Honor Vs Jealousy. Now, stripped of masks, characters must choose--by action.

Sacrificial Decision Point

The protagonist faces a sacrificial decision point. Check out the movie High Noon. When Sheriff Gary Cooper (Duty vs. Love) faces a gang of cutthroats, he does so against the pleading of his Quaker wife, Grace Kelly. Abdicating duty for love will save his life, but at the cost of his self-respect.

Cooper makes his decision in action--not thought, hope or wishes. He enters the street alone.

Reversal

What happens next touches the core of drama. The hero achieves his story goal (defending the town) against all odds and walks away with his bride--on his terms.

How?

By reversal. Remember Grace Kelly's story equation: Love vs. Religious Pride. She abhors violence. Yet in the end her "good" trait, Love, overcomes her pride. She displays this decision by action. Just as the villain aims at Cooper's back, Kelly kills the villain, reversing the viewer's expectation. Cooper and his bride walk away, story goal achieved, principles intact. Don't dismiss this plot as trite and out-of-date. Today we expect this dynamic in novels, plays and motion pictures.

Choosing principle over self-interest separates man from animals and reaffirms not only a tenet of civilized society, but also of commercial fiction.

Next month: dialogue.

Copyright 2001
Robert Ferrier

(Robert's articles are archived at http://www.authorsden.com/robertlferrier.)