Is There a Knot in Your Plot?

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Have you been there?

Everything is going along fine and BANG - you've entered the land of a 'tangled mess', walking through a perpetual fog of obscurity and your entire story grinds to a slow and somewhat agonizing stop?

I've been there. More times than I care to count and in an attempt to help other weary travelers along the tangled path I have five things for us to consider if we've come upon a few Knots in our Plots.

Of course the perfect plots hold fabulous elements of twists and turns, taking us in directions as readers, we didn't expect to go - but a knot? A tangled web of indecision or confusion? NOT what we're looking for as writers OR readers.

So what can we do to un-braid the painful bunch?

1. Know Thy Characters - Lots of times our story crashes to a stop when we haven't really gotten to know our characters. It's difficult to dig deep in a novel if we've not taken the time to 'get in the heads' of our main characters. What do they want? What drives them? What would hurt them most? What do they need the most? My Book Therapy is great at digging deeper in character development to sort out the Lie your character believes, the Wound they've had in their past, and the desperate Truth he/she must discover by story's end.

I always start with a clear idea of my main characters internal conflict and motivation, as well as their external conflict and motivation, then I start digging deeper (asking the 'why' question)

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When we know our characters, their stories begin to untangle our knotted plots with their own unique story-lines and personal desires to propel us forward.

2. Don't forget the Dynamic Duo - Holy Plot Lines, Batman! It takes TWO??? Yep, whether you're a character-driven novel writer or a plot-driven novel writer, it's difficult to write a good novel without both! It's fine to have a stronger element, either character or plot, but if you've not given enough attention to one or the other, your story may come to a strange, obscure place - like two pieces not fitting in a puzzle. Maybe do some super-sleuthing and figure out if you need to beef up a weak hero or strengthen up a few plot points to turn dastardly into dynamic :-)

3. Take a Mountain view instead of a Tree Climb - Sometimes we just need to step back and get a big-picture view of our story to figure out why we're stuck. It's easy to get lost in the trees, sorting through a wild conglomeration of story-stew. Perhaps you just need a mountain-top experience to bring your full story back into view. What's the purpose of your story? What does your heroine want? Why does she need it so badly? Stepping back can give us the view of our dark and murky forest and help us see the detour around the knotted path.

4. U-turn OFF of Easy Street - Yeah, who doesn't want to join with Annie's crazy villain and dance on 'easy street'? However, easy street does NOT a story make. Easy plotline = bored reader. If you've come to a frustrating stop in your novel maybe you should do a quick complexity check for 3 important aspects to steer you into inspiration alley.
a. How complex are your main characters?
b. Do you have some interesting and supportive secondary characters?
c. How are you story-enhancing subplots driving your novel?

5. Hurt somebody - The secret weapon of fiction writing is CONFLICT! Oh yes! Mary Connealy once said that if you get stuck in a story, shoot somebody. Okay, so not everyone writes 'those' sorts of stories, but figuratively it works too. If you've reached a point of inertia, MOVE something! Add conflict. Throw in a twist. See what happens. Why did the story of a poor girl-turning-to-a-princess work for Cinderella? Evil stepmother - conflict. And just when you think everything is going to work out swimmingly, throw in a nasty cat named Lucifer (aptly named, btw) and you have MORE conflict.

There are lots of other ways to get out of sticky situation, so let's hear from you. Are you stuck? Have you been stuck? Did you figure a way out of the knot? Share your strategy with us!

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 Pepper Basham writes Blue Ridge romance peppered with grace and humor. She's a mom of five, speech-language pathologist, and lover of chocolate. When she's not aggravating the wonderful AlleyCats, you can visit her at her personal blog, Words Seasoned With Salt. She's represented by Nicole Resciniti of The Seymour Agency.

Plot Points from a Pantster

Hi everyone!
Pepper here and I discovered about four months ago that I've been wrong about my...er...pantsterhood. I'm not a pure pantster. Now, there's a lot I still leave up to the 'ride' in writing, but I do have an outline - one I discovered about a year ago and have been using it ever since.

I've blogged about Michael Hauge's The Hero's Journey before, but I wanted to kind of share how that information plays out in my writing life.

Just yesterday a story idea winkled its way into my thoughts. That's how they start. An idea. Yesterday, while I was working on my historical WWI romance, I ran across some cool information. There were three German prisoners on board the ill-fated Lusitania when it left New York Harbor. Now, most people assume they went down with the ship when it sank in less than 20 minutes...but...

what if.....

And, what if a sister of one of the prisoner's was forced to go undercover to try to save her brother...

what if....

I think whether we're pantsters, plotters, or planners - the genesis of a story begins with the 'what if'.

But what happens next?

I usually get a pretty solid beginning and ending in my head, but I don't start writing until I get to know my characters a little. I play scenes in my head, 'chat' with them, add more 'what ifs', long before I start chapter one. I guess I just daydream about them for a little while.

Then.... I take The Hero's Journey.
I try to plot my story out along those lines. Recently I've started typing out internal and external motivation too - so I'll keep it fresh in mind.

So - what does the Hero's Journey look like?
It's a loose outline, which suits my pantster tendencies well, but it gives my ADD brain some nice focus too.

Well, I WAS going to plot out my WIP using the Hero's Journey - but that probably wouldn't be very interesting for you guys - and it would be SUPER long.
So I've just put the outline.
What you do is fill in the outline for your novel and it gives you a basic direction of your plot structure:

Internal Motivation
External Motivation
Moral Premise (if you have one)

Set Up Plot - the regular life of the hero/heroine

Make the Hero's Motivation Clear - what does the hero want? How do you set up from those first few pages to make us 'care' about the hero?

Begin the Hero's Quest - short transition here. Recognition of a change
Change the Hero's Direction (door #1) - The actual change - a decision. Frodo decides to take the ring. Peter, Susan, and Lucy decide to rescue Edmund from the White Witch, Annie Reed decides to research the lonely widower known as Sleepless in Seattle/

Challenge the Hero with Problems - first batch of trouble, gradually becoming more and more difficult to challenge the hero's new choice/direction

Change the Hero's Status (midpoint) - big decision time. Once he/she makes this decision they can never go back to life the way it used to be.

Give the Hero Tougher Problems - more trouble. Bigger troubles.

Let the Hero Suffer Maximum Angst - the BIGGEST trouble. no hope. all is lost. Superman beaten up and weakened by the kryptonite while Lois Lane is dying in an earthquake.

Off the Hero a Transition -  choices become available

Change the Hero's Direction (door #2) Hero makes his/her choice. In the Titanic, Rose must choose whether to live or die with Jack.

Give the Hero New Hope (these next two usually happen pretty close together if not at the same time)
Achieve a Win/Lose Conclusion The choice ends a happy or sad ending. The hero either obtains what htey wanted or don't. In the Titanic, Rose loses Jack but gains her freedom.

Tie Up the Loose Ends - What does the hero's life look like now? How has he/she changed for (we hope) the better?

If you're like me, then I hope this glimpse of the Hero's Journey will give you another guideline to use in your writing plan.
I take this general outline and build from there - usually I let the story take me.

Are you a pantster, plotter, or planner?
Do you have a system/process you use to brainstorm your plot?

Gaining a Reader's Trust

I aspire to write an exciting book that will touch the lives of readers. A noble cause, wouldn't you agree?

To touch a reader's life, I ought to gain their trust starting on the first page and maintaining to the last. 


Clearly my friend Casey, pictured to the left, has found a fantastic book. She appears engaged, unwilling to set the book down--even for the camera, and committed to not losing her place. Once her paparazzi puts away his/her camera, Casey most likely dove back into the story.


Why? What captured her attention. Among thousands of plausible answers, I think she believed in the storyline.


Is my book believable?

We create exciting stories.  But--

if the reader detects impossibilities unsupported by characters, setting, and plot, 

we lose their trust.

Take me to Mars, but not on a skateboard. 
      Cast off the cruise ship, but not from Paraguay. 
           Fight the Civil War, but not with an atom bomb. 
              Send the fastest message to Laura Ingalls Wilder but not with email. 
                 Monsters need to be scary (except in Monsters, Inc.), 
                      mysteries should be perplexing, 
                           dark alleys frightening, 
                               a kiss dreamy,
                                  let the underdog win, 
                                      defeat the foe before the last page, 
                                          and, 
                                                well, 
                                                     you have the idea.  

But...

    What if--


    -- a story had an affluent, proper English young lady sailing a solo maiden voyage across the sea to join her family in America, who chooses to transform into a calloused, mutinous sailor? 

Hmmmmm...not likely? Definitely a dust collector? Unworthy of publication?


Well...


    What if --

   --the story had been crafted by a writing artist who painted an intriguing plot, 3D characters, and a vivid setting, might the idea work? 

Perhaps.

In the skilled hands of author Avi, sweet Charlotte traded her

prim and proper, white gloved, hooped skirt, 
speak only at certain times manners

for 

swabbin' starboard decks in pants, anchorin' the gasket, 
and scaling rigging in the middle of thunderstorms alongside mutineers

in the True Confessions of Charlotte Doyle. 

Avi crafted his novel to compel readers to wish for, yea, hope for the perfect ending. As pages turn, readers know what the ending should be but doubt any author would have the guts to write the perfect-unbelievable dream ending. After all, who'd, in their right mind would transform an upper class young lady into a scruffy, sunburned sailor with thick callouses embedded into her once satin soft skin? 

Avi not only enticed readers to believe and desire the unbelievable; he won the Newberry nomination for his work.  Perhaps the unbelievable can be believed--when crafted in a believable way.


Do you have examples of unusually believable stories? What gripped your attention and caused you to stay with the story to the end?


What if your story stood in a courtroom.  The prosecutor accuses, "This work is not believable!" Would the evidence presented by your characters, setting, and plot acquit your book?