Blueprint of a Novel: The Beginning

Dec 16 Posted by Squishy This is the first installment in a series of three. Check back Tuesday for the second! Larry Brooks over at Story Fix has a fantastic 10-part Story Structure Series. The series goes over all four acts, all three major disasters, as well as other milestones in between. As Larry points out several times, structure is everything. You cant build a house without a blueprint, nor can you write a novel without one. A blueprint for a novel is not an outline. An outline is the detailed scene list you would create with Randy Ingermansons Snowflake Method. A blueprint is a general guide of major milestones in a story, filling in about 2/3 of your novel, leaving 1/3 of it for you, the writer, to fill in as you go. Neither method is better than the other. Whichever you use is up to preference, and you cannot be faulted for using one instead of the other. I spent a considerable amount of time yesterday going through each of the ten parts of the Story Structure Series, noting the important milestones, and applying them to the working plot I have in mind. Lucky for you, this means I have a generic blueprint ready to be filled in. Larry, however, uses different terms than I usually do. While the discrepancies are easy to figure out, Ill be nice and use both terms: the ones I tend to use here, and the ones Larry uses on Story Fix.

Act One (Part One): Setup First failure; establish identity; establish flaw
Hero: In Act One, you need to show your hero as a human. What is your heros life like before he becomes a hero? The readers need to empathize with your hero, even if they dont necessarily like him yet. What are your heros inner demons? In other words, what quality, state, prejudice, etc, about your hero must change for him to win in the end?

N.B. The Three Dimensions of Character Development

Larry Brooks has written 440 posts on Storyfix.com. You can follow Larry on Twitter, or Google+. Email the author by Larry Brooks on January 27, 2010 Somewhere along the writing road youve surely read and if you havent you will a critic describe a protagonist in a story as one dimensional. Or worse, an agent to whom youve submitted your work. The implication here is that there are other dimensions to explore as we develop our characters. But what are they? Why dont we ever hear characters described as two-dimensional? Whats that extra dimension about, anyhow? What does it even mean? And why are the only obvious three dimensional characters out there lately in a James Cameron blockbuster, or marching in a Disneyland parade? At least we know what that means. The Deeper Dimensions of Character Given the implication that we should strive to write multi-dimensional characters, especially heroes and villains, it behooves us to understand what those other dimensions are all about. As with story structure, you could indeed just set out to intuitively slap together a little character depth in effect, the pantsing approach to character development. Maybe you get it right, maybe you dont. Maybe thats a coincidence, or maybe your intuition is keenly developed. Such is the risk of pantsing in any area of story development. If you dont know what youre shooting for, just making stuff up as you go, it probably wont work. At least until you write another draft. Or you could, by design, imbue your characters with three very separate and compelling layers dimensions, in this context that are carefully crafted to bring your story alive with resonant depth. Real life unfolds in 3-D. So should our characters. These three realms stand alone as unique, yet they always overlap.

Human beings are the sum of all three dimensions. What the world sees, even if its all a smoke screen for dark and deeply hidden secrets, is an amalgamation of their best and worst essences. Sometimes its those dark and deeply hidden secrets that make your characters especially compelling. And the reasons for the need to hide them become part of the puzzle your story must unravel. The first dimension of character surface traits, quirks and habits. Think of this as the exterior landscape of your character. Their personality. What the world sees and assigns meaning to. Or not. It may be the real, it may be a mask, but without another dimension to go along with all those quirks the reader will never know. Peripheral characters in our stories are usually one-dimensional, as they should be. In fact, its a mistake to delve too deeply into peripheral characters merely for the sake of adding depth. Not good. Focus on developing your hero and villain and any major players. We really dont need to know what it was about the pizza delivery guys childhood that made him take up food service as a career. That said, even your peripheral characters, if given stereotypical quirks and tics, come off as clich. Quirkiness for the sake of quirkiness is a fools game in the storytelling trade. The grouchy lieutenant in the local police precinct who never smiles and is always spilling coffee on his cheap shirt? Thats a one-dimensional character. The slimy politician preaching values on the evening news before stopping by a brothel on his way home? Thats a one dimensional character. Why? Because we dont know what, if anything, is behind those behaviors, or those quirks. If the character is a hero or a villain, we need to know. This is often a great trap of newer writers, who infuse their characters with all manner of quirks and kinks and little tics designed to make them either cool, weird or supposedly best intentions compelling. But if those quirks and kinks are all you offer the reader, in the hope that the reader will fill in all the blanks, then youve created a one-dimensional character. If the quirks are just too quirky, its actually worse than clich. Because when quirks are obvious attempts to imbue the character with greater depth, but that depth is otherwise lacking this is the quintessential one- dimensional character that agent will use as rationale for rejecting your story.

The second dimension of character backstory and inner demons. In this realm we see the inner landscape of the character. Regardless of how youve dressed them up with personality on the exterior. Where they came from, the scars and memories and dashed dreams that have left them with resentments, their fears, habits, weaknesses and inclinations that connect to why they are as they appear to be. Even when the quirks are a smokescreen. Glimpsing an inner landscape allows the reader to understand, which is the key to eliciting empathy. Empathy is the great empowerer of stories the more of it the reader feels, the more theyll invest themselves in the reading experience. Flaws: trigger for flaws. Human failing. Moral superiority. Backstory; fathers answer to search for purpose

Translation: a publishable story. Maybe even a bestseller. Think about the books you love and the characters that star in them. The reason you love that story has as much or more to do with the character than the plot, and the reason thats true is because you feel for the character, you get her or him, you empathize, you invest yourself emotionally in the reading experience. You rooted. You cried. You chewed your nails. You loved. You felt loss and you shared joy. You cared. Because you related to, and empathized with, the character. The most fertile ground for the cultivation of this reader response is the inner landscape of your primary characters. Quirks or no quirks, this is the real stuff of storytelling. But youre not done yet. Theres a third dimension you must add to bring it home. Because even the best and most understood of intentions do not a hero or a villian make. The third dimension of character action, behavior and world view. A hero takes a stand, takes risks, makes decisions, dives in and executes.

A villain rationalizes behavior and is insensitive to, or refuses to accept responsibility for, the associated costs and violations of accepted social standards. Character in this sense defined as moral substance, or lack thereof is defined not by backstory or inner demons, but by decisions and behaviors. You may have been angry enough to kill someone, or at least punch someones lights out, at some point in your life. But you didnt. Why? Because of your character. That decision defines you. Now imagine that you had yielded to that impulse. Same backstory, same inner turmoil and agenda, same inciting series of events, same emotions different decision. And because of that decision you cold-cocked the bastard a completely different dimension of character manifests. The Art of Integrating the Three Dimensions of Character Using this example, it is clear that the first two dimensions may or may not dictate the third. These are your tools as an author, layer by layer, to create the most compelling, complex, frightening, endearing and empathetic character that you can. Too many writers settle for the first dimension only. Even more writers focus on the second dimension to the exclusion of the third. Even more fail to integrate these realms convincingly and compellingly. Thats the art of storytelling. And theres no manual for it beyond a grasp of these fundamental principles. But be clear: your work as a storyteller is not done until your hero and your villain are fully fleshed out in all three realms. Do that, and do it well which means, the relationship between the three dimensions make perfect and compelling sense and youll never hear that one-dimensional or shallow criticism leveled at your characters again

Hook: Within the first three or four scenes, you need a hook to grab your reader. The hook doesnt necessarily change anything, but it must be emotionally provoking, seducing the reader to keep reading. It must come early, and it must be good. Stakes: Stakes here are at the lowest point in your novel, but they still must be there. The reader must have a sense of what the hero has to lose. Whether its their job, a friend, a lover, or a

scholarship, the stakes must be there. Stakes raise tension and make the story powerful emotionally. Foreshadowing: The reader needs to sense the upcoming change, both in the upcoming disaster (plot point) and in the rest of the novel. Often, the foreshadowing elements are only visible in retrospect. While foreshadowing may be weak in a first draft, before youve written the end, your subsequent drafts should strengthen it. First Plot Point: This is the First Disaster or Inciting Incident. Your conflict is front and center. Your heros goals and motivations change to what they will be throughout the rest of the novel. The FPP arrives about a quarter of the way into your novel, and its where the real story begins. This FPP is huge, so I highly suggest you read Larrys posts on it, as he has several.

5) Shutter Island Evaluating the Part 1 Scenes

Larry Brooks has written 441 posts on Storyfix.com. You can follow Larry on Twitter, or Google+.

Email the author by Larry Brooks on April 28, 2010 If youve just arrived, youve landed in the middle of a multi-part series that deconstructs some call it eviscerates Dennis Lehanes Shutter Island, and the movie based on it. In yesterdays post we identified and positioned each of the 15 scenes that comprise the storys opening act (also known as Part 1 for novelists, or Act I for screenwriters). Theyre very much the same thing at this point. We left you hanging right before the arrival of the First Plot Point (Scene 16), which well focus on in tomorrows post (#6 in this series). For now, though, were not done dissecting Part 1 today were going to hold it up against the criteria for an effective opening act, which was defined in post #3 of this series.

The nature and components of an effective opening act is often the place unpublished authors trip themselves up. They try to do too much too soon, and dont understand the relationship and mission of the component structural parts. Part 1 has three things to accomplish: to set a hook early to deliver on an 8-point list of context-setting criteria (see post #3 in this series) and to set-up the approaching Plot Point One. Think of your story as a child you are raising. You dont ask your teenage to do heart surgery or run for office. The opening act of your story is your childs early and teen years, right up until the moment you kick them out of the house. And thats when everything changes. For your kid, and for your story. If youve done your job in those set-up years, chances are the kid will be fine. The Shutter Island Set-Up is Now Complete In the last post we reviewed the 15 scenes that comprise the opening act the set-up for this story. Now its time to crank up the tension and the stakes by throwing a curveball into the mix. With the set-up complete, this is precisely the moment in a story when the First Plot Point needs to be revealed. The First Plot Point is arguably the most important moment of all in your story. By now, after 15 set-up scenes, weve been completely seduced. Or in this case, conned. Were comfortable in Teddys world which turns out to a completely false contrivance. We have an abundance of facts and knowledge about what we think this story is about and where its going. Our emotions are right there with Teddys hes not getting cooperation, it seems certain that Rachaels disappearance is more than meets the eye, certainly more than theyre telling him, and it screams of an inside job, or a least a cover-up. We are invested in Teddys need at this point. We are in the journey with him. We arent sure if we quite like him, even though we are curious about him. But chances are we empathize with him, especially in light of his dark and tragic backstory, which includes a dead wife and a traumatizing, horrific war experience. Remember those eight criteria-based objectives for Part 1 of a story?

Lets see how Lehane and Scorsese did. I think its fair to say that Teddy has been fully introduced, but only from the perspective of his fantasy identity. We get plenty of foreshadowing that there is something else going on here, especially within the flashbacks these two things cover two of the eight criteria for the Part 1 mission. Teddys inner landscape is on full display. Hes impatient, suffering, intolerant and suspicious. Is there a dramatic hook early? I believe so. Its at the gate and the walk into the building, where the woman gives him that weird shhhh! and we hear that Ward C is not to be entered. It is at that moment when we are literally told there are certain secrets in play. And nothing says hook quite like a juicy secret. Is the premise clearly set forth? Very clearly, but again, only from the point of view of the fantasy scenario at hand, not in reality. And yet, through foreshadowing, the premise does embrace the certainty that Teddy is not well, and that more is going on here than meets the eye. What we have here is a premise within a premise. Not exactly entry-level novel writing, but certainly something we can marvel at and learn from. Do we understand Teddys position, his world view, his current pre-plot point need and journey? Thats part of the mission with Part 1 narrative the goal is to present a protagonist with a life, something going on, something at stake. Compelling stakes are often the overlooked variable in unpublished stories. Our job is to get the reader invested in the hero and their pre-plot point life and then change it up, throw it a curveball, pile on the drama and tension, change the stakes, send the story in a new direction the intended direction of the story from the beginning, according to the writers story plan that has the reader hooked. Its Plot Point One that does all this shifting. In this case we do indeed understand the pre-plot point Teddy, at least as far as weve been led to believe. Hes on assignment, hes impatient with coddled killers, hes looking for the missing patient, hes already suspicious of his hosts, and hes not feeling terribly well the entire time.

His character has not only been competently introduced, hes been fleshed out to an extent that we care about what happens next. Thats your Part 1 job as the author. Not to give away the whole nine yards of the plot yet. Rather, to hook the reader on both an emotional and intellectual level. And then slap them upside the head with a huge twist at the plot point. We empathize with Teddy, but perhaps more than anything, we fear for him, because its a pretty sure bet that hes being deceived. Hes the good guy here, and he appears to be in over his head. Most importantly, does this opening act everything prior to Plot Point One set up the critical transition that is Plot Point One? This moment defines the art of the storytelling. Because while much has been foreshadowed relative to the everything-is-not-what-it-seems context of these scenes, what is about to happen in Scene 16 the First Plot Point seemingly comes out of left field. Not completely out of left field, but its enough of a curve ball (two baseball metaphors in one sentence forgive me) to make you drop your popcorn. Or, for the near term, to be completely befuddled and lost. Or, from another perspective, to not even realize that it changes everything. The important lesson here is to notice how all of the Part 1 scenes give us new expository information that is not only required either to inform us or to mislead us, both of which happen here but to set-up whats about to change or be added to the pile (in terms of meaning and purpose and stakes) at the plot point. Notice that Teddys true mission to find and kill Andrew Laeddis has not yet been exposed to him or to us in Part 1. We first learn of it in Scene 16, and even then, its cryptic at best. That Scene 16 shift in Teddys purpose, his need, his story-centric mission, is what makes this the First Plot Point. Because not only do we discover what Teddy is really here to accomplish remember, this exists in his fantasy delusion, and from his perspective but it has meaning and rationale to it. And, it is in context to a visible and omnipresent antagonistic force. Those are the three criteria of a functional and effective first plot point: It defines, focuses, shifts or completely changes the heros quest and need going forward there is now greater and clearer rationale and stakes attached to this new journey and we are more

fully aware of the nature and purpose of an antagonistic force a bad guy that will challenge and attempt to block his path toward achieving this goal. In this case, it appears to be Dr. Cawley. But appearances arent always what they seem. Read that again. Thats the mission and function of the First Plot Point in a nutshell. And it needs to happen between the 20th and 25th percentile mark in the story. Mess with that timeline at your own peril, because this is what the publishing community expects of you. Because, from a dramatic standpoint, this is how a story works best Everything changes at the first plot point. Sometimes subtlely, sometimes like a hammer to the head. The genius of Shutter Island is that the First Plot Point does both. Blueprint of a Novel: The End

Blueprint of a Novel: The Middle

Dec 21 Posted by Squishy This is the second installment of three. Check back Thursday for the third and final piece! Last week, I outlined the basic blueprint for Act One of your novel. Today I will go over the blueprint for the middle of your novel, or Acts (Parts) Two and Three. To clarify acronym usage: FPP is First Plot Point and SPP, second. I do not abbreviate Pinch Points. Have no clue what Im talking about? Keep reading.

Act Two (Part Two): Response The heros moves in an effective Part 2 should serve to deepen
and complicate the problem.

, what is he risking, what threatens him, and how does he RESPOND to THAT. Human Reaction: Your hero isnt a hero yet. Thus, your hero has a very human reaction to the FPP. He hides, seeks shelter and safety from the harsh, cruel world that changed on him. He responds to the FPP by retreating to assess the situation from safety. He gets information on Agbani. Her personal life First failure; establish identity.

Regroup: Part of your heros response it to regroup. Once he has retreated, he comes to terms with the big change the FPP presented. He gathers himself and prepares to be a hero, but he doesnt realize he cant. He still has those inner demons to conquer.

Pinch Point: This is the middle of Act (Part) Two. The pinch shows the antagonistic force in its full glory without filtering it through the hero first. It can be a scene from the antagonists PoV, a statement from another character, or anything else that bypasses your heros filter. Its often brief, simple, and always reminds the reader what the antag is capable of doing and what is at stake. Action: Your hero has gathered information on the antagonistic force and is ready to take it down. Of course, its too early for this plan to work. We know it will fail. Your hero doesnt, and will charge full-steam ahead with a mind full of success. Doom: The hero fails. The antagonist shows up more powerful than ever and squishes your hero. Its important to know that your hero falls short because of his inner demons. Whatever shortcomings he had at the beginning are still shortcomings, and he will not win until he overcomes those. Second failure, a hint of essence if revealed. Mid-Point: This is the Second Disaster, or Mini-Climax. All of Act (Part) Two builds to this milestone. This is in the middle of the novel and presents new information that raises stakes and increases tension. This is the parting of the curtain, and though you can hide this information from the hero, it must kick the story into high gear. Sources and further reading:

Part 2 of Your Story The Response Wrapping Your Head Around the Mid-Point Milestone Pinch Points

Act Three (Part Three): Attack

Inner Demons: Part three is where your hero realizes what holds him back and begins to change it. He sees his flaws, understands that they are preventing him from being the hero, and works to overcome them. Attack: The hero is on the move now. He is sick of being a sitting duck and has decided to end things once and for all. Maybe. This attack will also end in failure, more than likely, but it demonstrates your hero becoming a proactive warrior instead of the introspective thinker from Act Two.

Second Pinch Point: Same as the first one, but in the middle of Act (Part) Three instead. The Second Pinch Point should show how the villain has improved his game, just as the hero has his. This is probably why the heros attack fails. First attempt to live in essence doesnt go so wll, but the essence is seen and realized. Pre-Second Plot Point Lull: Before the Second Plot Point, there is a bit of a lull where all seems lost. The hero failed, again, even after coming to terms with his inner demons. The antagonistic force is larger than ever, and the hero cant seem to do anything right. Woe is the world. Second Plot Point: Also known as the Climax and the Third Disaster, the Second Plot Point is the last place you can introduce new information. You know the final attack is on, and your hero is more determined than ever to win. This is at the 75% mark and fully equips your hero to kick ass. This is the third and final installment of my series on blueprinting. Last week I talked about how to blueprint the beginning of your novel. Earlier this week, I went over the middle. Now weve reached the end. The end needs to carry the weight of the story and deliver it a rightful end. As I encountered in this years NaNoWriMo, if your story doesnt develop powerful emotion within the first three acts, your ending will fall flat. If you find yourself in that situation, its best to take a bit of a break from your MS. Then go back and start revising your first three acts. Your ending wont come together until the rest of your story has the emotion to back it up. If its hard for you to revise a yet unfinished MS, think of it this way: If you work on your ending now, you will struggle, the story will frustrate you, and you will not write anything of significance. Without a solid foundation, you cannot build the roof. Once you have that solid foundation, you can work on your ending.

Act Four (Part Four): Conclusion Digs deep down, embraces essence and wins.
The Conclusion is very open, so all I have to offer you are a few guidelines from Larrys post:

The hero must be the one to save the day. The hero must have conquered his inner demons in order to do so. The hero must exhibit traits worthy of a hero.

Sources and further reading:

Part 1 scenes are all about SET-UP introducing the main players, foreshadowing, showing preFirst Plot Point lives and worldviews, while mechanically setting up the dominoes that the FPP will soon topple. - Part 2 scenes, which follow the First Plot Point (which changes the whole story by LAUNCHING the core story experience for the hero), turning the hero into a RESPONDER (to the FPP), and a bit of a wanderer, maybe even a victim (for the time being), someone who needs to drop back, assess, find new information, take stock of what this really means and whats at stake. Here in Part 2 your hero shouldnt be too eager to attempt much in the way of heroics, and if they do, chances are they wont work very well. - Part 3 scenes, which kick in after the context-shifting Mid-Point, evolve the hero into WARRIOR mode, a pro-active attacker. Here we see the early emergence of their inner hero, battling a foe who is, like them, also upping their game. - Part 4 delivers scenes in which the hero brings a steep and strategized learning curve to the problem, with a view toward taking risks and then taking charge, leading to a collision of desires and an explosion of consequences, some by design, others considered collateral damage. This is where the hero is instrumental the main catalyst in the RESOLUTION of the story. No more victim, no more wandering and wondering action is required.

Monday, March 22, 2010

29 Plotting Made Easy - The Complications Worksheet

Want to create a plot you'll itch to write? A protagonist you'll love? An antagonist that will give you shivers? And (simultaneously) the first draft of a synopsis ready to be pared down to two pages and polished up? Like many writers, I've spun my mental wheels researching and experimenting with different methods of plotting: outlining versus free writing versus turning points versus notecards versus snowflake method etc. Since I've finally found something that works for me, I thought I'd share my Complications Worksheet here to help you simultaneously develop action, motivation and character depth by piling trouble on your poor protagonist. It works equally well in developing a first draft and in checking that the draft you've written has enough story behind it to hold together. While I'm using it to plot my new novel, The Dream Weaver, Marissa and I just did a cross-check on The Wind Walker to make sure I hadn't missed anything in the last few drafts. Checking Marissa's answers to the questions really helped me understand what she was reading into my story, as opposed to what I believed I'd put there. (Am I lucky in my critique partner, or what?) Try the Complications Worksheet as a thinking tool. Before you start, I encourage you to cruise through the links at the end of the post so you add or subtract whatever you need. Then answer the questions in the worksheet with your story and characters in mind. ACT ONE Separation (Adult, Long YA: 30 to 35K Words/YA: 20K Words/MG: 6.5K to 13K) 1. The Jump Start

The first scene in the story where a protagonist with limited knowledge of a problem is drop-kicked into action on page one as conflict begins.

What is the opening image that will stick in the readers mind? What is the opening mood? What is the opening tone? What is the opening conflict? What is the protagonists outer desire? What is the protagonists hidden need that she will fill at the end of the book or series? How does the protagonist demonstrate that she doesnt really understand the problem? What is the central theme of the book and how does it relate to the opening scene? Who is the antagonist? How is the antag introduced or foreshadowed? If the antag is only foreshadowed, is there a main minion who appears? Is this main minion a recurring character central to the overall plot? Prior to the opening, what internal and external forces have been at work to make the protag suffer? How are these tied to the protags hidden need?

2. Introducing Trouble The Call to Action Rightly or wrongly, the protagonist makes an action-based plan and takes the first steps to cope with the trouble.

How is the protagonist called or propelled into action and moved out of her usual world? Why is the situation urgent? What are the overall consequences if she refuses to act? What is the potential overall payoff if she accepts the call to action? How does the call to action conflict with what she wants? Why does she believe she is unwilling to change the status quo? How does this conflict what she needs? What does she personally stand to lose? What could she gain and how does this relate to her hidden need? How does she demonstrate a slight, new awareness of her needs? Have both of the following important characters been introduced: Love Interest/Main Mentor? Antagonists Main Minion? Foil? How does the protagonist actively demonstrate her reluctance to change the status quo? What action does the protag take in an attempt to evade or compromise?

3. First Threshold - Trouble Gets Worse Something happens to thwart the protagonists plan, the stakes get higher, and the protagonist does something she wouldnt have done or been able to do at the beginning.

How do the protags attempts to refuse change make the immediate trouble worse? What happens to overcome her reluctance to accept the call to action and commit to change? How does she get over the first threshold and demonstrate she is already changing? Is there a threshold guardian? Who is it and how does it bar her way? How does crossing the first threshold thwart the protagonists immediate wants? How does that push her toward what she really needs? How does it increase the overall stakes? What is the overall story problem as it has now been introduced? What is the theme of the story? What should the reader hope for the protagonist? What should the reader fear on her behalf?

ACT TWO - Descent (Adult, Long YA: 25 to 30K Words/YA: Words 16K Words/MG: 5.5K to 11K) 1. New Reality, Self-sacrifice and Still More Roadblocks The protagonist accepts (or is forced to accept) the new status quo and amasses the helpers and resources to help her fight in the escalating conflict and experiment with the first change. She learns that she must sacrifice or delay getting what she wants.

Who are the following characters: Additional Allies? Additional Mentors? Threshold Guardians? What is the antagonists goal? What is the antags plan to achieve his/her goal? What training or knowledge does the protag receive or what does she learn to help her set her plan in action? Who (or what) is the threshold guardian she must win past? What tests must she pass to demonstrate her fitness for her stated goals (her overall mission, not necessarily the plan she has just made)? What does she do to win over new allies?

2. Experimenting with First Change - Increased Determination but the Plan Goes Wrong The protagonist makes a plan to deal with the escalating conflict as she understands it, but either doesnt have sufficient understanding of the problem or isnt yet willing to make a large enough permanent change, sacrifice, or commitment. As a result, she makes things worse and narrowly escapes disaster.

What is the protagonists plan to cope with the new reality and get back to her usual world? How does she prepare to put her plan into action? How does the antags plan thwart the protags plan? What does she do in executing her plan that makes the antags job a little easier? How does the antag take advantage of the error? What does the protag do in response to the antags move? How does the protag demonstrate heroic or admirable qualities in her response? (This is especially necessary if a mentor provides assists!)

3. Burning the Bridge Tiptoeing toward Big Change As the stakes get even higher, the protagonist shows that she has changed too much to go back to the same environment/outlook/cubbyhole in which she began the story. She knuckles down and continues training, amassing knowledge and allies, and working toward the ordeal ahead.

How does the attack increase the overall stakes? How does the protag change in response to the attack and failure? What does the protag now know or understand that she didnt know or understand before? Who is the new threshold guardian and what does the protag do to get over the threshold? Once over the threshold what does the protag do to foreshadow acceptance of self-sacrifice? How has the protag changed? How has the protag demonstrated a greater awareness of her needs? How does she demonstrate that she has not completely relinquished the desires with which she began the book?

ACT THREE (Or ACT TWO, PART TWO) - Ordeal

(Adult, Long YA: 20 to 25K Words/YA: Words 14K Words/MG: 4.5K to 9K) 1. Striding off Toward Doom Testing the New Resolve Taking the first actions in a new plan that takes the full reality of the situation into account, the protagonist is now aware of the stakes and accepts the real or potential sacrifice. She is pushed to the edge of her endurance, resolve, and skills, and struggles to prepare herself for the upcoming confrontation with what she believes is everything she has. She is defeated by the antagonist or a chief minion in a prelude to the climax, but vows to continue fighting.

What does the protagonist do to prepare herself? How does she demonstrate courage and determination? Do these win her any additional allies? What does she do to demonstrate that she has accepted participation in the struggle? What tools is she given in reward to help her in her fight? How is her new resolve and knowledge tested? What propels the protagonist into the test? What hard choices does she have to make? How does she break the rules, cross moral lines, compromise her integrity, or otherwise set herself up for failure? How does the antagonist take advantage of it? What does the protagonist rely on that fails her? What does she do to temporarily drive the antagonist away? How does she demonstrate that she has changed? How does she demonstrate a greater awareness of her true needs? How do we know she hasnt completely given up her stated goals? Is there a sense of escalating action?

2. Attempting the Change The Midpoint Confrontation or Ordeal The protagonist encounters the antagonist in the big ordeal, engages, and fails spectacularly.

How does the antagonists plan manipulate the battle to throw more obstacles into the protagonists plan? What shows the protagonists rededication to the ordeal? What twist sheds light on a previously misunderstood situation? What shortens the timeline or propels her into the battle before she is truly ready? How does the antagonist take advantage of it? How does the protagonist lose allies? How is the protagonist injured? How does she display heroism and selflessness she didnt even know she had? What does the protag do to temporarily drive the antagonist away? How have the stakes increased?

3. The Dark Moment Abandon All Hope The protagonist is knocked down, wrung out, and soon to be beyond recovery. She can't imagine surving this much pain or loss.

What steps has she taken toward further understanding or achieving her true need? What new revelations start to make her believe she cant ultimately win? What new understanding helps her understand the consequences of losing? What does she realize she is losing that she cannot bear to lose? What demonstrates her renewed dedication to defeating the antagonist? Why does she do it?

ACT FOUR (Or ACT THREE) - Resolution (Adult, Long YA: 15 to 20K Words/YA: Words 10K Words/MG: 3.5K to 7K) 1. No Alternative Except Fighting On Finally understanding the full consequences of losing, the protagonist cannot live with them. She finds a new plan, a new weapon, or a twist on something she has already done that will allow her another, probably futile, crack at the conflict.

What does she do that will throw away her chance at happiness in favor of pursuing her stated desire and simultaneously fulfilling the task she has accepted? How does she demonstrate she understands the magnitude of her loss but believes she has no choice? Who else understands or pushes her into making that sacrifice? Does that individual have the protags best interests at heart? Does that individual want the same outcome the protag and her allies have been fighting toward?

2. Resurrection: The Ultimate Showdown The protagonist rejoins the struggle and attacks the antagonist head on in a gamble for all or nothing. They fight and only one of them emerges victorious. The other may, possibly, live to fight another day but the goal set forth his/her goal has been thwarted.

En route to the battle, does the protag demonstrate any character development that will improve or hinder her ability to fight the antagonist? How has she changed since the beginning of the book? How does the final battle tie back to something the she feared or hated in Act One? How do the location and the battle circle back toward the beginning conflict? How has the antag changed (if at all)? What has the protag failed to consider in her battle preparations? How does the antag capitalize on it? What surprising revelations or twists emerge during the battle?

3. The Heros Return - Loose Ends & Wrap Up The vision of the new world order, either positive or negative, that suggests how things will fare for the protag and antag after the battle.

How does the protag reunite with her allies? How do they respond? Is there more conflict to come? (A sequel?) Is there ultimately potential for a happy ending? Did the protag get what she wanted? Did she get what she needed? Is the overall goal accomplished? If not, what suggests a small hope that it can still be accomplished? What has the protagonist learned? What is the closing visual that will stick in the readers mind? Here's to creating trouble! Happy complications....
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Captain Americas 10-Step Guide to the Likable Hero

By K.M. Weiland | @KMWeiland

Make me like your character, and I will follow him to the center of the earth, I will fight with him in the trenches, I will slog through bogs, brave tsunamis, and face down volcanoes for him. If I like your character, I wont just read your book, Ill ache when its over, buy it in hard cover just so I never have to say goodbye, re-read it until its dogeared, and welcome that character to a permanent place in my heart. In short, Ill love him foreverand youll have at least one rabid fan for life. Sound good? That kind of loyalty is what every author dreams of creating when he introduces his characters on the page. But creating a likable character isnt as easy as snap-your-fingers-and-stars-and-stripes-forever. Likable characters require careful crafting if theyre to come to life

in a way that is not only believable but compelling. This summers blockbuster superhero movie Captain America: The First Avenger featured a protagonist who practically oozes likability. Lets take a look at ten traits found in almost every likable characterand how the movies scriptwriters Christopher Markus and Stephen McFeely utilized them to make Steve Rogers, aka Captain America, a likable hero:

1. Action: In his post What makes a sympathetic

hero? Jason Black explains, Heroes are characterized by action. The hero actually does things. He or she doesnt sit around watching things happen, or waiting for situations to resolve themselves. In the opening scene of Captain America, the hero first takes action by attempting to join the army. A few scenes later, he takes even more literal action by calling out a heckler at a movie theater and fighting him in an alley.

2. Morality: In his book Revision

& Self-Editing , James Scott Bell notes that [t]he mark of the hero is that she represents the values of the community. She is representing the moral vision shared by most people and is someone we root for as a result. Steve Rogers presents an idealistic all-

American out to defy evil and generally save world. Hes a golly-gee-whiz kid who sticks up for the downtrodden, refuses to shirk responsibility even when given an out, and believes in truth, honor, and justice.

3. Selflessness: The willingness (even if sometimes

reluctantly) of a protagonist to put others before himself will cement reader loyalty. We love characters who put it all the line to protect others. When Steve Rogers parachutes behind enemy lines on a suicidal mission to save his best friend and other captured soldiers, he proves his regard for others, even at the possible cost of his own life.

4. Competence: Bumbling, klutzy heroes are fun.

But, at the end of the day, we want a character who can get the job done. We like heroes who are skilled and competent (although not necessarily perfect: Captain Jack Sparrow may stagger about, but, whether by skill or by luck, he always seems to come out on top, and we wouldnt have it any other way). In the comic books on which the movie is based, Steve Rogers was an accomplished tactician and hand-to-hand combatant. His ability to triumph isnt based solely on his superpowers; hes also worked hard to master necessary skill sets.

5. Loved by Others: In her blog post Creating

Sympathetic Characters, Darcy Pattinson asks, Ever wonder why so many stories have sidekicks? If someone is loved by someone else, it establishes the character as someone worthy of love. A character who dies in the middle of nowhere, with no one to mourn his death, isnt going to pull at reader heartstrings nearly as much as if another character is heartbroken. When Captain America earns the loyalty and respect of his men, he also validates the viewers appreciation of him.

6. Bravery: Wimpy characters need not apply. Even

when frightened and nervous, characters need to be willing to move forward in the face of odds that would melt most of us into blubbering, quivering blobs of Jell-O. Steve Rogersa 90-pound asthmaticproves his bravery again and again, notably in an early scene in which he jumps onto what he believes is a live grenade, in order to save the lives of his fellow soldiers.

7. Determination: Tenacity, bullheadedness,

gritwhatever your tomato-to-mah-to, this is a must-have if your hero is going to get through 300 pages of trials and tribulations. Moments of doubt aside, your hero must have

the inner fortitude to keep getting back up no matter how many times hes knocked down. After being laid out by a bully twice his size, Steve Rogers swipes the blood from his nose and insists, I could do this all day.

8. Relatability: Heroes come from many walks of

life, but the one thing they all possess is a relatable elementa goal, dream, or desire the reader can understand. We may not be able to relate to a skinny kid transformed into a super-soldier by a special serum, but we can relate to his disdain for bullies no matter where theyre from.

9. Wit: A little humor can go a long way toward

making even disreputable characters likable. We dont love Han Solo and Jack Sparrow for their altruism; we keep watching them because theyre so stinking entertaining. Steve Rogerss witty comebacks, especially in the face of danger, make us grin. A character who makes us grin is a character well like.

10. Kindness: Even characters who are as rough as

a farmers elbow in winter need to possess an underlying kindness. Maybe they dont know how to give compliments, stop babies from crying, or make flowers bloom in their footprints, but they should have an underlying desire to uplift and help others, however clumsily. Despite ham-handed social skills, Steve Rogerss

desire to help others makes us forgive his occasional bungling remark or action. Likable characters come in all shapes and sizes. Some are blatantly endearing. Some make us like them in spite of themselves. Likable does not equal perfect. Sappy, sugary goody two-shoes are more likely to inspire a gag reflex than undying loyalty. Your character doesnt have to be nice. He can be a grumpy old man who throws cans at pigeons. In fact, a grumpy old man who possesses the above traits and still throws cans may give even the likes of Captain America a run for his stars and stripes!

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One of the biggest complaints I see in reviews of YA romance novels, or YA novels that include a strong romantic element, is that the reader didn't understand why the MC (main character) has romantic feelings for the LI (love interest). It didn't feel believable enough for the reader to buy into it. And when the reader doesn't believe in their romance, everything about the MC and LI's relationship becomes annoying. This may seem a trivial thing to quibble over, but believable romance between characters is a story element that falls under the umbrella of Things That Will Make or Break Your Story. It could mean the difference between a reader liking a book and loving it. The problem is, How do you make the reader see a character's reason for falling in love with someone? When asked for the reasons behind your feelings, the answers don't come easy. If you asked me why I love my husband of 12+ years, I'll give you a different answer every time. And I'm an adult and I know I'm love. It's even harder for teenagers to justify things they might be experiencing for the very first time. So. I think the better question is, How do you make the reader see how the LI is affecting the MC, making them feel like they're in love? Whether they are actually in a lasting relationship or not is beside the point. In that moment, in that situation, they feel like they're truly in love, and your job as a writer is to make the reader feel what the characters feel. Anything beyond that is too analytical, and over-analysis has a way of souring a story experience. When I'm reading a YA novel and the viewpoint character suddenly goes into an internal monologue that is quite obviously meant to explain to the reader why he/she feels so strongly about the LI, it always (always!) has to opposite effect on me that the author intended. They want me to know exactly why these two feel the way they do. But that isn't realistic. Love isn't something you can really explain. Love is wild unexpected blinding crazy Most of the time, you don't know why you're in love, you just know that you are. If we look at reviewer comments more closely, we find the heart of the problem. They say things like, I don't understand why the MC is so in love with the LI because... ...he's so annoying.

...he's a user. ...she's always mean to him. ...she's a flake. ...all he does is shrug. ...all she does is whine. It goes on and on. What the readers are trying to tell us, the authors, is that they don't love the characters as individuals--they don't see any reason why someone else would love them, either. They won't believe in a romantic relationship between two unlovable characters. So the key to creating a believable romance lies in first making the reader fall in love with the MC and the LI, and showing the reader why these two characters, despite their flaws, are good for each other. Once the reader has been hooked with that sense of wanting the two characters to see what the reader already sees, eagerly anticipating the moment the characters realize they're in love, the romance between them is both believable and satisfying. The key to making the reader fall in love with your characters and showing how these two characters are good for each other lies in the details of character action, interaction, dialogue, and viewpoint. To show what I mean by this, I'm going to re-quote the snippet I posted from my own WIP last Tuesday.

Today is a stay-in-bed-and-forget-the-world day. But still, I go to grief counseling. For the doughnuts mostly. I'm in no rush, though. Not in the mood to even comb my hair. So I get there a little later than usual and there's only one butterscotch-glazed, custard-filled clair left. Kat walks in just as I'm putting it on a mini paper plate and I remember she likes these, too. Before I realize what I'm doing, I've handed her my plate and she's saying thank you. She doesn't know that specific doughnut is my favorite, the only kind I'll eat. She doesn't know that my brain is on the verge of Epic Meltdown today. (edit: yet he still lets her have his doughnut! and it was the one thing that got him out of bed!) I sit next to her on the couch, slouching low. My head feels too heavy. This room feels too bright. And the smell of coffee and sugar that I usually look forward to here is making me sick. Because my stomach is too empty. It doesn't take long for Kat to notice I'm not eating. Without any inquiry she tears the clair in half and holds the plate in front of me. "Take it," she says. "You shouldn't skip breakfast."

I eat my half so fast she has to share her napkin, too. (edit: he accepts the gesture, and her generosity goes beyond a single offering) THE SEVEN DEATHS OF KAT MONROE 2012 by Lydia Sharp I could also add to my bold phrases above, her dialogue of "you shouldn't skip breakfast," because this is actually a throw-back to a previous conversation they had about her tendency to skip breakfast. Her dialogue here shows that something that transpired between them earlier has affected her. Now she's telling him not skip breakfast. But you wouldn't know that just from reading this snippet. What you do see, just in this snippet, is little details that show they are: 1. Getting to know each other. 2. Acting on that knowledge in ways they wouldn't have before they knew each other. Their relationship is growing, and squeezing them closer together. Notice that after the MC realizes he's just given away his favorite doughnut, he doesn't go into a long internal monologue trying to figure out why he did it. He just reacts. I think this is true for all ages, but especially in teenagers. They're not one to immediately dive deep into the meaning behind a simple act. In his gut reaction, we see how he feels, even if he doesn't understand it fully himself yet. He basically thinks, "I shouldn't have done that, but I'm not going to take it back now." That little detail shows a lot about his character. He's not one to retract a gift, even if he didn't really mean to give it. Even if it means his own suffering. The poor boy is falling in love and he doesn't even know it yet. But the reader knows, and this creates anticipation, which keeps them turning pages. Yes, it's just a doughnut. But this is where subtext comes into play. The reader will understand (perhaps only subconsciously) that what happened here isn't really about the doughnut. It's about the character dynamic. And really, who wouldn't love a guy who has a doughnut ready and waiting for you the minute you walk into a room? In turn, her perceptiveness and selflessness also makes her endearing. So in just a few brief paragraphs you can see, in one small way, why these characters are worth loving and how they are good for each other. This technique works for any type of romantic relationship, whether it's male/female, male/male, or female/female. And yes, you can write believable romance from the male point of view. In fact, I'd love to see more of that (which is why I'm writing it myself). Boys fall in love, too! Layering details like this throughout the novel builds the romance toward a satisfying ending, no matter what obstacles the couple face along the way. At some point

they will realize what they truly feel and how it has changed them, for the better. No overt explanation required. Just sit back and feel the love.

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Writing the Romance Novel: The Seven Story Beats

Monday, April 28, 2008 tags: Billy Mernit, Writing the Romantic Comedy

In Writing the Romantic Comedy, Billy Mernit breaks the romance storyline into seven basic pieces, or beats. Most of us have heard that we should structure novels like plays or movies: in three acts. In a romance, the three acts can be broken down by the plot points weve already looked at: the meet, the lose, and the get. But Mernit breaks it down even further into these seven elements that are important to every romance: 1. The Setup/Hook
A scene or sequence identifying the exterior and/or interior conflict (i.e., unfulfilled desire), the whats wrong with this picture implied in the protagonists (and/or antagonists) current status quo. (Mernit, 110)

2. The Meet/Inciting Incident

The inciting incident brings man and woman together and into conflict; an inventive but credible contrivance, often amusing, which in some way sets the tone for the action to come. (111)

3. The Turning Point

Traditionally occurring at the end of Act 1, a new development that raises story stakes and clearly defines the protagonists goal; most successful when it sets man and woman at crosspurposes and/or their inner emotions at odds with the goal. (112)

4. The Midpoint/Raising the Stakes

A situation that irrevocably binds the protagonist with the antagonist (often while tweaking sexual tensions) and has further implications for the outcome of the relationship. (113)

5. Swivel: Second Turning Point

Traditionally occurring at the end of Act 2, stakes reach their highest point as the romantic relationships importance jeopardizes the protagonists chance to succeed at his/her state goal or vice versaand his/her goal shifts. (115)

6. The Dark Moment/Crisis

Wherein the consequences of the swivel decision yield disaster; generally, the humiliating scene where private motivations are revealed, and either the relationship and/or the protagonists goal is seemingly lost forever. (115)

7. Joyful Defeat/Resolution
A reconciliation that reaffirms the primal importance of the relationship; usually a happy ending that implies marriage or a serious commitment, often at the cost of some personal sacrifice to the protagonist. (116)

Okay, now I know this is a short post, and that beyond giving the definitions straight from the book, I havent really explained what any of them are. But I want you to formulate questions about them for us to discuss for the rest of the week. I want to get into all of these points, but I dont want to belabor one of them if its something that everyone understands. So re-read these and post a comment with all of your questions about each point and lets start exploring the structure of the romance!

HOW TO INTRODUCE FEAR AND FLAW IN EVERY CHAP.

Goal: save the world Motivation: fear of failure as savior of the world, fear of another metropolis. Build up the stakes. Set up the importance of not having another midtown metropolis. Of being a savior Trigger for the fear: midtown destruction, failure to save or inability to save.

Flaws: moral superiority

Why the flaw? Back-story empathy: Fathers continued rhetoric. He is the ideal they will strive towards. Finally finding his reason for existence. Trigger for the flaw: Human failing, being challenged

Goal: find out who sent Camy Blasnk to kill her house. Motivation: fear of losing her career, fear of not finding out who killed her partner, fear of living with the guilt for so long, fear of being vulnerable. Build up stakes as to what is being threatened. Her career. Her need to be invulnerable. Trigger for fear: losing her career, guilt, being vulnerable Triggers for fear reinforce the goal. In every chapter. This shows WHY your MC is doing what her is doing. Show the above and why in every chapter. In every scene.

Where they came from, the scars and memories and dashed dreams that have left them with resentments, their fears, habits, weaknesses and inclinations that connect to why they are as they appear to be.

Flaws: refusal to ask for help, stubbornness, pushing others away Why the flaw: back-story: history of being betrayed. Trigger for the flaw: signs of being betrayed. Jimmy. Camy. Clark? Threats on her invulnerability Triggers for flaw reinforce the flaw. In every chapter, show the flaw, and the pattern of triggers that cause it This leads to empathy.

Where they came from, the scars and memories and dashed dreams that have left them with resentments, their fears, habits, weaknesses and inclinations that connect to why they are as they appear to be.

What are they (the point of view character) trying to do? What goes wrong? What do they do about it? Why does this matter?

Trigger for flaw Trigger for fear

The Emotional Stages Of Change (Also known as the editorial process)

These are the stages your character will go through as they walk the path of change: Denial: There is no problem and no need to change. Things are fine the way they are. Anger: How dare someone say I need to change? Maybe you need to change. Bargaining: Okay, maybe I need to change some, but not as much as you seem to think I do. Depression: Crap. Yes, I really need to change. Acceptance: Ive changed. Acceptance is not easythe characters reality has changed.