>>> Item number 11883 from WRITERS LOG9304D --- (207 records) ---- <<< Date: Tue, 27 Apr 1993 18:32:02 JST Reply-To: WRITERS Sender: WRITERS From: Mike Barker Subject: TECH: Macro-Level Plotting (say, if any of you other well-known authors - especially the soon-to-be published rascals whom I must congratulate - would care to make some suggestions, it would be appreciated.) Recently I mistakenly admitted that while I thought Scene & Structure was good at micro-level plotting, it didn't measure up on the macro-level. The question was immediately raised at to what I would recommend for macro-level. Good question. Wish I had a good answer. Basically, though, I think both novels and short stories need some organization above the scene-sequel sequence. The problem comes in trying to work out that higher-level organization. Lots of hints around, including those in Scene & Structure, but... Suppose (for the moment) that we start (as suggested by jc, once upon a time) with the end of the story - or as Scene & Structure suggests, with the question and answer (beginning and end) that we as writer want to pose and suggest to the reader. The first step is defining and refining those two points as clearly as possible in our own minds, at least partly by laying out the scenes that present them to the reader. Now, (again thanks to jc) that final scene has requirements. I.e., for the characters to act the way we want them to, various previous events must have occurred (they need certain motivation, goals, information, etc.). As a trivial example, if it is important that the hero have a broken leg in the final scene, we may have to have someone break it in an earlier scene. Or as a famous quote has it, if someone gets shot in the last scene, we had better load the gun before that (I know that's not exactly what he said - it's a paraphrase that suits my purpose, ok?) So lay out the scenes leading up to that final scene. This is where the "stepping stone" approach recently described in WD seems useful to me. That author suggested using a single sheet of paper and tossing the intermediate scenes in the space between the opening and closing, then linking them. This allows and encourages flexibility in ordering the scenes, and I think it's a good idea. Scene & Structure has seven "heuristics" (rules of thumb) for ordering the scenes: 1. scenes move main character further and further from quick achievement of goal 2. scenes develop series of new and unexpected troubles, although not obviously related 3. scenes require character to handle unrelated problem before returning to original action line 4. interleaved subplots 5. plot assumption puts deadline (ticking clock) into action 6. plot arranged so that options dwindle 7. plot arranged so that complications and developments previously hidden are revealed These help, but... I still feel as if I'm punching in the dark. Even with jc's notion of tracing backwards from the "climax" to the initial scene, I'm not sure I know how to pick the scenes that really belong and how to reject the silly scenes that may spring to mind which do not belong. Guess I need to practice, practice, practice - and hope I get inspired. Of course, maybe I'm just being silly. If I have a reasonable set of scenes that moves smoothly and well from point A to point B for me, there's no real reason to worry if someone else uses a different set of scenes, takes the bus, or otherwise goes by a different route. Even if I take a different route tomorrow, the important thing is that I got from there to here, not which of the several ways to do it I used (as long as they are "acceptable"). The "best" route, the most "artistic", and other figments are worth considering briefly, but not worth getting hung up trying to select. The main notions that seem to be current are (a) "borrow" a plot from some other source or sources (b) make sure to use heavy dashes of "motivators" and "hooks" to make the plot as exciting as possible. John Gardner suggests that there are three main ways to plot: 1. borrow some traditional story or action drawn from life 2. Work backward from climax 3. Work forward from initial situation He stresses that the event (or plot) needs to be startling, curious, interesting to you. I.e., you need to feel something, be stirred by the event. Then you need to think about what the characters involved are like, thinking/feeling what kind of person does this and why, eventually deepening into theme. Along the way, you'll have to work out scenes to show dramatically each of the main points - who these people are and why they do what they do, so that the climax is inevitable yet surprising. Again, heuristics, but interesting ones. A list of "motivators" from "Steal This Plot" by June and William Noble: (the "book" consists of fragments illustrating these from the classics - ok, but I sure wish they had more explanation of what to do with these wonderful classic plots.) Vengeance Catastrophe Love/Hate Chase Grief/Loss Rebellion Betrayal Persecution Self-Sacrifice Survival (deliverance) Rivalry Discovery (Quest) Ambition They suggest that these (among others) are the kinds of motivations that drive the conflict in a plot - i.e., put these in a situation with characters and plot will be revealed. They suggest that these be used to put "spin" on the motivators, but that they are not.. not powerful enough (?) to make a plot by themselves: Deception Material Wellbeing (change up or down) Authority Making Amends Conspiracy Rescue Mistaken Identity Unnatural Affection (my gloss: forbidden love!) Criminal Action (including murder) Suspicion Suicide Searching Honor/Dishonor Other books (especially Roth's _The Fiction Writer's Silent Partner_) have similar lists, including more or fewer categories with additional details and explanations of the necessary characters or action in some cases (e.g. Revenge requires at least two characters and has the initial harm, the decision to revenge, setting up the revenge, and "slamming the trap" as necessary parts). Perhaps the real clue lies in copying the "old masters" - just outright steal those plots and keep working with them until one day you've absorbed plotting at such a subliminal level that it happens automatically. Something like the great cook - use the recipes until you start reacting below the level of consciousness - then let your intuition handle mixing the spices and deciding if the dough has the right consistency? I do think that part of the trick is working with stories that excite you, that catch your emotions and interest, and telling them (at least mentally) to a friend that you're trying to keep interested. That (mental) companion will help make sure you concentrate on the "right stuff." So, back to the question, what's a good book on macro-level plotting? Good question. Right now, I'm not all that impressed with anything I've read, which includes: How to Write a Damn Good Novel - Frey How to Write Plots that Sell - Rockwell good ideas about some of the many places to find plot ideas Plot - Dibell Scene & Structure - Jack M. Bickham excellent micro-level approach Steal This Plot - June and William Noble bits and pieces from a variety of "literary" sources Structuring Your Novel - Meredith and Fitzgerald a "literary" approach to novel writing The Art of Fiction: Notes on Craft for Young Writers - John Gardner The Fiction Writer's Silent Partner - Martin Roth lists and more lists - excellent creativity aid Theme & Strategy - Tobias I thought this was fairly good. Writing the Novel - Lawrence Block Block is always good. Incidentally, my "writing bookshelf" (more of a stack, really) also includes: Characters & Viewpoint - Card How to Write SF & Fantasy - Card Revision - Reed How to Write Science Fiction - Matthew J. Costello this is NG - very little help. plus a stack that I haven't read yet. (I'm working on John Gardner's "The Art of Fiction" right now - even though it seems to make light of the idea of useful techniques to do writing, it also may very easily be the best description of the process of empathetic reasoning that underlies writing that I've seen. Let you know.) Incidentally, I've seen a number of pieces suggest that you start with the characters, that the plot will automatically come clear as you consider them. Every time I try that, the plot comes blear. Anyone know what I'm doing wrong? (ok, I know I'm just a manic barboy who gets called eccentric on the good days, but I really do wish I understood plotting better. anyone want to lend a helping hand? even a paw? heck, I'll even look at a tentacle...) mike