tag:blogger.com,1999:blog-43118744711317282272024-03-17T08:00:12.471-06:00September C. Fawkes - Editor & WriterWRITE BETTER WITH AN EDITORSeptember C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.comBlogger519125tag:blogger.com,1999:blog-4311874471131728227.post-25513331880915178352024-03-10T18:39:00.000-06:002024-03-10T18:39:14.864-06:00How to Fix Talking Heads in Your Story<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg92oTOioTJ9kyO4sYVyPukJ-oqFW8yrRg_tsauztNW6JBucf1wc9Ecm696_J4rzIcUR8NC9xJV1J1YN_eD8V1FcOMaSGZB0na69A_IbDgnxf-OkC-nXaRUl-8FxojXsIelouOceYGwpkr2Td6R-bmzcJqLHxTkuEWAiD8cMtDBy3UpiIFYCAnb6yM143o/s1280/woman%20talk.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="845" data-original-width="1280" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg92oTOioTJ9kyO4sYVyPukJ-oqFW8yrRg_tsauztNW6JBucf1wc9Ecm696_J4rzIcUR8NC9xJV1J1YN_eD8V1FcOMaSGZB0na69A_IbDgnxf-OkC-nXaRUl-8FxojXsIelouOceYGwpkr2Td6R-bmzcJqLHxTkuEWAiD8cMtDBy3UpiIFYCAnb6yM143o/w400-h264/woman%20talk.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">What is "Talking Heads"? </h3><p>"Talking heads" or "talking heads syndrome" is a term used in the creative writing community for a passage of dialogue where all that exists <i>is</i> the dialogue. To the reader, it feels as if heads are floating in space, talking. We don't get any description. We don't get any <a href="https://www.septembercfawkes.com/2018/01/how-to-handle-blocking.html">blocking</a>. We don't get any introspection. Just talking. As an example, it shows up like this.</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>“Happy Birthday, Cherie!”</p><p>“Oh thanks.”</p><p>“So, you have any big plans?”</p><p>“Nothing much. Just a family thing.”</p><p>“Cool, I was thinking we could go to that escape room? It’s tiki themed.”</p><p>“My favorite.”</p><p>“It’ll be awesome.”</p><p>“Is it even solvable with two people?”</p><p>“We’ll tell them it’s your birthday.”</p></blockquote><p><br /></p><p>While the dialogue itself could maybe use some work, this passage is a problem because the reader doesn't know where the characters are, what they look like, or what they are doing. </p><p>And even if the scene did convey those things in the opening, straight dialogue like this that goes on and on, often has a weird effect on the reader, similar to that of having a blindfold on. (And simply adding <a href="https://www.septembercfawkes.com/2017/02/breaking-writing-rules-right-only-use.html">dialogue tags</a> isn't enough to fix the problem.)</p><p>Instead, it's more effective to flesh out the scene, so the audience feels as if they are there, experiencing the story for themselves.<span></span></p><a name='more'></a><p></p><p><br /></p><h3 style="text-align: left;">Fixing Talking Heads</h3><p>When telling a story, we use <a href="https://www.septembercfawkes.com/2021/10/the-5-types-of-lines-we-use-to-craft.html">five types of lines</a>: dialogue, description, blocking, introspection, and summary.</p><p>So the fix seems easy right?</p><p>Just add some other lines.</p><p>I mean, obviously we aren't going to fix the passage by adding more dialogue, nor does using summary make much sense. So that leaves us with description, blocking, and introspection. </p><p>Fair enough . . . but . . . if you add the <i>wrong</i> lines, it can create new problems.</p><p>Consider the passage with these lines added:</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>“Happy Birthday, Cherie!”</p><p>“Oh thanks,” I said, while a jogger ran down the street.</p><p>“So, you have any big plans?”</p><p>“Nothing much. Just a family thing.”</p><p>“Cool, I was thinking we could go to that escape room? It’s tiki themed.” Tiffany had thick, curling hair and eyes the color of pond water. A scar shaped like a bullet hole marred the bottom of her chin.</p><p>“My favorite.” I put a hand on my hip.</p><p>“It’ll be awesome.”</p><p>I wished I hadn't eaten a donut for breakfast. “Is it even solvable with two people?”</p><p>“We’ll tell them it’s your birthday.” </p><p>Tiffany sneezed. On my neighbor's doorstep sat a package.</p></blockquote><p><br /></p><p>Does this read . . . odd to you?</p><p>It should.</p><p>The jogger seems a bit random, and we get a description of Tiffany too late. And why do we need to know Cherie wished she hadn't eaten a donut, in the middle of a conversation? Why should we care about a package? Other lines, like the hand on the hip, feel like a lost opportunity to put in something more meaningful.</p><p>If the dialogue is what is driving a scene forward, then you don't want to pick lines that detract from it. You want to pick lines that support or enhance the scene--that provide context or create subtext, or that at least feel natural to your viewpoint character. Would Cherie notice a package on her neighbor's doorstep right now? Unless we've established a motive behind that prior, probably not.</p><p>When fixing talking heads, it's not enough to just insert whatever comes to mind. You need to choose lines that do the following:</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>- Add <a href="https://www.septembercfawkes.com/2020/01/context-text-subtext-understand-how.html">context</a></p><p>- Reveal character</p><p>- Reveal the characters' current emotions</p><p>- Create subtext</p><p>- Add emphasis</p><p>- Naturally enhance the setting (without being distracting)</p></blockquote><p><br /></p><p>And one of the best pieces of advice is to give your character something meaningful to do. Even if it's not strictly meaningful to the main plot (but bonus points if it is), it could be an activity that is meaningful to the character (which also reveals character), like tying fishing flies or training a border collie or finishing a cosplay. Try not to have too many conversations take place over meals, unless food is an important element of your particular story. Too many beginning writers grab meals for the backdrop of conversations far too often, so it can feel cliche.</p><p>Here is a better way to fix our talking heads example:</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>I zipped outside and beelined for my car, but Tiffany's high-pitched voice hit me before I spotted her curled mane of hair.</p><p>"Happy Birthday, Cherie!" She waved and shut her apartment door.</p><p>"Oh thanks." I flashed what I hoped was a grateful smile, then quickly dug in my purse for my keys. Why hadn't I gotten them out beforehand?</p><p>"So, you have any big plans?" Her high heels clinked closer.</p><p>I didn't make eye contact. "Nothing much. Just a family thing." I lingered on the word "family."</p><p>"Cool." Tiffany picked a hangnail. "I was thinking we could go to that escape room? It’s tiki themed."</p><p>My voice went flat. "My favorite."</p><p>"Come on, it’ll be awesome." She shook my arm at the precise moment I'd found my keys. They dropped to the cement.</p><p>"Is it even solvable with two people?"</p><p>I knew for certain, it wasn't solvable with one. This wasn't a gift. Tiffany was friendless.</p><p>"We’ll tell them it’s your birthday."</p><p>I opened my car door.</p></blockquote><p>In this example, the description, blocking, and introspection add to the conversation in ways that feel natural. They provide context, reveal character (including the narrator's emotional state), and create subtext (Cherie actually doesn't want to go to the escape room with Tiffany).</p><p>So not only are they fixing the talking heads problem, but they are fixing them in ways that are meaningful to the story.</p><p>With all this said though, any writing rule can be broken. So I want to close by acknowledging that talking heads can work, if talking heads <i>is</i> the effect you want to create. In <i>Ender's Game</i>, Orson Scott Card intentionally uses talking heads at the start of many of his chapters, as Graff and Anderson discuss Ender's current situation. The instances are short and, to some degree, work as teasers, and where Graff and Anderson are exactly and what they are doing, aren't particularly important, so Card gets away with it.</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com2tag:blogger.com,1999:blog-4311874471131728227.post-33955538284352433342024-02-26T04:00:00.003-07:002024-02-26T04:00:00.153-07:00How to Write Stakes that Aren't Life vs. Death<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZnSGcb_SD4zLsOZkYdzEz4o5ePKt2Vln5PtLKvbf8qbB6IwqXuw8cIvqAziyRnc36j5oF2HLtpNw_hDsIlQ9ar_ZeP03IuaMOXrKUadZyW_N92PTJMQ1pYkS6dicMocZP3Ig9QbbgTNgh-Jv7_FOnHKvWU32ToJcv4UrvyAF_V91jSN9TPEUPL4j8ks/s2048/PNG%20image%203.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZnSGcb_SD4zLsOZkYdzEz4o5ePKt2Vln5PtLKvbf8qbB6IwqXuw8cIvqAziyRnc36j5oF2HLtpNw_hDsIlQ9ar_ZeP03IuaMOXrKUadZyW_N92PTJMQ1pYkS6dicMocZP3Ig9QbbgTNgh-Jv7_FOnHKvWU32ToJcv4UrvyAF_V91jSN9TPEUPL4j8ks/w400-h266/PNG%20image%203.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p>Writing strong stakes is critical for any story. But a question that often comes up for newer writers is, "How do I create stakes other than life vs. death?" Or essentially, "How do I write stakes that <i>aren't</i> life or death, yet are still effective?"</p><p>"Stakes" refer to what your character has to lose, what is at risk in the story. And obviously, potentially losing one's life, is a pretty big risk.</p><p>To address the questions, let's first look at why life vs. death stakes <i>are</i> so effective. </p><p>I know, it sounds obvious, like common sense even, and you may be rolling your eyes. </p><p>But understanding why they almost always work, will help you see how to create other similar stakes.</p><p>The thing about death is, it has a finality to it that almost nothing else has. </p><p>No one can come back from the dead.</p><p>That's it.</p><p>Death is the end of the road.</p><p>Done.</p><p>Gone.</p><p>Game over.</p><p>. . . Except that unlike "Game over," you can't restart the game.</p><p>In storytelling, <b>this is one of the main reasons many of us want to grab life vs. death stakes</b>. Everyone reading the book innately understands this. <b>Death is final</b>, you can't come back from that. It's a "point of no return." It can't be undone.</p><p><b>Great stakes will create a similar effect. </b></p><p><b>It's not literally life or death. But to some degree, there exists a figurative life-or-death situation.</b></p><p>For example, in <i>The Office</i>, after Michael accidentally hits Meredith with his car, he organizes a fun run on her behalf. Michael is driven by the desire to be liked by others. And after he hits Meredith, people don't like him. (I am simplifying the actual story just a bit.) With the fun run, he's hoping to redeem himself. He wants to be liked (or even admired) by others. To Michael, that hinges on his success with the fun run. If it's a success, people will like him again. If it's a failure, they won't (or they will dislike him even more).</p><p>There are seemingly only two outcomes: Success = liked. Failure = (forever) disliked.</p><p>From Michael's perspective, he can't have both.</p><p>Whichever path the fun run takes, <b>the other path "dies."</b> </p><p>You can't go back in time and change the outcome of the fun run. </p><p>It's final. </p><p>End of the road. </p><p>Done. </p><p>Gone.</p><p>The situation also, to some degree, feels like figurative life or death to Michael. He's driven to be liked, and that makes him feel alive. If he's disliked, it feels like "death." It mars him psychologically, and he feels like he can't come back from that. It feels like the end of the road.</p><p><i>The Office</i> is not a high-stakes story (which is one of the reasons I'm using it), but it still has effective stakes that convey why what's happening (the fun run) matters (liked vs. disliked), which is something all good stakes do.</p><p>This example also shows <b>two components related to crafting effective stakes: plot and character.</b></p><p>Let's dig a bit deeper into each.</p><span><a name='more'></a></span><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_E4U_M4ofIZ0QOfvAWy-nLqCkjr-AedXWRKsP77NmO21Y8NPVezNK_ZdkBBMuEMU4GbCE0o075sjbB84ur1HVTF9TJnhxFaO9SxQGgBNHcYcv0HrG4uRWaMO3ZOZB6q25VgLV0Tke5fX5KUOCXbbR5Y_Za5S2Ti9n5nnjztXlOmyrAyrE-KZ6g1XChB8/s1920/Michael%20Scott%20Fun%20Run.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_E4U_M4ofIZ0QOfvAWy-nLqCkjr-AedXWRKsP77NmO21Y8NPVezNK_ZdkBBMuEMU4GbCE0o075sjbB84ur1HVTF9TJnhxFaO9SxQGgBNHcYcv0HrG4uRWaMO3ZOZB6q25VgLV0Tke5fX5KUOCXbbR5Y_Za5S2Ti9n5nnjztXlOmyrAyrE-KZ6g1XChB8/w400-h225/Michael%20Scott%20Fun%20Run.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">One of Two Paths Forward</h3><p>If you've been following me for a while, you may know that <b>I like to define stakes as <i>potential consequences</i>.</b> It's what could happen, if a condition is met. As such, any stake should be able to fit into an "If . . . then . . ." sentence.</p><p>If the fun run is a success, then Michael will be liked.</p><p>If the fun run is a failure, then Michael will be disliked.</p><p>Others may argue the stake is only what is at risk in the story--and that's fair.</p><p>But notice <b>when we lay out <i>potential consequences</i>, they convey (directly or indirectly) what is at risk</b>. In the example sentences above, we see that Michael's popularity (or the lack thereof) is what is at risk.</p><p>Potential consequences convey what will happen if a specific outcome is reached. And <b>this lays out at least two possible paths forward.</b></p><p>If X happens, then Y happens.</p><p>Which also implies, if X doesn't happen, then Y doesn't happen.</p><p>Or, we may be more specific and say, if X doesn't happen, then Z happens.</p><p>In any case, by laying out the potential consequences, we lay out two paths forward.</p><p>I like to imagine it as laying down railroad tracks, which shows the paths the train could go. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJGse8FfTGOIBiXF6NLVObH5YQ1f5CzlkCeKsPPr4JmIynWbeveUbYk5G-w5774GTKgtnyokOZHKeDTsXRWfu-hL8pfWTaw2ChyphenhyphenA28CAF6733wAfEbC0qv34jTS5TbsDMC__L-XjFQ5Jfbmnf9cNjzf18ewQ9u-RhdkmzEJaoT2dV7t6SiKpDv4u4YnyM/s1920/45.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJGse8FfTGOIBiXF6NLVObH5YQ1f5CzlkCeKsPPr4JmIynWbeveUbYk5G-w5774GTKgtnyokOZHKeDTsXRWfu-hL8pfWTaw2ChyphenhyphenA28CAF6733wAfEbC0qv34jTS5TbsDMC__L-XjFQ5Jfbmnf9cNjzf18ewQ9u-RhdkmzEJaoT2dV7t6SiKpDv4u4YnyM/w400-h225/45.jpg" width="400" /></a></div><br /><p>But notice the train can't travel down two paths at the same time.</p><p>It's an either-or situation.</p><p>That's what we want to set up in our stories, when it comes to stakes.</p><p>Covering every aspect of this topic is beyond the scope of this article, but at the basic level, it works like this.</p><p>The character has a goal (of which there are <a href="https://mystorydoctor.com/the-3-types-of-plot-goals/">three types</a>). Something opposes that goal (antagonist). And this creates conflict, which escalates.</p><p>There should be consequences tied to getting or not getting the goal.</p><p>If the character gets the goal, Y happens.</p><p>For example, if Harry successfully stops Voldemort from getting the Sorcerer's Stone, the Wizarding World will be saved.</p><p>If the character doesn't get the goal, then Z happens.</p><p>For example, if Harry fails to stop Voldemort from getting the Sorcerer's Stone, then Voldemort will return to power and the Wizarding World won't be saved.</p><p>These are potential consequences that the writer should convey before, or at least near the start of, the conflict.</p><p>Notice they also convey what's at risk (the Wizarding World's safety).</p><p><b>So these are the pathways the story could go.</b></p><p><b>But we can only travel down one.</b></p><p>We can't go two directions at once.</p><p><b>This creates a sense of either-or, similar to life or death.</b> (Although admittedly, in my example, if Voldemort returns to power, there will eventually be death involved, but, generally speaking . . . )</p><p><b>This will also create a sense of finality, in the same way death does.</b></p><p>Figuratively speaking, the path we don't travel on "dies," because it is no longer an option. We can't go back and get on that train track. We've passed it. (We now have to deal with the consequences.)</p><p>When we hit an outcome--a condition--the pathway is selected.</p><p>Harry successfully stops Voldemort, so the Wizarding World is saved.</p><p>Harry successfully stopping Voldemort is also a turning point (a.k.a. a plot turn). It <i>turns</i> the direction of the story, it turns the story onto the path we laid out (since its condition was met).</p><p>With this, I like to think of the turning point as being the track that switches the direction of the train.</p><p>This switch also creates what some in the community call a "point of no return." (We can't go back and go down a different path. It's done. We are on a different trajectory now. (And yes, I am simplifying a bit.))</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJswwLsCYNID-lpH-9y7I6H77sMH-24wcWkm2wbojhNRYQP4nTCZ3wPW3KNdZ72ayz-OjU-BKVxAm912fuFserot9Ftm7iqDyYp-CxXKQyQBp0hs8u55oBrPiHDLBS0w9JN9DXzu5WPsSIOjYNpBbRliTIC8XzJ41ZhjUDrZ1wmTqeV8NNqorbMpCE5cc/s1280/train%20track%20switch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJswwLsCYNID-lpH-9y7I6H77sMH-24wcWkm2wbojhNRYQP4nTCZ3wPW3KNdZ72ayz-OjU-BKVxAm912fuFserot9Ftm7iqDyYp-CxXKQyQBp0hs8u55oBrPiHDLBS0w9JN9DXzu5WPsSIOjYNpBbRliTIC8XzJ41ZhjUDrZ1wmTqeV8NNqorbMpCE5cc/w400-h266/train%20track%20switch.jpg" width="400" /></a></div><p><br /></p><p><b>Stakes don't literally have to be life or <a href="https://www.septembercfawkes.com/2020/08/utilizing-3-types-of-death.html">death</a>. But you need to set them up so that the pathways the story could go, look like either-or pathways. You need to set them up, so that outcomes can't be easily, foreseeably undone.</b></p><p>So let's look at a less dramatic example.</p><p>Your character needs to deliver an invitation to a royal wedding (goal). This isn't a life-or-death situation. In fact, it arguably sounds a little boring.</p><p>But when we tie potential consequences to it, not only does it become more interesting, but whether or not the character successfully does this, matters, because it changes the path, the trajectory of the story.</p><p>So, maybe we say . . . </p><p>If Melinda successfully delivers the invitation, then she'll be able to go to the royal wedding as well, which is where she'll have the chance to meet her hero.</p><p>I would need to communicate more <a href="https://www.septembercfawkes.com/2020/01/context-text-subtext-understand-how.html">contextual info</a> to make this more effective. I would need to explain more about the stakes. Let's say her aunt said she'd take Melinda as her +1, if Melinda does this task for her (because the aunt really doesn't want to, because she has some high-priority things she needs to get done). Melinda's hero is from another continent, and she'll likely never have the opportunity to meet this person again. We could build it out more, so that she wants to get feedback on a project from her hero, and doing that could change Melinda's career path for the better.</p><p>We could even make her vocational situation more dire. If her current project isn't a success, then she'll be doomed to work for her father as his secretary (which she'd hate).</p><p>Now a lot hinges on successfully delivering this invitation.</p><p>If she successfully delivers the invitation, then Melinda can go to the wedding and get feedback from her hero, which will result in her not having to work for her father.</p><p>If she fails to deliver the invitation, not only will she not get to meet her hero at the wedding, but she'll have to work a job she can't stand.</p><p>Two paths forward.</p><p>She can't travel down both.</p><p>Now, we give her a lot of obstacles (antagonists) in the way of her delivering this invitation, so we have conflict (which should escalate).</p><p>Whether or not she delivers the invitation, is a turning point, because it <i>turns</i> the direction of the story, it turns her pathway. (Simplistically speaking, I could get more complex.) It's in some sense "a point of no return."</p><p>You can make almost any goal work, even a boring one, if you tie proper stakes to it.</p><p><b>The goal to survive (life vs. death stakes) is innately immediately effective, because we <i>already</i> understand it holds a "point of no return."</b> If you die, you don't come back from that. There will also eventually be a point where, if you reach your goal, you won't be at risk of dying (at least, simplistically speaking, you won't die right at that moment.) </p><p><b>For other situations, you often need to build out and explain the stakes, for them to feel meaningful. </b>You may need to provide contextual information, and you may need to walk the potential consequences out further so the audience understands everything that is at risk.</p><p>Let's talk about this from a character angle though . . . </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsIVU7fYZpNnrO1fU9hnW4V3f5qZ1YdiOo0AyWBir-byM8LrF9xO56k48gZ8ZkHbia4sexPQ56HqJCVMYUPKuI1BZ0qHfZEmNFsAmNhDoPiy36W2wB-fMuIihP2ymroy9AXRhhLvPgHDWYEEgega90SnDp8muXnjLF7Pf8_e4vzU1ccGZTIHTVSJimUOE/s3000/Barbie%20flat%20feet.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1687" data-original-width="3000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsIVU7fYZpNnrO1fU9hnW4V3f5qZ1YdiOo0AyWBir-byM8LrF9xO56k48gZ8ZkHbia4sexPQ56HqJCVMYUPKuI1BZ0qHfZEmNFsAmNhDoPiy36W2wB-fMuIihP2ymroy9AXRhhLvPgHDWYEEgega90SnDp8muXnjLF7Pf8_e4vzU1ccGZTIHTVSJimUOE/w400-h225/Barbie%20flat%20feet.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Putting the Right Thing at Risk</h3><p>One of the reasons the fun run <i>Office</i> example works, is because the writers put at risk what Michael cares about most: being liked. It's what motivates the majority of his actions on the show. It's what drives him. It's the want that he holds closest to his heart, his deepest personal desire.</p><p><b>Because it matters so much to him, the personal risk feels greater.</b></p><p>Michael feels, on some level, he will "die" psychologically, if he isn't liked or admired. (Which is also why he feels he will "die" if he is alone. (Even if he, himself, isn't fully conscious of either of these points.))</p><p><b>When the character cares about something that deeply, whether or not the character gets it, matters more.</b></p><p>Main characters should have at least one major want that drives them--something they want desperately, something they keep close to their hearts and deep in their psyches. It's often their most defining motivator. Michael wants to be liked. Harry wants to be where he belongs and is loved (the Wizarding World). Katniss wants to survive. Barbie wants to maintain a perfect life. Luke wants to become something great. Shrek wants to be alone so he can avoid judgment. </p><p>When we put any of those at risk, it raises the stakes.</p><p>. . . Because <b>the characters not getting their deepest, heartfelt desires, has big personal ramifications on their psyches.</b></p><p>If what matters most to Shrek in his world is to be alone, and other fairytale creatures are being sent to his swamp, then the potential consequences are threatening what he holds most dear to his heart. Life as <i>he</i> knows it will figuratively "die" if he doesn't put a stop to it. (Of course, in order to complete his character arc, he has to be willing to let that part of him "die" so he can become something greater, someone more "whole.") It feels figuratively like "life or death" <i>to him</i>.</p><p><b>Ironically, putting the character's deepest desire at risk, can often be more effective than life or death stakes, because if you handled this right, you made sure to give the character a want that he will do almost anything to try to fulfill--even risk death for. </b>Harry is willing to risk death to save the place where he is loved. Barbie is willing to risk death (well, at least her "life") in the real world to get her perfect life back. Luke is willing to risk death to become or be part of something great. Shrek is willing to risk death to get his swamp back (facing a dragon). <br /></p><p>Recently I saw another great example of this while rewatching <i>The Umbrella Academy</i>. Hazel and Cha Cha kidnap Klaus and torture and threaten to kill him (to try to get information from him). But the torture and threats have no effect on him. In fact, Klaus gets off on it. Hazel and Cha Cha are at a loss as to how to break him.</p><p>While this is going on, Klaus eventually comes down from a drug-induced high. His superpower is that he can see and talk to the dead, but he hates that he has this ability--in fact, he's been traumatized by it (in a literal "ghost" story). It's actually the reason he's a drug addict to begin with. When he's high, he can't see or hear ghosts. Avoiding them is his deepest desire.</p><p>Torture and death don't break Klaus. What breaks Klaus is being unable to get away from the ghosts. It's only when Hazel discovers his stash of drugs and starts destroying it, that Klaus gets desperate. Not only are the drugs expensive (and he's broke), but worse, without them, Klaus has to face his greatest fear. He has to be surrounded by the dead. This is the exact opposite of his deepest desire.</p><p>In fact, to Klaus, this is something <i>worse</i> than death.</p><p><b>Some things are worse than death. And often, those things include your character's deepest desire, the want he holds closest to his heart.</b></p><p>Now sometimes, those things may overlap (like with Katniss being driven to survive), but most of the time, they will be different things. If you think about yourself, there are probably some things you would risk death for. Your first thought is probably your loved ones, and that is another risk you could consider for your characters, but I also bet, if we took that away as an option, you could think of a few other things, like a belief or way of life. Something you would uphold or defend when it's threatened. Something that would get you to do what you wouldn't ordinarily do, if it was at risk.</p><p><b>From there we create pathways again</b>. Barbie can choose to risk the real world to get her perfect life back, or she can choose to remain in Barbieland and have her perfect life continue to deteriorate. She can't have both. Klaus can give up any information he has to try to save his remaining drugs, or he can resist and suffer a plague of ghosts. Shrek can let the fairytale creatures "kill off" his way of life, or he can go on a quest that could get rid of them.</p><p>This is still simplistically speaking, but the point is, <b>you've put what the character cares deeply about at risk, and have laid out two paths forward, and the character can only choose one.</b> She can't go in two directions at once.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBfcNEnli-ugBGDffspwqupFOb-Ua9HSGMNVN43fEJlTTTznLg4ZC_cFMTmIj-B5W7JIIYHZBCeHvW88ogLbyiHAbMNH51NqjP59qpicy2jXMOUucEx3zZ6EpS-fETL_EQr-OxlGK9gLKhQRVXAEZbpXvB2jW8y5TeV3YpwlVnl_tOocnpuAXn_Ppq7w0/s342/Klaus%20tortured.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="342" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBfcNEnli-ugBGDffspwqupFOb-Ua9HSGMNVN43fEJlTTTznLg4ZC_cFMTmIj-B5W7JIIYHZBCeHvW88ogLbyiHAbMNH51NqjP59qpicy2jXMOUucEx3zZ6EpS-fETL_EQr-OxlGK9gLKhQRVXAEZbpXvB2jW8y5TeV3YpwlVnl_tOocnpuAXn_Ppq7w0/w400-h225/Klaus%20tortured.webp" width="400" /></a></div><p><br /></p><p>Stakes don't literally need to be life vs. death to be effective, and in fact, as I've pointed out,<b> some things are worse than death. One of those things is whatever the character wants most.</b></p><p><b>The idea is to lay out potential consequences--different pathways that appear as either-or trajectories.</b> Either the story goes down path Y or it goes down path Z. The character then has to deal with the consequences of the path; she can't travel in reverse. She can try to diminish or compensate for the consequences (if they are undesirable), but she can't go back and change the track her train is on.</p><p><b>For most stakes that aren't life vs. death, you will need to convey to the audience what those potential pathways are</b>, because they won't be built in like they are for life-or-death situations. One way to do this, is to literally write "If . . . then . . . " sentences into the story ("If X happens, then Y happens"), but you can convey them indirectly as well. The point is that you <i>do</i> communicate them to the audience, because if you don't, the audience won't see or feel the stakes, and so they won't be effective. And in that case, they will never be as impactful as life vs. death stakes.</p><p>Also, if you're interested in learning more about my take on stakes, I'm teaching a class on it at the <a href="https://storymakersguild.org/">Storymakers conference</a> this May (virtual tickets are available for those who can't attend in person). I also get more into stakes (and plot) in my online writing course, <a href="https://www.septembercfawkes.com/p/the-triarchy-method-of-story_7.html">The Triarchy Method</a> (though the course is currently full, I'll offer it again in the future, so I still wanted to mention it. 😉).</p><p>Happy Writing!</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com2tag:blogger.com,1999:blog-4311874471131728227.post-57345269247885145922024-02-11T15:30:00.001-07:002024-02-11T15:30:00.129-07:00The "Bathtub Story": Why It's a Problem, How to Fix It, When to Use It<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkl6cM5o4NkytsUHrK9vpZy6C7U_fCr4jumOax1IvtiGYst5wsjZ8YOCC7VXGODWJIy3mRr4mKPDt61FTL3J2EA9a4rKClSvN2qhLtKb-YPFOhVqEh7zMRXw5tI8hY8lfFCIQV4_FhrXxJqEaFpeSgfGcVaHsGsjTYTXhGZPTarKSfboMZBXqVUCOJ_3E/s1280/bath%20tub%20reading%20a%20book%20woman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkl6cM5o4NkytsUHrK9vpZy6C7U_fCr4jumOax1IvtiGYst5wsjZ8YOCC7VXGODWJIy3mRr4mKPDt61FTL3J2EA9a4rKClSvN2qhLtKb-YPFOhVqEh7zMRXw5tI8hY8lfFCIQV4_FhrXxJqEaFpeSgfGcVaHsGsjTYTXhGZPTarKSfboMZBXqVUCOJ_3E/w400-h266/bath%20tub%20reading%20a%20book%20woman.jpg" width="400" /></a></div><p><br /></p><p>Writing a "bathtub story" is rarely a good idea. It often fits right up there with flashbacks; most of the time you shouldn't use them, but in certain circumstances, you can get away with them. Bathtub stories lack immediacy and as such, often bring the narrative to a grinding halt. </p><p>Yet they are common for new writers to write. So<b> let's go over them, why they're a problem, how to fix them, and when to use one</b> (if you dare 😉) . . . I also have a little offer for my followers at the end, so don't miss that 😊</p><p><br /></p><h2 style="text-align: left;">What is a "Bathtub Story"?</h2><p>The term "bathtub story" originates from author Jerome Stern, who talks about them in his book, <i><a href="https://amzn.to/3wksddz">Making Shapely Fiction</a></i>. He writes:</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;">In a bathtub story, a character stays in a single, relatively confined space . . . While in that space the character thinks, remembers, worries, plans, whatever. Before long, readers realize that the character is not going to do anything. . . . The character is not interacting with other people, but just thinking about past interactions. Problems will not be faced, but thought about.</p></blockquote><p><b>A bathtub story is essentially a story that takes place in introspection.</b></p><p>While most novels won't literally be an entire bathtub story, many new writers have bathtub scenes or chapters, where the character simply reflects and doesn't do anything meaningful. While Stern likens this to someone in a confined tub, I would argue these can happen even when the character is moving. The character may be taking a walk or washing the dishes, but the story elements only exist in her head.<span></span></p><a name='more'></a><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiurbK1k2Ht_LoHQWq26guZ4_ruDCV3-WusTjWf_HFhH3LJDcR8GK1ELaknOVRrUCT1Al6V8fums5nPmsyTeht0gQVz-5DeWrOjIaU4TI5T5bnsHZz_L7eUZGGACKL8WYKTFjlBiGPkfSHi0YQc-5OitGy1JRhSponSy8Qa2ZyHobaeReH9qxxjWMUaJ_E/s1280/Walking%20a%20dog.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="852" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiurbK1k2Ht_LoHQWq26guZ4_ruDCV3-WusTjWf_HFhH3LJDcR8GK1ELaknOVRrUCT1Al6V8fums5nPmsyTeht0gQVz-5DeWrOjIaU4TI5T5bnsHZz_L7eUZGGACKL8WYKTFjlBiGPkfSHi0YQc-5OitGy1JRhSponSy8Qa2ZyHobaeReH9qxxjWMUaJ_E/w400-h266/Walking%20a%20dog.jpg" width="400" /></a></div><p><br /></p><h2 style="text-align: left;">Why Bathtub Stories are Problematic</h2><p>Bathtub stories are a problem because all the interesting stuff is in the character's mind (if there <i>is</i> any interesting stuff). This brings in several issues.</p><p><br /></p><h3 style="text-align: left;">1. The Story isn't Moving Forward</h3><p>Because the bathtub story happens in a character's head, the character isn't taking action. Instead, she's likely ruminating on the past. While you can have a <i>characteristically</i> <a href="https://www.septembercfawkes.com/2021/01/getting-passive-protagonists-to-act.html">lazy protagonist</a>, when it comes to the actual plot, all protagonists <a href="https://www.septembercfawkes.com/2023/11/why-protagonist-must-be-problem-solver.html">need to be problem-solvers</a>. And not just in thought, but in deed. A true protagonist is a driver of the story. She must be actively trying to solve problems (that come from antagonistic forces and conflict). Otherwise, she is a passive victim or passive observer (in which case, she probably isn't the true protagonist, but just a viewpoint character).</p><p>If she's not problem-solving, the plot probably isn't moving forward. The protagonist should be in the concrete world, taking action or revealing important information, creating turning points. She should have a <a href="https://mystorydoctor.com/the-3-types-of-plot-goals/">goal</a>, and a plan, and should be pursuing them--even if the goal is to avoid something.</p><p><b>When she's stuck in her head, she may be <i>thinking</i> about her problems (or past experiences), but she's not influencing the trajectory of the story.</b></p><p>If she's not acting, she's also not completing a meaningful <a href="https://www.septembercfawkes.com/2022/05/the-4-basic-types-of-character-arcs.html">character arc</a>. A character arc shouldn't be superimposed on a story, it should happen <i>because</i> of the story. How the character responds to meaningful antagonistic forces (which includes how she tries to solve problems), creates the character arc. The antagonists challenge her to change, or test her resolve. That can't really happen if she's not doing anything.</p><p>At the end of the bathtub scene, ask yourself: Has the protagonist's <a href="https://www.septembercfawkes.com/2023/09/what-it-means-to-progress-plot-how-to.html">goal or plan shifted</a>? Has her belief system been challenged or tested by antagonists? </p><p>If the answer is no, you likely haven't progressed the story.</p><p><br /></p><h3 style="text-align: left;">2. The Character doesn't Demonstrate Agency</h3><p>The protagonist needs to be making meaningful choices. <b>For those choices to be impactful, they will be shown by the character taking significant action or revealing important information</b>. Otherwise, his choice never leaves his skull, and therefore doesn't actually matter. So what if he <i>thinks</i> about what he wants to do? Real decisions will be <i>shown</i>. </p><p>We all think about things (goals, plans, or otherwise) that we don't actually pursue. If someone thinks about fixing your leaky roof, but never shows up, who cares? If someone thinks they can help with your relationship problems, but never reveals any advice, does it matter? Not really.</p><p>Because the role of the protagonist is to be a driver (and not just the antagonist's passive victim), he needs to act on choices to try to achieve goals and solve problems (which helps move the story forward).</p><p><b>Many writers mistakenly think that making the protagonist a passive victim makes him more sympathetic and likable. In reality, the opposite is true. </b>An active protagonist who demonstrates agency is more sympathetic, because he carries some level of responsibility and accountability for any negative outcomes that happen (plus, he also shows us how badly he wants his goal). We all have random crap happen to us. It's more painful and sympathetic when well-intentioned choices lead to heartbreak. (For more on this topic, scroll down to #4 on <a href="https://www.septembercfawkes.com/2023/05/7-things-i-wish-id-known-writer.html">this post</a>.)</p><p>Not demonstrating agency, again likely means the plot or character arc isn't moving forward (and that your protagonist isn't interesting.)</p><p><br /></p><h3 style="text-align: left;">3. Lack of Immediacy</h3><p>With the "interesting" stuff happening in the character's head instead of concretely, the bathtub story lacks immediacy. The story isn't unfolding for the audience, and because the character is confined to introspection, she's not impacting anything at hand. <b>A lack of immediacy almost always means a lack of <a href="https://www.septembercfawkes.com/2017/03/tension-vs-conflict-hint-they-arent.html">tension</a></b>. If there isn't a current threat, there isn't potential for problems to happen.</p><p><br /></p><h3 style="text-align: left;">4. Focuses on the Past</h3><p>Speaking of a lack of immediacy . . . bathtub scenes almost always segue into one or more <a href="https://www.septembercfawkes.com/2018/07/breaking-writing-rules-right-dont-use.html">flashbacks</a>, which are likewise frequently frowned upon. Bathtub scenes at least usually focus on the past (even if there is no official flashback.)</p><p>Writers tend to look at the past--how the character got to where he is now, or how the current situation came about. While that can be meaningful for the <i>writer</i>, it's often boring for the audience. Or at least less interesting.</p><p><b>The past has already happened. You can't change it. What the character or antagonist does now, won't influence what happened then.</b> (Well, unless you are writing a time travel story, but let's assume you're not).</p><p>Instead, the audience wants to be in the present, which holds more tension (or it should, if you've set up your story right). In fact, they actually prefer to lean into the future on a regular basis. The future hasn't happened yet, so it's more exciting, and <b>what the character does now, will (or should) alter the future.</b> While the audience likely can't verbalize it, they want you to imagine the different paths forward the story could go, and then convey them on the page. This is what creates stakes. Stakes are potential consequences. They are about what <i>could</i> happen if a certain condition is met. And what <i>could</i> happen is exactly the sort of thing that hooks and reels readers in.</p><p>Think about it. At the most basic level, hooks work by getting the audience to look forward to a later point in the story--to anticipate something they may read later (or soon). So, they keep reading.</p><p>You want to regularly lay out what <i>could</i> happen, and almost always in relation to the protagonist or antagonist. If the protagonist successfully does X, then Y will happen. If the antagonist successfully does A, then B will happen. Now the audience needs to see if the protagonist successfully does X or the antagonist successfully does Y. (Or something of that sort.)</p><p>In fact, one of the few times visiting the past works well (including with flashbacks), is when doing so provides insight that could affect the future.</p><p><br /></p><h3 style="text-align: left;">5. It's Abstract</h3><p>If there isn't a flashback, then chances are the bathtub scene is full of abstracts and hypotheticals. The character is musing or even pontificating about the meaning of life, love, society, or what it means to be a homo sapien.</p><p><b>A story that is full of abstracts, often isn't as interesting. This relates to the <a href="https://www.septembercfawkes.com/2016/01/breaking-writing-rules-right-show-dont.html">"Show, don't Tell" rule</a>.</b> Stories are almost always more effective when they appeal to the senses and render a concrete world. </p><p>Even if you do want to write about love, it's usually more effective to "show" it, than tell it. (And if you tell it too much, in the wrong way, the story may sound preachy.)</p><p><br /></p><h3 style="text-align: left;">6. Hurts Pacing</h3><p>For all of the reasons stated above, the bathtub scene almost always leads to poor pacing. <b>The lack of proper plot elements (and often, the lack of proper structure), paired with too much introspection focused on the past or abstracts, kills immediacy and brings pacing to a grinding halt.</b></p><p>If the story isn't going anywhere, then the reader is probably out before you can say "bubble bath." Maybe they'd rather watch paint dry and do their own pontificating in the tub.</p><p><br /></p><p>Now that we've talked about all the problems, let's get into how to fix a bathtub scene!</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhixfz9S7WnqIImeEq6FrfjBe0IVaTYlPRcpP6r4Epcxw1p2lTIqdZjFX23rtqKg04V1hPoC8r2Oc0LkzBOoLgjBeU8whn_LWU167RvHO4ejfjZ5V9Q2hGESinZRyc1UFFUSp_YEQW4EmdKvWcK7ljs61xtS_WI1pnJ2a1pNWcO3KMbqbhk_kAVZgB50/s1280/woman%20in%20robe.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhixfz9S7WnqIImeEq6FrfjBe0IVaTYlPRcpP6r4Epcxw1p2lTIqdZjFX23rtqKg04V1hPoC8r2Oc0LkzBOoLgjBeU8whn_LWU167RvHO4ejfjZ5V9Q2hGESinZRyc1UFFUSp_YEQW4EmdKvWcK7ljs61xtS_WI1pnJ2a1pNWcO3KMbqbhk_kAVZgB50/w400-h266/woman%20in%20robe.jpg" width="400" /></a></div><p><br /></p><h2 style="text-align: left;">How to Fix the Bathtub Scene</h2><div><br /></div><h3 style="text-align: left;">1. Get Out of the Bath</h3><p>Bet you didn't see that one coming, did you?</p><p>Get the character out of the "bath" (or off her walk or away from the dishes) and <b>put her where the action is. Or better said, where the true <a href="https://www.septembercfawkes.com/2023/10/the-true-purpose-of-antagonists.html">antagonist</a> and <a href="https://www.septembercfawkes.com/2023/11/what-exactly-is-conflict-conflicts-true.html">conflict</a> is</b> (and that doesn't always mean a "bad guy" or a fistfight or shouting match (see links)).</p><p><br /></p><h3 style="text-align: left;">2. Give the Character a (Current) Goal and an Antagonist</h3><p>Give your character a <i><u>current</u></i> goal with a plan she can start taking <i><u>current</u> </i>action toward. At the basic level, there are <a href="https://mystorydoctor.com/the-3-types-of-plot-goals/">three types</a> of goals: obtain, avoid, or maintain. Any of them is fine, <i>as long as</i> the goal has an antagonistic force opposing it.</p><p>Often big goals will break down into little goals, which turn into scene goals. So really, <b>most scenes should have a goal <i>for that scene</i>.</b></p><p>The (scene) goal should be significant, meaning whether or not the character achieves the goal somehow shifts the direction of the story and influences what happens in the near future.</p><p>A goal to shave your legs in a bathtub or wash the plates probably isn't significant enough to merit a scene. It's unlikely those goals have the potential to shift the plot's trajectory or affect the character arc. (If they do, well, that <i>might</i> be a reason for a rule break.)</p><p>For a scene, the shift doesn't have to be huge, but it needs to be impactful enough to somewhat alter the protagonist's path forward.</p><p>The shift for an act should be bigger.</p><p>And the shift for the whole story should be huge (read: super impactful).</p><p>If you have a bathtub act or literally an entire bathtub book, you probably have a major problem.</p><p><br /></p><h3 style="text-align: left;">3. Demonstrate Choices, through Action and Revealing Knowledge (Information)</h3><p>As per #2 above, make sure your character is <i>demonstrating</i> agency. A choice doesn't matter if it doesn't leave his head. <b>His choices should be <i>shown</i> in how he interacts with others and the environment.</b> If he chooses to fix a leaky roof, he needs to actually get his tools and climb the ladder. If he chooses to give relationship advice, he needs to open his mouth and reveal his knowledge there to another individual. Thinking about it isn't enough.</p><p><br /></p><h3 style="text-align: left;">4. Write in the Present</h3><p>Do you really need that flashback or long introspection about the past? For most newer writers, the answer is no. <b>If the info isn't contributing to the plot</b> (how to get the goal, how to defeat the antagonist, how to resolve a conflict, or how to influence consequences),<b> or the character's journey</b> (her heart's deepest desire or her character arc), <b>or the theme</b> (what the story is exploring and arguing), <b>then there is a 99% chance it doesn't need to be in the story.</b> If it does affect those things, it may be worth including. Ask, does taking it out "hurt" or weaken one of those elements I listed?</p><p>If the past info really needs to be in the story, does it have to come through a bathtub scene? Is there a way it can come into the story other than straight-up introspection? Can it be "<a href="https://www.septembercfawkes.com/2024/01/how-to-convert-exposition-into.html">exposition turned into ammunition</a>"? Can mentioning it contribute to the present, or better, the near future? Is there a way the story can be organized so that it happens in real time? Sometimes the flashback can actually be moved into the present by starting the scene or story just a little earlier (though this depends how far back in the past the flashback takes place).</p><p>Strive to focus on the present, and even mention the near future. Sprinkle the past in when it contributes to, and doesn't take away from, what is currently playing out.</p><p><br /></p><h3 style="text-align: left;">5. Be Concrete</h3><p><a href="https://www.septembercfawkes.com/2016/01/breaking-writing-rules-right-show-dont.html">Show more than tell</a>. (That's really all that needs to be said here.)</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ0FGqKoREskAzqqLgGKdGipRa1Yfc4Rpg2V1TpVzEEI0GNUJOuC5TNDLQxonj03Hd879W1_Aww7yR9Vu-NHjHLJLC0VnuIZeTJWRQrLnl-qKVPCIO9hniM4Di7Lv-rM85Ztsf8_rGfEMKic5YPGplHZN9Zhe3EXnpO4RuJ0MW6f9JEzWS2ntg6Zz57TM/s1279/Woman%20reading%20in%20bath%20tub.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1279" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ0FGqKoREskAzqqLgGKdGipRa1Yfc4Rpg2V1TpVzEEI0GNUJOuC5TNDLQxonj03Hd879W1_Aww7yR9Vu-NHjHLJLC0VnuIZeTJWRQrLnl-qKVPCIO9hniM4Di7Lv-rM85Ztsf8_rGfEMKic5YPGplHZN9Zhe3EXnpO4RuJ0MW6f9JEzWS2ntg6Zz57TM/w400-h266/Woman%20reading%20in%20bath%20tub.jpg" width="400" /></a></div><p><br /></p><h2 style="text-align: left;">When to Use a Bathtub Story</h2><p>With everything terrible a bathtub story brings in, is it ever a good idea to write one?</p><p>All rules are really more like guidelines and can be broken effectively, when handled with care.</p><p>In order to do that though, you have to understand <i>why</i> the rule exists, so you can downplay the costs that come with straying off the proven path.</p><p>So, now that we understand why the bathtub story is a problem and how you can fix it, let's marry what we've learned and talk about how to make one work.</p><p><br /></p><h3 style="text-align: left;">1. You're Writing a Frame Story</h3><p>A frame story is a story within a story. It will open with a character telling a story, and end with him finishing it. It's also possible that more than one story is told by the character.</p><p><b>The main story, is the story within the story, which essentially comes from the speaker's memory, so it is usually part of the past, as well as part of his mind.</b></p><p>I'm personally not a big fan of this method, but it does exist and can be useful in providing additional context for the main story. It's also usually more effective when the main story is affecting whatever is currently or about to happen to the speaker.</p><p>Obviously a frame story often acts as a sort of bathtub story.</p><p><br /></p><h3 style="text-align: left;">2. The Antagonist is the Self, and this is Internal Conflict</h3><p><b>A bathtub story or scene may work if the character is in (meaningful) conflict with himself.</b> We are often cautioned against using a lot of introspection, but if a character is having internal conflict, then he both holds a goal and is also his own antagonistic force. This can be used to create a sort of rising action, as long as the proper plot elements are in place. It is a wrestle within the mind (or perhaps, between the mind and heart.) The climactic moment, the turning point, is the character coming to a definitive decision.</p><p>With that said, however, as Ross Hartmann points out in <i>The Structure of Story</i>, it's usually more effective <a href="https://www.septembercfawkes.com/2022/02/dramatize-conflicting-wants.html">to dramatize or "show" the internal conflict</a>. Have the character take one action toward one outcome in one beat, and then an action toward the opposing outcome in the next.</p><p>But depending on where in story structure the internal conflict shows up, it may be handled better one way over another . . . </p><p><br /></p><h3 style="text-align: left;">3. You're in the Falling Action</h3><p>Story structure is a fractal. Not only should the story as a whole have a rising action, climax, and falling action, but inside of that, so should each act, and so should each scene. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwOhVYmBe9SfL_QeFf__9VPv88WSToYS3y-qdJ75UipPDzHAIeZSN9FVGi5Mjr1E1AnxgE2AAFRLr1i_72KPe4azeMIQMZx_2XlO6Zaoenisaw0c7UJmL4SiSgMoShuVszYl6Kz1Ezy7KnECGUnkGoE1VCVoAKrsQCnSMUp1xDdNFYSAEZF-9llYurqrM/s320/plot%20with%20acts.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="229" data-original-width="320" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwOhVYmBe9SfL_QeFf__9VPv88WSToYS3y-qdJ75UipPDzHAIeZSN9FVGi5Mjr1E1AnxgE2AAFRLr1i_72KPe4azeMIQMZx_2XlO6Zaoenisaw0c7UJmL4SiSgMoShuVszYl6Kz1Ezy7KnECGUnkGoE1VCVoAKrsQCnSMUp1xDdNFYSAEZF-9llYurqrM/s1600/plot%20with%20acts.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-VXpAEB7-4lcxdNIkYBPSodfpoQ4BtNwTj1Nl7B-xy11elxm7_mUKy99eVW_e1bWx6tsTKvefAwDKrzq_LwZYTvBoF2t9Ayf57AJq1ZeHXwpvRA4EoKZZp1hS-YC4SP-S-tT6o3yPHR8tcN_mbT0zUs4wQjqxhK0pIzaHOYualNRX92spH3C4rLIlNCE/s862/scene.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="862" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-VXpAEB7-4lcxdNIkYBPSodfpoQ4BtNwTj1Nl7B-xy11elxm7_mUKy99eVW_e1bWx6tsTKvefAwDKrzq_LwZYTvBoF2t9Ayf57AJq1ZeHXwpvRA4EoKZZp1hS-YC4SP-S-tT6o3yPHR8tcN_mbT0zUs4wQjqxhK0pIzaHOYualNRX92spH3C4rLIlNCE/s320/scene.jpg" width="320" /></a></div>During the rising action, the character should (almost) always be proactive. During the falling action, almost always, the character is reactive. She's reacting to whatever just happened.<div><p>If you are familiar with Dwight V. Swain's <a href="https://www.septembercfawkes.com/2021/09/scene-structure-according-to-dwight-v.html">approach to scenes</a>, this is essentially what he calls the "sequel."</p><p>At this point in the structure, it may not matter too much what the character is doing physically, what matters is how she is reacting, and then, what she decides to do next.</p><p><b>If you are in the falling action, it may be perfectly acceptable to write a (short) bathtub story.</b></p><p><br /></p><h3 style="text-align: left;">4. It's Focused on the Future</h3><p>As mentioned above, we are often cautioned against writing a lot of introspection. This is in part because writers often focus introspection on the past.</p><p><b>But when the introspection is focused on the future--what <i>could</i> happen if a goal is or is not reached and/or what the character plans to do next--then it becomes more relevant and more interesting</b>. In fact, not only does it <i>not</i> take away from the story, but it can strengthen the plot. Introspection can be used well to lay out significant stakes. And, technically, this could be done in a "bathtub."</p><p>Just make sure having the character think about the future, leads to him soon taking action to try to influence it.</p><p><br /></p><h3 style="text-align: left;">5. The Point is to Show Nothing is Happening</h3><p><b>In rare, rare situations, the point of a scene may be to illustrate that <i>nothing</i> important is happening, and <i>no</i> changes are taking place</b>. Such scenes almost never work (and if anything, are usually better conveyed in summary), but, someday, in some story, you may find yourself in need of such a moment. A bathtub scene might arguably work there. </p><p>Just don't make it longer than it needs to be to get the point across.</p><p><br /></p><p>There are a couple of other times you may get away with a bathtub scene: if it's somehow contributing to theme, or if it's super entertaining or intriguing. </p><p>All in all, be cautious.</p><p>They fail more often than they succeed. </p><p><br /></p><p style="text-align: center;">***</p><h3 style="text-align: left;">September C. Fawkes Followers Get 20% off Upcoming Save the Cat Webinar!</h3><p>Save the Cat! is one of the most famous approaches to writing stories (you may have heard of it 😉😺).</p><p>I'm happy to say Save the Cat reached out to me recently and is offering a 20% discount to my followers for their upcoming webinar, Beat Sheet Deep Dive (with Jamie Nash). Here is what they say:</p><p>Join us for 2 live sessions of the <a href="https://shareasale.com/r.cfm?b=2508946&u=4120739&m=131499&urllink=&afftrack=">Save the Cat! Beat Sheet Deep Dive Webinar</a>, presented by the best-selling author of <i>Save the Cat! Writes for TV</i> and the <i>Save the Cat! Beat Sheet Workbook</i>, Jamie Nash, or watch the recordings of the sessions!</p><p>You will leave this webinar with working knowledge and inspiration to better your screenplay and/or novel.</p><p>The Beat Sheet Deep Dive Webinar is a 2-part LIVE series on Zoom for 2.5 hours each—including LIVE Q & A with Jamie:</p></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><p>Session 1 – Saturday, February 17, 2024 10:00 AM – 12:30 PM pacific </p></div><div><p>Session 2 – Saturday, February 24, 2024 10:00 AM – 12:30 PM pacific </p></div></blockquote><div><p>Anyone who attends live will have the opportunity to ask Jamie questions.</p><p>Can’t attend live? View the recording of any session you miss! Recordings will be available for 30 days after each session.</p><p>The <a href="https://shareasale.com/r.cfm?b=2508946&u=4120739&m=131499&urllink=&afftrack=">webinar</a> is $79, but use the code <b>September20%</b> for a discount.</p><p><br /></p><a href="https://shareasale.com/r.cfm?b=2508946&u=4120739&m=131499&urllink=&afftrack=" target="_blank"><img border="0" src="https://static.shareasale.com/image/131499/BeatSheetDeepDiveBanner.png" /></a><p><br /></p><p>Learn more <a href="https://shareasale.com/r.cfm?b=2508946&u=4120739&m=131499&urllink=&afftrack=">here</a>.</p><p><br /></p><p><b>P.S. Just as a reminder, I will be at <a href="https://ltue.net/">LTUE</a> in Provo, Utah this Thursday and Friday.</b> Stop by my table or come to one of my panels.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh__vOhn4YRMzCfnkJneFVonQqnenkLIhaZSrokrVR2wbBUXv1-3GDqew95NaRneK_F_7tXqLBbh0Xv54m0OZZpjQWI6C9X_BsIgUsxsJTX99oHEl_Aw77rxELmdAd4GUxK2smnpoOS9d_1IXQ9xPBNFXph5BXQPy8hazgATwC08Sf2ma-LASJM-MMhyH0/s947/DC92ED91-E610-4650-92A9-393EFD6A8B21.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="777" data-original-width="947" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh__vOhn4YRMzCfnkJneFVonQqnenkLIhaZSrokrVR2wbBUXv1-3GDqew95NaRneK_F_7tXqLBbh0Xv54m0OZZpjQWI6C9X_BsIgUsxsJTX99oHEl_Aw77rxELmdAd4GUxK2smnpoOS9d_1IXQ9xPBNFXph5BXQPy8hazgATwC08Sf2ma-LASJM-MMhyH0/s320/DC92ED91-E610-4650-92A9-393EFD6A8B21.jpeg" width="320" /></a></div><br /><p><br /></p><p><br /></p></div>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com2tag:blogger.com,1999:blog-4311874471131728227.post-29701653528322839242024-01-22T04:00:00.001-07:002024-01-22T04:00:00.366-07:00Circling Conflicts vs. Zigzagging Conflicts<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7XRHYUp-78AtsCjy2-6fhD1z6bqK-Mnki54sGuASwuQHjm5FEsMbjg8wWq_Pp98wUtvJgcIY132eaIct6JfSygKXLoNgGeMoIguHakNiGLFihgsP1CltLuxzelQrh8OEJyU8JdTTN_vGdjHPr-OqjXjN2bZ-2UkYVrz6YuL3e5NlXseD9WKpJauc0Ok/s1920/circling%20conflict%20writing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7XRHYUp-78AtsCjy2-6fhD1z6bqK-Mnki54sGuASwuQHjm5FEsMbjg8wWq_Pp98wUtvJgcIY132eaIct6JfSygKXLoNgGeMoIguHakNiGLFihgsP1CltLuxzelQrh8OEJyU8JdTTN_vGdjHPr-OqjXjN2bZ-2UkYVrz6YuL3e5NlXseD9WKpJauc0Ok/w400-h266/circling%20conflict%20writing.jpg" width="400" /></a></div><br /><p>Nearly every writer understands that a story needs conflict. The protagonist sets off to fulfill a goal, runs into an <a href="https://www.septembercfawkes.com/2023/11/what-exactly-is-conflict-conflicts-true.html">antagonistic force</a>, and their struggle creates <a href="https://www.septembercfawkes.com/2023/11/what-exactly-is-conflict-conflicts-true.html">conflict</a>. This should happen in the story as a whole, this should happen in acts, and it should happen in almost every scene--the difference is that the smaller the structural unit, the smaller the antagonist and conflict (simplistically speaking).</p><p>Today I want to talk about a sneaky problem I sometimes see when editing manuscripts, one that relates to conflicts.</p><p>Sometimes the writer simply “circles” the conflict.</p><p>What I mean is that after a given conflict, nothing has actually changed in the story. We just completed a “circle.”</p><p>For example, say the protagonist is a favorite target of the schoolyard bully. They get into a verbal fight, but when it's over, nothing's different. The conflict didn't have any consequences.</p><p>It may not sound that bad.</p><p>And if it only happens once in a while, and there are enough other conflicts going on, it may not be.</p><p>But if this happens repeatedly or this is the main conflict, the <a href="https://www.septembercfawkes.com/2023/09/what-it-means-to-progress-plot-how-to.html">plot isn't progressing</a>. It just did a circle and the characters ended up in the same situation they were before the encounter. Essentially, no matter how exciting the scene may seem to be, you could still cut it and the story would be the same.</p><p>Let's look at an even less obvious example.</p><p>The protagonist needs to get Object X from Character B.</p><p>The protagonist finds a way to successfully steal it.</p><p>But then immediately afterward, Character B steals it back.</p><p>The scene ends, and the protagonist is back at square one.</p><p>It doesn't sound that bad, does it?</p><p>And if it only happens once in a while, and there are enough other conflicts going on, it may not be.</p><p>But if this sort of thing happens repeatedly--over and over and over--the plot isn't progressing. You're just going back and forth and back and forth and back and forth. And if we just arc that path a bit, guess what? It creates a circle.<span></span></p><a name='more'></a><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdeAOH7BN9rxnlAhNioAUNga8UVXCE0RzrWLqbkaopBqNMh8f4icT29Ok9XF9u_e1mB7M5q9HO7K3TooJSNBLLhaT6ImwC4APBnIcx2TYmL6tzvrdpZ7IB-E7CeNKhR4vUfAfhIFgc4lxEH9JFAsXknqmZoBLck-BMUk78kZW2cmW85iQ18NCaDW6nqes/s1920/circling%20conflict.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdeAOH7BN9rxnlAhNioAUNga8UVXCE0RzrWLqbkaopBqNMh8f4icT29Ok9XF9u_e1mB7M5q9HO7K3TooJSNBLLhaT6ImwC4APBnIcx2TYmL6tzvrdpZ7IB-E7CeNKhR4vUfAfhIFgc4lxEH9JFAsXknqmZoBLck-BMUk78kZW2cmW85iQ18NCaDW6nqes/w400-h225/circling%20conflict.jpg" width="400" /></a></div><p><br /></p><p>Another example:</p><p>The protagonist has a problem.</p><p>But she's not taking action to <a href="https://www.septembercfawkes.com/2023/11/why-protagonist-must-be-problem-solver.html">solve the problem</a>. </p><p>Yes, she reacts emotionally to the problem.</p><p>She may even sometimes come up with a plan for how to try to solve the problem.</p><p>But she doesn't execute it. Or, some other problem comes up that keeps her from executing it.</p><p>And rather than come up with and execute a new plan to address <i>that</i> problem.</p><p>She just reacts emotionally to the problem.</p><p>Imagine this going on for multiple scenes.</p><p>The plot isn't progressing. She's just ruminating.</p><p>It still feels like the text is just circling the conflict.</p><p>Please know I'm not saying a story can <i>never</i> do these things. On rare occasions, circling conflicts can be useful, like when the point <i>is</i> to show the audience how some things <i>don't</i> change. My first example may arguably work near the beginning of the story, to show what the protagonist's day-to-day life is like. My second example <i>can</i> sometimes work as a frustrating irony. And my last example, well . . . don't do my last example. Okay, okay, <i>maybe</i> it could work to show off how the protagonist is incapable of or has the flaw of never moving forward (and chances are it'd probably be better to illustrate that through <a href="https://www.septembercfawkes.com/2021/01/scene-vs-summary-when-to-use-which.html">summary</a>, rather than scene).</p><p>And some degree of circling can work, when the story needs to end with the characters and world in the same place they started, like in a serial, but note that usually <i>through</i> the installment, there isn't much circling.</p><p>And often, even if the external circumstances complete a circle, the journey changed the character internally in some significant way.</p><p>BUT if you are repeatedly writing examples like those above, where the situation at the end of a scene or act is essentially the same as it was at the beginning of the scene or act, then you aren't moving the story forward.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Xq79gcOiW-p0RMcWtitp0lLNt_KKU3TKgjiAdHkUq3EzQd9svkQW1yU1S4Q4AV5n5y3uDb7ynTai2L6NofMVVOALuZuIzWqtClnpLaAzLqUNo48qiVltcovBEjUD0IPnJ3WqQqloi76BCC3I45NAtAXlrLdhB0GRHCvhvNyn6AxjePFII2IVPlqpeDQ/s950/were%20going%20in%20circles%20frodo.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="950" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Xq79gcOiW-p0RMcWtitp0lLNt_KKU3TKgjiAdHkUq3EzQd9svkQW1yU1S4Q4AV5n5y3uDb7ynTai2L6NofMVVOALuZuIzWqtClnpLaAzLqUNo48qiVltcovBEjUD0IPnJ3WqQqloi76BCC3I45NAtAXlrLdhB0GRHCvhvNyn6AxjePFII2IVPlqpeDQ/w400-h210/were%20going%20in%20circles%20frodo.png" width="400" /></a></div><br /><p>Sure, conflict may show up on the page, but the text is just circling it.</p><p>Instead, it's much more effective to create a zigzag. </p><p>If we wanted to keep this super simple, we might say the scene (or act) needs to move from a positive situation to a negative situation, or a negative situation to a positive situation. Or, a positive situation to a better situation, or a negative situation to a worse situation. Essentially:</p><p>+ --> -</p><p>- --> +</p><p>+ --> ++</p><p>- --> --</p><p>This is a good starting point, but I admit, it sometimes feels oversimplified to me.</p><p>In any case, the situation the character is in, has changed.</p><p>The story didn't do a circle. It did a zigzag (or zigzigger or zagzagger). </p><p>The protagonist had a goal, encountered an antagonist, had a conflict, and the conflict came to a definitive outcome (if only on the small scale for that scene). It hit a climax or turning point.</p><p>And that outcome carries consequences.</p><p>The protagonist gets in an argument with the bully and gets suspended for his language. If he's suspended, his parents will ground him, and he won't get to go on an upcoming date with his crush. It's a setback.</p><p>Character B steals Object X back and in the process, mortally wounds the protagonist. Now the protagonist needs to get help before they die.</p><p>The protagonist takes action to solve the new problem, and not only succeeds, but manages to solve her original problem at the same time.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJE2drOBIYkRPWAfxNyGvMyWZG5GqyXlFP1zH6JxW4P14pjYTz3c4zbrm48zWnwzN1vkgCtrCLpJ4N4sey9l5j1dewBLOTHJgbMSufB_AA7Ybboh3GgOKCjYOWqwri9SZHJ5bz2sBLU5pkT67Bl9RbMYgKBPXn_u9EmxtA0E_yd9Qy5dHORly-yMBryXY/s1920/zigzagging%20conflict.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJE2drOBIYkRPWAfxNyGvMyWZG5GqyXlFP1zH6JxW4P14pjYTz3c4zbrm48zWnwzN1vkgCtrCLpJ4N4sey9l5j1dewBLOTHJgbMSufB_AA7Ybboh3GgOKCjYOWqwri9SZHJ5bz2sBLU5pkT67Bl9RbMYgKBPXn_u9EmxtA0E_yd9Qy5dHORly-yMBryXY/w400-h225/zigzagging%20conflict.jpg" width="400" /></a></div><p><br /></p><p>But often just adding consequences isn't enough. We need to make sure the consequences aren't or can't be undone, at least not easily or coincidentally. We don't have the protagonist's dad have a serendipitous change of heart and simply allow the protagonist to go on the date.</p><p>Don't undo what you just did (generally speaking). </p><p>If the protagonist ended with a bigger or new problem, make him put in the effort to try to solve it. (See the <a href="https://www.septembercfawkes.com/2021/09/scene-structure-according-to-dwight-v.html">"No, and . . ." vs. "Yes, but . . . "</a> rule under "Disaster.")</p><p>And don't forget my <a href="https://www.septembercfawkes.com/2023/09/what-it-means-to-progress-plot-how-to.html">"acid test" for plot progression</a>. At the end of the scene (or act), ask, did the protagonist's current goal and/or plan shift? If the answer is no, chances are you did a circle. (Or you at least left things stagnating). If the answer is yes, something changed.</p><p>As I mentioned above, sometimes the change is internal. </p><p>Maybe Character B did simply steal Object X back, but maybe that leads to the protagonist realizing he doesn't want Object X as much as he wants revenge on Character B. He hatches a plan to exact that.</p><p>While that may not be as strong as the protagonist getting mortally wounded, it's better than nothing changing, and the experience does change the direction of the story.</p><p>Personally, I'd still be cautious of writing such a situation, though. In most types of stories, we want consequences to be both internal and external.</p><p>But that topic could be another post.</p><p>So in closing: zigzagging conflicts is better than circling them.</p><p>Adieu.</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com2tag:blogger.com,1999:blog-4311874471131728227.post-25770607784597885532024-01-08T04:00:00.002-07:002024-01-13T08:36:31.634-07:00How to Convert Exposition into Ammunition<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicK9zHYMvegQL2dN4tpyx5kZblgxkbZTanAhgVlgMNpQjlQos34aSv-yZfHf39CKYtFrpxMiQE01cHB0NCx3Wb6yEZ0qFGjWyrIVI4SfeI21hsBmDrgicKPnW1jA_iXdiYAmJwkLru-_oCdD5XK5BweOxwQfVd65Uq8JTgA60yQo4JbXTh8LonV_0S8wc/s2048/Writing%20exposition%20ammunition.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicK9zHYMvegQL2dN4tpyx5kZblgxkbZTanAhgVlgMNpQjlQos34aSv-yZfHf39CKYtFrpxMiQE01cHB0NCx3Wb6yEZ0qFGjWyrIVI4SfeI21hsBmDrgicKPnW1jA_iXdiYAmJwkLru-_oCdD5XK5BweOxwQfVd65Uq8JTgA60yQo4JbXTh8LonV_0S8wc/w400-h266/Writing%20exposition%20ammunition.PNG" width="400" /></a></div><p><br /></p><p>Exposition is all the facts and information conveyed to the audience. It's facts about the setting, the worldbuilding, the characters, the current situation, the history, the magic or technology, or anything else that is straight-up information. Every story needs some exposition, but for all of us, it's been tricky to handle at one point or another.</p><p><b>One of the quickest ways to tell a beginning writer from an experienced writer, is how he or she handles exposition.</b> Beginners often cram in too much too fast, leading to poor pacing, <a href="https://www.septembercfawkes.com/2018/04/how-to-dump-info-without-info-dumping.html">info-dumps</a>, or <a href="https://www.septembercfawkes.com/2017/08/5-most-common-mistakes-with-dialogue.html">maid-and-butler</a> dialogue. Professional writers know how to expertly weave exposition into the story, so that the audience is fed information without hardly noticing it.</p><p>Last year, I did a <a href="https://www.septembercfawkes.com/2023/08/using-turning-points-to-nail-exposition.html">post</a> on how to use turning points to help you discern what info to put in and what info to leave out, when. I mentioned that in his famous book, <i>Story</i>, Robert McKee has a maxim: "<b>Convert exposition into ammunition</b>."<br /></p><p>It sounds great, right?</p><p>But like some of the most meaningful writing advice, it can be difficult to wrap your head around. </p><p>It sounds great, but like . . . how does one actually <i>do</i> that? And what does that actually <i>mean</i>?</p><p>Luckily, McKee does expound a bit on what he means, and today I'd like to expound on what he means by offering my own spin on it.</p><p>As McKee points out, "<a href="https://www.septembercfawkes.com/2016/01/breaking-writing-rules-right-show-dont.html">Show, don't tell</a>" is key for exposition--we want to find ways to <i>dramatize</i> the information. Okay, great, chances are if you're reading my blog, you already know that. Still, it's often helpful to start with what you know.</p><p>McKee writes:</p><p></p><blockquote>Dramatized exposition serves two ends: Its primary purpose is to further the immediate conflict. Its secondary purpose is to convey information. The anxious novice reverses that order, putting expositional duty ahead of dramatic necessity.</blockquote><p></p><p><br /></p><p>This is the part I want to emphasize: <i><b>Its primary purpose is to further the immediate conflict.</b></i></p><p>Summed up into one simple line, this is what it means to turn exposition into ammunition.</p><p>But don't worry, I won't leave you with only that.</p><p>Cause if you know me, I like to go deep . . . <span></span></p><a name='more'></a><p></p><p><br /></p><h3 style="text-align: left;">Load the Ammunition! Exposition as an Asset or Problem</h3><p>Ammunition is meant to be shot, dropped, or detonated.</p><p>It's not something you use during peaceful circumstances (unless, of course, the peaceful circumstance is just covering up a silent struggle).</p><p><b>Because we want to connect the exposition to the current conflict, this means that one of two (or both) battling forces is loaded with the ammunition.</b></p><p><b>The protagonist.</b></p><p><b>Or the antagonist.</b></p><p>And when I say "antagonist," I'm not just talking about the main "bad guy." </p><p>The antagonistic force is whatever is opposing the protagonist in the pursuit of his goal. So while there is often a main antagonist, there will actually be lots and lots and lots of lesser antagonists. A rock may be an antagonist. A computer. A storm. A substance. A mouse. (Read more about this in "<a href="https://www.septembercfawkes.com/2023/10/the-true-purpose-of-antagonists.html">The True Purpose of Antagonists</a>.")</p><p>Furthermore, the protagonist of a scene may not always be the main protagonist of the story (but more on that in a sec).</p><p>The protagonist is someone the audience is oriented toward (often the viewpoint character), who is pursuing a <a href="https://mystorydoctor.com/the-3-types-of-plot-goals/">goal</a>.</p><p>So, to simplify, the protagonist pursues a goal, and the antagonistic force opposes that.</p><p>This is what creates <a href="https://www.septembercfawkes.com/2023/11/what-exactly-is-conflict-conflicts-true.html">true conflict</a>, which may or may not include flying fists or shouting matches. Conflict is simply the protagonist struggling to pursue the goal because of the antagonist.</p><p><b>When the protagonist is loaded with ammunition, it's an asset. </b>He aims it at the antagonist to get the obstacle out of his way.</p><p><b>When the antagonist is loaded with ammunition, it's a problem. </b>He (or it) aims it at the protagonist to get the protagonist out of the way.</p><p>This means that in order to make exposition into ammunition, we need to <b>turn the information into an asset or a problem.</b></p><p>And it needs to become an asset or a problem for the <i>current</i> conflict. . . .</p><p><br /></p><h3 style="text-align: left;">The Current Conflict</h3><p>Okay, so, before we go much further, I need to briefly review a few concepts. If you've been following me a long time, I hope you won't want to aim your ammunition toward me, because we've gone over this a lot, but it's critical to make sure we are all on the same page, because everything builds off the basics.</p><p>Novelists often focus on the big main conflict that stretches through the length of the book, the global story or the narrative arc (depending on what terminology you prefer), and structurally, it looks like this:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdMPH_E3MoQq15Tl9nt6652K7i3aQPY5NHgqsU7UxXoH5qnWyMCJQFg5X8lNP49XC_qsd29Ira3TsiT6vQXQWs3z7Hn9BUYSdhIdEdpO5oJhLi7dwsgzPw97Dkj2Dxjuh8LPC5fBilpvwX4XTK4FMUTk_ntmupcX7lgTMxiyrEIe2QkcxZqt7y8NimLkQ/s320/basic.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="204" data-original-width="320" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdMPH_E3MoQq15Tl9nt6652K7i3aQPY5NHgqsU7UxXoH5qnWyMCJQFg5X8lNP49XC_qsd29Ira3TsiT6vQXQWs3z7Hn9BUYSdhIdEdpO5oJhLi7dwsgzPw97Dkj2Dxjuh8LPC5fBilpvwX4XTK4FMUTk_ntmupcX7lgTMxiyrEIe2QkcxZqt7y8NimLkQ/w400-h255/basic.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;">The conflict creates the rising action. If we were to zoom in, it'd be like this . . .</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8CTAsMfrEoRrgPFX7qG8tyH8nm-rm5SjcqdPZD37y6PF0eovXkExoYzt8peEPkmaTOIyEmx9ZQifyDSQNZT3kuFDKm1Ee2C1Wv-b-RS7-LLn9lGZx2pK8_nTFmUJtJ6BLTYzHpOa3ZBL5lZf0HrchmM5tT6UgmPmCRR8yLJ6kg5XeKJ-XWdriRZO0C0U/s1920/Conflict%20Escalating%20Writing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8CTAsMfrEoRrgPFX7qG8tyH8nm-rm5SjcqdPZD37y6PF0eovXkExoYzt8peEPkmaTOIyEmx9ZQifyDSQNZT3kuFDKm1Ee2C1Wv-b-RS7-LLn9lGZx2pK8_nTFmUJtJ6BLTYzHpOa3ZBL5lZf0HrchmM5tT6UgmPmCRR8yLJ6kg5XeKJ-XWdriRZO0C0U/w400-h225/Conflict%20Escalating%20Writing.jpg" width="400" /></a></div><br /><p><br /></p><p>But this isn't only true of the story as a whole. Story structure is a fractal, and this is true of smaller structural units as well.</p><p>This is true of acts (and the second act is commonly cut in half):</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDT1sQAnlMOhahl8Ng1j6FXL9qQ6Mhlqjbg6FwiZJtfPCqIu_km9gKcm1eCQgy8M2mybE3EmhdnqW3FXupZmtPwN4WhDqRGHPp-IQOwNKwDBVkBRcLL5rGhAzwxDb3zObNxRFHqXs7mp_IkJ0rpLYxPltUAD20gJihOBcZvaVzLDh_7J1nqxrV1O_PYsk/s320/plot%20with%20acts.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="229" data-original-width="320" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDT1sQAnlMOhahl8Ng1j6FXL9qQ6Mhlqjbg6FwiZJtfPCqIu_km9gKcm1eCQgy8M2mybE3EmhdnqW3FXupZmtPwN4WhDqRGHPp-IQOwNKwDBVkBRcLL5rGhAzwxDb3zObNxRFHqXs7mp_IkJ0rpLYxPltUAD20gJihOBcZvaVzLDh_7J1nqxrV1O_PYsk/w400-h286/plot%20with%20acts.jpg" width="400" /></a></div><br /><p><br /></p><p>And it's also true of scenes: </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDmS9JNRnkA3sm4-r9rrf4sgVbf3eDMmi1VUUxPq_dM_1DsIp6_iWradtCsVOgJdsvR4nqAIKmRwgIr5fBX0UY0a3jpYOULne59_m-AXezooB9qBFRrfryi9whRwgSmIAv8ga1xapElaCsFd2qE3c8jR6CSnIiUCGM27oARUoyx4058LWaBft6AvH9HpA/s862/scene.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="862" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDmS9JNRnkA3sm4-r9rrf4sgVbf3eDMmi1VUUxPq_dM_1DsIp6_iWradtCsVOgJdsvR4nqAIKmRwgIr5fBX0UY0a3jpYOULne59_m-AXezooB9qBFRrfryi9whRwgSmIAv8ga1xapElaCsFd2qE3c8jR6CSnIiUCGM27oARUoyx4058LWaBft6AvH9HpA/w400-h256/scene.jpg" width="400" /></a></div>They fit inside each other, like a Russian nesting doll.</div><div><p>This means nearly every scene has a conflict.</p><p>This also means that nearly every scene should have a goal.</p><p>And nearly every scene should have an antagonist.</p><p>Because, rising action only happens when a character is pursuing a goal and running into antagonistic forces (obstacles). This is what creates the climb, the escalation.</p><p>The difference is that in a scene, all these components happen to a smaller degree, than the story as a whole.</p><p>So, the protagonist and antagonist <i>of a scene</i>, may not always be the same as the main protagonist and main antagonist of the global story.</p><p>The primary purpose of exposition is to further the immediate conflict.</p><p>The immediate conflict is what's happening in the scene. It's the <i>current</i> scene's conflict.</p><p>And yes, often that conflict is also feeding into the act-level conflict, which is feeding into the global story conflict. Because the smaller units fit inside (and even make up) the larger units.</p><p>So we best turn exposition into ammunition, by making it ammunition for the current conflict.</p><p>For the scene-level conflict.</p><p>Let's talk about how to do that. . . .</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvIcrGcEs2QL3VIG7SxfUFmQmEjxF2s_h1iR7SJvynMCzOfFtbOF6aNajjgVfDd1gfE_XBdPtJiNxzJUHadcT7FxCvN34glNfEp0XjkNQ2-fhR4DAdXrJ05Dv4fPjNV7K1LxZ1R9q4RG7ydC6dIrUi0LAp-e0CXK43nR1kz9Y8tZASS_8_cmzngNQ7j4E/s1280/gun%20man%20guys.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvIcrGcEs2QL3VIG7SxfUFmQmEjxF2s_h1iR7SJvynMCzOfFtbOF6aNajjgVfDd1gfE_XBdPtJiNxzJUHadcT7FxCvN34glNfEp0XjkNQ2-fhR4DAdXrJ05Dv4fPjNV7K1LxZ1R9q4RG7ydC6dIrUi0LAp-e0CXK43nR1kz9Y8tZASS_8_cmzngNQ7j4E/w400-h266/gun%20man%20guys.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Exposition as Ammunition</h3><p>Just as that basic structural shape fits within itself, within scenes, so do all the basic elements of plot.</p><p>The primary principles of plot are goal, antagonist, conflict, and consequences (stakes & ramifications).</p><p>Every scene should have a goal, an antagonist, a conflict, and consequences.</p><p>Turning points are important too--those are the "climaxes" in the structures above--it's when the conflict hits a definitive outcome that changes the direction of the story. It <i>turns</i> it into falling action.</p><p>There are more plot elements that build off these, but these are the most important and most foundational. They almost always need to be there to create a great scene.</p><p><b>The way to turn exposition into ammunition, is to turn information into plot elements</b>.</p><p>It's part of the goal. It's part of the antagonist. It's part of the conflict. It's part of the consequences. It's part of the turning point. (Or it's part of one of the other plot elements I didn't mention (I'm simplifying).)</p><p><b>Or even more simplistically speaking--it's an asset or a problem in the current situation.</b></p><p>Let's look at an example to demonstrate.</p><p><br /></p><h4 style="text-align: left;"><u>Example #1: Magic System Exposition into Ammunition</u></h4><p>Say we have a magic system about shadows. Perhaps in it, if your shadow overlaps with another's, that person is more susceptible to your influence and manipulation. In your little fictive world, you think this is a cool idea, and of course, the audience needs to know about it.</p><p>But simply explaining it to the audience isn't plot. Exposition in and of itself, doesn't make plot. Exposition is just information, and it certainly isn't functioning as "ammunition."</p><p>How do we convert it into ammunition?</p><p>By connecting it to plot.</p><p><b>We make it the protagonist's goal</b> to manipulate another character through her shadow. Now she watches light sources and where her shadow falls. Now she tries to get closer to this other person, without being obvious. It's interesting because it's relevant to what's happening at hand.</p><p>Or perhaps in this scene, this magic is <b>part of the antagonistic force</b>. Someone else is trying to stop the protagonist by manipulating her via shadow, and now she needs to make sure their shadows don't touch.</p><p>Or we bring the shadow magic into <b>a different, current conflict</b>. Maybe neither person originally intends to manipulate the other via shadow. They are arguing about something totally different. But as it escalates, one shadow falls over the other's and contributes to the situation. It helps the protagonist, or it creates more problems for the protagonist.</p><p>Or <b>we tie it to the consequences</b>. If the protagonist fails to outrun the antagonist (current conflict), the antagonist will force her down, then manipulate her to the point she's basically brainwashed via shadow magic.</p><p>Or, we <b>make it part of the turning point</b>. The current conflict escalates, and the way the "battle" is definitively lost or won is by manipulating someone via shadow.</p><p>It's not just information anymore. It's ammunition.</p><p>It's working as an asset or problem for the protagonist.</p><p><b>As the audience watches this play out, they barely recognize they are being fed information</b>.</p><p><b>To them, they are simply being fed plot</b>.</p><p>And it's scene-level plot. Meaning, it's immediately relevant. </p><p>Suddenly what could have been a boring chunk of info-dump is exhilarating. It has the audience on the edge of their seats.</p><p>Let's look at another example.</p><p><br /></p><h4 style="text-align: left;"><u>Example #2: Backstory Exposition into Ammunition</u></h4><p>Let's say your character has a history with another character in the scene. They were childhood neighbors, and one time as kids they got into trouble. They were throwing water balloons at passing cars, and one of the drivers got out and chased them. They got cornered in an alley and the driver called the cops.</p><p>Now, these characters find themselves together again, and they are planning what to do next on their way toward the main plot goal.</p><p>So I <i>could</i> just dump in that backstory as exposition. . . .</p><p>Or I could find a way to turn it into ammunition.</p><p>Rather than having them peacefully planning together, it would likely be better if they were <i>arguing</i> about what to do next. This makes the second character an antagonist for the protagonist, <i>within the scene.</i></p><p>Each person is trying to convince the other that their idea is great and the other person's is terrible.</p><p>As things get heated, the second character blames the protagonist for getting the cops called on them as kids.</p><p>This is now ammunition that feeds into the fight--it's the antagonist shooting it against the protagonist in the current conflict.</p><p>Now they are arguing about the water balloon incident.</p><p>So what was originally just info about their pasts, is now contributing to the current plot.</p><p>Let's do one more example . . . </p><p><br /></p><h4><u>Example #3: Character Exposition into Ammunition</u></h4><div>Your character dreams of winning the upcoming beauty pageant. But that information isn't relevant to the current plot. Yet it's important information to know, because it conveys not only her interests but key skills she's going use in an upcoming scene.</div><p>You could try to shoehorn it in, or you could weave it into the current conflict.</p><p>Perhaps the current conflict is seemingly unrelated.</p><p>She has to walk home from work every day, and her goal is to get home before dark. She doesn't feel safe walking home in the dark.</p><p>Anything that delays her, becomes an antagonistic force.</p><p>She's facing stray dogs, street salesmen, and chatty acquaintances.</p><p>In her rush, she accidentally steps into a storm drain grate, which ruins her shoes.</p><p>The shoes she intends to wear to the beauty pageant (she shouldn't have worn them that day, but she had a nice presentation at work and took the risk). </p><p>This is a cost, or consequence (ramification) of her pursuing her home in a rush.</p><p>It's "shot" her in a way that impacts her future. It's thrown her trajectory at least slightly off balance.</p><p>It's a problem.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfCy3JIJJFXmdqyHA1EOtw5GBUL_zXqegNh5I3HXD72-8RPpzb7AglmQqLkDv-2sQQqpc_JzDKtITFLOvKrf9ohfO-croZN7jgXXCSGOg38sxPTj_XKbeOruYEKPfH_2K8u7cAkjtYqMexb-m4NknyUJKGofEzcLh4tU6dvi9EAA0zOZS3F0uLBTF5ZRQ/s1920/writer%20man%20confused.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfCy3JIJJFXmdqyHA1EOtw5GBUL_zXqegNh5I3HXD72-8RPpzb7AglmQqLkDv-2sQQqpc_JzDKtITFLOvKrf9ohfO-croZN7jgXXCSGOg38sxPTj_XKbeOruYEKPfH_2K8u7cAkjtYqMexb-m4NknyUJKGofEzcLh4tU6dvi9EAA0zOZS3F0uLBTF5ZRQ/w400-h266/writer%20man%20confused.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Contextual Exposition</h3><p>Now, I want to acknowledge that not every single piece of information needs to be completely dramatized or "shown," and if it was, chances are the audience would feel like the story was lacking <a href="https://www.septembercfawkes.com/2020/01/context-text-subtext-understand-how.html">context</a>.</p><p><b>Context is the information the audience needs to properly interpret the story.</b> Without it, the audience feels a little blind. They need the narrator to guide them so they can appreciate what is unfolding. </p><p>So, if Joe calls Mack, "Sam," the audience wants a clue as to why. Is Sam a nickname? Is Joe bad at remembering names? Is Joe doing this to be rude? The audience doesn't know. They can't properly interpret what just happened. They need more insight.</p><p>If Joe calls Mack, "Sam," to be rude, then the narrator needs to drop a line of exposition to explain that. This is not only acceptable, but necessary.</p><p>In a strange way, though, this kinda brings us full circle. </p><p><b>Notice that this is providing context for the <i>current conflict </i>(or situation). </b></p><p><b>It's not information for the sake of information.</b></p><p>Having this information adds power to the current scene. It will help us understand that scene's conflict.</p><p>It doesn't take away or distract us from that scene.</p><p>In the same book, McKee talks about how you must pass on information that ensures the reader won't be confused. This is contextual information. </p><p>(Well, ensures the reader won't be <i>unintentionally and unnecessarily</i> confused. (In some rare exceptions, we may <i>want</i> the reader to be confused, but only briefly.))</p><p>McKee says, <i>do</i> pass on exposition if it reduces confusion.</p><p>Do write contextual exposition.</p><p>Even in my magic system example above, I would include contextual information. If I didn't, the audience wouldn't know to care two cents about the protagonist's shadow. They would probably feel confused on some level, when one character suddenly succumbs to the influence of the other, not understanding how or why.</p><p>Contextual exposition helps build the framework of the current scene's plot.</p><p>It may not be ammunition, but it's the material of the weapon that will hold the ammunition.</p><p>If there is no weapon, the ammunition doesn't do so much.</p><p>Reveal the information that will make the ammunition most impactful in the story.</p><p>When you do that, it's still relevantly tied to the current plot.</p><p style="text-align: center;">~</p><p><b>***GIVEAWAY REMINDER***:</b> In case you missed it over the holidays, I have a <a href="https://www.septembercfawkes.com/2023/12/a-gift-for-you-tip.html">giveaway</a> going on right now. A 6-month subscription to <a href="https://onestopforwriters.com/">One Stop for Writers</a>! And if you follow me by email, all you need to do, is plug that email into the <a href="https://www.rafflecopter.com/rafl/display/f08950331/">rafflecopter</a> for a chance to win. If you don't follow me by email, all you need to do is <a href="https://follow.it/september-c-fawkes?action=followPub&alreadySubscribedByEmail=true">follow me</a>, and <i>then</i> plug in your email like everyone else. (Learn more about it all <a href="https://www.septembercfawkes.com/2023/12/a-gift-for-you-tip.html">here</a>.)</p><p>(This giveaway was provided by Angela and Becca at <a href="https://writershelpingwriters.net/">Writers Helping Writers</a>.)</p><p><br /></p><p><br /></p></div>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-40204967953171077192023-12-30T05:51:00.003-07:002024-01-06T08:57:21.594-07:00A Gift for You! + Tip<p>Hey writers! </p><p>I hope you are having a wonderful holiday season! As some of you know, I serve as a <a href="https://writershelpingwriters.net/resident-writing-coaches/">resident writing coach on Writers Helping Writers</a>, and Angela and Becca wanted to thank my sphere by offering a giveaway to my followers: A 6-month subscription to <a href="https://onestopforwriters.com/">One Stop for Writers</a>!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBblehDOMZHdTVuMcoWJ7hxlqUI2I42WHkSIh69QYCORX8bsfNxQPTpX1N8-sVbMKyojBVKOiU30LP0ni-eN5HccI8gMNnnTZO6HEZEqV-d44VfcyAfOVGTXqP_KdyHZSPn0eFs5ISr0XM36G0OgzHuYprDVHRy-zks0CmUMP_28FwjmYo3thxM_lSnLk/s800/One%20Stop%20for%20Writers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBblehDOMZHdTVuMcoWJ7hxlqUI2I42WHkSIh69QYCORX8bsfNxQPTpX1N8-sVbMKyojBVKOiU30LP0ni-eN5HccI8gMNnnTZO6HEZEqV-d44VfcyAfOVGTXqP_KdyHZSPn0eFs5ISr0XM36G0OgzHuYprDVHRy-zks0CmUMP_28FwjmYo3thxM_lSnLk/w400-h400/One%20Stop%20for%20Writers.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: center;">What is One Stop?</h3><p><i>One Stop for Writers is your creativity portal to one-of-a-kind tools and resources that will make planning, writing, and revising a story much easier—especially if you follow the step-by-step Storyteller’s Roadmap!</i></p><p>Libraries are wonderful places—cozy vaults filled with book-sized treasures that smell of ink and make a delightful shoosh sound as their pages are turned. As kids, who among us didn’t run our fingers along the spines, choosing random books and sitting cross-legged to flip through them, hoping to find the perfect story that would whisk us away to an exciting place or set us on a heart-pounding adventure? Imagination, mystery, and possibility. For many, this is what the library embodies.</p><p>No one appreciates this more than authors. We’re intuitively aware that books are not only whimsical and fun; they also represent the transformative power of knowledge.</p><p>This storehouse of creative information is the inspiration behind One Stop For Writers®. Like a library, One Stop houses a vast collection of reference materials that are intended to help writers improve their craft. Our library is loaded with one-of-a-kind story and character planning resources unlike anything else available.</p><p>Our goal is simple: help writers like you find the information and inspiration necessary to elevate your storytelling, saving you time in the process. After all, isn’t your energy best spent doing what you do best—creating enthralling fiction your readers will love?</p><p style="text-align: center;">~</p><p style="text-align: left;">I have used <a href="https://onestopforwriters.com/">One Stop</a> for some of my own projects, and some of my clients use it too. It's a wonderful place to get ideas, brainstorm, and map out your story.</p><p style="text-align: left;">And if you love Angela and Becca's <i><a href="https://www.amazon.com/gp/product/0999296345/ref=as_li_qf_asin_il_tl?ie=UTF8&creative=9325&creativeASIN=0999296345&linkId=7b20ddaae3ac7dd3ce901f9f6c1b6439">Emotion Thesaurus</a></i> as much as I do, you can find it, and <i><u>all</u> </i>of their thesauri at One Stop (and since they aren't limited by page count, there are extra entries). ❤️</p><p style="text-align: left;">To get a better idea of everything included, check out Becca's tour of One Stop below.</p><p style="text-align: left;"><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/bN5ndWVsHsA?si=MIiG-PHVf9SPPHfv" title="YouTube video player" width="560"></iframe></p><p><br /></p><h3 style="text-align: center;"><u>How to Enter</u></h3><p>Entering the giveaway is easy. If you already follow me via email, simply click on the <a href="http://www.rafflecopter.com/rafl/display/f08950331/?">rafflecopter</a> and provide your email address (so I can verify you're subscribed). </p><p>If you don't follow via email, go <a href="https://follow.it/september-c-fawkes?action=followPub">here</a> and enter your address (make sure to confirm it), then provide it through rafflecopter as well. (When you confirm your subscription, you'll also be directed to a free copy of my <i><a href="https://www.septembercfawkes.com/p/core-principles-of-crafting.html">Core Principles of Crafting Protagonists</a></i> booklet--make sure to "bookmark" it.)</p><p>The winner will be selected January 15th at 11:59 p.m.!</p><p><br /></p><p>
<a class="rcptr" data-raflid="f08950331" data-template="" data-theme="classic" href="http://www.rafflecopter.com/rafl/display/f08950331/" id="rcwidget_158lkuzl" rel="nofollow">a Rafflecopter giveaway</a>
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<br /></p><p style="text-align: center;"><br /></p><p style="text-align: left;">(Feel free to thank Angela and Becca by visiting <a href="https://writershelpingwriters.net/">Writers Helping Writers</a>.)</p><p style="text-align: center;">~</p><p>With the holidays falling on my usual writing tip days, I haven't put up another tip yet, but I did write one last month for <a href="https://mystorydoctor.com/">My Story Doctor</a> that I forgot to share (in case you need something to hold ya over 😉). It's all about plot goals. . . .</p><p>While many point to conflict or even the antagonist as the first element of plot, the truth is, plot starts with a goal.</p><p>In fact, it's the goal that arguably creates the whole context for the plot. Until there is a goal, what happens doesn't matter much.</p><p>There are three basic types of plot goals, and knowing which type you are writing will influence how you set up your story; it will also give you insight into your protagonist. </p><p>To learn more, check out "<a href="https://mystorydoctor.com/the-3-types-of-plot-goals">The 3 Types of Plot Goals</a>."</p><p style="text-align: center;">~</p><p style="text-align: center;"><b>**Reminder**</b></p><p style="text-align: left;">Registration for my live, online writing course, the <a href="https://mystorydoctor.com/triarchy-method-of-story/?mc_eid=0260c676c7">Triarchy Method of Story</a> is open, and classes start Jan. 9th. Make 2024 your writing year; start it off with a bang by strengthening the "bones" of your book.</p><p style="text-align: left;">This 12-week course will give you over thirty hours of class time that is almost entirely focused on creating strong story content. I only take on 10 students to ensure that everyone gets proper feedback from me. It's first come, first serve, and as you can imagine by now, spots are filling up.</p><p style="text-align: left;">Learn more or register <a href="https://mystorydoctor.com/triarchy-method-of-story/?mc_eid=0260c676c7">here</a>. </p><p style="text-align: left;">Want to take the course but can't afford to pay for it all at once? Not a problem. You can split your payment in half or in quarters.</p><p style="text-align: left;"><br /></p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-14687468593475475002023-12-11T05:00:00.038-07:002023-12-11T07:36:32.506-07:00Writing Negative Character Arcs: Types & Principles<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtKpk2cpqJ6UjORy3t3KTaY3H6l_xYuvZryqDybBrG5EMYL4-7c_IMftgIbnSHNoIPUkvJKcH9P-OwmozZf4FxDfbzbWGY8DrR2SrmgLuVTJpiPVZDpblHaMGncMLUjC_CPDq-dvK7b4PXO9MUFcaCP6JZNngXKJcbNwn9v2KFP4LCu6L0YUR43c0uMPA/s3264/Writing%20Negative%20Character%20Arcs.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2352" data-original-width="3264" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtKpk2cpqJ6UjORy3t3KTaY3H6l_xYuvZryqDybBrG5EMYL4-7c_IMftgIbnSHNoIPUkvJKcH9P-OwmozZf4FxDfbzbWGY8DrR2SrmgLuVTJpiPVZDpblHaMGncMLUjC_CPDq-dvK7b4PXO9MUFcaCP6JZNngXKJcbNwn9v2KFP4LCu6L0YUR43c0uMPA/w400-h289/Writing%20Negative%20Character%20Arcs.jpg" width="400" /></a></div><br /><div style="text-align: left;"><br /></div><h3 style="text-align: left;">What is a Negative Character Arc? </h3><p><b>In a negative character arc, the character grows into someone worse--or perhaps more accurately said, someone more misled</b>. Stories that feature protagonists with negative arcs typically function as cautionary tales and often leave the audience feeling "sadder, but wiser." Some examples of negative arcs include Anakin in <i>Revenge of the Sith</i>, Coriolanus in <i>A Ballad of Songbirds and Snakes</i>, and Light in <i>Death Note. </i>These also serve as good reminders that not all protagonists are "heroes."</p><p>Of course, though, negative arcs can be used for side characters or antagonists as well, such as Harry Osborn in <i>Spider-Man</i>, or Javert in <i>Les Mis</i>.</p><p>A common misconception is that negative arcs are always for "bad guys." While the majority of villains will embody a negative arc, not every negative-arcing character <i>is</i> a villain. For example, Winston has a negative arc in <i>1984</i>, but no one would call him a "bad guy"; he was tortured until he lost his way.</p><p>Despite negative arcs being uncommon for main characters, chances are you'll need to write one for at least one important character at some point. <b>This article will go over the two basic types of negative arcs, dig deeper into what a negative arc actually is, and offer four principles to help you craft one</b>.</p><p>Buckle up, writers, because today we are on the "highway to hell!" 😈🔥😉<span></span></p><a name='more'></a><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrTeSCt87TAn5vRlDW66DQkug9TnQNjP2H85uTER112tDbJ8zLw0Sr4CAlIg5ULF5hxkzAsLzzhJupM9IdvCSNtZQ78ESYwqI2Mt7GxxAF5xf_qYp_tZmodmMZ3h-CqIIbOg-7yADeEChx4L8870JoDlMREsS9DCSlYTJ2hPXXjtwPrROQzSHYPfmND6Q/s1280/Yzma%20and%20Kronk%20ride.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrTeSCt87TAn5vRlDW66DQkug9TnQNjP2H85uTER112tDbJ8zLw0Sr4CAlIg5ULF5hxkzAsLzzhJupM9IdvCSNtZQ78ESYwqI2Mt7GxxAF5xf_qYp_tZmodmMZ3h-CqIIbOg-7yADeEChx4L8870JoDlMREsS9DCSlYTJ2hPXXjtwPrROQzSHYPfmND6Q/w400-h225/Yzma%20and%20Kronk%20ride.jpg" width="400" /></a></div><br /><p><br /></p><h2 style="text-align: left;">The 2 Basic Negative Arcs</h2><p>First, though, I need to make sure we are all on the same page, so here is a brief review on character arcs in general. . . .</p><p>A character arc is how a character grows through a story. And at the most basic level, there are really only <a href="https://www.septembercfawkes.com/2022/05/the-4-basic-types-of-character-arcs.html">four types</a>: positive change, negative change, positive steadfast, negative steadfast.</p><p>Those are your only options.</p><p>Why?</p><p>Because there are only two ways a character can grow internally:</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>1. They can <i>change</i> their worldview or beliefs.</p><p>2. They can grow in the resolve of their worldview or beliefs (remain steadfast), becoming <i>more</i> of something.</p></blockquote><p><br /></p><p>And each of these can happen in one of two ways.</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>1. Positive (becoming someone better)</p><p>2. Negative (becoming someone worse)</p></blockquote><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHExn_yBuEqm_9tw0uJXKr0ZNawL9Q3XR892eBce5Se2zeM_OUM1_hmvxkQZeDHFRJkUe6sqmAx-OpJ0YBJ8wcUMATHrjSV7rLKauVkJb0LbpWf8IaCLbaZ-7XACCEj5c33BqM6ui-KD74N1_Q-6DztO2EH5dDqvBM3zzK2mWhyS_01pHQ7JzRhIASI4c/s1920/54.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHExn_yBuEqm_9tw0uJXKr0ZNawL9Q3XR892eBce5Se2zeM_OUM1_hmvxkQZeDHFRJkUe6sqmAx-OpJ0YBJ8wcUMATHrjSV7rLKauVkJb0LbpWf8IaCLbaZ-7XACCEj5c33BqM6ui-KD74N1_Q-6DztO2EH5dDqvBM3zzK2mWhyS_01pHQ7JzRhIASI4c/w400-h225/54.jpg" width="400" /></a></div><br /><p><br /></p><p>There are many other approaches to character arcs, and you can get more detailed, but theoretically, any character arc will fit into one of these four types.</p><p>The character arc is an internal journey and is almost always directly tied to the theme. In fact, it's one of <a href="https://mystorydoctor.com/the-secret-ingredients-to-write-theme">the secret ingredients that make up theme</a>. This journey will ultimately represent a worldview or belief system that the story will put a value on.</p><p><b>Positive-arcing characters end the story representing an accurate or "true" belief system--a reality</b>. The belief system is what the story is arguing for; it's known as the <a href="https://mystorydoctor.com/the-secret-ingredients-to-write-theme/">thematic statement</a>. The journey is viewed as an internal victory because the character is better off and a better person, for believing the <i>truth</i>. </p><p><b>Negative-arcing characters end the story representing an inaccurate or "false" belief system--a nonreality*</b>. This belief system is what the story is arguing against; this means it's (almost always) the <a href="https://www.septembercfawkes.com/2020/12/writing-your-anti-thematic-statement.html">anti-thematic statement</a>, the counterargument to the theme. The journey is viewed as an internal failure because the character is worse off or a worse person, for believing a <i>lie</i>.</p><p>For more information on all arcs, check out "<a href="https://www.septembercfawkes.com/2022/05/the-4-basic-types-of-character-arcs.html">The 4 Basic Types of Character Arcs (with Examples and Variations)</a>."</p><p><i>*Some negative-arcing characters have a last-minute redemption in the falling action, but they will represent a false worldview at the climax.</i></p><p>(This is all generally, simplistically speaking, of course. There is room for variation.)</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ2cXwQ25P9IbGBo2u9daZQDyfQH31FoOSs4bonnb8NnKUgj5taFOiMv_Vo2P0JI44l41gCP733j1XDv7TSheTTWfgdpHXCHkrhTFxkHxElWrcfiFqiuR49UnlntsqaUyLMurr4BtbXQ2TsrRF8meA9EUEqZx8OKY4HbI3b28R-YlqrMEQzhyphenhyphenYEwoNH-Y/s860/Anakin%20and%20obi%20wan%20face%20shots.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="487" data-original-width="860" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ2cXwQ25P9IbGBo2u9daZQDyfQH31FoOSs4bonnb8NnKUgj5taFOiMv_Vo2P0JI44l41gCP733j1XDv7TSheTTWfgdpHXCHkrhTFxkHxElWrcfiFqiuR49UnlntsqaUyLMurr4BtbXQ2TsrRF8meA9EUEqZx8OKY4HbI3b28R-YlqrMEQzhyphenhyphenYEwoNH-Y/w400-h226/Anakin%20and%20obi%20wan%20face%20shots.webp" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Negative Change</h3><p><b>In a negative change arc, the character starts the story with the true belief system--the thematic statement</b>--even if he doesn't fully recognize what he has, <b>but by the climax, he converts to a false or inaccurate belief system</b>, rejecting his initial worldview. This leaves him worse off.</p><p>Frequently he starts as a morally good person who has a promising trajectory. But when faced with the struggles of the plot, he questions his way of life and makes wrong choices. </p><p>There is usually something he greatly wants, and he will try to use the anti-thematic statement (or the "lie" according to <a href="https://www.helpingwritersbecomeauthors.com/negative-character-arc-1/">some approaches</a>) to try to get it.</p><p>This is a character who <i>should</i> have had a <a href="https://www.septembercfawkes.com/2021/05/principles-of-steadfast-flat-arc.html">positive steadfast arc</a>, but lost his way.</p><p>For example, in <i>Revenge of the Sith</i>, Anakin Skywalker starts the story believing in and upholding the light side of the Force, but his thirst for greatness, and, above all, his fear of loss leads him toward the dark side. To be a true Jedi, he must be humble and accept loss, but instead he is so driven to save Padme that he turns his back on the Jedi ways, and ultimately becomes morally corrupt.</p><p>More examples: Light in <i>Death Note</i>, Winston (with variation) in <i>1984</i>.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUanzEtB0P7ctNxm6i-7VZw2J4Z22wt1_ddqS_Purmu5D6q-wHQtY8fPtoB-9Bzby3BM_cbARrU9n43C3ykBw4RBHw-9NtuyGz7-xEwT2vzFa2wWF4yiWDQHYn97K5CZDa0nuDTMzz_XcrzAX5FlQE3EqkJpMeVjCOqcMSN5txkoUrxqmkRqaR-d3tYE4/s1200/cruella%20emma%20stone.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUanzEtB0P7ctNxm6i-7VZw2J4Z22wt1_ddqS_Purmu5D6q-wHQtY8fPtoB-9Bzby3BM_cbARrU9n43C3ykBw4RBHw-9NtuyGz7-xEwT2vzFa2wWF4yiWDQHYn97K5CZDa0nuDTMzz_XcrzAX5FlQE3EqkJpMeVjCOqcMSN5txkoUrxqmkRqaR-d3tYE4/w400-h266/cruella%20emma%20stone.webp" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Negative Steadfast</h3><p><b>In a negative steadfast arc, the character starts with a false belief system--usually the anti-thematic statement--and at the climax, refuses to let it go</b>. In fact, she may believe in it more deeply than ever. This leaves her in the negative; she's likely even worse off than initially.</p><p>Frequently when the main conflict hits, obstacles will highlight her flawed worldview while opportunities will offer her the "high road." She will have her resolve tested as she is invited (directly or indirectly) to change for the better, and she may or may not try to change through the middle. But at the climax, she ultimately holds stubbornly to her initial ways. She will reject the thematic statement, and sink deeper into her misbeliefs.</p><p>This is a character who should have had a <a href="https://www.septembercfawkes.com/2022/05/the-4-basic-types-of-character-arcs.html">positive change arc</a>, but refused to.</p><p>For example, in <i>Cruella</i>, Estella starts as misbehaved and vengeful. She may "try" to be "good," but inside, she wants to be bad. She befriends two orphans, who later give her the opportunity to work an honest job in the fashion industry, but instead, she embraces her cruel ways. Despite Jasper trying to convince her to change, Estella chooses to become even more immoral as Cruella. She embraces the belief that it's better to be cruel than kind.</p><p>More examples: Coriolanus Snow in <i>A Ballad of Songbirds and Snakes</i>, Javert in <i>Les Mis</i>.</p><p style="text-align: center;">~~</p><p>Worth noting is that there is one more type of arc that is often considered negative, and this is the <a href="https://www.septembercfawkes.com/2022/05/the-4-basic-types-of-character-arcs.html">disillusionment arc</a>. In this arc, the character comes to the accurate worldview--the thematic statement--but the truth is sad and disheartening. Because I view this as ultimately a good thing (it's better to accept reality than hold onto a flawed belief system), I consider this a version of the positive change arc. However, many people view this as a negative arc, because it doesn't leave the audience cheerful and optimistic. Whichever way you choose to view it is fine, just understand it works by the character embracing the theme.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh13z8gdADCGUDXY0sy_20LJTmEyFIt6SXpZ0PJ47cpNvyiFdtAFKEALMwrLq0WPPaNPFpN77QVdxdmUazTEmdYHCxK4W_Zax4YkPK7ILCdT7OB7l5d5tn5fY7XunduYLJPytJ8X1oWCavKtfat4NaKYJ2sJq91kPwG1ZW9yjMw00h1QsHbpEngqfDhe0/s740/1984%20big%20brother%20watching.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="416" data-original-width="740" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh13z8gdADCGUDXY0sy_20LJTmEyFIt6SXpZ0PJ47cpNvyiFdtAFKEALMwrLq0WPPaNPFpN77QVdxdmUazTEmdYHCxK4W_Zax4YkPK7ILCdT7OB7l5d5tn5fY7XunduYLJPytJ8X1oWCavKtfat4NaKYJ2sJq91kPwG1ZW9yjMw00h1QsHbpEngqfDhe0/w400-h225/1984%20big%20brother%20watching.webp" width="400" /></a></div><p><br /></p><h2 style="text-align: left;">At the Heart of Negative Arcs</h2><p>When talking about negative arcs, people often use words like "bad" or "immoral," and as stated above, typically view these characters as more villainous. I, myself, have and will likely continue to use such words, because it's a simple, generalized way to get the idea across without having to explain all the mechanics of themes and belief systems. </p><p>However, it's not the most <i>accurate</i> explanation (ironically).</p><p><b>Not <i>all</i> negative-arcing characters are immoral</b>. Nor, as I stated above, are they all villainous bad guys.</p><p><b>At its heart, negative arcs are about a character ultimately believing in something that isn't true--a nonreality</b>.</p><p>And it's an untruth within the context of the thematic argument of the story.</p><p>In this sense, you may have a story that argues "Good guys finish last." We may not like that truth, but it's true in certain scenarios in life (it's possible to be too "nice"), and it can be true within the context of a given story. So, a negative steadfast arc might be a character who fails to accept this. It's a character who <i>should</i> have completed a disillusionment arc, but refused to. This character may, technically, be a very moral, good-hearted person, but because he chooses to cling to a nonreality, he's in the negative.</p><p>Believing in something that isn't real, isn't usually helpful. It's harmful.</p><p>(Of course, though, we all have some different beliefs on what is real and what is true. This is why it's a nonreality within the framework, within the context of the story, within <i>that</i> story's theme.)</p><p>It's perhaps most accurate to <b>think of negative arcs as being about someone who is lost or misled</b>, even if they don't see it that way themselves.</p><p><b>This is usually the key to making their arc empathetic</b>.</p><p>No one hates Winston for embracing the beliefs of the Party in <i>1984</i>. Instead, we view his brainwashing as tragic. We understand he ends up more lost and more misled than he's ever been--than he could have ever been, if he hadn't embarked on his quest for personal freedom and truth to begin with.</p><p>This may be true even of legit villains. As much as we hate Voldemort, we understand through the Harry Potter series, that he is incapable of recognizing that love is the most powerful force--most powerful magic--in the world. Sure, he may be a bad guy, but the author shows us how he is lost and why he is misled.</p><p>Compare that to Umbridge. Because we don't know those things, readers actually tend to hate her <i>more</i> than Voldemort. We don't like what we don't understand.</p><p>Depending on your project, you may or may not want your negative-aching character to be empathetic. Or you may want him to be a little empathetic or a lot of empathetic 😉. Often this will be controlled by how much you decide to include about how the character got lost and why they are misled.</p><p>If you decide to delve into such aspects, you will find that writing negative arcs can be a surprisingly empathetic experience. Everyone loves a hero, but there can be something unequivocally tragic about the downfall of the lost.</p><p><b>Regardless of which type of negative arc, the end result is a sort of self-damnation</b>. You can move forward toward becoming an individuated human being when you hold the truth--no matter how long the journey takes you. When you believe in something that isn't real, a lie, you are Sisyphus endlessly pushing a rock up a hill. A lot of effort, to ultimately get nowhere. That is the true punishment, the true damnation of hell.</p><p>You'll never find your way out, if you're worshipping a nonreality.</p><p><br /></p><h2 style="text-align: left;">4 Principles of Negative Arcs</h2><p>Most stories feature positive change arc protagonists, and most writers are frankly taught to write positive change arc protagonists. This means that a lot of writing advice comes from a positive-change-arc-centric perspective (yeah, I just made that term up). If you are writing one of the other three types of arcs, it can be difficult to find helpful resources. And applying positive-change-arc advice to a different arc doesn't work very well.</p><p>So, let's go through the most important principles when it comes to writing prominent negative arcs.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD96KDMHa8BW3qBclEAelnj0WiqoewTVnpqjjR4mgAKerOPlwflJU_tOvpQTAVzIEzuUgvnlxEQL_HUcmtbPipQvZfvqwsxmCGhax4rmC9Sxogk0U-hmGIJXb44LBenxCghDylOjzGOGpXMVN0UZV9ocrzJzl9su6QtGF_uhFvEBzIRj0YYX-fGVNv4zI/s374/Anakin%20and%20obi%20wan%20duel.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="229" data-original-width="374" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD96KDMHa8BW3qBclEAelnj0WiqoewTVnpqjjR4mgAKerOPlwflJU_tOvpQTAVzIEzuUgvnlxEQL_HUcmtbPipQvZfvqwsxmCGhax4rmC9Sxogk0U-hmGIJXb44LBenxCghDylOjzGOGpXMVN0UZV9ocrzJzl9su6QtGF_uhFvEBzIRj0YYX-fGVNv4zI/w400-h245/Anakin%20and%20obi%20wan%20duel.webp" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: left;">Reverse the Climax: Thematic <--> Anti-thematic</h3><p>As I touched on above, <b>what makes a negative arc, negative, is that the character doesn't represent the true belief system, the thematic statement, at the climax. Instead, she represents</b> (what I call)<b> the <a href="https://www.septembercfawkes.com/2020/12/writing-your-anti-thematic-statement.html">anti-thematic statement</a>.</b></p><p>See, every great story has a counterargument to the theme. </p><p><i>Harry Potter</i> argues love is the most powerful force in the world, but the counterargument to that is that fear and hatred (prejudice), as illustrated by Voldemort, are more powerful. </p><p><i>Star Wars IV: A New Hope</i> argues that we should rely on faith (the Force), but the counterargument to that is that we should rely on technology, as illustrated by the Empire and the Death Star.</p><p><i>The Hunger Games</i> argues that we should sacrifice ourselves to save others, but the counterargument to that is that we should sacrifice others to benefit ourselves, as illustrated by the Capitol and the Hunger Games themselves.</p><p>The counterargument is the anti-theme.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifu_aXqNYKzwEKt8ADDX6WvFJNeuRHO-nJkfQzNK9qxJC3tHbcy0GvVHQr3Pm8C4o0XVnsIRGDAy6_lFxCsZzhRfOeYK-U0O_m_8YZXjn7H_MTkA2odaTrp16O0T3NsvfMG8yRTCEW22iJlXMHxd3aEU-NuZiRD6mf__Piv1jLDK-GVoVV-2MxTL_h-8E/s1920/69.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifu_aXqNYKzwEKt8ADDX6WvFJNeuRHO-nJkfQzNK9qxJC3tHbcy0GvVHQr3Pm8C4o0XVnsIRGDAy6_lFxCsZzhRfOeYK-U0O_m_8YZXjn7H_MTkA2odaTrp16O0T3NsvfMG8yRTCEW22iJlXMHxd3aEU-NuZiRD6mf__Piv1jLDK-GVoVV-2MxTL_h-8E/w400-h225/69.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_G8PHtdfGbHM4swQwm4n9n2qvZDydrJ1C2_9Au06FRkVO9a06OClp0nzhOg0Rmk4LmbTgibBG6c5HRa9G92Th8dOvKBBCH5GwMkQ316Mi2qRiuK0n7KDqkzC0xicCDiZy0dFmhMbjzT-8ZX5P7DStg_eCGAr6xQJHacpXlDSyDPXZuUuw1skJrf_speA/s1920/70.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_G8PHtdfGbHM4swQwm4n9n2qvZDydrJ1C2_9Au06FRkVO9a06OClp0nzhOg0Rmk4LmbTgibBG6c5HRa9G92Th8dOvKBBCH5GwMkQ316Mi2qRiuK0n7KDqkzC0xicCDiZy0dFmhMbjzT-8ZX5P7DStg_eCGAr6xQJHacpXlDSyDPXZuUuw1skJrf_speA/w400-h225/70.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisdpBHHxk1W2uiCR-wTHYto2yh0gPUMfhe9klzR4-tAu9ftHYY3qipI6POEAZwM7NG1rsSzsjvd4udsFJ8gYUxubAy3TbbclZzLu9n6tSk5g3MrHhmP9HgDBf1W0R50fCBYxPp9kTy1ARWcSPjCV4mMgd_IxDvstDxCHrw2_xnLCeBf8_SexA_hM66Jig/s1920/72.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisdpBHHxk1W2uiCR-wTHYto2yh0gPUMfhe9klzR4-tAu9ftHYY3qipI6POEAZwM7NG1rsSzsjvd4udsFJ8gYUxubAy3TbbclZzLu9n6tSk5g3MrHhmP9HgDBf1W0R50fCBYxPp9kTy1ARWcSPjCV4mMgd_IxDvstDxCHrw2_xnLCeBf8_SexA_hM66Jig/w400-h225/72.jpg" width="400" /></a></div><br /><p><br /></p><p>If you are familiar with K. M. Weiland's work, she refers to this as the "lie," while Lisa Cron refers to this as a "misbelief." It is also sometimes referred to as a "flaw." (I mean, we could get more nitpicky and differentiate these more, perhaps, but that's a different post.)</p><p>Frequently such terms are used in reference to something within the main character--it's the main character's misbelief, it's the main character's flaw. But it's important to understand this counterargument often exists outside the main character as well. It can exist in other characters, or even a society (which is the case for Katniss).</p><p>Nonetheless, because we are working<b> with negative arcs, the anti-theme </b>(or some variation of it)<b> will undoubtedly exist within the character. What the character ultimately believes or represents at the climax, is in the wrong.</b></p><p>A positive-arcing character will prove the theme true by ultimately embracing and using it toward a victory at the climax (at the bare minimum, an internal victory).</p><p>A negative-arcing character will <i>also</i> prove the theme true, but by ultimately embracing the <i>anti-theme</i> and using it to reach a failure at the climax (at the bare minimum, an internal failure). The negative-arcing character illustrates how the anti-theme is false.</p><p>To be a solid negative arc, the character needs to act on the anti-theme. </p><p>Anakin needs to show he refuses to accept loss in the final duel, by jumping at Obi-Wan, despite Obi-Wan standing on higher ground. Obi-Wan cuts him down, and Anakin loses everything. The climax illustrates that he was in the wrong. He should have accepted his loss (in more ways than one).</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpXQLrWImz2yPJ5rbE_3GMfqv3IOlzmMMnBb-v3ycuwIOYCqk1q2GVQK27MJI2V3VdPZ0TrtOKwHKcoay7jZHCZjS3EScL3k_TqmE1tt9TIcVO1DgsuOV_flM4wQ8uKZHHycFy6iWPeEgzThcsXgfdqQrWccqIvBHoFyS9JdsMmIOJMrOfNHtUUSeASg/s1296/songbirds%20and%20snakes%20snow%20and%20lucy%20gray.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpXQLrWImz2yPJ5rbE_3GMfqv3IOlzmMMnBb-v3ycuwIOYCqk1q2GVQK27MJI2V3VdPZ0TrtOKwHKcoay7jZHCZjS3EScL3k_TqmE1tt9TIcVO1DgsuOV_flM4wQ8uKZHHycFy6iWPeEgzThcsXgfdqQrWccqIvBHoFyS9JdsMmIOJMrOfNHtUUSeASg/w400-h225/songbirds%20and%20snakes%20snow%20and%20lucy%20gray.webp" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Want Before Need: Sacrificial <--> Selfish</h3><p><b>A core characteristic of positive arcs is that the characters are ultimately willing to sacrifice their personal, perhaps worldly, desires, at the climax.</b> They may be eager or they may be reluctant, but when it gets down to it, they'll do it. This is what makes them, in some sense, "heroes." Even a positive-arcing "anti-hero" will ultimately be willing to sacrifice something he values, to do what is right. What is necessary. (And in some cases, this may mean simply casting off, sacrificing, the anti-theme.)</p><p>Positive-arcing characters do what is <i><a href="https://www.septembercfawkes.com/2021/02/characters-want-vs-need-explained-4.html">needed</a></i>.</p><p><b>A core characteristic of negative arcs is that the characters are ultimately unwilling to sacrifice their personal desires at the climax.</b> They may consider it, but when it gets down to it, they'll choose what they <i><a href="https://www.septembercfawkes.com/2021/02/characters-want-vs-need-explained-4.html">want</a>,</i> over what is <i>needed</i>--over what is necessary or right. They are unwilling to let go of their flawed beliefs because they do not consider the alternative path worth the cost or risk.</p><p>Like all well-written characters, they have an abstract want that manifests into concrete goals. The goals may even begin well-meaning. Anakin intends to save Padme. Light intends to rid the world of criminals. Coriolanus intends to win money for his family.</p><p>But as they pursue these things through the plot, they are ultimately unwilling or unable to pay the required costs to win the most critical journey of all: coming to the truth.</p><p>Instead, any "sacrifices" they make, are really more like collateral damage on the way to their worldly or selfish goals. They prioritize their own goals above all else. Even negative-arcing characters who claim to be sacrificial, are often "sacrificing" things and people they actually care little about (like Light)--which means it's not a true sacrifice; it's a payment, a means to their end.</p><p>In regards to this principle and the last, often to be most effective, <b>the character is given a climactic choice. A choice between <a href="https://www.septembercfawkes.com/2021/02/characters-want-vs-need-explained-4.html">what is wanted and what is needed</a>. And/or a choice between the anti-theme and the theme.</b></p><p>This is typically true of positive arcs as well.</p><p>At the climax, Katniss must choose between risking death to possibly save Peeta, or to kill Peeta to save herself. She chooses to risk death, despite her deep desire to survive. Her sacrifice illustrates the theme.</p><p>In <i>Wonder Woman</i>, Diana must choose between fighting for a better world to defeat Ares, or joining him in dealing out the punishment she feels humankind deserves. She chooses the former.</p><p>Negative-arcing characters make the opposite choice.</p><p>In <i>The Ballad of Songbirds and Snakes</i>, Coriolanus must choose between forsaking everything he wants and knows to live freely in the wilderness with the woman he loves, or to remove the woman he loves and return to governing society to gain what he wants. He chooses the latter.</p><p>In <i>1984</i>, Winston must choose between staying true to Julia and facing additional torture, or betraying her and becoming brainwashed. He betrays her. </p><p>Please always keep in mind, though, that these are still generalizations to explain the principles--they aren't laws we are enslaved to. (But typically, you must understand generalizations before you can successfully create variations).</p><p>For more on wants vs. needs, check out "<a href="https://www.septembercfawkes.com/2021/02/characters-want-vs-need-explained-4.html">Character's Want vs. Need</a>."</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTnPVrmJrQqbm2M_-MUltNcdlB13WwR-Iyas94pFDblsFMY6Jqze0z9T8MsO-MmgquGn-60TiWs0WgTDuXXsG6Z8susHxQmm1P0bhSQcwVzjBRF7gGkZhDuvpZHhXFDuKUzU8Bytro2mp-zsE1k4ReUK4zrEaYYMlZVuOEUvy2gpNO0XsIrLIfS8OR0g/s1200/death%20note.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTnPVrmJrQqbm2M_-MUltNcdlB13WwR-Iyas94pFDblsFMY6Jqze0z9T8MsO-MmgquGn-60TiWs0WgTDuXXsG6Z8susHxQmm1P0bhSQcwVzjBRF7gGkZhDuvpZHhXFDuKUzU8Bytro2mp-zsE1k4ReUK4zrEaYYMlZVuOEUvy2gpNO0XsIrLIfS8OR0g/w320-h200/death%20note.webp" width="320" /></a></div><p><br /></p><h3>Constructive <--> Destructive</h3><p><b>Positive arcs result in building people or societies up.</b></p><p>In a positive change arc, this emphasis is usually put on the character herself. She overcomes the flaws or misbeliefs that are holding her back, and becomes a better version of herself. This offers a personally promising future.</p><p>In a positive steadfast arc, commonly this emphasis is <a href="https://www.septembercfawkes.com/2021/05/principles-of-steadfast-flat-arc.html">put on the society</a>. The character helps others overcome their flawed beliefs, and leads the "world" into a promising future.</p><p>But of course, these aren't necessarily mutually exclusive. A positive-arcing character can both improve herself and those around her.</p><p>Generally speaking, <b>negative arcs are about destroying these things.</b></p><p>Rather than building up themselves or their societies, negative-arcing characters are tearing them down--whether or not it is intentional.</p><p>It may be very intentional, like in <i>Cruella</i>, but it may be, from the character's perspective, a necessary price for the want-driven concrete goal, like in <i>Death Note</i>. </p><p>Regardless, when the character acts on the anti-theme, it's destructive.</p><p>Theoretically, each type gets the same emphasis as the positive arcs.</p><p>In a change arc, the destruction is often emphasized internally. We focus more on the fact that Anakin is lost, than on the ruin he's creating around him (though he is doing that as well).</p><p>In a steadfast arc, the destruction is often emphasized externally. Coriolanus is bringing destruction and death to others, specifically Lucy Gray and Sejanus (though Coriolanus is sinking deeper into negative ideology as well).</p><p><b>An important element of working with negative arcs is to make sure we aren't condoning all the destruction the characters are doing.</b> This can be tricky to balance, because at the same time, we don't want our work to come off as preachy.</p><p>The best way to address this, is to make sure we are <a href="https://www.septembercfawkes.com/2022/05/theme-showing-telling.html"><i>showing</i> the theme</a> and character arc, more than <i>telling</i> them. </p><p>And one critical component of that, is to<b> show the consequences of the character's behavior</b>.</p><p>Recall above when I said that the story puts a value on the belief system.</p><p>Often that value is illustrated through consequences.</p><p>Those who act on the theme are "rewarded" in the end.</p><p>While those who act on the anti-theme are "punished" in the end.</p><p>Katniss not only gets to save herself, but Peeta too, all while sticking it to the Capitol.</p><p>Anakin loses not only his fight with Obi-Wan, but his limbs, his wife, his children--everything.</p><p>This is again, simplistically speaking though, and I'll mention some variation in the next section.</p><p>But the truth is, you could write the darkest story in the world, without condoning the characters' behaviors in it, without promoting that way of life. </p><p>In addition to consequences, tone is also useful in conveying what is and is not an acceptable worldview.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9duHLOKKSQsKhZJ7P4B9Iew1kNWcxz9D12IZ1y4D-oLbF3tSmb0Yv7TD7VtS4ao1pPPPH_29U6NVpdbLK0g2e0QVcIXwezic_QEG6_25eUOj_d1tn3F9jmF84fO8fb6E37do3syqY7SHSwHw9x0XLZrPwbMgtlglW3s8siJwkGjO8MDym0u6shGCA53w/s640/songbirds%20and%20snakes%20tigris.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9duHLOKKSQsKhZJ7P4B9Iew1kNWcxz9D12IZ1y4D-oLbF3tSmb0Yv7TD7VtS4ao1pPPPH_29U6NVpdbLK0g2e0QVcIXwezic_QEG6_25eUOj_d1tn3F9jmF84fO8fb6E37do3syqY7SHSwHw9x0XLZrPwbMgtlglW3s8siJwkGjO8MDym0u6shGCA53w/w400-h225/songbirds%20and%20snakes%20tigris.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: left;">Internal Journey: Victory <--> Failure</h3><p><b>Regardless of what ultimately happens externally, positive-arcing characters' internal journeys will be viewed as a victory</b>. These are characters who came to, or upheld, the truth. This betters them, as they changed or as they grew in their resolve of their beliefs. Nothing can take that away from them.</p><p><b>Regardless of what ultimately happens externally, negative-arcing characters' internal journey will be viewed as a failure</b>. These are characters who embraced, or upheld, an untruth. This damns them, whether they changed or grew in their resolve of their beliefs. Nothing can redeem them, if they are unwilling to give up their ways.</p><p>Negative-arcing characters end up "lost," and not "found."</p><p>While it is most common to have an internal victory paired with an external victory, and an internal failure paired with an external failure, it's not a strict rule.</p><p>Having both journeys end on the same value, makes it easier to drive home the point of the story. </p><p>But it's possible to have an internal victory paired with an external failure, and an internal failure paired with an external victory. </p><p>In the former, the story ends with the sense that the victory was worth the cost of the loss. Doing what is true is more important than winning the world.</p><p>In the latter, the story ends with a "hollow victory." The character has gained the world, but has lost her soul, so to speak.</p><p>So while Coriolanus succeeds in winning the prize, redeeming his surname, and bringing wealth to his family, he fails as a person, as illustrated by Tigris saying he looks just like his father. Coriolanus is damned to go through the rest of his life loveless. Even if he doesn't see that as a problem, the audience recognizes it as one.</p><p>One last thing that is also worth mentioning here, is it is possible the negative-arcing character gets a last-minute redemption in the falling action. Because of what happened at the climax, and what followed just after, she may realize the wrongs of her ways, and spend the last few beats of the story changing.</p><p>While I suppose you could ultimately consider this a positive arc, because of the very very end, I find it's more helpful to structure such stories as negative arcs, since the climax we've been building toward is negative.</p><p>In any case, as I've said throughout, all these are principles, not rules, and they are meant to help, not hinder, your writing.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8DqnlEWqokHsZyjA2aFBImrD3-5fo0YusdKvrdBvmAKaGkeCMjpMdXx8lnFLvJBSCn-nlJovc4k33DK1mqsEvHi6v1Di8QJ5Q989zgUGWeUZeWvBtUCUQBWuQNiSzqfsWAf8dJsaziERC9AEz8U9zCJkR-7-WFk15A3rzQD0q7XkpGiuC23KnFYv5qcM/s1920/daydream%20stories%20writing%20man.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8DqnlEWqokHsZyjA2aFBImrD3-5fo0YusdKvrdBvmAKaGkeCMjpMdXx8lnFLvJBSCn-nlJovc4k33DK1mqsEvHi6v1Di8QJ5Q989zgUGWeUZeWvBtUCUQBWuQNiSzqfsWAf8dJsaziERC9AEz8U9zCJkR-7-WFk15A3rzQD0q7XkpGiuC23KnFYv5qcM/w400-h266/daydream%20stories%20writing%20man.jpg" width="400" /></a></div><p><br /></p><h2 style="text-align: left;">Why We Need Stories with Negative Character Arcs</h2><p>Negative-arcing characters offer us cautionary tales about what we should not do and why.</p><p>While today, stories are often viewed as a form of entertainment, another purpose is to teach or educate.</p><p>Just as it's important to know what can go right, it's also important to know what can go wrong, and how.</p><p>Imagine telling a child to always look before crossing the street so he can be safe, without ever explaining to him the consequences of failing to do that.</p><p>What do you think will happen eventually?</p><p>That's right. Splat.</p><p>(Okay, yeah, that is a little morbid, but I think you get the idea.)</p><p>We need to look at both the positives and negatives, the "rewards" and the "punishments," and what leads to each. Not because we are trying to control people, but because that's how humankind gains the discernment necessary to navigate this journey of life. </p><p>In other words, that's how humankind gains <a href="https://www.septembercfawkes.com/2019/10/how-to-develop-discernment-and-wisdom.html">wisdom</a>. If we only ever look at the positives, then we stifle our abilities to discern.</p><p>When we learn about everything, it's clearer to know which way to go, what choices to make, and why.</p><p>Stories also provide a safe means to discuss and explore life's dangers. It's better to tell the kid he could get hit by a car and explain the ramifications of that, than to let him follow your rules blindly. It's not that talking about it is promoting kids getting hit by cars, it's that we are warning that kids <i>can</i> get hit by cars.</p><p>Frankly, most well-written stories will be looking at both the positives and negatives of an argument (theme vs. anti-theme). And they will do this by illustrating both sides. This is why, even if you are writing a positive-arcing protagonist, chances are, you'll have a negative-arcing character (often the antagonist) somewhere as well.</p><p>In any case, if the negative-arcing character's journey is prominent, I hope you'll find these principles more than useful.</p><p><br /></p><p style="text-align: right;"><i>*While I love using </i>The Ballad of Songbirds and Snakes<i> as an example, I want to acknowledge, that I feel like which thematic argument is the true victor, is somewhat arguable, since the climax is ambiguous as to Lucy Gray's real fate. But I decided to simplify things for this post, and surely audience members today will agree that Coriolanus is in the wrong.</i></p><p><br /></p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-26637112934597963992023-11-20T04:30:00.000-07:002023-11-20T04:30:00.134-07:00Why the Protagonist Must Be a Problem-solver<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqI3hfYT6lHyPB0_KF5WnGuQR8jYxXMiZ91a7WCJ_UwRRA0yISKa-sp9mIcbUljVmTjoMTOFuVoS2uv5yYGYVkb4Xm4c6Lnaq5Qtn7U3aMkvGutMglZZwsDpST553FVLV5ANbyZixknJxkwASreAJe3cBuKc7AcAekJ5s7i34tAmqDRf8ByGX3sG0xyL4/s1920/woman%20desk%20problem.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqI3hfYT6lHyPB0_KF5WnGuQR8jYxXMiZ91a7WCJ_UwRRA0yISKa-sp9mIcbUljVmTjoMTOFuVoS2uv5yYGYVkb4Xm4c6Lnaq5Qtn7U3aMkvGutMglZZwsDpST553FVLV5ANbyZixknJxkwASreAJe3cBuKc7AcAekJ5s7i34tAmqDRf8ByGX3sG0xyL4/w400-h266/woman%20desk%20problem.jpg" width="400" /></a></div><p><br /></p><p>In some ways, this post's topic sounds obvious, in others . . . not so much. On the surface, the tip seems simple, and yet, it is easily and often overlooked.</p><p>Your protagonist must be a problem-solver.</p><p>Yup. </p><p>A problem-solver.</p><p>I don't care if she's <a href="https://www.septembercfawkes.com/2021/01/getting-passive-protagonists-to-act.html">the laziest, most passive</a>, most dimwitted person on the planet, <i>within the context of the plot</i>, she must be a problem-solver (even if a <a href="https://www.septembercfawkes.com/2021/01/getting-passive-protagonists-to-act.html">reluctant</a> one).</p><p>Otherwise, she'll feel like a weak character.</p><p>Otherwise, the plot will feel weak.</p><p>Of course, I'm sure you can find rare exceptions to this.</p><p>But 99% of the time, your protagonist needs to be a problem-solver.</p><p>So let's talk about why.<span></span></p><a name='more'></a><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1v-LPQz0HOzGOq49oPUEFeke1SiKrCCdfCrbzCaTY6BaolO0lvqn0B3lqHgTzn63Q_loBTZSy5T766i1s0arbs8fXJAs-BRCTJb2iUPipuVJ8LlwO9fkWFQcpegHq0E6mj7BO9RMbLrtWfy-tZglXuWqk_lBHoh6cnwAfQndTbXwFkYxBYQ41onmkg7M/s1280/young%20man%20smile.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="743" data-original-width="1280" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1v-LPQz0HOzGOq49oPUEFeke1SiKrCCdfCrbzCaTY6BaolO0lvqn0B3lqHgTzn63Q_loBTZSy5T766i1s0arbs8fXJAs-BRCTJb2iUPipuVJ8LlwO9fkWFQcpegHq0E6mj7BO9RMbLrtWfy-tZglXuWqk_lBHoh6cnwAfQndTbXwFkYxBYQ41onmkg7M/w400-h233/young%20man%20smile.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Why it's Important for The Character</h3><p><b>Imagine a protagonist who doesn't problem-solve.</b> She encounters the antagonist, reacts emotionally, but doesn't do anything to try to win the conflict, or at least gain the upper hand of the conflict. She won't be interesting for very long. It's hard to care about what happens to her, when she's putting no effort in to resolve it, when she doesn't care enough to try to fix it herself. It may start to feel like she's stuck in a loop--just circling the same internal responses over and over again, never really progressing, never really moving on.</p><p>Sometimes writers <a href="https://www.septembercfawkes.com/2023/05/7-things-i-wish-id-known-writer.html">mistakenly think this makes her more sympathetic</a>, but in reality, as counterintuitive as it may sound, the opposite is true. Audiences lose interest or become annoyed.</p><p>We've all met people who talk, and whine, and fume about their problems but don't do anything to better their situation. We may feel sorry for them at first, but eventually, we want them to take action to improve their predicament. Often we may even find ourselves giving advice (or in some cases, doing the problem-solving work for them).</p><p>We feel the same way about characters.</p><p>Your protagonist doesn't need to be the next Sherlock Holmes or Violet Baudelaire to be a "problem-solver."</p><p>At the most basic level, <b>what this means is that when she encounters an antagonistic force (a problem), she's coming up with</b>--or perhaps <a href="https://www.septembercfawkes.com/2023/09/what-it-means-to-progress-plot-how-to.html">shifting</a>--<b>goals and plans</b> (however big or small, or grand or modest), <b>and taking action</b> to try to make those a reality.</p><p>If she's not doing that, she's probably too passive in the plot and not exercising enough agency. The story is happening to her, but she's not doing anything to make the story happen. She's not influencing the direction of the story.</p><p><b>When the protagonist is the one coming up with goals and plans, and implementing them, the audience becomes more invested in her.</b> They want to stick around to see if she's successful. She also now holds some accountability over what happens--the consequences--and that actually makes her <i>more</i> interesting and <i>more</i> sympathetic. What happens, good or bad, is on her. She holds responsibility. </p><p><b>If your protagonist isn't problem-solving, it may be a sign that her wants aren't strong enough</b>. Solid stories will showcase the protagonist's deepest desires (however big or small, or grand or modest), what she would sacrifice almost anything to <a href="https://www.septembercfawkes.com/2023/05/7-things-i-wish-id-known-writer.html">obtain, avoid, or maintain</a>. If the right desire is in jeopardy, the protagonist should naturally be driven to problem-solve. Characters with strong wants are more compelling. And in reality, we all have powerful wants we house deep within our hearts. </p><p>Great stories will test and challenge the deep desires of the protagonist's heart. And if that's not happening, you likely haven't figured out your protagonist's deepest desires or you need to alter the character so that she desires what she desires more deeply. Don't settle on something she <i>kinda</i> wants. Find what she'd be tempted to sacrifice her life for--literally or figuratively (meaning her current lifestyle). What does she want to obtain, avoid, or maintain bad enough, that she'd consider doing things she wouldn't ordinarily do? <i>That's</i> the kind of want you should showcase--whether it be obtaining recognition as employee of the month, avoiding responsibility by taking on a new identity, or maintaining control by offing all rebels.</p><p>It's usually helpful to focus on an abstract want--obtain <i>recognition</i>, avoid <i>responsibility</i>, maintain <i>control</i>--that can then manifest into various concrete goals. Most people aren't going to give their "lives" to become "employee of the month," but many have gone to such lengths to obtain recognition; becoming employee of the month is just one way to obtain that. So even if the goal seems modest on the surface, tie it to a deep abstract want. (A bit of a tangent, but it's useful, so I left it in here 😉)</p><p><b>When the protagonist is problem-solving, it conveys to the audience what she cares about.</b> If the rebels are increasing in power, and she doesn't do anything about it, then obviously she doesn't really care about being in control very much. That's not a deep desire of her heart. So we need the protagonist to problem-solve to help convey character.</p><p>And finally, <b>if she's not struggling to overcome (problem-solving), she's probably not growing through a <a href="https://www.septembercfawkes.com/2022/05/the-4-basic-types-of-character-arcs.html">character arc</a>.</b> She's stagnant. She's not changing her worldview as she strives for success, nor is she wielding her beliefs, growing in resolve. This can make any attempt at an internal plotline feel repetitive or nonexistent, because the character isn't progressing on an internal journey. She's just stuck in the same spot.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilQf1XpSZJvl5YNrUxrMhP4b7SICjb6SI7UxNWCPlX-KE-o7SWvj_CPpE6Cu4wJ5D-MaPkyKdT9jTRNl0dl9tqPHyXIv6tLvGBA95tK5JL6MmSKQYd2aTwFLQ42ex_sjEHRwcTMI86axQu8lnfP6FDiDNtkNfuK8gaJvUuOS8sW2v95m8KpIH5SwqY39U/s1280/black%20and%20white%20book.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="855" data-original-width="1280" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilQf1XpSZJvl5YNrUxrMhP4b7SICjb6SI7UxNWCPlX-KE-o7SWvj_CPpE6Cu4wJ5D-MaPkyKdT9jTRNl0dl9tqPHyXIv6tLvGBA95tK5JL6MmSKQYd2aTwFLQ42ex_sjEHRwcTMI86axQu8lnfP6FDiDNtkNfuK8gaJvUuOS8sW2v95m8KpIH5SwqY39U/w400-h268/black%20and%20white%20book.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Why It's Important for the Plot</h3><p>Solid stories will showcase the protagonist's deepest desires, and even if those desires are abstract (obtain <i>recognition</i>, avoid <i>responsibility</i>, maintain <i>control</i>), if the character wants them bad enough, they will manifest into concrete goals (employee of the month, new identity, off the rebels) that have specific plans (show up on time to work, move to a new city, locate the rebels' base).</p><p>So the protagonist has a goal. The antagonist opposes the goal.</p><p>And since <a href="https://www.septembercfawkes.com/2023/10/the-true-purpose-of-antagonists.html">there should be an antagonist for nearly every scene</a>, this means there are problems in nearly every scene.</p><p><b>If the protagonist isn't trying to solve those problems, by adjusting his goals and plans, then it's likely the plot isn't properly progressing</b>. Like I mentioned with the internal journey above, the external journey probably feels repetitive, or in some ways nonexistent. It's just circling the same situation over and over, in the toilet bowl.</p><p>If you find yourself arguing against this, then it's likely because another character is the one doing most of the problem-solving, in which case, it's also highly likely <i>that </i>character is the true protagonist, and your "protagonist" is really more of a viewpoint character spectating the external plotline.</p><p><b>The plot needs conflict in order to progress properly. If the antagonist shows up, and the protagonist allows himself to just get beaten, it's not strong <a href="https://www.septembercfawkes.com/2023/11/what-exactly-is-conflict-conflicts-true.html">conflict</a></b>. Sure, stuff is happening, but if the antagonist is hammering him to the ground without his resistance, it's not much of a <i>conflict.</i> It's passive victimization. And while that might work in a scene or two, it's not going to hold for a whole story, or even a whole act.</p><p>A passive victim isn't a problem-solving protagonist. Obviously.</p><p>So, suffice it to say, your protagonist needs to be a problem-solver.</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-37321110691446574932023-11-06T05:52:00.021-07:002023-11-06T05:52:00.145-07:00What Exactly is Conflict? Conflict's True Form<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidhpRxKMRtP7GIOkjvriV_Wij6B3nGn6r53I_DOzCa61ZGOYDbmLh9Qo6bdLbbY20295tBVpRfG8DH0hs-e92tb0mUhVqT6gOeIDEaCNmmB67P20UqXxr-gDtpmqKassb7BQXSgDmtH-iNuh3PAKW92YCmveaFYVPPjleHvPJnUSyLblpbwh4yCYXgs1o/s1280/conflict%20argument.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidhpRxKMRtP7GIOkjvriV_Wij6B3nGn6r53I_DOzCa61ZGOYDbmLh9Qo6bdLbbY20295tBVpRfG8DH0hs-e92tb0mUhVqT6gOeIDEaCNmmB67P20UqXxr-gDtpmqKassb7BQXSgDmtH-iNuh3PAKW92YCmveaFYVPPjleHvPJnUSyLblpbwh4yCYXgs1o/w400-h266/conflict%20argument.jpg" width="400" /></a></div><br /><p>When we think of the word "conflict," we often think of battles, arguments, or big chase scenes. But just as we would often do well to <a href="https://www.septembercfawkes.com/2023/10/the-true-purpose-of-antagonists.html">broaden our view of what an antagonist truly is</a>, we will often benefit from broadening our understanding of what conflict truly is.</p><p>As I've talked about previously, your protagonist should have a goal (to obtain something, or to avoid something, or to maintain something), and the antagonistic force is what is <i>opposing that goal</i>. It will block, push away, or create problems as the protagonist pursues the goal.</p><p>This is what creates conflict.</p><p>And it doesn't have to be a shouting match or fistfight.<span></span></p><a name='more'></a><p></p><p><b>What conflict simply is, is the protagonist encountering, dealing with, and addressing the antagonist.</b></p><p>For example, say Character A needs to obtain important information (goal) from Character B, but Character B is too distracted by his toddler to give it (antagonist). Character A is trying to get and hold Character B's attention, but she keeps getting outdone by the toddler. There are no flying fists. There are no mean words or harsh disagreements. But it is still conflict.</p><p>Similarly, a couple may be having relationship troubles. Character A wants to talk about it. Character B doesn't. When they each pursue their goal, it creates conflict--even if they aren't ultimately addressing their actual troubles.</p><p>Another example. Character A wants to be healthy, but a pandemic is sweeping the globe. Character A gets the illness. Character A is trying to get healthy, while the illness is "trying" to make her sicker. That's conflict.</p><p>With that said, though, not all conflict is equal. A conflict about a character having to brush his teeth when he doesn't want to, is, generally speaking, not very interesting. But, in the right situation, it could maybe be <i>made</i> to be interesting, if we tie a lot of consequences (stakes) to it. And the best conflicts are about struggling to reach an important goal.</p><p><b>Conflict is what creates rising action.</b></p><p>The protagonist pursues the goal.</p><p>The antagonist stands in the way, blocking him.</p><p>The protagonist has to stretch to find a way to deal with that (simplistically speaking).</p><p>Usually, he must try harder to overcome the antagonist. However, sometimes he may choose to go a different way--to change the goal or plan he is pursuing. Each option has costs or risks and consequences.</p><p>But soon enough, he runs into an antagonist again.</p><p>He must try harder to overcome the antagonist. Or he must choose a different way--to change the goal or plan he is pursuing. Each option has costs or risks and consequences.</p><p>And then he runs into an antagonist again. . . .</p><p><b>If we were to zoom in on the rising action of basic structure, it would be like climbing steps on a staircase.</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioDCD0N6q0Cj_m8iWy2fRUodweXG3pYNx6NY4qal1Io6bZknFeXWR78qsXwH9220pryaDmpulMJD1upKHGgZxlJGQg4_S1G98RfJHqiXodhsT8zJ1AdkNhKGIC82d064cf1wKgEp6KzRVDbWylGDHauoid5s7doLTufeMk9E2uHB_g73RIMK_JnPX9uyk/s1920/Conflict%20Escalating%20Writing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioDCD0N6q0Cj_m8iWy2fRUodweXG3pYNx6NY4qal1Io6bZknFeXWR78qsXwH9220pryaDmpulMJD1upKHGgZxlJGQg4_S1G98RfJHqiXodhsT8zJ1AdkNhKGIC82d064cf1wKgEp6KzRVDbWylGDHauoid5s7doLTufeMk9E2uHB_g73RIMK_JnPX9uyk/w400-h225/Conflict%20Escalating%20Writing.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p>That is, if costs, risks, and consequences are getting bigger. If the antagonists are demanding more.</p><p>If not, or <b>if there is no conflict or antagonists, the story is flatlining</b>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjsdcJNKW7WpmwxPiFyCoCsbJcXDwFu5BvhT0lCAvyGuq3710paBvh4boXWsPFZiwqwFORPXPzYky-5w1DlJIn6yNyfmb7puxPeZUrwOgcgccmIjyxOLq1opmc3gioHQorhvWaRg6WQvSAw-ea0Wpt5fHUlG1BjUv_vqyb2G-DFZ4e7RKtRI7vUkB6F98/s1920/Conflict%20Flatline%20Writing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjsdcJNKW7WpmwxPiFyCoCsbJcXDwFu5BvhT0lCAvyGuq3710paBvh4boXWsPFZiwqwFORPXPzYky-5w1DlJIn6yNyfmb7puxPeZUrwOgcgccmIjyxOLq1opmc3gioHQorhvWaRg6WQvSAw-ea0Wpt5fHUlG1BjUv_vqyb2G-DFZ4e7RKtRI7vUkB6F98/w400-h225/Conflict%20Flatline%20Writing.jpg" width="400" /></a></div><br /><p><b>Or worse, falling into de-escalation.</b> Essentially, hitting a falling action when it isn't supposed to.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2C6SPNJt_LSE7XoMJznm2bSOWG8Um0pTcdwzDeuxidtMCk1AAl6_UQhwNgDdewL-K10i9cEqm4BsmbuBF5qtt-ryChlhCjDRwbJiLMVVxmXFJXFawIGx5eoCYQrfkkDKVPDPApTf3AawIVQYWWhil7ItUNBmnPC376Xp1gvXOGEawSUnt2k3Q6BLfF_c/s1920/Conflict%20DeEscalate%20Writing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2C6SPNJt_LSE7XoMJznm2bSOWG8Um0pTcdwzDeuxidtMCk1AAl6_UQhwNgDdewL-K10i9cEqm4BsmbuBF5qtt-ryChlhCjDRwbJiLMVVxmXFJXFawIGx5eoCYQrfkkDKVPDPApTf3AawIVQYWWhil7ItUNBmnPC376Xp1gvXOGEawSUnt2k3Q6BLfF_c/w400-h225/Conflict%20DeEscalate%20Writing.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p>It's on a plateau. Or it's going "down the stairs."</p><p>Instead, the conflict should be rising--it's called "<i>rising</i> action." It should be escalating, having bigger or deeper consequences.</p><p><b>Eventually it reaches a definitive outcome.</b></p><p>Either the protagonist wins or the antagonist wins (simplistically speaking), which <i>turns</i> the direction of the plot--it creates a "climax" or a "turning point," as the conflict is resolved.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwh4mqpBO6TI1RGIZLwvJBEjqD8DFP-JOvKvRZmXNZ9CrNPKJG4TMnM8QaJU6nc3NtdRz48N_mcFoWFwf-CBwxi27YE3ALRU4YB7pJrIQmhEq9VNdp7QUMKFPynJ9-Rc3FnmGiimDX0Xe4ih5nchJ8UGmAIyZ9Jse-8L9IwSnyFfTS1zdhAJA8kMAtiog/s1920/86.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwh4mqpBO6TI1RGIZLwvJBEjqD8DFP-JOvKvRZmXNZ9CrNPKJG4TMnM8QaJU6nc3NtdRz48N_mcFoWFwf-CBwxi27YE3ALRU4YB7pJrIQmhEq9VNdp7QUMKFPynJ9-Rc3FnmGiimDX0Xe4ih5nchJ8UGmAIyZ9Jse-8L9IwSnyFfTS1zdhAJA8kMAtiog/w400-h225/86.jpg" width="400" /></a></div><p>And <i>then</i> we go "down the stairs." The conflict dissipates, because the antagonists dissipate, because the goal dissipates (either it was definitively achieved or not).</p><p>That's what conflict is. That's what conflict does.</p><p>And just as with the goal and the antagonist, it's not only important in the narrative arc as a whole, but within acts and scenes.</p><p>Character A trying to get info from Character B, who is distracted by his toddler, is likely the goal, antagonist, and conflict, of a <i>scene</i>.</p><p>Everything is essentially the same, it just happens on a smaller scale.</p><p>Either Character A definitively gets the info, or doesn't (perhaps Character B leaves to feed his toddler lunch). That turns <i>the scene</i>. And we hit the falling action of <i>the scene</i>.</p><p>Simplistically speaking (because there are always exceptions and variations).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhidciBO2qxNwGRhUk5rxlobsf_Q7zWOU9KpxoSkrHP-SMLRUsimcjWXoWTRrYfEwW-PVxo-5byRDRT0ejwiT7hTPZ8N7mxbKydkn3CoDhdIRGMEaJx0ZgUqeDCAoTYB-RHoMQddo1hXblMB04nFBJoyCB5TK44xYdT4ulK9AZdD1cz_got3baZoVV8j6k/s862/scene.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="862" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhidciBO2qxNwGRhUk5rxlobsf_Q7zWOU9KpxoSkrHP-SMLRUsimcjWXoWTRrYfEwW-PVxo-5byRDRT0ejwiT7hTPZ8N7mxbKydkn3CoDhdIRGMEaJx0ZgUqeDCAoTYB-RHoMQddo1hXblMB04nFBJoyCB5TK44xYdT4ulK9AZdD1cz_got3baZoVV8j6k/w400-h256/scene.jpg" width="400" /></a></div><p><br /></p><p>But the main thing to remember, is that conflict is the protagonist encountering, dealing with, and addressing the antagonist.</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-31250050098213867582023-10-23T05:50:00.003-06:002023-10-23T05:50:00.146-06:00The True Purpose of Antagonists<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gPbpgafmm-LF4RSXSk0mZ7EPhAeJOVCYrVClZnQMvCCP48C3wWAXYSrQ7plmvqAOQU-0ZfeZOXb6UE1l3-AmAsfpSy-ohHQTX5lKzrgzwqoBsq92an2KTSmoHwziU6n3EhfURUXYhoke6r-hbtS-1hUDWrpmLw38oW9byCGq9nAI6bYmYmWF-EfWnXI/s1280/road-closed-sign-2079685_1280.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="956" data-original-width="1280" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gPbpgafmm-LF4RSXSk0mZ7EPhAeJOVCYrVClZnQMvCCP48C3wWAXYSrQ7plmvqAOQU-0ZfeZOXb6UE1l3-AmAsfpSy-ohHQTX5lKzrgzwqoBsq92an2KTSmoHwziU6n3EhfURUXYhoke6r-hbtS-1hUDWrpmLw38oW9byCGq9nAI6bYmYmWF-EfWnXI/w400-h299/road-closed-sign-2079685_1280.jpg" width="400" /></a></div><br /><p>Hear the word "antagonist," and it will likely conjure up images of "bad guys," like Darth Vader, the Joker, or Mother Gothel; and even a simple search online will reveal that "antagonist" is often defined as a person, group, or even specifically, a character.</p><p>None of these things are completely accurate, though. An antagonist is not always a "bad guy." In <i>Death Note</i>, the antagonist is actually the true hero. The antagonist also doesn't have to be a person or a group. In <i>The Martian</i>, the antagonist is the Martian landscape.<br /></p><p>Truthfully, any well-written story will be loaded with antagonists. Sure, there may be what we think of as the "main" antagonist. But in order to be a good story, there will be lots and lots and lots of antagonists.</p><p>The problem is, so many of us have a narrow view of what an antagonist is.</p><p>Yeah, it can be a "bad guy," or another character, or a group.</p><p>But it can also be a storm, a computer, a rock, a substance, or even one's own sleepiness.</p><p><b>When we broaden our understanding of the antagonist and comprehend its true purpose, we can write better stories.</b></p><p><b>Because we can write better plots.</b></p><p>And if you've been with me for a while, you may know I consider "antagonist" to be the second element of plot, with "<a href="https://www.septembercfawkes.com/2022/07/the-primary-principles-of-plot-goal.html">goal</a>" being the first.</p><p>At the most basic level, there are just three types of goals (this will be a review for some of you, but it's better to have a review than leave newcomers in the dark).<span></span></p><a name='more'></a><p></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>Obtain something.</p><p>Avoid something.</p><p>Maintain something.</p></blockquote><p>The last type often gets a bad rap, because when handled poorly, it can make the protagonist appear passive and the story feel plotless.</p><p>In reality, though, it's only a problem if it doesn't have an antagonist.</p><p>Just as the other two are problems if <i>they</i> don't have antagonists.</p><p>If I want to obtain a trophy, and all I have to do is show up somewhere (i.e. "a participation trophy"), the story doesn't have much of a plot.</p><p>If I want to avoid zombies, and nothing is making me go near zombies, the story doesn't have much of a plot.</p><p>And if I want to maintain my perfect lifestyle day after day after day, and I don't have thoughts of death, burned breakfast, and suddenly flat feet upsetting my paradise in Barbieland . . . the story doesn't have much of a plot either.</p><p>(*It should be quickly noted, though, that some goal types may overlap, depending on the story. For example, Barbie wants to <i>avoid</i> flat feet in order to <i>maintain</i> her lifestyle. So don't get too nitpicky with categorizations 😉.)</p><p><b>At the most basic level, the antagonist opposes the goal.</b></p><p><b>It is what is blocking, resisting, or pushing the protagonist away from the goal.</b></p><p>You want a trophy? Well, you have to beat the other football team (antagonist).</p><p>You want to avoid zombies? Well, your sadistic neighbor is planning to lower you into a pit of them (antagonist).</p><p>You want to maintain a perfect lifestyle? Well, let's give you some terrible cellulite (antagonist).</p><p><b>Essentially, the antagonist's role is to create (or be the) problems and obstacles in the protagonist's journey. It creates (or is) the resistance to the goal.</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqfx27uilLypXYvl10vd16YKsxXG1xG_Fj6AU5MUeMwS4u-xX3FNe6oKBHKXU7Is-nDtKn7IoNQidHVhRi72brKkm7Lxlb-oI_ZaGxs2-ydgrhAnes1u5TczUPV_-leNujrJVw47FBQY74VNfHyGh9l383oXuZpyGcBaxS-F5kJMfrKUU8yQmMTGqXOU/s1280/football-67701_1280.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="850" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqfx27uilLypXYvl10vd16YKsxXG1xG_Fj6AU5MUeMwS4u-xX3FNe6oKBHKXU7Is-nDtKn7IoNQidHVhRi72brKkm7Lxlb-oI_ZaGxs2-ydgrhAnes1u5TczUPV_-leNujrJVw47FBQY74VNfHyGh9l383oXuZpyGcBaxS-F5kJMfrKUU8yQmMTGqXOU/w400-h266/football-67701_1280.jpg" width="400" /></a></div><p><br /></p>This means that something that is mildly annoying the protagonist probably isn't going to cut it.<p></p><p>Sure, you may argue that it is something the character wants to "avoid," but for the story to be great, the goal needs to be <i>significant</i>, which means the antagonist needs to be <i>significant </i>as well. (And by "significant," I mean <a href="https://www.septembercfawkes.com/2019/06/how-to-write-stakes-in-storytelling.html">it carries meaningful <i>consequences</i></a>.)</p><div style="text-align: left;">The antagonist may be a direct opponent. The sadistic neighbor wants to lower you into a pit of zombies. You don't want to be lowered into a pit of zombies. You and your neighbor's goals are contradictory.</div><p>Or it may be a step out from that. The protagonist and antagonist have the same goal, but they can't both succeed. Each football team wants the trophy, but there can only be one victorious team.</p><p>Or it may be more indirect. Gloria isn't trying to ruin Barbie's life. She just has her own goals, and her path--her journey--happens to be ruining Barbie's perfect life.</p><p>Sometimes the antagonist isn't intentionally targeting the protagonist.</p><p>Regardless, what remains the same is that the antagonist is opposing the protagonist's goal. And for it to be most effective, there isn't an easy, foreseeable way for them to each get what they want (because what one wants somehow <i>opposes</i> what the other one wants.)</p><p>This is necessary to create proper conflict within the plot.</p><p>Now, as I mentioned above, any solid story will have more than the "main" antagonist. And some stories don't seem to even have one "main" antagonist (such as <i>Hamilton</i>). But whatever the case, there should be regular antagonistic forces.</p><p>As I've talked about previously, <a href="https://www.septembercfawkes.com/2023/09/what-it-means-to-progress-plot-how-to.html">most stories have big goals that can be broken up into little goals</a>. These often make up scenes (or even acts) in a story. In order for it to be a strong scene (or act) though, it almost always still needs an antagonist. It needs a goal and antagonist to create conflict.</p><p>When we think of <i>Star Wars</i>, we often think of the Empire, or Darth Vader, as the antagonists, but if we look at the story by acts or scenes, we see that, while these may be the "main bad guys," they may not always be the current antagonistic force. And they certainly aren't the only antagonistic forces.</p><p>For example, initially, Luke's goal is to get off the farm and go to academy--but it's not the Empire that is preventing him from doing that. It's his uncle. In the beginning, Luke's uncle is his antagonist.</p><p>And when Luke is trying to get back to the Millennium Falcon, and he falls in a garbage compactor, the garbage compactor and the creature (the Dianoga) become his antagonists.</p><p>Likewise, almost none of us would point to Gloria as the main antagonistic force of <i>Barbie</i>, but she is certainly <i>an</i> antagonistic force within scenes (and arguably, for Act I, though we don't yet know her).</p><p>This is why it is so important to broaden our perception of antagonists while also refining our understanding of them.</p><p>If Luke just easily left the farm and encountered zero problems whatsoever, or Barbie just continued maintaining her perfect life, it would be boring.</p><p>Maybe not right away.</p><p>But it would hit all too soon.</p><p>We need an antagonist for almost every scene, even if it's temporary.</p><p>It's the protagonist encountering the antagonist that creates the rising action of conflict in the scene.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggGe89Jrqc3QlR5n0wCHS6fCYLqVsnk4BUx14xYm5Wjf8KzJDIbSArGmf6z3tKNsBO_-p0MeUkS3wlLHaz-9Qm5dTAEg3uiCsQNaXHw2L1ZVCMmcOjpnU6LlFZlZlDGVesOop59FFd0sxhg-gf7BIk8Z8zzfsW80ED_ZM47vxlUQOvWAIpOs2bFkV7Gmc/s1920/96.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggGe89Jrqc3QlR5n0wCHS6fCYLqVsnk4BUx14xYm5Wjf8KzJDIbSArGmf6z3tKNsBO_-p0MeUkS3wlLHaz-9Qm5dTAEg3uiCsQNaXHw2L1ZVCMmcOjpnU6LlFZlZlDGVesOop59FFd0sxhg-gf7BIk8Z8zzfsW80ED_ZM47vxlUQOvWAIpOs2bFkV7Gmc/w400-h225/96.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-5iv2FL-1Boh0Mw3n-rEuYwKoDzLSWI2mgj-wkdxtRPFzQmkOL2nW8nJoNlolOojNYiq_0jYRMbUMOotNn1lp0yFrmdEmPTlKP1cbTWG7PnaHr6ab6_rPigG6pWXz41aiHpA5-p5g2FjLmVgtrOqponKa_qmWIgKoHhQZwWdAUFUYk9-jAwZBOIjVTXk/s1920/99.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-5iv2FL-1Boh0Mw3n-rEuYwKoDzLSWI2mgj-wkdxtRPFzQmkOL2nW8nJoNlolOojNYiq_0jYRMbUMOotNn1lp0yFrmdEmPTlKP1cbTWG7PnaHr6ab6_rPigG6pWXz41aiHpA5-p5g2FjLmVgtrOqponKa_qmWIgKoHhQZwWdAUFUYk9-jAwZBOIjVTXk/w400-h225/99.jpg" width="400" /></a></div><br /><p>And the antagonist does not need to have ill intentions. The antagonist could be a friend or ally who has good intentions.</p><p>For example, say Character A needs to get information from Character B (goal), but Character B doesn't want to give it (antagonist), because it will deeply hurt Character A. Even if both characters want what (they think) is best, they still have opposing goals, so there is still conflict. At the end of the scene, either Character A succeeds, or Character B succeeds. They can't both get what they want.</p><p>Similarly, the protagonist and her ally may both want to go to London to defeat a villain, but within a scene, they may have opposing ideas of how to get there. The protagonist wants to take a plane, and the ally wants to take a boat. Within a scene, the ally may be the antagonist for the protagonist.</p><p>And worth mentioning is that the antagonist may not even be <i>aware</i> it is the antagonist. Character A may need information from Character B, but Character B may be so distracted with his toddler, that Character A is struggling to get it from him. Character B may be oblivious to Character A's distress. Character B is still the antagonist (well, and arguably so is the toddler, who may also be unaware).</p><p>Likewise, a flood will not be aware it is the antagonist. But if it's blocking or creating problems for the protagonist on the way to his goal, it's the antagonist.</p><p>Consider a character who needs to stay awake to keep watch over camp . . . but his sleepiness is getting to him. Guess what? His sleepiness is the antagonist. He is his own antagonist.</p><p>In short, antagonists can show up in a lot of different ways, and there should be lots and lots of them. Whenever an entity is blocking, opposing, or pushing the protagonist away from the goal, it is acting as an antagonist--even if it's not the big baddie.</p><p>Make sure your story is full with them.</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com2tag:blogger.com,1999:blog-4311874471131728227.post-90293597672427839962023-10-08T16:24:00.000-06:002023-10-08T16:24:31.624-06:00Registration Now Open for The Triarchy Method<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMklOjcdc9MABdt97qUOqhSv70uCg5ecX1-u_3x7oX2hEWQtCzLI5L2GPSjyO0c8yogZz63VOBdKuAsdbwvDvuPp6w7hwpGpJDUld8Yrl0Tq4cbxUhESXlr6IIJcpMle1YBgPoOzkUTb-zc-9sTK7r6raqZfazF5DGW0r867y7euOMv0J573G0ViNbkjM/s1920/11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMklOjcdc9MABdt97qUOqhSv70uCg5ecX1-u_3x7oX2hEWQtCzLI5L2GPSjyO0c8yogZz63VOBdKuAsdbwvDvuPp6w7hwpGpJDUld8Yrl0Tq4cbxUhESXlr6IIJcpMle1YBgPoOzkUTb-zc-9sTK7r6raqZfazF5DGW0r867y7euOMv0J573G0ViNbkjM/w400-h225/11.jpg" width="400" /></a></div><p><br /></p><p>Hi friends!</p><p>Registration for my live online <a href="https://www.septembercfawkes.com/p/the-triarchy-method-of-story_7.html">writing course</a> is now open. Make 2024 your writing year; start it off with a bang by strengthening the "bones" of your book with the Triarchy Method. You will learn approaches that will not only help you with your work-in-progress, but with every story you write after--all while receiving personalized feedback on your assignments straight from me. </p><p>This 12-week course begins January 9th and is held every Tuesday and Thursday at 5pm Mountain Time, with our last class happening March 28th. (But if you can't make it live, every lesson will be recorded for you to watch later--or however many times you want in the decades to come.) Keep in mind I only take on 10 students, and registration is first come, first serve.</p><p>Here are what two of my most recent students said about the course:</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>“<i>I have done many courses . . . and I found this course going well beyond most of the others. September has a clear teaching style, and she gave a huge amount of time and effort helping us to work through any issues, and the weekly assignments are fantastic. I appreciated this so much as often writing courses are simply ‘set and forget’ videos with little or no feedback. The Triarchy Method was nothing like that</i>.”</p><p>-<span style="white-space: pre;"> </span>Sharon M.</p><p>"<i>I was hesitant with the cost, but it was worth every cent. Every class brought new epiphanies for me. September is a brilliant teacher and the Triarchy Method is an essential course for anyone wanting a better understanding of story. She will take you on a journey through character, plot and theme that will deepen your understanding of the bones of your story, the three-act structure, and the trajectory of different plotlines across different arcs. I cannot recommend this course enough.</i>"</p><p>-<span style="white-space: pre;"> </span>Kelly W.</p></blockquote><p>This course is offered in partnership with <a href="http://MyStoryDoctor.com">MyStoryDoctor.com</a>, and is $1,597 to take. (If you want to split that up into multiple payments, email service@mystorydoctor.com.) <a href="https://sso.teachable.com/secure/1185284/checkout/5063104/how-bestselling-authors-write-the-bones-of-their-novels1"><b>You can register here!</b></a> For more details, see below, or go to <a href="https://www.septembercfawkes.com/p/the-triarchy-method-of-story_7.html">this page</a>.<span></span></p><a name='more'></a><p></p><p style="text-align: center;">~ ~ ~</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio59aDkS2bGBHRwy6_7Lf-aOGxemY_RiiQ0mWAojT98PSqU-vw0-BpsHfk2qvNySb3mIF3B52fIoJVw_6gMjPbCZSBjKLwcKWCgjUqisxkcK88znObqvJJLRNPnorvVZckEJ_iBMymN6N8eB1asMTCfpdCEXii2q0DNMP0b17IQXr7mFvFSO5eOJIP/s2000/Triarchy%20Course%20September%20C.%20Fawkes.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio59aDkS2bGBHRwy6_7Lf-aOGxemY_RiiQ0mWAojT98PSqU-vw0-BpsHfk2qvNySb3mIF3B52fIoJVw_6gMjPbCZSBjKLwcKWCgjUqisxkcK88znObqvJJLRNPnorvVZckEJ_iBMymN6N8eB1asMTCfpdCEXii2q0DNMP0b17IQXr7mFvFSO5eOJIP/s320/Triarchy%20Course%20September%20C.%20Fawkes.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;"><b>The Triarchy Method will help you craft your best book by focusing on what matters most: The “bones” of story</b>. This content-focused course will help you brainstorm better and more relevant material, evaluate what ideas most belong in your story (preventing you from writing hundreds of pages that need to be scrapped), and craft a page-turning plot with compelling characters that sticks with readers long after they’ve closed the book (. . . and hopefully leads them to preorder your <i>next</i> book).</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">If you have found yourself writing and rewriting the same scenes, acts, or arcs, but have only made them marginally better; or if you have struggled with creating complex characters engaged in meaningful plots; or if you have experienced writer’s block over what happens next and how, <b>The Triarchy Method will illuminate your way to a stronger, solid story.</b></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>But only under one condition: You must do the work.</b></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Many aspiring authors are taught about writing “backward”—learning writing rules (like “show, don’t tell,” or “only use ‘said,'”) and how to write in a beautiful, pleasing style, first. But these are the cosmetics of storytelling (very important cosmetics, but cosmetics nonetheless), and no matter how riveting your lines appear on paper, they won’t tell a good story if the story itself is “broken.” If the story’s <i>bones</i> are broken.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Whether you are in the brainstorming stage, writing stage, or revising stage, and whether you prefer to pants or plan your first draft, strong bones lead to strong stories. So, what are the bones? I call them “The Triarchy of Story,” and they are as follows:</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBFyLHv7n6BYdO6jF7yKGra8FoikpfTyxKy__Li4ERFrtKAfYQkooPfVqD_Q98g8tqvyxHxmhf2x9zMuBG7zXTpWIkMPDlbXxMUO221-WGEBcef6axgT78ihx_ncWuipEHR-MzkPc-1peLVf7Rh60p9lCaoSxoFWRW_-RSP-prgoEmvQAFpvtEpCSD/s1920/15.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBFyLHv7n6BYdO6jF7yKGra8FoikpfTyxKy__Li4ERFrtKAfYQkooPfVqD_Q98g8tqvyxHxmhf2x9zMuBG7zXTpWIkMPDlbXxMUO221-WGEBcef6axgT78ihx_ncWuipEHR-MzkPc-1peLVf7Rh60p9lCaoSxoFWRW_-RSP-prgoEmvQAFpvtEpCSD/w400-h225/15.jpg" width="400" /></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>Character</b></div><div class="separator" style="clear: both;"><b><br /></b></div><div class="separator" style="clear: both;">Character is represented by the rib cage—it houses the heart of story. It’s how the audience gains emotional experience from the narrative, through (to some degree) empathy.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNvhpWtCJzHlL-Blbyliubag4U6AIBcgfItiv_sxSUMZP33pyX-Rofed21hMq0hDZtnFLX8CmsSz2t0ENZFbKIyoVFZ3zo5kQmkid6w60u0r4A7UauA99ZNqEfu9tQYWTytP220e2Isk7zssvCcMr5XyuV0lRM-pXOvGiFKytRbfiZpKeIPVKLWX3k/s1920/16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNvhpWtCJzHlL-Blbyliubag4U6AIBcgfItiv_sxSUMZP33pyX-Rofed21hMq0hDZtnFLX8CmsSz2t0ENZFbKIyoVFZ3zo5kQmkid6w60u0r4A7UauA99ZNqEfu9tQYWTytP220e2Isk7zssvCcMr5XyuV0lRM-pXOvGiFKytRbfiZpKeIPVKLWX3k/w400-h225/16.jpg" width="400" /></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>Plot</b></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Plot is represented by the backbone—it holds the story upright and together. It’s the curvature that makes up the narrative arc, the <i>spine</i> that runs from beginning to end.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw2sMA84vBXsUPv7t38LmqEj13vZ4YnhDGpB8zaU5oE22YXOD-Fbctx9QqclVdljU5ZRndbvUE2qob_osWLdE5kqLQu5MA-VRrEUs1VPtLogVI2m7nror4Ak4bSMpkbWS2QqYJhownW4w6VkngC5Bz-l0L6lp2uiH5ZrwW1rs81PwJ5oJmqWQ3xLgp/s1920/17.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw2sMA84vBXsUPv7t38LmqEj13vZ4YnhDGpB8zaU5oE22YXOD-Fbctx9QqclVdljU5ZRndbvUE2qob_osWLdE5kqLQu5MA-VRrEUs1VPtLogVI2m7nror4Ak4bSMpkbWS2QqYJhownW4w6VkngC5Bz-l0L6lp2uiH5ZrwW1rs81PwJ5oJmqWQ3xLgp/w400-h225/17.jpg" width="400" /></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>Theme</b></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Theme is represented by the skull—it hosts the intellect of story. It’s how the audience gleans meaning that sticks with them long after the narrative is over. It’s why the story matters.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">While some stories and genres may (rightfully) emphasize one bone over the others, <b>it’s the progression of these elements that turns ideas into <i>stories</i></b>. You may have many interesting, and even phenomenal, concepts, but until those bones are solid, they won’t make a story solid. Everything else is an appendage.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Nearly every scene, every chapter in your story should be progressing one of these three things. If it’s not, it’s likely filler (even if cleverly disguised filler). Ideally, the majority of scenes in most stories will actually be progressing all three simultaneously. Don’t worry—I will be digging deep into each element to help you unbury your own story’s bones and accomplish this.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">We will be focusing on core principles of each.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>For characters</b>, we will talk about your protagonist’s internal wants and backstory, the four basic types of arcs, how to build a balanced cast and make characters complex. We will also talk about agency, archetypes, relationships, and more.</div><div class="separator" style="clear: both;"> </div><div class="separator" style="clear: both;"><b>For plot</b>, we will cover the importance of goals, how to pick the right antagonistic forces, how to make conflicts meaningful, and why stakes are critical to keep the pages turning. We will also cover how to create a sense of progress and setbacks, escalate costs, craft turning points, write reveals and twists, and more.</div><div class="separator" style="clear: both;"> </div><div class="separator" style="clear: both;"><b>For theme</b>, we will discuss its often misunderstood components, and how to <i>show</i> them effectively through the story. We will also discuss how to replicate the human experience so that your reader comes away wiser, better, and more intelligent—with the story sticking to them long after <i>The End</i>.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In this course, we will be digging in a spiral—character, plot, theme, character, plot, theme . . . because each element grows from and influences the others. For this reason, you will be asked to be somewhat flexible with your story; you will be molding and reshaping the pieces to develop its strongest skeleton.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Always keep in mind these are principles, not laws, so there is room for variation (which we will talk about). And you should end up with the story <i>you</i> want to write—which is why there will be developmental assignments nearly every step of the way.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>Of course, though, simply having a rib cage, backbone, and skull isn’t usually enough—you need to organize them into a coherent structure.</b> They need to be arranged into their proper places, so they <i>look</i> “human” to other humans (i.e. like a “story” to other humans).</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGO6Y1U3PgfgWkA0CzcGLdCkLkdCnYh4ovD2rr7majGDiow8SWhswWTzCVv80PmRtQqeVpp7xgitlFVr7fxDaJOIael6J1Pz1ybwCp8ZnU9Y-EJbyaU5VW0yw8MUcZIW1jtnil7ByjbU5g0lwV60YoU09crd2M6N8p75VTwsDigFC9M3tUPZtdm62e/s940/The%20Triarchy%20Method%20Structure.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="940" height="335" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGO6Y1U3PgfgWkA0CzcGLdCkLkdCnYh4ovD2rr7majGDiow8SWhswWTzCVv80PmRtQqeVpp7xgitlFVr7fxDaJOIael6J1Pz1ybwCp8ZnU9Y-EJbyaU5VW0yw8MUcZIW1jtnil7ByjbU5g0lwV60YoU09crd2M6N8p75VTwsDigFC9M3tUPZtdm62e/w400-h335/The%20Triarchy%20Method%20Structure.png" width="400" /></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;">This is where <b><u>structure</u></b> comes in.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">After digging up the bones, we’ll structure them in a way that is familiar and understandable to the audience.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">We will structure not only the plot, but the character cast and theme as well. We will cover basic story structure, scene structure, act structure, and narrative arc beats.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Near the end of the course, we will workshop one of your scenes in class. And your final assignment will be to turn in a guided outline of your story for feedback.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>Ideally, once the bones are strong and in place, your story will be—more or less—writing itself.</b></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Not only can The Triarchy Method help you with your current story, but it can help you with all future stories.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">I’ll give you the tools, you bring the dream—roll up your sleeves for some digging, because together we’re gonna make your story bone-solid.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnY9h-AJwMQMZNu_rrgCRcnRdXE6yysR2dmsb_pcnhLC7PTylJQq5CwrP8uor5X8HlBXPtRMU-iRO8P5ZuGbX1xtTsdkddMX0Bx6q7b7_xfXGO2SfjoGRT1Bo7zcsiQxe1UL7R8ktfOLuZAVOrnJkeFMyLVi9xWn1rm9Wn_joz3VgESS-Kzly44ma6/s1920/38.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnY9h-AJwMQMZNu_rrgCRcnRdXE6yysR2dmsb_pcnhLC7PTylJQq5CwrP8uor5X8HlBXPtRMU-iRO8P5ZuGbX1xtTsdkddMX0Bx6q7b7_xfXGO2SfjoGRT1Bo7zcsiQxe1UL7R8ktfOLuZAVOrnJkeFMyLVi9xWn1rm9Wn_joz3VgESS-Kzly44ma6/w400-h225/38.jpg" width="400" /></a></div><div class="separator" style="clear: both;"><br /></div><h3 style="clear: both; text-align: left;">What the Triarchy Method Course Will Help With</h3><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">This is a content-focused course that will teach you how to develop great stories. This is a course focused on what the story is. It will help you . . .</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: left;"><blockquote>Brainstorm better material that will be relevant to your story<br /><br />Evaluate which content best suits and contributes to your book (and which belongs in another book)<br /><br />Prevent you from writing hundreds of pages that take your story clear off the rails (before ending up in the recycling bin)<br /><br />Write empathetic, compelling, and complex protagonists who exercise their agency<br /><br />Develop a plot that keeps readers turning pages<br /><br />Craft a meaningful theme that readers will be thinking about for weeks, months (or maybe even years) to come (without being preachy)<br /><br />Stop writing and rewriting the same scenes to only have the story be marginally better<br /><br />Create supporting characters who stay relevant and meaningful to the story (and don’t take over the story)<br /><br />Fix plots that de-escalate or go nowhere, while strengthening antagonists<br /><br />Figure out “what happens next” more easily<br /><br />Craft scenes that will always move the story forward (no saggy middles here)<br /><br />Structure your content in a coherent way for your audience</blockquote></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDoeEa7pfPkrpIYo7TwM5QFQp701p2n5clqnIgiSn3ZvUcIwGCefTVE9FsANEN_B8TwQ-dRLIpfYIkZAX_FOoFF-TZgnepW9qDfbZ21vlHy4vUeclL-eNJipGLf2GV3EId_jQXfV6U47vvWyzgdYzmp39v6icMQcLtABnjRwOjagGBwFHGNCgBM_Ld/s1920/23.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDoeEa7pfPkrpIYo7TwM5QFQp701p2n5clqnIgiSn3ZvUcIwGCefTVE9FsANEN_B8TwQ-dRLIpfYIkZAX_FOoFF-TZgnepW9qDfbZ21vlHy4vUeclL-eNJipGLf2GV3EId_jQXfV6U47vvWyzgdYzmp39v6icMQcLtABnjRwOjagGBwFHGNCgBM_Ld/w400-h225/23.jpg" width="400" /></a></div><br /></div><h3 style="clear: both; text-align: left;">Class Size, Schedule, and Assignments</h3><div class="separator" style="clear: both;">This is a live, online course that will be limited to 10 students.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Classes start January 9th, 2024, and will be held Tuesdays and Thursdays at 5pm Mountain Time, with our last class being March 28th. Every lesson will be recorded--so if you miss a class, you can watch it later (or however many times you want in the coming years).</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">There will be a total of 23 classes (No class February 15th). The classes will be about 75 minutes in length (some will be a few minutes longer and some a few minutes shorter; none will go over 90 minutes). This course will give you nearly thirty hours of class time that is almost entirely focused on creating strong story content.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">You will receive a developmental assignment with nearly every lesson. These are typically sets of questions to help you brainstorm, craft, and/or revise the content of your story. Your responses to most questions will be, at most, a few paragraphs. You will receive feedback from me (September C. Fawkes) on these assignments.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Near the end of the course, you will have a scene workshopped in class. (You will also be expected to read other classmates’ scenes prior to their workshop day.) Your final assignment will be to turn in a guided outline of your book for feedback. You will receive that feedback in the weeks that follow the course’s conclusion.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">If you desire, you can be added to a brainstorming/writing group or partnership to meet with outside of class.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">This course is offered in partnership with <a href="https://mystorydoctor.com/the-triarchy-method-of-story/">MyStoryDoctor.com</a>, and is $1,597 to take. (If you want to split that up into multiple payments, email service@mystorydoctor.com)</div><div class="separator" style="clear: both;"><br /></div></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b>***Register for the Triarchy Method <a href="https://sso.teachable.com/secure/1185284/checkout/5063104/how-bestselling-authors-write-the-bones-of-their-novels1">Here</a>***</b></div><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;"><i><br /></i></div><h3 style="clear: both; text-align: left;">More Testimonials</h3><div><br /></div><div><i>“September has a way of delivering material that makes it easy to understand. She is patient and accessible, a real joy to work with and learn from. If you have a chance to take one of her courses, jump on it!”</i></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">-<span style="white-space: pre;"> </span>Louisa S.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><i>“Before this class, I felt I was lacking in my story and character development knowledge. Now, I can't wait to use what I learned to make my book more professional. I feel like I have the knowledge I need to call myself an author—an eye-opening experience.”</i></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">-<span style="white-space: pre;"> </span>Jason F.</div></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><i>“The Triarchy Method course, led by the amazing September C. Fawkes, offered an enriching experience in mastering character, theme, and plot. Her wide-ranging examples and hands-on worksheets helped with understanding, while the individualized scene workshop sessions provided a platform for application and growth. September's timely, insightful feedback on assignments helped me in my growth as a novice writer to refine my writing skills.”</i></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">-<span style="white-space: pre;"> </span>Dionne R.</div></div><div class="separator" style="clear: both;"><i><br /></i></div><div class="separator" style="clear: both;"><br /></div><h3 style="clear: both; text-align: left;">Sneak Peek Slides</h3><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivn5XznrdfSWhrK4dw7lp0hKe-niv4U-IjNILeJz4C0KOUvuysB3mTf_Yc_k59cg0xKFNXAqEtYQSl0QnwXU0NYrJcSCeB-jQqqoLL-RAy0BdFx-eDvyza2rDapfS2J_ngoyH_v22m05zGjHBDZCshb2pZ9TfPyw0eFN3_H_9onWKwIfqXLGKC8Klu/s1920/1FDDEE2C-D93F-4ED1-BBF5-1ECEBC920C44.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivn5XznrdfSWhrK4dw7lp0hKe-niv4U-IjNILeJz4C0KOUvuysB3mTf_Yc_k59cg0xKFNXAqEtYQSl0QnwXU0NYrJcSCeB-jQqqoLL-RAy0BdFx-eDvyza2rDapfS2J_ngoyH_v22m05zGjHBDZCshb2pZ9TfPyw0eFN3_H_9onWKwIfqXLGKC8Klu/w400-h225/1FDDEE2C-D93F-4ED1-BBF5-1ECEBC920C44.jpeg" width="400" /></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; 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text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><b>**Register <a href="https://sso.teachable.com/secure/1185284/checkout/5063104/how-bestselling-authors-write-the-bones-of-their-novels1">here</a>!**</b></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-49436824653975374022023-09-25T04:30:00.023-06:002023-09-25T04:30:00.155-06:00Breaking Writing Rules: "Never Start with a Character Waking Up"<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyggQ9zBaRSX5x7wvSiM1H8DPN5D9oAbpEfTDgjKTTSt-hKR7AXh9097DFoR6oYcDmxiNtRawQHf7dJ8DuGqsD5daBWTsibsxLtzVGo6yUnQprtTGB--UKQHyxUA-myL-pzcEOacpxS2wf6sQEDnOcBmYRNTVxlkz7e1RyrCYaPZqPppuO48fJGGNBi4g/s1280/man%20waking%20up.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyggQ9zBaRSX5x7wvSiM1H8DPN5D9oAbpEfTDgjKTTSt-hKR7AXh9097DFoR6oYcDmxiNtRawQHf7dJ8DuGqsD5daBWTsibsxLtzVGo6yUnQprtTGB--UKQHyxUA-myL-pzcEOacpxS2wf6sQEDnOcBmYRNTVxlkz7e1RyrCYaPZqPppuO48fJGGNBi4g/w400-h266/man%20waking%20up.jpg" width="400" /></a></div><p><br /></p><p>There are so many wrong ways to start a story, or even just a scene, and one of the common "wrong" ways is to open with a character waking up. It's even more "wrong" if the character then goes about his or her ordinary routine--shower, clothes, breakfast, commute. And yet, we've all seen and read stories, or scenes, that start, more or less, this way. So what gives? Why is it a "don't"? And when and how can we make it a "do"? In today's post, I want to go through just that.</p><p><br /></p><h2 style="text-align: left;">What's the Rule?</h2><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;">Don't open a story or scene with a character waking up. Furthermore, don't then have the character go about her ordinary day.</p></blockquote><p><br /></p><h2 style="text-align: left;">Why it's a Rule</h2><p>There are several reasons why this is a rule:<span></span></p><a name='more'></a><p></p><p><br /></p><h3 style="text-align: left;">1. It can be lazy and weak.</h3><p>For many writers, it's difficult to know when and how to start the story, or a scene, on the page. While it would often be ridiculous to start with the <i>character's</i> starting--his birth (though there are some exceptions where this works), usually the next natural starting we think of, is the start of the character's day.</p><p>Waking up is a natural "start" of something, so many writers will grab it without thinking. So in a sense, one could argue it's grabbed out of laziness. Or at least a lack of preparation. The writer didn't take the time to really consider what should be on the page.</p><p>Unfortunately, it can also be a weak starting.</p><p>It's unlikely the character waking up and beginning his ordinary routine, is important for the audience to sit through--important for the audience to know--for the story. It often ends up just being filler that needs to be scrapped later.</p><p>Now if you want to open that way in a rough draft and scrap it later once you've "found" or discovered the story, then please, follow the creative process that works best for you.</p><p>But starting with a character waking up and going about a typical routine is usually a weak choice for an opening. It often isn't interesting.</p><p><br /></p><h3 style="text-align: left;">2. It can be cliche.</h3><p>Because writers often grab this starting without thinking, it gets grabbed a lot. This can make the opening cliche. The audience--and especially the agents and editors--have seen this opening dozens (or hundreds) of times. So it's not going to hook or impress them.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9tqBDBeqovbT7UBDyMPm4Q9Rrxv4kVjkq4tyYt0GnKeGaGOPryE0ovp6Xb7DRMkaBgSSiNg7IHSrvfxRnLqVS4iLNj_RA364_ZjjB3mhNz9yI5zybFzRRJ4C-y4a8VAUZxWM3LU-MQ18X-pONu8f4XG1wK8KjMaFpTcUNEyaJFn3pPTat_hU0D4j3ndw/s1656/barbie-2-warner-bros.-pictures-.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="790" data-original-width="1656" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9tqBDBeqovbT7UBDyMPm4Q9Rrxv4kVjkq4tyYt0GnKeGaGOPryE0ovp6Xb7DRMkaBgSSiNg7IHSrvfxRnLqVS4iLNj_RA364_ZjjB3mhNz9yI5zybFzRRJ4C-y4a8VAUZxWM3LU-MQ18X-pONu8f4XG1wK8KjMaFpTcUNEyaJFn3pPTat_hU0D4j3ndw/w400-h191/barbie-2-warner-bros.-pictures-.jpg" width="400" /></a></div><p><br /></p><h2 style="text-align: left;">When to Break the Rule</h2><p>Let's talk about when starting with a character waking up, <i>can</i> work well . . . </p><p><br /></p><h3 style="text-align: left;">1. It's not an ordinary day (or routine) for the character.</h3><p>Sometimes you can justify starting with a character waking up, when it's a special or unusual day, such as a birthday, wedding day, or Christmas Day. Or maybe it's the day of a first job or a critical deadline . . . or the morning after a first-ever one-night stand.</p><p><i>The Hunger Games</i> literally starts with Katniss waking up in bed, but it's the morning of the reaping, and Prim isn't near her, which is unusual. This can help grab the audience right away.</p><p><br /></p><h3 style="text-align: left;">2. It's not an ordinary way to wake up.</h3><p>Maybe the character wakes up in or from unusual circumstances. This may better grab the audience's attention. Maybe he's tied up. Maybe he's just time-traveled. Maybe he's been in cryo-sleep. Maybe he's waking up alone for the first time in decades.</p><p>Do be mindful, though, that even things such as waking up from cryo-sleep can be overused and cliche, so you’ll still want to find ways to make it interesting . . . which I'll get to in a bit.</p><p><br /></p><h3 style="text-align: left;">3. It's an ordinary day (or routine) for the character, but not for the audience.</h3><p>If your story takes place in an unusual setting, you may be able to get away with the character waking up on an ordinary day and then doing ordinary things--because they aren't ordinary to the audience.</p><p><i>Barbie</i> is a great example of this. While the film starts with a prologue (which we may liken to Barbie's "birth"), the main story opens with Barbie waking up and going through her typical morning routine. It's familiar, but the world she inhabits is different. Her shower has no water. Her cup has no drink. She magically floats out of her house.</p><p><br /></p><h3 style="text-align: left;">4. The inciting incident hits quick.</h3><p>The beginning of the story should help establish a sense of what's normal. Or at least, the current normal. This is sometimes relative to the story. It's normal <i>compared</i> to what will come later. In any case, that normalcy will be disrupted by <a href="https://www.septembercfawkes.com/2023/07/what-is-inciting-incident-definition-tip.html">the inciting incident</a>.</p><p>If the inciting incident hits very early, you <i>may</i> justify starting the story with your character waking up and going about his ordinary routine. This will quickly establish the norm just before you upend it.</p><p><br /></p><h3 style="text-align: left;">5. It begins with a dream.</h3><p>Starting a story, or even a scene, with a dream is often considered a big no-no. This is because dreams lack immediacy and tension (or work off <a href="https://www.septembercfawkes.com/2022/06/what-plot-is-not-how-not-to-fix-your.html"><i>false</i> tension</a>). But like anything, there are exceptions where dreams can work well, such as if the dream is actually a premonition or vision. (But dreams themselves will be for another post.)</p><p>If you start with a dream, then obviously you will also likely have the character waking up as well. It sounds like common sense, but sometimes we writers overthink things and need to hear it from someone else.</p><p>In the Harry Potter series, Harry has dreams that turn out to not be ordinary dreams at all, so naturally, we have scenes with him waking up.</p><p style="text-align: center;">~</p><p><b>Now with all this said, these aren't necessarily automatic excuses to have a character wake up on the page. Ask yourself: Do you really need the character waking up and doing ordinary things <i>on page</i>?</b> Or can you start the scene later? Is this the <i>best</i> way to open the scene, or story? Is it truly important for the audience to know how the character woke up?</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizq25bLlR_k0oXiqzZ_1dmC3nyqM-sM-MArXbulNGI1xIkISKIQ8dHvblpMkWPfne_i80rnCzoPjTO26BsUt8Iwk-aQ6ENw3DKYni1wgaG4ZFgA4IozzXeliN-tmtfsrTJLDzxx8qV7pxDEqhjRlJt2w2aPxidSdTz-ZVuFpCJdQtjIRNOZaGwbJFHZmM/s1200/a%20man%20called%20otto%20morning.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizq25bLlR_k0oXiqzZ_1dmC3nyqM-sM-MArXbulNGI1xIkISKIQ8dHvblpMkWPfne_i80rnCzoPjTO26BsUt8Iwk-aQ6ENw3DKYni1wgaG4ZFgA4IozzXeliN-tmtfsrTJLDzxx8qV7pxDEqhjRlJt2w2aPxidSdTz-ZVuFpCJdQtjIRNOZaGwbJFHZmM/w400-h266/a%20man%20called%20otto%20morning.webp" width="400" /></a></div><p><br /></p><h2 style="text-align: left;">How to Break the Rule</h2><p>Let's say you've decided that, yes, the character needs to wake up <i>on page</i>. This means you have some things working against you: It's been done a lot, so can be cliche. And it's usually not interesting. How do we work around those issues and still keep readers invested?</p><p>For one, <b>what happens needs to be tied to the <i>story</i>, and not just filler. Typically, that means it's pertinent to the plot. But it could also be used to speak to character. Or relate to theme.</b></p><p>Just because you've decided to start with a character waking up doesn't mean you get a pass to be lazy in handling your scene opening. It should still (usually) have <a href="https://www.septembercfawkes.com/2021/02/4-key-elements-of-scene-openings.html">these four key elements</a>: a hook, setup (aka "grounding"), a goal, and stakes. So say your character wakes up on his anniversary day (setup), but alone (hook), because his wife has recently moved out. Nonetheless, he intends to make it the best anniversary ever for her (goal), in the hopes he can win her back (stakes). That scene opening is plot-relevant.</p><p>Sometimes how someone wakes up and starts his routine can be used to show off character. In <i>A Man Called Otto</i>, we see Otto wake up just before his alarm goes off. This is someone who is predictable and punctual--and even though he wakes before his alarm every day, he still <i>sets</i> his alarm. That alone conveys a lot. But it doesn't stop there. We see how precise he is in taking care of his house, and what a rule-stickler he is in the neighborhood. We learn plenty from an ordinary man waking up on an ordinary day, doing ordinary things.</p><p>Or perhaps the scene opening speaks to theme, such as Scrooge waking up Christmas Day and demanding to know what day it is, and then setting about to be more charitable than he's ever been.</p><p>And of course, often plot, character, and theme overlap in places.</p><p>Every rule can be broken, but it needs to be done for the right reasons and in the right way.</p><p><br /></p><h4 style="text-align: left;"><u>More Articles in this Series:</u></h4><div class="font_8" style="background-color: white; border: 0px; box-sizing: border-box; color: #42464e; font-family: "PT Serif", "Source Sans Pro", Helvetica, Arial, sans-serif; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; text-decoration: underline; vertical-align: baseline;"><a href="http://www.septembercfawkes.com/2016/01/breaking-writing-rules-right-show-dont.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;">Breaking Writing Rules Right: "Show, don't Tell"</a></div><div class="font_8" style="background-color: white; border: 0px; box-sizing: border-box; color: #42464e; font-family: "PT Serif", "Source Sans Pro", Helvetica, Arial, sans-serif; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; text-decoration: underline; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.septembercfawkes.com/2017/04/breaking-writing-rules-right-dont-use.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;">Breaking Writing Rules Right: "Don't Use 'Was'"</a></span></span></div><div class="font_8" style="background-color: white; border: 0px; box-sizing: border-box; color: #42464e; font-family: "PT Serif", "Source Sans Pro", Helvetica, Arial, sans-serif; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; text-decoration: underline; vertical-align: baseline;"><a href="http://www.septembercfawkes.com/2015/02/how-to-break-writing-rules-right-dont.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;">Breaking Writing Rules Right: "Don't Use Adverbs, Adjectives"</a></div><div class="font_8" style="background-color: white; border: 0px; box-sizing: border-box; color: #42464e; font-family: "PT Serif", "Source Sans Pro", Helvetica, Arial, sans-serif; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; text-decoration: underline; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.septembercfawkes.com/2017/02/breaking-writing-rules-right-only-use.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;">Breaking Writing Rules Right: "Only Use 'Said'"</a></span></span><br style="box-sizing: border-box;" /><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.septembercfawkes.com/2018/02/breaking-writing-rules-right-dont-use.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;">Breaking Writing Rules Right: "Don't Use Filter Words" </a></span></span><br style="box-sizing: border-box;" /><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="https://www.septembercfawkes.com/2018/09/breaking-writing-rules-right-dont-use.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;" target="_blank">Breaking Writing Rules Right: "Don't Use Passive Voice" </a></span></span></span></span><br style="box-sizing: border-box;" /><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="https://www.septembercfawkes.com/2018/07/breaking-writing-rules-right-dont-use.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;" target="_blank">Breaking Writing Rules Right: "Don't Use Flashbacks"</a></span></span></span></span><br style="box-sizing: border-box;" /><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="https://www.septembercfawkes.com/2019/01/breaking-writing-rules-right-write-what.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;" target="_blank">Breaking Writing Rules Right: "Write What You Know"</a></span></span></span></span><br style="box-sizing: border-box;" /><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="https://www.septembercfawkes.com/2019/02/breaking-writing-rules-right-only-one.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;" target="_blank">Breaking Writing Rules Right: "Only One Impossibility"</a></span></span> <br style="box-sizing: border-box;" /></span></span></div><div class="font_8" style="background-color: white; border: 0px; box-sizing: border-box; color: #42464e; font-family: "PT Serif", "Source Sans Pro", Helvetica, Arial, sans-serif; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; text-decoration: underline; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="https://www.septembercfawkes.com/2020/05/breaking-writing-rules-right-never-open.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;">Breaking Writing Rules Right: "Never Open with Introspection."</a></span></span></span></div><div class="font_8" style="background-color: white; border: 0px; box-sizing: border-box; color: #42464e; font-family: "PT Serif", "Source Sans Pro", Helvetica, Arial, sans-serif; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: underline; text-decoration: underline; vertical-align: baseline;"><a href="https://www.septembercfawkes.com/2020/03/breaking-writing-rules-right-write.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;">Breaking Writing Rules Right: "Don't Write Direct Dialogue"</a><br style="box-sizing: border-box;" /><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: small; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: 13px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="https://www.septembercfawkes.com/2020/04/breaking-writing-rules-never-edit.html" style="border: 0px; box-sizing: border-box; color: #f45145; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration-line: none; text-decoration: none; transition: all 0.2s ease-in-out 0s; vertical-align: baseline;" target="_blank">Breaking Writing Rules: "Never Edit During Your First Draft"</a></span></span></span></span></div><p><br /></p><h4 style="text-align: left;"><u>Read What Others Are Writing on the Topic:</u></h4><p><a href="https://candicejarrett.com/why-you-shouldnt-start-a-story-with-your-character-waking-up/">Candice Jarrett</a></p><p><a href="https://writingcooperative.com/dont-start-with-a-character-waking-up-2e788d31bd89">Writing Cooperative</a></p><p><a href="http://blog.janicehardy.com/2014/02/studying-waking-up-scene-is-it-really.html">Janice Hardy</a></p><p><br /></p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com2tag:blogger.com,1999:blog-4311874471131728227.post-34573845922036501682023-09-11T06:00:00.001-06:002023-09-11T06:00:47.573-06:00What it Means to Progress the Plot & How to Do it<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwL02vJezIEsDCDH-oVnUpHYbMLDIO51X8XUBv_4fMKWZxLgGSBx9r32avbgYAdXdnOBgVBehJwdMGfr6VZ8ix5d-rjWYIHYvFo4BrQ0UukoVYeAYrDrjDF3U-XAkzyx3XaYondYKAPFmvE-vj_W4tWYCMkats_-qkiXiPAGnbQJExzEM53oQYn7LK8Yc/s1280/woman%20writing%20at%20desk.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwL02vJezIEsDCDH-oVnUpHYbMLDIO51X8XUBv_4fMKWZxLgGSBx9r32avbgYAdXdnOBgVBehJwdMGfr6VZ8ix5d-rjWYIHYvFo4BrQ0UukoVYeAYrDrjDF3U-XAkzyx3XaYondYKAPFmvE-vj_W4tWYCMkats_-qkiXiPAGnbQJExzEM53oQYn7LK8Yc/w400-h266/woman%20writing%20at%20desk.jpg" width="400" /></a></div><br /><p>In the writing community, people often talk about "progressing the story," which is obviously something we all want to do. But years ago, I would often get stuck on this phrase. Yes, I want to "progress the story," but what <i>exactly</i> does that <i>mean?</i> What <i>exactly</i> does that look like?</p><p>Well, if you've been following me for a while, you'll know that I believe there are three core elements that make up a <i>story</i>, and I call them <a href="https://www.septembercfawkes.com/p/the-triarchy-method-of-story_7.html">the Triarchy of Story</a>. They are plot, character, and theme. Setting is important too of course--usually as the stage the story takes place on (though it can come in through plot, character, and theme, as well.)</p><p>While I plan to eventually address what "progressing the story" looks like for each element, today I would like to start with plot, which is usually what this phrase references.</p><p><b>What does it mean to progress the plot?</b></p><p>Let's go back to some of the key principles of plot, which will help us answer this question.</p><p><b>The first element of plot, is a <a href="https://writershelpingwriters.net/2022/08/why-a-strong-plot-requires-a-significant-goal/">goal</a>.</b> Until there is a goal, what happens doesn't really matter much, because it doesn't carry weight one way or another. What does it matter if a path is blocked by a boulder, if the character doesn't have the goal to go down that path to begin with? </p><p>There are three types of goals: obtain, avoid, and maintain. People often frown upon a goal of maintaining, because it can come across as passive, but that's only a problem if there is no antagonistic force for it--just as obtaining and avoiding can become a problem if there is no antagonistic force for them.</p><p><b>Another key element is a plan</b>. A goal without a plan is only a wish. If the character truly wants something, she will have a plan to get it--whether that plan is explicit or implicit on the page.</p><p>As the character pursues the goal, with a plan, she will encounter <b>antagonistic forces that</b> (directly or indirectly) <b>oppose her</b>. This creates the rising action of <b>conflict</b>, which should escalate through the structural unit--whether that is a <a href="https://www.septembercfawkes.com/2019/11/scene-vs-sequence-vs-act.html">scene, act, or the whole narrative arc</a>.</p><p>Eventually, <b>this conflict peaks in a significant turning point</b>. A turning point (also called a "plot point" or "plot turn") changes the direction of the story. It was going one way, and then bam! Some action happens, or some information is revealed, and now things are going a different way. The major turning point of the structural unit can also be viewed as its climax. After this moment, the main conflict of the unit is resolved, and we (visually, literally) turn into the falling action.<span></span></p><a name='more'></a><p></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0w0O0DozsyeBAMltVwdSe9-wZ2WGQMZpUqfrslVhn2-e4JXXtLib8J4GuKcT8XmhoDnQ0D-G_tCZnESMQB3zvMDD0W8TmcXkwHkxWcs9EdLqXjc75rb0mc5Zfj_GJwLTsxiHc3J6kYi1PQLXYkb13FIdR-9m3MavnNMhja7r63y2W6wko7RSm5hN9oZs/s1920/86.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0w0O0DozsyeBAMltVwdSe9-wZ2WGQMZpUqfrslVhn2-e4JXXtLib8J4GuKcT8XmhoDnQ0D-G_tCZnESMQB3zvMDD0W8TmcXkwHkxWcs9EdLqXjc75rb0mc5Zfj_GJwLTsxiHc3J6kYi1PQLXYkb13FIdR-9m3MavnNMhja7r63y2W6wko7RSm5hN9oZs/w400-h225/86.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Notice how the climax visually <i>turns</i> the direction of the story.</td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRuqQwLdRvBbpQhkdPGxwmPN6lhgD9LZRgWWTVRq3QHVuW-xXSFT-J6cQFWZzGCby4b6NmhLR3zcZdQkyU7xZhCA01q3dajISwqubqYUJyEZW1C3dI-bOWMMVdk1sz5g0Vv_BkDGinkr4kKwiuOK3koNLurmNWZMInDRJLHKQE6NXTysb2ktdnLxz_724/s1920/90.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRuqQwLdRvBbpQhkdPGxwmPN6lhgD9LZRgWWTVRq3QHVuW-xXSFT-J6cQFWZzGCby4b6NmhLR3zcZdQkyU7xZhCA01q3dajISwqubqYUJyEZW1C3dI-bOWMMVdk1sz5g0Vv_BkDGinkr4kKwiuOK3koNLurmNWZMInDRJLHKQE6NXTysb2ktdnLxz_724/w400-h225/90.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Acts within the narrative arc (Act II is often halved) </td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPNclxRz6RxZse3XZuz8ZFLBP6hrDTTfbPiIzNj2r5f3JLIEbECMSqg7bfTcFUzGBzInwBYkH1c8kRSnsZgjv8Zvkd0Moipu3UaX7AiBh6V4V3e6MwQ_9L1UCFyp9KR4q0GBpZteLovx7utfa1oniLF-nXf5Kf5zZz6tVmCOxIBNa2qtGi0aXvVC5xAcM/s1920/96.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPNclxRz6RxZse3XZuz8ZFLBP6hrDTTfbPiIzNj2r5f3JLIEbECMSqg7bfTcFUzGBzInwBYkH1c8kRSnsZgjv8Zvkd0Moipu3UaX7AiBh6V4V3e6MwQ_9L1UCFyp9KR4q0GBpZteLovx7utfa1oniLF-nXf5Kf5zZz6tVmCOxIBNa2qtGi0aXvVC5xAcM/w400-h225/96.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Even scenes follow basic structure</td></tr></tbody></table><br /><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p>These principles are true with whatever structural unit you are working with (<a href="https://www.septembercfawkes.com/2023/05/7-things-i-wish-id-known-writer.html">we've talked about this</a>).</p><p>There is, of course, room for variations, exceptions, and rule breaks.</p><p>But generally speaking, this is how things should work.</p><p>Lately, I've been thinking <a href="https://www.septembercfawkes.com/2023/07/the-12-rule-of-story-structure-SCF.html">more</a> and <a href="https://www.septembercfawkes.com/2023/07/what-is-inciting-incident-definition-tip.html">more</a> (and <a href="https://www.septembercfawkes.com/2023/08/using-turning-points-to-nail-exposition.html">more</a>) about turning points. And when I was making slides for my <a href="https://www.septembercfawkes.com/p/the-triarchy-method-of-story_7.html">online course</a>, I noticed something I wasn't fully conscious of.</p><p><b>A turning point should shift the goal and/or plan in some way.</b></p><p><b>This is true of all structural units.</b></p><p>In the whole narrative arc, the major turning point <i>is</i> the story's climax, which resolves the main conflict. Either the protagonist succeeds or fails (simplistically speaking), and this obviously changes the protagonist's goal. Katniss doesn't need to win the Games when she's just won them.</p><p>But this is also true of acts. <b>Each act should have a major turning point. It should also shift the goal and/or plan in some way</b>. In <i>Star Wars IV</i>, Luke's goal shifts with each act, because of a major turning point. In <i>The Hunger Games</i>, Katniss's goal remains intact, but her current plan to get that goal shifts with each act. And you can also have a combination, where the plan shifts for one act, and the goal shifts for the next.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE0JhTl1_mthP-7IBCV1DpSgh3B_Ri0oplXHSIkx2ZknCc8uxdlajlNahrzDeGx87sSmZXOWKcdh45dpZEIzIU3AfYU1eCoK1pKxkmVeEyhSaBput-ZRz92fkJ8hs_VTG6kzx7fJkyqIzE4SVQy1hAHDxSC8YMrRNW6xyJ-LVhhWGz-02EZzFaxTe05wA/s1920/96.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE0JhTl1_mthP-7IBCV1DpSgh3B_Ri0oplXHSIkx2ZknCc8uxdlajlNahrzDeGx87sSmZXOWKcdh45dpZEIzIU3AfYU1eCoK1pKxkmVeEyhSaBput-ZRz92fkJ8hs_VTG6kzx7fJkyqIzE4SVQy1hAHDxSC8YMrRNW6xyJ-LVhhWGz-02EZzFaxTe05wA/w400-h225/96.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4d5kc377c2wPr5PYcLtKnYTywQY_Tk70W7VFgY7n46ebSxS5wEwySlvrz2lxYxJ8bcSjyIDi5zDIU52xlSDQKeTvtvpeRKHa9C0-ayxeoIme5yjcfB7AMxKvZ-njj2jYhtKK1fZnLeAGTK5ZYo2vbZOjzhCkh3hPboqSPZ9i8NuFDu9OqqBo91WIh_q8/s1920/98.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4d5kc377c2wPr5PYcLtKnYTywQY_Tk70W7VFgY7n46ebSxS5wEwySlvrz2lxYxJ8bcSjyIDi5zDIU52xlSDQKeTvtvpeRKHa9C0-ayxeoIme5yjcfB7AMxKvZ-njj2jYhtKK1fZnLeAGTK5ZYo2vbZOjzhCkh3hPboqSPZ9i8NuFDu9OqqBo91WIh_q8/w400-h225/98.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><b>This is also true of scenes</b>. The difference is that the turns and shifts are smaller. If Katniss's goal for the scene is to find Peeta, and she finds him, she obviously now needs a new goal. If Luke's plan is to make it safely back to the <i>Millennium Falcon</i>, but he ends up in the garbage compactor, then obviously his plans on how to do that shift.</p><p>Now because of the nature of basic story structure repeating within itself (<a href="https://www.septembercfawkes.com/2023/04/understanding-act-structure-in-stories.html">like a fractal</a>), sometimes the lines between a "goal" and "plan" can blur. For example, I could also say that Luke has a new goal, which is to escape the garbage compactor. </p><p>And we could go even smaller than this, and break it all down even more. <b>Essentially all goals and plans break down to even smaller goals and plans.</b> And they fit inside one another.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYpT9WhtXGDzdyV_6rgZpXDMkPTDkxfIivHa4fM2q8Jb1gM2wq_f-RFd9H4CHVCupiPWbqylSzKcZ4N8eH7QpwsoK4ByyU3h9ViidgHoXxjFm4EvNJO-PTNgrdhSL5HOXp8KY-pSc4vzdnUOSmv21UQHms_fEnc7oI7xnMLhaz8yHGqP_bIZioZm9HYJc/s1920/32.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYpT9WhtXGDzdyV_6rgZpXDMkPTDkxfIivHa4fM2q8Jb1gM2wq_f-RFd9H4CHVCupiPWbqylSzKcZ4N8eH7QpwsoK4ByyU3h9ViidgHoXxjFm4EvNJO-PTNgrdhSL5HOXp8KY-pSc4vzdnUOSmv21UQHms_fEnc7oI7xnMLhaz8yHGqP_bIZioZm9HYJc/w400-h225/32.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Okay, so let's get back to "progressing the plot."</p><p>What exactly does that mean?</p><p>And what exactly does that look like?</p><p><b>It means making sure the goal and/or plan shifts after a unit's turning point.</b></p><p>It's making sure the situation at the end of the unit is different than at the start of the unit. </p><p>As a side note, this also means the unit has relevant <i>consequences </i>(i.e. stakes and ramifications).</p><p><b>If the situation hasn't changed--if the goal and/or plan hasn't shifted--then the plot hasn't "progressed" in one direction or another.</b> It has only done a circle, if anything.</p><p>And the story will feel repetitious.</p><p>Either this act feels too much like the last act.</p><p>Or this scene feels like a repeat of a prior scene. (And not in a good way.)</p><p>Even stories where the character is literally repeating scenes (like in a time travel story, such as <i>Edge of Tomorrow</i>), the character's goal and/or plan within that particular scene still changes in order to progress the plot. Major Cage is trying different ways to affect the alien invasion, even though he is reliving the same timeframe, over and over. This is exactly why these stories can work, <i>without</i> feeling repetitious.</p><p>While there are other technicalities that can be brought up (we could talk more about consequences--stakes and ramifications--or about setbacks or about costs), <b>the easiest, simplest way to make sure your plot is progressing, is to ask if the goal or plan has shifted by the end of the unit.</b></p><p>Acts should have a big shift.</p><p>Scenes will have a smaller shift, but they should still shift.</p><p><b>There are several ways to shift a goal or plan.</b> Let's go through them.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRLIqSICga7IotttHpRvJ7FuAk_BiHpF4cI-Q0-T_VQqMPlUGfm71UXXzuCWt26iIBHcFhYjlSlT38HsFl1qb6EP_mp-yUcinoEZ2F4R6LxVX-az_YXBaPwc_pJNiuHIVDyJtgmRh_71rKcVMuchjjITi8wb9x7i9XYrbmOcoNVaH7ypeDeenyYdV5SVs/s1920/25.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRLIqSICga7IotttHpRvJ7FuAk_BiHpF4cI-Q0-T_VQqMPlUGfm71UXXzuCWt26iIBHcFhYjlSlT38HsFl1qb6EP_mp-yUcinoEZ2F4R6LxVX-az_YXBaPwc_pJNiuHIVDyJtgmRh_71rKcVMuchjjITi8wb9x7i9XYrbmOcoNVaH7ypeDeenyYdV5SVs/w400-h225/25.jpg" width="400" /></a></div><p><br /></p><h4 style="text-align: left;"><u>Goal Shifts:</u></h4><p>- The character gets the goal (and therefore soon needs a new one)</p><p>- The character gains an additional goal (he can have more than one)</p><p>- The character abandons the current goal (maybe he fails or quits)</p><p>- The character swaps goals (this could be a change in priorities)</p><p>- The character gets part of the goal (some goals can be broken down into pieces)</p><p>- The character's goal gets more detailed and specific (ex. he wanted to graduate, but now he wants to graduate with honors)</p><p><br /></p><h4 style="text-align: left;"><u>Plan Shifts:</u></h4><p>- The character forms a new plan</p><p>- The character abandons the current plan</p><p>- The character changes or swaps out the plan</p><p>- The character's plan gets more detailed and specific</p><p><br /></p><p>You may find some overlapping in these options, that's fine. Writing isn't always clear cut. The point is, the goal and/or plan shifts in at least one way.</p><p>Perform a scene or act check at the close of the unit by asking if that happened. If not, the unit probably isn't progressing the plot.</p><p>Now not <i>every single</i> scene ever written has to progress the plot--but a scene that doesn't is an exception. A story that doesn't have a meaningful goal or plan in play, is a rare variation.</p><p>Make sure the goal and plan are shifting properly in your story, and you'll be progressing the plot.</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com4tag:blogger.com,1999:blog-4311874471131728227.post-81966616687795912932023-08-27T17:00:00.001-06:002023-08-27T17:00:00.145-06:00Voyage Interview & More<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjvtq36jii9V_3lPBYa5YtxC9VSNQjKEAlFWlGbGeSeKRlpl7zAe1B8PTW1mF_exr8atmSUO1YP4pH068HcfnmvTTjLofeVMdYb6Jn70-CBgYSEpRz-meF3DZL-0pZFXv7NPxVrbzo18lfEtG-cXwP-kMs2hY10zHfLUHqpS-I4R7hRZOZW7VtKV-fyyc/s1280/pexels-lumn-1410226.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjvtq36jii9V_3lPBYa5YtxC9VSNQjKEAlFWlGbGeSeKRlpl7zAe1B8PTW1mF_exr8atmSUO1YP4pH068HcfnmvTTjLofeVMdYb6Jn70-CBgYSEpRz-meF3DZL-0pZFXv7NPxVrbzo18lfEtG-cXwP-kMs2hY10zHfLUHqpS-I4R7hRZOZW7VtKV-fyyc/w400-h266/pexels-lumn-1410226.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Hello friends! Earlier this month VoyageUtah published an interview with me, and since I spent what would have been my usual blogging hours completing the interview, I'm not doing the usual writing tip this week. I admit to feeling a little vulnerable sharing the interview, but if you are curious, it is <a href="https://voyageutah.com/interview/check-out-september-c-fawkess-story/">here</a>.</p><p>In other news, I <a href="https://www.facebook.com/100008321732625/posts/pfbid0kDaBz33R3iQBfiuqkFxs8vrL2W3pywpTKVEg6Y9t8nFEuEbExm8jMrzmbujPDboKl/">shared thoughts on</a> and <a href="https://www.tumblr.com/septembercfawkes/725178684961603584/im-an-early-bird-and-while-waiting-in-the-hotel">quickly mapped out</a> <i>Barbie</i> earlier this month as well, on <a href="https://www.facebook.com/profile.php?id=100008321732625">Facebook</a>, <a href="https://www.tumblr.com/septembercfawkes/725178684961603584/im-an-early-bird-and-while-waiting-in-the-hotel">Tumblr</a>, and <a href="https://www.instagram.com/p/Cvm7jg5rDy3/?igshid=MzRlODBiNWFlZA==">Instagram</a>.</p><p>And on a personal note, I recently went on a vacation to Yellowstone--it totally lived up to the hype. It was like the Disney World of nature parks. I would highly recommend the adventure.</p><p>I'm also staying busy preparing some panels for FanX in Salt Lake City next month--can't wait to share what they are!</p><p>In two weeks, I will be back with a usual writing tip, which will be about what it <i>actually</i> means to "progress the plot." But if you can’t wait, you can always check out my <a href="https://www.septembercfawkes.com/p/writing-tip-index.html">writing tip index</a> for a list of my tips.</p><p>Keep up the writing. See ya then! </p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-66923882262231644992023-08-14T04:30:00.000-06:002023-08-14T04:30:00.139-06:00Using Turning Points to Nail Exposition<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0dwaCD6CQp_jdMyoSsXwc7WywMojtuQXQlkG80jmOSAS5VJ_9sm8fnDsxV3Tuckw5rx8_f2BTDpVSXbLzQV-hEL072u6c2-Fr4PaKoeiQl4-2IVD38g4aMqqZJjS3ZP5boZlhsEGMwbj8WqdsbYH6bbOytTtWFNBdXRHg94ND4ThPk6E1bioX4tXBFrY/s1920/reading%20a%20book%20with%20music.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0dwaCD6CQp_jdMyoSsXwc7WywMojtuQXQlkG80jmOSAS5VJ_9sm8fnDsxV3Tuckw5rx8_f2BTDpVSXbLzQV-hEL072u6c2-Fr4PaKoeiQl4-2IVD38g4aMqqZJjS3ZP5boZlhsEGMwbj8WqdsbYH6bbOytTtWFNBdXRHg94ND4ThPk6E1bioX4tXBFrY/w400-h266/reading%20a%20book%20with%20music.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Hey everyone! Lately, I've been thinking and writing about <a href="https://www.septembercfawkes.com/2023/07/the-12-rule-of-story-structure-SCF.html">turning points</a> (also known as plot turns) . . . if you haven't noticed. And I've had a new rule of thumb developing in the back of my mind that I want to share with you all today.</p><p>And it actually has to do with exposition, which in some ways seems like the opposite of a turning point. </p><p>A turning point (or plot turn) changes the direction, the trajectory, the story is going. It was heading in one direction and then bam! an action or revelation (or perhaps better said, an <i>event</i> or new <i>information</i>) comes along, and sends the characters in a <i>new</i> direction, on a new trajectory, which heads toward a different outcome. I like to think of it as being on a railroad, and the track switches, so now the train is heading toward a different destination (all metaphorically speaking). That is how turning points work. I've written about them several times, so if you need more info, you can go <a href="https://www.septembercfawkes.com/2023/07/the-12-rule-of-story-structure-SCF.html">here</a>, <a href="https://www.septembercfawkes.com/2021/03/the-backbone-of-cliffhangers-4-types.html">here</a>, or <a href="https://www.septembercfawkes.com/2022/07/the-secondary-principles-of-plot.html">here</a>.</p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYJf8rM9iE8tX9vMIjdUz_Q1vq0EDyo6NHRBjFiHe7mL4JIIr9Knw6PGTDgZXK2QH7-nNHO8a_dPWBs4HklcrII21ywY34eZ8bbyBRU9TdrBCKbEmV1OqCtyfdSpD0hHQinMcU0ugcO4THWEjicDl49m33BXo1QuYFfGje6XkRlgxrJLtV4Xou_ULkR1k/s1920/86.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYJf8rM9iE8tX9vMIjdUz_Q1vq0EDyo6NHRBjFiHe7mL4JIIr9Knw6PGTDgZXK2QH7-nNHO8a_dPWBs4HklcrII21ywY34eZ8bbyBRU9TdrBCKbEmV1OqCtyfdSpD0hHQinMcU0ugcO4THWEjicDl49m33BXo1QuYFfGje6XkRlgxrJLtV4Xou_ULkR1k/w400-h225/86.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The biggest turning point is the climax. Notice how, visually, it turns the direction of the story.</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkErPpDBd-yZtkSGIKh3JDRRPkSryFgtObH3kdaF8bxISe_26kSNNU9YVZZa0Jou3CP2PX1bT7wo9ju6r6sL40kGq-cg6k-Aw27dS78uiytiw4orcDo4oV9Pu1ot8aoC854d84qv_jhDuJG5_8DD5QeZCJzPW1-o8ZlOtutJAzDSj9yQZ-n1RvLPUKV7w/s1920/90.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkErPpDBd-yZtkSGIKh3JDRRPkSryFgtObH3kdaF8bxISe_26kSNNU9YVZZa0Jou3CP2PX1bT7wo9ju6r6sL40kGq-cg6k-Aw27dS78uiytiw4orcDo4oV9Pu1ot8aoC854d84qv_jhDuJG5_8DD5QeZCJzPW1-o8ZlOtutJAzDSj9yQZ-n1RvLPUKV7w/w400-h225/90.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Each act should also have a major turning point. Act II is commonly split into two parts, so there is usually a major turning point for each quarter of the story.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-4rw0RuBOsWHn5KxmxhXxE3GPkTRLaCLk47ZXNHihlc-LMZS9cpbqR8ZdZ7CqrelwV9QkAQHHeiFHY7zrNI4qtXMYszjVY_TV1w_x1riaSGIkmBN-i9Oez2MaiBfaR7q20ac-dzOlgU5UyS6nbUhaS2Js4JWu9ZsuRkT8tma-eQGOUnv1ea1azzLtH54/s1920/96.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-4rw0RuBOsWHn5KxmxhXxE3GPkTRLaCLk47ZXNHihlc-LMZS9cpbqR8ZdZ7CqrelwV9QkAQHHeiFHY7zrNI4qtXMYszjVY_TV1w_x1riaSGIkmBN-i9Oez2MaiBfaR7q20ac-dzOlgU5UyS6nbUhaS2Js4JWu9ZsuRkT8tma-eQGOUnv1ea1azzLtH54/w400-h225/96.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nearly every scene should also have a turning point--it's just that a turn in a scene is smaller than that of an act or the whole narrative arc.</td></tr></tbody></table><br /><p>Exposition is information. So, obviously there is <i>some</i> connection, because information can <i>create</i> a turning point. Perhaps the protagonist discovers he's a wizard and has been invited to a wizarding school--that is a big revelation that completely turns the direction he was going, it completely turns his life trajectory, his destination (assuming he accepts the invitation).</p><p>But when we use the term "exposition" we are almost always referring to information that comes in elsewhere. It is information that comes before or during the rising action.</p><p>Since probably the beginning of time 😉, exposition has been a big stumbling block for writers. Beginning writers usually <a href="https://www.septembercfawkes.com/2018/04/how-to-dump-info-without-info-dumping.html">put in way too much</a>. They may write long about the protagonist's likes and dislikes, or the history of the setting, or explain previous events, or over-explain magic systems. And soon the pacing is slower than a slug.</p><p>But if you don't put in enough information, then the audience doesn't have <a href="https://www.septembercfawkes.com/2020/01/context-text-subtext-understand-how.html">context</a> to follow and appreciate what is going on.</p><p>So where is the balance? It can be difficult to know how much info to put in, how much to leave out, and when to relay it to the audience.</p><p>There is some okay advice floating around in the community about how to handle this: Tell the audience what they need to know, when they need to know it.</p><p>It's a good starting point, but it's a little vague.</p><p>I'd like to shed some light on handling exposition in regard to turning points.</p><p>When trying to decide what information to leave in or out, ask yourself: <b>What does the audience need to know to make the turning point most impactful?</b></p><p>And in some cases, you may even dare ask, <b>what needs to be withheld from the audience to make the turning point most impactful?</b></p><p>Already I feel the tension rising on the web--isn't it bad to withhold important information from the audience? Often it can be, because many beginning writers withhold the wrong things and withhold them improperly.</p><p>But I'm getting ahead of myself. That is more advanced.</p><p>Back to turning points.</p><p>As I've said time and again, there should be a turning point not only in the story as a whole (which is the climactic turning point), but there should be a turning point for each act (which is frequently referred to as a "plot point"), and a turning point for nearly every scene. The difference is that, generally speaking, the smaller the structural unit, the smaller the turn.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcNuNtsV4wsFvQFr6Qh70TfhsyupXdSO4yRyIdL3x2xxxBy9QI6UB0nSnfBtpKKw6mRr1__uTN-kfJy3JXykV_Oyb9jdCJGIMXFzRFdVh60DmDiLq6eEo8b5L-WhmCZymABfq9UMyq9KufmY9BcOJ-opynKbxoBJla5yPddubfZS8whysqZrqWjX-ao34/s276/The-hunger-games-katniss-rue-death-flowers.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="207" data-original-width="276" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcNuNtsV4wsFvQFr6Qh70TfhsyupXdSO4yRyIdL3x2xxxBy9QI6UB0nSnfBtpKKw6mRr1__uTN-kfJy3JXykV_Oyb9jdCJGIMXFzRFdVh60DmDiLq6eEo8b5L-WhmCZymABfq9UMyq9KufmY9BcOJ-opynKbxoBJla5yPddubfZS8whysqZrqWjX-ao34/w320-h240/The-hunger-games-katniss-rue-death-flowers.webp" width="320" /></a></div><p><br /></p><p>For example, in <i>The Hunger Games</i>, the climactic turning point is the stunt with the berries. After that moment, the main conflict of the story is resolved and Katniss (and Peeta) win the Games. Act II (Part II) has a major turning point as well--it's when Katniss blows up the Careers' supplies and Rue dies. An example of a scene-level turning point, would be when Katniss has her private session with the Gamemakers, and shoots an arrow at their heads. Each unit has its own rising action, peak, and falling action. Now sometimes the writer will cut the unit so we don't see the whole thing on the page (like cutting off the falling action), but let's keep this simple.</p><p>What do we need to know to make the stunt with the berries most impactful? Well, if we want to work backward, we need to know that the Gamemakers have decided there can't be two victors. We also need to know that the berries are poisonous (so Foxface needs to die from them earlier). It's also only effective if Katniss and Peeta are the only tributes left, so we need to know everyone else has died. We need to know why it's important for Katniss to keep Peeta alive. We need to know why it's important to Katniss she survives. We need to know how the society and the Games work. In short, we need to know just about everything the author tells us prior to that point.</p><p>I think we get how the climactic turning point works. And I think it's easier to see what readers need to know to make one impactful. Plus, we have the whole book to sneak in the necessary information for that moment. But I wanted to go through that to establish an example.</p><p>Let's go down a step.</p><p>What do we need to know to make the destruction of the Careers' supplies and Rue's death most impactful? Well, we need to know the Careers have replanted the mines around their supplies. If we don't know that, the explosions may still be surprising, but they will probably also be confusing. It's likely more impactful if we know there <i>could be</i> explosions. We also need to know where the Careers are and the fact they are hoarding supplies. For Rue's death to be impactful, we need to know who she is and how she reminds Katniss of Prim. All the pertinent information is both told (and shown) to us during the setup and rising action of Act II, Part II (if we are going off the book version).</p><p>What don't we need to know? Well, we don't need an irrelevant backstory about Katniss fixing a leak in her roof back home. We don't need a bunch of info about how the banking system works in Panem. We don't need to know about what Europe looks like in this post-apocalyptic world. Some of those things may be interesting to the writer, but writing paragraphs about them would not help make the turning point impactful. In fact, it may take away from it.</p><p>And again, this is just a rule of thumb.</p><p>Let's go down a step.</p><p>What do we need to know to make the fact Katniss shot an arrow toward the Gamemakers most impactful? Well, we need to know what the private session is and why it is important. We need to know that she is going to receive a score that will influence how many sponsors she gets. We need to know the potential consequences (the stakes) of different outcomes. We need to know the Gamemakers aren't paying attention to her.</p><p>What don't we need to know? Well, we don't need to know the backstory of the person who brought in a roast pig. We don't need a long explanation about the fancy wine the Gamemakers are drinking. We don't need to know what kind of light bulbs are used in the room.</p><p>Now if the scene and turning point were different, then maybe it would be more impactful to know those things. But for this scene, this turning point, it's not.</p><p>Think about the scene or act you are working on. What is its major turning point? What does the audience need to know to make that moment hit most powerfully?</p><p>For an act's turning point, you have more time to convey what's necessary. For a scene, you have less. But since the turning point of a scene is smaller than an act's, that shouldn't be a major problem. As you work on your scenes, you'll have to find proper opportunities to feed information that is important to the act. </p><p>But even that may not be so difficult, because often the scenes are building up the rising action of the act, so usually that information will still somehow be relevant to the scene.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtjrc2h2CEIILvZzwHagW9zCveXEy1NfqKgakN6H7B86t7IX5bV_BO9BlkXGGj2Tz7OYH6UpxbZT4cLKpPHPtgQ5nXUhDfUos6MMdDLCugxgAhnaP1pGbOIZSt-a8XLlggaIklhrrN5dYRPZlE6yjIAoX5b8YllEBBbg9cteJBngVDpcygu-jdyWYDFUo/s1920/woman%20reading%20with%20dog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1267" data-original-width="1920" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtjrc2h2CEIILvZzwHagW9zCveXEy1NfqKgakN6H7B86t7IX5bV_BO9BlkXGGj2Tz7OYH6UpxbZT4cLKpPHPtgQ5nXUhDfUos6MMdDLCugxgAhnaP1pGbOIZSt-a8XLlggaIklhrrN5dYRPZlE6yjIAoX5b8YllEBBbg9cteJBngVDpcygu-jdyWYDFUo/w400-h264/woman%20reading%20with%20dog.jpg" width="400" /></a></div><br /><p>Let's talk about the very beginning of your story, which is usually where exposition is the most tricky. The audience opens the book, and essentially has zero information.</p><p>And there is just <i>so much</i> information you need to convey to them, so they can appreciate the climactic turning point!</p><p>While Act I tends to have the most exposition, please remember you don't need to convey <i>all </i>necessary information at once. You have almost the whole book to weave in info for the climax.</p><p>Ask yourself, what does the audience need to know to appreciate <i>Act I's</i> major turning point?</p><p>If it's <i>Harry Potter </i>(which has the turning point of Harry learning he's a wizard and subsequently going with Hagrid), we need to know Harry is hated and treated badly by the Dursleys. We need to know he was told his parents died in a car crash. We need to know he lives unloved, powerless, and essentially unknown in a cupboard under the stairs. We need to know the Dursleys hate anything odd, imaginative, or out of the ordinary.</p><p>If that wasn't conveyed then Act I's turning point wouldn't have been as impactful. What does it really matter that Harry belongs to a wizarding world where he is loved and famous, where he can learn magic, if we don't know he's abused by the Dursleys? Would it matter as much that Voldemort killed his parents, if he hadn't been lied to about how they died? Would magic be such a big deal if the Dursleys didn't hate anything out of the ordinary?</p><p>Truth be told, it's not that these things wouldn't matter <i>at all</i> or wouldn't be effective <i>at all</i>, but that <i>having</i> that information at that time makes the turn so much more <i>impactful</i>.</p><p>What does the audience need to know for the <a href="https://www.septembercfawkes.com/2023/07/what-is-inciting-incident-definition-tip.html">inciting incident</a> to be most impactful?</p><p>In <i>Harry Potter</i>, we need to know that Harry is not only hated, but has no friends or other family members. If we didn't know that, the arrival of the letter wouldn't be as impactful. Because we know that, we wonder who in the world would be writing him? And how could they know he lives in a cupboard under the stairs? No one has come to visit him.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZAzYctiP4WCx34gE_fuyFmFJfUrcKTKhORfPuYcGFgQHgpyA5vQAYBIo_Jz9p-_52fKYX2WIbr9yc0PP6yM2bk2ezgE9GQ8FgkRb4aSXoPHysV_rDt9YHaHDf3PVXvdFagU1RFzNf6eMthwyVekVDnWC9EvP8E-ALcS74aPyZbPZbIbCrNMAIPXTihSQ/s759/harry-potter-hogwarts-letter_759.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="759" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZAzYctiP4WCx34gE_fuyFmFJfUrcKTKhORfPuYcGFgQHgpyA5vQAYBIo_Jz9p-_52fKYX2WIbr9yc0PP6yM2bk2ezgE9GQ8FgkRb4aSXoPHysV_rDt9YHaHDf3PVXvdFagU1RFzNf6eMthwyVekVDnWC9EvP8E-ALcS74aPyZbPZbIbCrNMAIPXTihSQ/w400-h223/harry-potter-hogwarts-letter_759.webp" width="400" /></a></div><br /><p>What is the turning point of the <a href="https://www.septembercfawkes.com/2019/11/scene-vs-sequence-vs-act.html">scene, sequence, or act</a>? And what does the audience need to know to make it most impactful?</p><p>With those questions, you can better discern which information to give, and when to give it. You can then find ways to tell and show the information. Or better yet, weave it into the plot.</p><p>To show how much Harry is hated, we contrast how he is treated with how Dudley is treated, particularly on Dudley's birthday. We have a scene where they all go to the zoo for Dudley's birthday (plot). </p><p>What is the turning point of the scene? It's when the glass over the snake's habitat vanishes. What do we need to know to make that most impactful? We need to know how Harry has been punished previously for odd things happening around him.</p><p>Suddenly it begins to become clearer and clearer what information to give, when.</p><p>I'm not going to say it will fix all your problems, but it's a darn good principle to follow.</p><p>Focus on the unit's turning point, and what info will make it most impactful.</p><p>And sometimes, as I alluded to earlier, it will give you a better idea of what information to withhold.</p><p>Sometimes <i>not</i> having certain information, makes the turn more<i> </i>impactful. Or sometimes delivering it at the most opportune time makes it most impactful.</p><p>Recently I was reworking a scene, and in the original version, the main character knew someone else would be staying at the house he'd be staying at. In the new version, I realized it would be more impactful if he didn't have that information--if he thought he was going to be staying at this house alone. In fact, I made that one of his determining factors to go to this location. (I know I'm being a bit vague, but I don't want to explain everything right now 😉.)</p><p>When he discovers someone else will be there with him, it's a big surprise that throws a wrench in his plans, but he decides it's too difficult to back out now.</p><p>So, <i>withholding</i> that information and then delivering it at a <i>later</i> time made the scene much more impactful. It went from being just information, to being part of the rising action (as it's an obstacle for him to now address).</p><p>In his book <i><a href="https://www.amazon.com/gp/product/0060391685/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0060391685&linkId=1cee324cbe1d679d9003ba6ad5eda48f">Story</a></i>, Robert McKee has an adage: Turn exposition into ammunition.</p><p>This is what he is talking about.</p><p>While we need to give the audience enough information to interpret the story (they need <a href="https://www.septembercfawkes.com/2020/01/context-text-subtext-understand-how.html">context</a> for what is happening on the page), it can be very effective to turn additional information into "ammunition" (often through turns, reveals, and <a href="https://www.septembercfawkes.com/2019/11/gaps.html">gaps</a>).</p><p>I could simply have my main character know Character B is going to be at the house with him from the very beginning. Or, I could instead turn that info into a surprise that throws a wrench in his plans.</p><p>Discerning this sort of thing is definitely more advanced.</p><p>And many of us have been discouraged from doing such things, because we were told so much to avoid withholding information from the audience. But like anything in writing, it's a balancing act. Don't withhold <i>contextual</i> info from the audience, and don't withhold info the viewpoint character knows in order to try to create <a href="https://www.septembercfawkes.com/2016/01/vague-vs-ambigious-which-are-you-writing.html">false tension</a>. (Though even then, there are exceptions and rule breaks, but they are just that: exceptions and rule breaks.)</p><p>So, at the end of all this (which I admit, are some ideas I'm still ironing out), remember to ask: What information needs to be given--or sometimes withheld--to make the turning point <i>most</i> impactful?</p><p>You'll be that much closer to discerning how to best handle exposition and what to deliver, when.</p><div class="separator" style="clear: both; text-align: center;"><br /></div>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com6tag:blogger.com,1999:blog-4311874471131728227.post-12288749805737330862023-07-23T18:33:00.000-06:002023-07-23T18:33:18.704-06:00What is the Inciting Incident? Definition, Purpose, Examples, Tips<p><b><br /></b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNb0YIzQoswDZiKLrOtW7GmW_QeAvheBzbvuHUDGYxE91OdAPRXOQcSUDuYU4xfYM0zapkGpxT59pFu2Of5UIgCMB8HrMkKXUdx-Y8IgTr_IpS6goHidEUCoiHUlNBcD8GF0neUWtaNii1hRPg1EeM8WVSMPTe9OJqWtlzkApid99Hhh1kNy3dbACusGY/s2048/Writing%20Inciting%20Incident.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNb0YIzQoswDZiKLrOtW7GmW_QeAvheBzbvuHUDGYxE91OdAPRXOQcSUDuYU4xfYM0zapkGpxT59pFu2Of5UIgCMB8HrMkKXUdx-Y8IgTr_IpS6goHidEUCoiHUlNBcD8GF0neUWtaNii1hRPg1EeM8WVSMPTe9OJqWtlzkApid99Hhh1kNy3dbACusGY/w400-h266/Writing%20Inciting%20Incident.png" width="400" /></a></div><br /><b><br /></b><p></p><p><b>The inciting incident is an event that disrupts the established normal and kicks off the main storyline</b>. It will usually appear as an <b>opportunity or a problem</b> (or both) for the protagonist. And even if the protagonist initially refuses it, he must eventually address it.</p><p>For example, the inciting incident in <i>The Hobbit</i> is when Gandalf arrives and invites Bilbo on an adventure. It disrupts Bilbo's ordinary life, and while it is presented as an opportunity, Bilbo views that opportunity as a problem (respectable Hobbits <i>don't</i> go on adventures). He refuses the invitation initially, but later accepts it. If it weren't for Gandalf's invitation, the plot in <i>The Hobbit</i> wouldn't have happened.</p><p><b>The purpose of the inciting incident is to start the main plotline.</b></p><p>The inciting incident is known by a few other names: the "Catalyst" (<a href="https://www.septembercfawkes.com/2020/04/save-cat-explained-beginning.html">Save the Cat!</a>), the "Call to Adventure" (<a href="https://www.septembercfawkes.com/2020/01/the-heros-journey-explained-beginning.html">The Hero's Journey</a>), and I've also heard it called the "impetus."</p><p>Unfortunately--as is somewhat common in the writing community--the term can actually be a little ambiguous, making it difficult to learn about, let alone discern. Not only are there multiple terms for the <i>same</i> event, but there are also disagreements in the community about <i>which</i> event constitutes the "inciting incident." </p><p>So, if you have been confused about this term, I'm not surprised. To minimize confusion, I'll explain the different ways people view the inciting incident, later. For now, the above definition is currently what is generally considered the inciting incident.</p><p>Let's break down the inciting incident some more, moving from a basic understanding to an intermediate understanding to an advanced one. I'll go through more examples and even some rule breaks.<span></span></p><a name='more'></a><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnyAtVE7T8t60yYUhS37TFtXU-x0ErHQGgSicvQO5avEE6mj2WqcqbrwJ6h_m1ax9Lp9MH54HoNLEoEw15dm6oT7LRNRgKlV7v5usXLCHYYQFx0G_ZobWt_kGlXQDerai-4ui4LjlMNsSMbzqLhCz_IMuzY-ltB9my00TEh6VuZosBjZfhxc9F6EGMyHo/s800/Bilbo%203%20Hobbit%20im-going-on-an-adventure1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="473" data-original-width="800" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnyAtVE7T8t60yYUhS37TFtXU-x0ErHQGgSicvQO5avEE6mj2WqcqbrwJ6h_m1ax9Lp9MH54HoNLEoEw15dm6oT7LRNRgKlV7v5usXLCHYYQFx0G_ZobWt_kGlXQDerai-4ui4LjlMNsSMbzqLhCz_IMuzY-ltB9my00TEh6VuZosBjZfhxc9F6EGMyHo/w400-h236/Bilbo%203%20Hobbit%20im-going-on-an-adventure1.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Inciting Incident Basics</h3><p>The above definition works well for a basic understanding of the inciting incident. When looking at a story (your own or another's), ask yourself: <b>What kicks off the main plot? What initial event allows that plot to start happening?</b></p><p>Commonly, the protagonist will be going about her ordinary life, and something comes along to disrupt it in a way that can't be ignored. Sure, the protagonist may <i>try</i> to ignore it or outright refuse it (like Bilbo), for a while, but for one reason or another, her life can't go back to normal. Either externally something is off, or internally something is off.</p><p>In <i>The Hunger Games</i>, we are introduced to Katniss and her current lifestyle as she wakes up, goes hunting, and interacts with others in District 12. The reaping happens every year. But her current lifestyle is disrupted when Effie pulls Prim's name out of the bowl. For Katniss, this is a major problem. If this hadn't happened, she would have never volunteered. Prim's name getting called sets the main plot in motion.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy8K06YUeViI-CcerASjT8qondAw3889jBN-aKClEAELMO1fvjZTU8PnSJRrFCiv_NLjEMZMZEODvxcSClo8CxysY7YnlfGQLzztvQFt-voNLGq8BN4wYJ6w6JnxbI3kEcVwRBPqSO6_W27RNu-dU4TvovLbwHMIWyJwqBZR08hb8kbKoNm2oZSPhzfPU/s1071/hunger%20games%20prims%20name%20reaping%20effie.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="452" data-original-width="1071" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy8K06YUeViI-CcerASjT8qondAw3889jBN-aKClEAELMO1fvjZTU8PnSJRrFCiv_NLjEMZMZEODvxcSClo8CxysY7YnlfGQLzztvQFt-voNLGq8BN4wYJ6w6JnxbI3kEcVwRBPqSO6_W27RNu-dU4TvovLbwHMIWyJwqBZR08hb8kbKoNm2oZSPhzfPU/w400-h169/hunger%20games%20prims%20name%20reaping%20effie.webp" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Intermediate Level</h3><p><b>The inciting incident is <a href="https://www.septembercfawkes.com/2023/07/the-12-rule-of-story-structure-SCF.html">a medium-sized turning point</a> (also known as a plot turn). It <i>turns</i> the direction of the story.</b></p><p>Specifically, <b>it turns the story into rising action</b>.</p><p>Occasionally, you may see this turn depicted in basic story structure:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfUan6F8DYq2xqFVhn2FoQ7cLwKn4z1IA0aQ3OhM4RWSWx73EVpiOsHU7cvUBEN-ncPxoAOsV1RpL2vF71EyhTzcFK1wS504HzLen1ggGBSwBe2SbIS4SaPXZIeYO0znWu2UH7X2H2jknu2rUIhv-ELIkTboW3bR9M2vN8HheqfloqOlELqpjRlFb00AA/s1920/87.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfUan6F8DYq2xqFVhn2FoQ7cLwKn4z1IA0aQ3OhM4RWSWx73EVpiOsHU7cvUBEN-ncPxoAOsV1RpL2vF71EyhTzcFK1wS504HzLen1ggGBSwBe2SbIS4SaPXZIeYO0znWu2UH7X2H2jknu2rUIhv-ELIkTboW3bR9M2vN8HheqfloqOlELqpjRlFb00AA/w400-h225/87.jpg" width="400" /></a></div><p>This moment is <b>an <i>external </i>turn, meaning, it comes from <i>outside</i> the protagonist</b>--the protagonist is not creating the turn himself.</p><p><i>Gandalf</i> invites Bilbo.</p><p><i>Effie</i> pulls out Prim's name.</p><p>In <i>Star Wars IV, Leia's message</i> reveals she needs help.</p><p>Occasionally the protagonist may walk unknowingly into the inciting incident. In <i>A Nightmare Before Christmas</i>, Jack Skellington quite literally walks into Christmas Town, but he doesn't know where he is or what he is doing. The experience of Christmas Town happens <i>to </i>him. He isn't going into the town to make things happen.</p><p>So the inciting incident is one instance in the story where the protagonist will be acted upon in an important way.</p><p>And <b>since this is a turn that disrupts the <i>protagonist's</i> life,</b> <b>it needs to come into contact with the <i>protagonist</i>.</b></p><p>In <i>Mulan</i>, the Huns deciding to invade China isn't the inciting incident, because it doesn't disrupt Mulan's life. Instead, the inciting incident comes when her own father is called to war, which disrupts her current life in a significant way.</p><p>Likewise, Princess Leia recording her message isn't the inciting incident. Luke's ordinary life isn't disrupted until he finds the message.</p><p>The protagonist is present for the inciting incident.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWiEjh0STy6FSimVNQH47DfLQwt2nmAn-zAulGthAV6uaZVlMcdLgp22t9eyKu5nz9ajFk4Yjls87hwWPkwB-5hQg7zO8qjGK3CRbv8VTuLdXt0ylS2tkf7RP7u3Znenox1aHfhbR-ncjI2kreBh6aufmC-EHHiBymtmBrHNL3wMi2a-DAjWhNwrexhdQ/s720/Jack%20Skellington%20Christmas%20town.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="438" data-original-width="720" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWiEjh0STy6FSimVNQH47DfLQwt2nmAn-zAulGthAV6uaZVlMcdLgp22t9eyKu5nz9ajFk4Yjls87hwWPkwB-5hQg7zO8qjGK3CRbv8VTuLdXt0ylS2tkf7RP7u3Znenox1aHfhbR-ncjI2kreBh6aufmC-EHHiBymtmBrHNL3wMi2a-DAjWhNwrexhdQ/w400-h244/Jack%20Skellington%20Christmas%20town.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Advanced</h3><p>There are several other moments that often (or may) happen around the inciting incident. This is why there are some arguments and confusion as to what the inciting incident actually is.</p><p>First off, <b>a prior event may lead to or prep the inciting incident.</b></p><p>Willy Wonka putting the golden tickets in the chocolate bars can appear to be the inciting incident, but notice it doesn't involve Charlie. It's simply set up for the inciting incident to happen.</p><p>After the inciting incident, <b>the character will respond to whatever happened</b>. Often he will try to ignore it, deny it, or outright refuse it. In the Hero's Journey, this is known as the "Refusal of the Call." In Save the Cat! this is known as "Debate."</p><p>We talked about an example of this earlier, which is when Bilbo refuses Gandalf's invitation. Another example would be Sulley trying to get rid of Boo right after she appears in <i>Monster's Inc.</i></p><p>While this is a common beat, not all protagonists actually have it. If the protagonist <a href="https://www.septembercfawkes.com/2021/07/the-steadfast-flat-arc-protagonist-in.html">doesn't Refuse the Call</a>, often another character will voice the Refusal, or at least hesitation, instead.</p><p>But ultimately, the inciting incident will need to be addressed in the proper way (i.e. in the way that allows the main plot to happen). This will appear as <b>the character choosing to engage in the main conflict</b>, which will often be demonstrated by a strong action, such as Bilbo running out his door to catch up with the dwarves, or Harry Potter leaving with Hagrid.</p><p>Frequently, this will hit at the end of Act I, and <a href="https://www.septembercfawkes.com/2023/07/the-12-rule-of-story-structure-SCF.html">be Act I's major turning point</a>. The Hero's Journey calls this "Crossing the Threshold" and Save the Cat! calls this "Break into Two." Commonly it is also known as Plot Point 1.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfajDZ-0ehF5WuqfhKaqbPDgOfqbsLDGVVSu7VrEE-8GYOWFcWLSR6Y4ikqc4syhzDGUMZKj2v8tfv8jlGZs3A43mcY5A-Yv693kLjwuAbFP3-mVBmjDy38AQUAJZwmzwGyvD3dBzKxVDBefTYjfjuMD4_7Arzu9p1NZ_LX2ulxwfTS5K50W8PGO9pBs/s1920/69.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfajDZ-0ehF5WuqfhKaqbPDgOfqbsLDGVVSu7VrEE-8GYOWFcWLSR6Y4ikqc4syhzDGUMZKj2v8tfv8jlGZs3A43mcY5A-Yv693kLjwuAbFP3-mVBmjDy38AQUAJZwmzwGyvD3dBzKxVDBefTYjfjuMD4_7Arzu9p1NZ_LX2ulxwfTS5K50W8PGO9pBs/w400-h225/69.jpg" width="400" /></a></div><br /><p>In any case, this is where some of<b> the ambiguity in the writing community comes in</b>. Some will argue that the inciting incident is the preparatory event, like when Willy Wonka puts the golden tickets in the chocolate bars. Some will say it's the disrupting incident, like when Prim's name gets called. Some will say it's when the character engages in the main conflict, like when Bilbo runs out his door to join the dwarves. And some will even lump part or all of these events together.</p><p>It's no surprise that things can get confusing.</p><p>This is why it can be helpful to consider Act I's structure . . .</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0QLALEixiGYBTW9Kepu6XNLewMOZArTR3BNfiNcC12KuZpfgj5fjkhmGrgHiE2xCvmujvcxtQgRbHr8k6qJFCoXUT_VImLHcLy4OrqrTZTb0ZoPDAT9WZwVltZvXdlXuArYmO6bgP7aPQV0Fhchpuvxe718uU7VXmDW7ljOt46S5NzifHYuyPe0WpNq4/s1920/man%20writing%20working%20laptop.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1418" data-original-width="1920" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0QLALEixiGYBTW9Kepu6XNLewMOZArTR3BNfiNcC12KuZpfgj5fjkhmGrgHiE2xCvmujvcxtQgRbHr8k6qJFCoXUT_VImLHcLy4OrqrTZTb0ZoPDAT9WZwVltZvXdlXuArYmO6bgP7aPQV0Fhchpuvxe718uU7VXmDW7ljOt46S5NzifHYuyPe0WpNq4/w400-h295/man%20writing%20working%20laptop.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Structuring Act I</h3><p>Because of the ambiguity in the writing community, sometimes it's helpful to look at the structure of Act I to gain some clarity.</p><p>In most stories, Act I will take up the first quarter (~25%) of the narrative (but there are <a href="https://www.septembercfawkes.com/2021/08/variations-on-story-structure-list.html">exceptions and variations</a>.)</p><p>Ideally, it will open with <b>a hook</b>.</p><p>Often there is some sort of "<b>shake-up</b>" halfway through (~12% into the story).</p><p>And there will be a <b>big turning point</b>, a peak, at the end of Act I (~25% in).</p><p><b>Example:</b></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;"><i>Harry Potter </i>starts with a hook--unusual things are happening all day and culminate in a baby who defeated a dark wizard being left on a doorstep. Halfway through Act I there is a shake-up--a letter arrives addressed to Harry. Near the end, there is a big turn--Hagrid tells Harry he is a wizard, which leads Harry to choose to go with him.</p></blockquote><p>Some feel that the letter's arrival is the inciting incident. Some feel it's Hagrid's announcement. (I originally leaned toward it being Hagrid, and now feel like it's the letter.) But at the end of the day, what's most important is understanding how the pieces work. We have the hook, the shake-up, and the peak.</p><p>The letter also gets the story on track to hit Hagrid's announcement, which is a nice touch.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBpmNwEX35cu4p9ZVesKSP0-zMGFxrGR6YqV2x6wTt9zH7EwX-0WSa-LqLjUYGgqbcGB5piOmVdxUY9vgVGxniTW-yUMMx_4QRR-ucFY5ytA3JVRbaPcTUzMj5Q2xH4pxeER4k8HVjlxfRRAxpl_3gKVMh5Po2vHmyekw2jo7c134yUY1SRxG4dc-240/s759/harry-potter-hogwarts-letter_759.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="759" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBpmNwEX35cu4p9ZVesKSP0-zMGFxrGR6YqV2x6wTt9zH7EwX-0WSa-LqLjUYGgqbcGB5piOmVdxUY9vgVGxniTW-yUMMx_4QRR-ucFY5ytA3JVRbaPcTUzMj5Q2xH4pxeER4k8HVjlxfRRAxpl_3gKVMh5Po2vHmyekw2jo7c134yUY1SRxG4dc-240/w400-h223/harry-potter-hogwarts-letter_759.webp" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Placement of the Inciting Incident</h3><p>With an understanding of how Act I is commonly structured, we can more easily discuss where to place the inciting incident.</p><p>Perhaps most <b>commonly, the inciting incident is placed at the shake-up</b>--about halfway through Act I, which is what (arguably) happens in <i>Harry Potter</i>. </p><p>This is a nice place to put it, because the audience has time to get to know the characters and the world and their trajectory, before something comes along to throw everything off balance.</p><p>But <b>the inciting incident can also double as the hook</b>. This is what happens in <i>The Hunger Games. </i>Prim's name gets called as early as chapter one.</p><p><b>It can also happen just before (or some may argue, part of) the big turning point</b>, which is what happens in <i>Frozen. </i>Elsa's powers go out of control when with Anna, and right after Elsa freezes the kingdom and runs away.</p><p>And even with all of that said, these placements are just guidelines. Place it where it works best for your story.</p><p>Get your hook, your shake-up, and your peak--and make sure the inciting incident that kicks off the main plotline is in Act I, and you should be good.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifUsW0eEI475kxZaN6SQhGA8mOmfR9FkymYkAv5YpMo1dIF5GjI6S8N2snOVa1hEpYTYZ99jmtvyqafAbLYAjlsmC1DGzJhyHrXNKlQAatllEDIrdEemApo8W8wxBkERXS4_QBpN5zg-gWot4jLcrJOTu_KsO3kxJzG40GsbtsZKusuBueu32fSub2ANk/s1280/frozen%20inciting%20incident.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifUsW0eEI475kxZaN6SQhGA8mOmfR9FkymYkAv5YpMo1dIF5GjI6S8N2snOVa1hEpYTYZ99jmtvyqafAbLYAjlsmC1DGzJhyHrXNKlQAatllEDIrdEemApo8W8wxBkERXS4_QBpN5zg-gWot4jLcrJOTu_KsO3kxJzG40GsbtsZKusuBueu32fSub2ANk/w400-h225/frozen%20inciting%20incident.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Multiple Inciting Incidents</h3><p>A couple of times I've been asked what to do if a story seems to have multiple inciting incidents. Thankfully, this is usually more of an asset than a problem.</p><p>First, you may want to check that this isn't a matter of "writing community ambiguity." <b>It may be that these are simply different beats</b>: a moment that preps, the disruption itself, the character's reaction to the disruption, and the character's choice to engage in the main conflict (which leads him or her into the main "journey" of the plot).</p><p>If all the events are clearly linked, it's likely they are simply key beats of Act I for the main plotline.</p><p>If the events aren't linked on one trajectory, <b>it's likely you have inciting incidents for <i>different</i> plotlines</b>.</p><p>When people talk about inciting incidents, they are usually talking about them in regard to the main plotline.</p><p>But <a href="https://www.septembercfawkes.com/2022/01/what-is-b-story-6-key-qualities-of-b.html">secondary plotlines</a> can have their own inciting incidents.</p><p>For example, if the inciting incident doesn't hit at the shake-up, it's common for an inciting incident of another plotline to hit there, such as the <a href="https://www.septembercfawkes.com/2022/11/structuring-your-relationship-plotline.html">inciting incident of the relationship</a> plotline (which is often the "meet cute.") </p><p>This is what happens in <i>Frozen</i> with Anna and Hans--they have an inciting incident for a relationship. But the main plot doesn't kick off until Elsa loses control of her magic at the coronation, which happens near the end of Act I.</p><p><b>Depending on how your plotlines run through your story, you may have multiple inciting incidents</b>--one for each plotline.</p><p>Alternatively, <b>it's also possible to have the same event work as an inciting incident for multiple plotlines</b>, which is arguably what happens in <i>The Prestige. </i>The protagonist's wife drowning kicks off the internal, the external, and the relationship plotlines simultaneously.</p><p>In any case, suffice it to say that seeming to have multiple inciting incidents isn't usually something to worry about.</p><p>What is a worry is if there is no inciting incident or rather, the inciting incident comes at the wrong time, hurting the pacing of the story.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_sjUFxJIUxY06jDy2HAJNO4m4q2bwlkFd0_TMCxTDj6SpX70On4WqbJsubfcP6Kf8ZNvrxjHTB3JyklOP7AU4_nQSX-kxtdTtEg0X4ovPVVfkPr0ux4CavdSUdcgIp1kO7JbamAM4MmzekXyXNEQAVRB_XavMD0xMyxtFV7qECcFQC0-11xjt1QnUhIs/s1920/the-prestige-hugh-jackman-christian-bale.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_sjUFxJIUxY06jDy2HAJNO4m4q2bwlkFd0_TMCxTDj6SpX70On4WqbJsubfcP6Kf8ZNvrxjHTB3JyklOP7AU4_nQSX-kxtdTtEg0X4ovPVVfkPr0ux4CavdSUdcgIp1kO7JbamAM4MmzekXyXNEQAVRB_XavMD0xMyxtFV7qECcFQC0-11xjt1QnUhIs/w400-h225/the-prestige-hugh-jackman-christian-bale.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: left;">Rule Breaks</h3><p>So far we have mainly gone over what is typical of inciting incidents. Let's go over some variations or rule breaks.</p><p><b>The inciting incident almost always, <i>always</i> happens on page or on screen</b>. It should, because it's such a critical moment in the plot. <b>However, it's not <i>impossible</i> for it to happen off page or off screen.</b></p><p>For example, by general definition, in <i>Knives Out</i>, the inciting incident is when the anonymous letter arrives for Detective Blanc, but notice that happens off screen.</p><p>In fact, it practically happened before the story started. If we view Harlan's death as a prologue (acting as a hook), the real story doesn't start until the investigation and questioning are already underway--<i>after</i> the inciting incident happened.</p><p><b>Some argue that the inciting incident <i>can</i> happen before the story officially starts, but it's an unusual situation.</b></p><p>What's interesting in the case of <i>Knives Out</i> is that the <i>audience</i> <i>learns</i> about the inciting incident ~12% in. So even though it technically already happened, it's still placed where the inciting incident often goes, at the shake-up. And it does shake things up, for the audience. Who hired Detective Blanc? We don't know.</p><p>Such things are more likely to happen in stories that are structured achronologically (which I plan to talk about in a post someday). Nearly all of Act I of <i>Knives Out</i> is achronological.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhleVlC-7Hspv0iKy6ZPX5X7IFOQ08i1eH3uyhSsIJdbDZLF9Ts9XLQV6-5nGKRYYIZDDgD-nu8CTtmDwmQ9Eutnms_wgcSeNRJ0cZgP-uK0V6oRre5Umpl2N67x3h3ZaWI-1HstB3wCR8s_ooU4V7wB8pwSl_L2fUxRycFfXNBif-Wal7tYmIRVBDVea0/s1200/knives%20out%20detective%20blanc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhleVlC-7Hspv0iKy6ZPX5X7IFOQ08i1eH3uyhSsIJdbDZLF9Ts9XLQV6-5nGKRYYIZDDgD-nu8CTtmDwmQ9Eutnms_wgcSeNRJ0cZgP-uK0V6oRre5Umpl2N67x3h3ZaWI-1HstB3wCR8s_ooU4V7wB8pwSl_L2fUxRycFfXNBif-Wal7tYmIRVBDVea0/w400-h225/knives%20out%20detective%20blanc.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Tips to Keep in Mind</h3><p style="text-align: left;">Here are some tips to keep in mind when writing the inciting incident:</p><p style="text-align: left;"><b>Establish what the protagonist's current ("normal") life is like before the inciting incident</b>. The inciting incident is a medium-sized turning point, so <b>think about what you need to convey to the audience to make this particular turn powerful</b>. In order to make Prim's name being called shocking, Collins needed to first establish how unlikely it was for her to be picked and how Katniss was essentially her foster mother.</p><p style="text-align: left;">Usually <b>it's effective to start the character in the opposite state of where he will be by the end of Act I</b>, with the inciting incident acting as the initial disruptor (of course). Jack Skellington should first be bored of Halloween before he discovers Christmas. The turn wouldn't be as powerful if he was satisfied with his role. (It would have been okay. But it would have been weaker.)</p><p style="text-align: left;"><b>Start the story with the protagonist already on a specific trajectory</b>. Convey what direction the character's life is meant to go if it continues its current path. Then, when the inciting incident disrupts it and sends it on a new trajectory, it will be more impactful.</p><p style="text-align: left;"><b>If the inciting incident is viewed as a problem, it's often great to first pull the protagonist high</b>--on an upward trajectory. In <i>Legally Blonde</i>, Elle thinks Warner is going to propose to her, so the inciting incident, the problem, of getting dumped hits harder.</p><p style="text-align: left;">Likewise, <b>if the inciting incident is viewed as an opportunity, it's often great to first pull the protagonist low</b>--on a downward trajectory. </p><p style="text-align: left;">Because the inciting incident is a disruptor, almost always <b>it should be something the protagonist didn't foresee</b>. She may <i>think</i> she knows what's going to happen (like Elle), but it ends up being different.</p><p style="text-align: left;">Since this is a critical turn in the story, <b>make sure it happens on page</b> (unless you have a good reason for a rule break). It should almost always be dramatized, <b>in </b><a href="https://www.septembercfawkes.com/2021/01/scene-vs-summary-when-to-use-which.html"><b>a scene</b>, not summary</a>. You may want to bump up the prose for it.</p><p style="text-align: left;"><b>Get your protagonist's reaction to it on page</b>, too. His reaction is a great opportunity to convey his character--whether it's brief or it takes several chapters. </p><p style="text-align: left;">The protagonist almost always <b>voices hesitation in his reaction</b>. If he doesn't, then usually another character will instead. <b>The purpose of this beat is to emphasize the stakes</b>, the seriousness of this new trajectory.</p><p style="text-align: left;">Now, with all that said, there is always room for variation, so choose what works best for your story. </p><p style="text-align: left;">The inciting incident is usually one of the first scenes that comes to mind when brainstorming a book, so have fun with it!</p><p style="text-align: left;"><br /></p><p style="text-align: left;"><u>Related Articles</u></p><p style="text-align: left;"><a href="https://www.septembercfawkes.com/2020/01/the-heros-journey-explained-beginning.html">The Hero's Journey Explained: The Beginning</a></p><p style="text-align: left;"><a href="https://www.septembercfawkes.com/2021/07/the-steadfast-flat-arc-protagonist-in.html">The Steadfast, Flat-arc Protagonist in Story: The Beginning</a></p><p style="text-align: left;"><a href="https://www.septembercfawkes.com/2020/04/save-cat-explained-beginning.html">Save the Cat! Explained: The Beginning</a></p><p style="text-align: left;"><a href="https://www.septembercfawkes.com/2019/03/story-structure-explained-prologues.html">Story Structure Explained: Prologues, Hooks, Setups, Inciting Incidents</a></p><p style="text-align: left;"><a href="https://www.septembercfawkes.com/2022/11/structuring-your-relationship-plotline.html">Structuring Your Relationship Plotline: Key Beats</a></p><p style="text-align: left;"><br /></p><p></p><h4 style="text-align: left;"><u style="font-weight: normal;">Read What Others Are Writing About the Inciting Incident</u></h4><p><a href="https://www.studiobinder.com/blog/inciting-incident-examples/">Studiobinder</a></p><p><a href="https://blog.reedsy.com/inciting-incident/">Reedsy</a></p><p><a href="https://www.masterclass.com/articles/writing-101-what-is-an-inciting-incident-learn-how-to-use-inciting-incident-in-writing-with-tips-and-examples">Masterclass</a></p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-47147515346044409762023-07-09T17:12:00.000-06:002023-07-09T17:12:58.731-06:00The 12% Rule of Story Structure<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhURYkzVicLmX_4Oh5RAH_CfS-SIFJD7auO-Ipi-NBYXIxMvmZYAjd6W11ZgG5J_LeL4htGb0B04r4_WEisIbUxmPkCDeCnYdjm-b8s0aEx453Dnny0SyxzUneCdLY3DtVMVb73RGXXDFmEtN-zrTE9TSdjOnXqMMiavaxsieJSEVHi2eRO1-SAbCkv_kQ/s1920/man%20writing%20at%20a%20desk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1283" data-original-width="1920" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhURYkzVicLmX_4Oh5RAH_CfS-SIFJD7auO-Ipi-NBYXIxMvmZYAjd6W11ZgG5J_LeL4htGb0B04r4_WEisIbUxmPkCDeCnYdjm-b8s0aEx453Dnny0SyxzUneCdLY3DtVMVb73RGXXDFmEtN-zrTE9TSdjOnXqMMiavaxsieJSEVHi2eRO1-SAbCkv_kQ/w400-h268/man%20writing%20at%20a%20desk.jpg" width="400" /></a></div><b><br /></b><p></p><p><b>Proper structure helps you deliver your story to the audience in a satisfying and familiar way.</b> You wouldn't want to end up with the climactic peak hitting only ~36% into the story. That would make the story feel awkward and the remaining ~64% boring. (Talk about a dissatisfied audience.)</p><p>Contrary to what some believe, to me <b>structure is all about organizing and/or timing</b>. When stripped of all the details, beat sheets, and fill-in-the-blanks, it's a matter of organizing your content and timing the delivery of it.</p><p>This is one of the reasons you can find successful stories that don't seem to fit your favorite beat sheet. Even though that particular story may not be like others in its details, it can still deliver the content in a satisfying way if it organizes and times it properly.</p><p>Today's post is more about the timing.</p><p>And I call it the 12% Rule--or perhaps better said, <b>the 12% Rule of Thumb</b> (because even here there are variations, however atypical they may be).</p><p>The idea is, at the most basic level, <b>most all successful stories will have a significant turning point every ~12%</b>. A major turn near the end of every quarter, with a medium turn between those.</p><span><a name='more'></a></span><p>First, let me acknowledge that some writers hate using percentages, because they feel too calculated, too formulaic. But in all honesty, percentages are the best and quickest way to convey <i>when</i> something should typically happen in a book, so I use them (though I too used to hate them as a beginner.) And this article is obviously using them today.</p><p>Second, let's talk about what I mean by "turning point," in case you are new around here.</p><p><b>A turning point is an action or revelation that <i>turns</i> the direction of the story. It turns the trajectory of the story.</b> The plot was heading toward one destination on a metaphorical "railroad," but a track switched, and now it's heading toward a new destination. (That's the analogy I like to use, anyway.)</p><p>The climax is the biggest turning point of the story, and notice that in basic structure, it quite literally, visually, <i>turns</i> the story into the falling action. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4h8OJX0iJ-cYoZrZ29p5Om8RvV_jcwUF8RbcT_a5xJHFt9zRmsungJGyCxMSpWPG4ZSzr--fW315BuXYC8Fh-ZluxTVt8suv9M-3ZBE8mkSv_7KIDUEvYtsktY4D_Y55IdaqVDRbhrWs7M--jwL5FFALVgxwu4CW5UnBeBv0YZNoqlcnOxdjBlA39Q30/s1920/86.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4h8OJX0iJ-cYoZrZ29p5Om8RvV_jcwUF8RbcT_a5xJHFt9zRmsungJGyCxMSpWPG4ZSzr--fW315BuXYC8Fh-ZluxTVt8suv9M-3ZBE8mkSv_7KIDUEvYtsktY4D_Y55IdaqVDRbhrWs7M--jwL5FFALVgxwu4CW5UnBeBv0YZNoqlcnOxdjBlA39Q30/w400-h225/86.jpg" width="400" /></a></div><br /><p>But not only should your story have a climactic turning point--ideally there should be turning points <a href="https://www.septembercfawkes.com/2019/11/scene-vs-sequence-vs-act.html">in each act and each scene</a>. The difference is that, the smaller the structural unit, the smaller the turn. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNj75VoEcKo9RMJZIJLMsTpoA5K8d0Xw8BuxkpnK4Ln7Y6skndk9Df4WGjOrS_vTmGlu9cJwrpBoIVV-w31IUWcAatY83IBmL7px6fUJELke1thEOp7jLvcNarkZjUnp5LqmOMmekHFvnTugxgty2g919ERc4-subW4DAZssfYE3h8qtwzxd3zQTxAFuY/s1920/90.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNj75VoEcKo9RMJZIJLMsTpoA5K8d0Xw8BuxkpnK4Ln7Y6skndk9Df4WGjOrS_vTmGlu9cJwrpBoIVV-w31IUWcAatY83IBmL7px6fUJELke1thEOp7jLvcNarkZjUnp5LqmOMmekHFvnTugxgty2g919ERc4-subW4DAZssfYE3h8qtwzxd3zQTxAFuY/w400-h225/90.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><b>Another notable turn in the story as a whole, is the inciting incident</b>, which essentially disrupts "normal" life and kicks off the main plot. Sometimes in basic structure, the inciting incident will be drawn so that it too will visually turn the story into the rising action. While the climax is a big turning point, I consider the inciting incident to be a medium-sized turning point. But I'll talk more about inciting incidents in more detail, in an upcoming post.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYY7FSC1Z4siADtryB0o1KShWojiUDgQz6v45DhWGXRmx2L3I3NSpiH68uyXI9qThQjhL_XMf_qov-bUTdRR-u-DuFMLsNdBNphK8UUQKk3FvoiIzz-uYVFKvpgrD3v2yBPM_2qRpATYVNmtso7G39VREKmxwlxrcI1QhwaFA7RvNfVT4lY3zwFeRHYxo/s1920/87.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYY7FSC1Z4siADtryB0o1KShWojiUDgQz6v45DhWGXRmx2L3I3NSpiH68uyXI9qThQjhL_XMf_qov-bUTdRR-u-DuFMLsNdBNphK8UUQKk3FvoiIzz-uYVFKvpgrD3v2yBPM_2qRpATYVNmtso7G39VREKmxwlxrcI1QhwaFA7RvNfVT4lY3zwFeRHYxo/w400-h225/87.jpg" width="400" /></a></div><br /><p>If this is your first time learning about turning points, you've probably actually heard them called by a different name. They are also known as plot turns and plot points. Three different names that mean the same thing.</p><p>So, there should be multiple turning points (or plot turns or plot points) in a story--moments that actually change the direction, the <i>trajectory</i>, the plot is going. <b>Something shakes up what's currently happening in a big enough way, that the consequences of it lead to a new or altered course.</b> The story is on track for a new outcome. These turning points almost always shift the protagonist's overarching goal or their plan to get the overarching goal (or both). And sometimes, on occasion, they simply add a new goal to the current one.</p><p>Now, this is just a rule of thumb, but most successful stories will have some sort of turning point, a plot "shake-up," every ~12%. Let's go through how this typically looks. (And if you know about <a href="https://www.septembercfawkes.com/2020/04/7-point-story-struture-explained.html">7 Point Story Structure</a>, or some other structural approaches, this may all look familiar to you.)</p><p><br /></p><h3 style="text-align: left;">~1%--Hook:</h3><p>Open the story with a hook to grab the audience. (This isn't necessarily always a turning point, but it's an important moment I felt I should include.)</p><p><br /></p><h3 style="text-align: left;">~12%--Medium-sized Turning Point (Inciting Incident(?)):</h3><p><b>It's common for the inciting incident to hit at the ~12% mark. This is halfway through Act I. <i>However</i>, this isn't always the case.</b> The inciting incident can be as early as the first chapter (where it may double as the hook), and as late as near the end of Act I.</p><p>For example, the inciting incident of <i>Harry Potter</i>, when the Hogwarts letter arrives, hits near ~12%. But the inciting incident of <i>The Hunger Games</i>, when Prim's name gets called, happens in the first chapter.</p><p>So the inciting incident can hit in different places, but there is <i>still</i> often a turn at ~12%, whether that is the inciting incident or something else.</p><p>Commonly, if it's not the inciting incident of the main <a href="https://www.septembercfawkes.com/2020/05/how-plotlines-add-dimension.html">plotline</a>, it will be the inciting incident of a <a href="https://www.septembercfawkes.com/2022/01/what-is-b-story-6-key-qualities-of-b.html">secondary plotline</a>, like a relationship plotline.</p><p>What's nice about looking at things this way, is you can have the inciting incident of one plotline be the hook, and the inciting incident of another hit the 12% mark. I could have the inciting incident of the relationship plotline be the hook, and the inciting incident of the external plotline hit at 12%. And I could have the inciting incident of another plotline hit later.</p><p>But I digress a little. Because it may not even be an inciting incident.</p><p><b>It's just the idea that there is a medium-sized turn-- a "shake-up" or "change up" ~12% in, that alters the story in some medium-sized way.</b></p><p><br /></p><h3 style="text-align: left;">~25%--Big Turning Point (Plot Point 1):</h3><p><b>Plot Point 1 is the big turning point of Act I. You can even view it as the climactic moment of Act I</b>. It's what the beginning has been building toward. So while Harry gets the letters ~12% in, Hagrid tells him he's a wizard and has been invited to Hogwarts about ~25% in. It's what Act I has been building toward. It's a big turn, and how Harry responds changes the trajectory of the story. He was living an ordinary life with the Dursleys (more or less), and now he's going to go with Hagrid to the Wizarding World.</p><p>That's a big change.</p><p>That's a big turn.</p><p><b>Plot Point 1 is usually the moment when the protagonist chooses to engage in the main plot in a defining way</b>. It's also known as "Crossing the Threshold" (Hero's Journey) and "Break into Two" (Save the Cat!)</p><p>But the most important thing to remember, is that this is a big turn.</p><p><br /></p><h3 style="text-align: left;">~37%--Medium-sized Turning Point (Pinch Point 1):</h3><p><b>~37% into the story, there is often another medium-sized shake-up</b>. <b>This is commonly known as Pinch Point 1</b>. A pinch point is a moment where the antagonistic force applies painful pressure to the protagonist. I already did a big post going over <a href="https://www.septembercfawkes.com/2021/09/pinch-point-1-key-features.html">the details of Pinch Point 1</a>, so I won't repeat everything. And this could definitely get complicated, because the protagonist isn't always present (which I think can make some of what I'm saying in this article arguable), but I'm trying to stay somewhat basic.</p><p>Now admittedly, occasionally, I see stories where I don't see an obvious pinch point here. But there is <i>still</i> some sort of <i>medium-sized turning point</i>. Something comes along and shifts the direction of the story a bit, enough to alter the goal, plan, or course, somewhat.</p><p>It often bumps the story on a clearer trajectory to hit the next big turn, the midpoint.</p><p><br /></p><h3 style="text-align: left;">~50%--Big Turning Point (Midpoint):</h3><p><b>Halfway through, there is another significant turning point, called the midpoint. </b>Again, it changes the direction of the story in a significant way, often by revealing information to the protagonist about the antagonistic force. This typically leads the protagonist to become more proactive in the "fight." This changes his or her goal or plan in a powerful way that affects the third quarter of the story.</p><p>For example, in <i>Interstellar</i>, the midpoint happens when Cooper learns that Plan A is a ruse. He responds by changing his current plans. This alters the story for the next quarter. In <i>Star Wars IV</i>, this is when Alderaan is "missing" and the <i>Millennium Falcon</i> gets pulled in by the tractor beam, before Luke learns Leia is on the ship. He decides to find her. This alters the direction of the story for the next quarter.</p><p><br /></p><h3 style="text-align: left;">~62% Medium-sized Turning Point (Pinch Point 2):</h3><p><b>~62% into the story, there is often another medium-sized shake-up. This is commonly known as Pinch Point 2.</b> It's another noteworthy pinch point, but it's worse than Pinch Point 1. <b>It's at least another medium-sized turning point that alters the direction of the story somewhat.</b></p><p>It often bumps the story on a clearer trajectory to hit the next big turn, Plot Point 2.</p><p><br /></p><h3 style="text-align: left;">~75% Big Turning Point (Plot Point 2):</h3><p><b>Plot Point 2 is the next major turning point, and you can view it as the climax of the third quarter, or even the climax of the whole second act (the middle)</b>. This is (almost) always a major moment, and usually the second biggest "peak" of the story. It will usually be a key confrontation between the protagonist and antagonistic forces. It most commonly ends in a costly failure, but it can also end with a costly victory (sometimes called a "hollow victory").</p><p>In <i>Hamilton</i>, this is when Burr implies he could use the info about Hamilton's affair against him, so in response, Hamilton writes the Reynolds Pamphlet, revealing his affair to the public. This is a major moment that alters the course for the next quarter or so of the story.</p><p>This is also called "The Ordeal" (Hero's Journey) and "All is Lost" (Save the Cat!).</p><p><br /></p><h3 style="text-align: left;">~ 87% Medium-sized Turning Point:</h3><p><b>~12% later, and guess what? There is usually another key turning point--another medium-sized turning point.</b> I feel like this can show up a few different ways, but generally speaking, it's the turn that takes the protagonist into the climax of the story. It's the turn that leads the protagonist toward the final confrontation with the antagonist.</p><p>It often bumps the story on a clearer trajectory to hit the next big turn, the climactic turning point.</p><p><br /></p><h3 style="text-align: left;">~ 89 - 100% Big Turning Point (Climactic Turning Point):</h3><p>This one is a little tricky with the percentages, because obviously 100% is the end of the story, and nearly all stories have a denouement, which means the big turn will come before 100%.</p><p>But <b>the final big turn is <i>the</i> climactic turning point</b>. This is where the protagonist or antagonist defeats the other and the main conflict is resolved, which turns the story into the falling action.</p><p>This is Harry defeating Voldemort.</p><p>Katniss winning the Game.</p><p>Luke destroying the Death Star.</p><p>Hamilton and his duel with Burr.</p><p>I think you are probably most familiar with this turn 😉</p><p style="text-align: center;"><br /></p><p>Remember that I'm simplifying and briefly covering all these things. These are the basics of timing key turns. And it's the basics that provide the foundation for everything else. So, include a notable turn about every 12% in your novel, and it will serve your story's structure well (even if it varies from more detailed story structure approaches).</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com6tag:blogger.com,1999:blog-4311874471131728227.post-67743662760026418562023-06-26T07:00:00.008-06:002023-06-27T13:24:12.815-06:00Directionality in Fiction: Why You Need it & How to Create it<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgocSvn_TfH-MiRNI0R2wraeJXbbqoEuGAfRjIvKb5OJMjH6btNjv4DrFupuMVmkJ_cUEZbRSonVk1E5Eh59W2WC5WEK5uVK91zRThAwa-cD7DwY0srLgABUQ2F99bQ9SdjNbo6zYOHW9NsfNDdGJggX3Poq82wAws-KHw4OfMe0EXmHLD6pZzvTmr0/s1920/Directionality%20map.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgocSvn_TfH-MiRNI0R2wraeJXbbqoEuGAfRjIvKb5OJMjH6btNjv4DrFupuMVmkJ_cUEZbRSonVk1E5Eh59W2WC5WEK5uVK91zRThAwa-cD7DwY0srLgABUQ2F99bQ9SdjNbo6zYOHW9NsfNDdGJggX3Poq82wAws-KHw4OfMe0EXmHLD6pZzvTmr0/w400-h266/Directionality%20map.jpg" width="400" /></a></div><p><br /></p><p>Every successful story has a sense of direction. The audience wants, and even needs, an idea of where the story is going. If the audience literally has no idea what could happen next, then that often means <i>what</i> happens next doesn't really hold any value one way or another. It's like Willy Wonka's river ride into darkness--confusing, awkward, and a little bizarre. It's hard to trust Willy Wonka to get you anywhere. Writers should avoid being like Willy Wonka, for several reasons.</p><p><i>Wait!</i> you may be thinking. <i>Don't we want our stories to be unpredictable? Isn't </i>not <i>knowing where the story is going more exciting?</i></p><p>Many beginning writers make this mistake (including yours truly back in the day). They think having <i>no</i> clue where the story is going makes it more of a page-turner. They may recall audience members happily describing a story, saying, "I had no clue where it was going!" or "I had no idea what was going to happen next!"</p><p>These are just expressions of emotion. In reality, for the audience to even have those emotions, they usually must have a sense of direction <i>first</i>.</p><p>It's a similar concept to being <a href="https://www.septembercfawkes.com/2016/01/vague-vs-ambigious-which-are-you-writing.html">vague versus being ambiguous</a>. Vagueness happens when you don't have enough context to tell <i>what</i> something is, if anything. Ambiguity happens when there is enough context to interpret something in two or more ways, and you aren't sure <i>which</i> it is. When audiences say, "I had no clue where it was going," often what they really mean is, "I didn't know <i>which</i> of the critical directions it would go."</p><p>A story that has <i>no</i> sense of direction is almost never as effective as one that does. Without a sense of direction, the audience can't measure what is progress or what is a setback. They can't get invested, because they can't anticipate anything. They can't feel tension or suspense or even surprise, because they can't hope or fear for what could<i> </i>happen, and don't have expectations for what is going to happen.</p><p>Instead of Willy Wonka's tunnel of terror, imagine taking a hike toward a beautiful waterfall (it can still be made of chocolate if you want). A twisted ankle, closed trail, or nearby predator is a bigger setback than if we had nowhere we were trying to go. A shortcut is a bigger leap in progress if we are trying to reach a specific destination. And discovering we're actually on a trail that leads to an active volcano is a bigger surprise.</p><p>There are two critical plot elements that will automatically inject directionality into your story. Then, there are a lot of alternative methods you can use to reinforce it, or that you can rely on when performing a rule break (more on that in a bit). First, let's go over the two major ones:<span></span></p><a name='more'></a><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgK_lRgYdDjh2wlsjzheDhtMmz74ASzNsnJJji8P--QQ1PzvcSb2exYNspqTZuhgAwUi2fVUBElbGPppP8Su8GAvkfzwJHQ1vq8dVHi382zmNFLZJBIFfOBK0oCi3zX7Vl-n8K28WWStfmxIpVD5tKdhQs-Xb2ee2ShH4WF7qSZw7YDZRiEPioCuQK/s500/willy%20wonka%20boat%20scene.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="265" data-original-width="500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgK_lRgYdDjh2wlsjzheDhtMmz74ASzNsnJJji8P--QQ1PzvcSb2exYNspqTZuhgAwUi2fVUBElbGPppP8Su8GAvkfzwJHQ1vq8dVHi382zmNFLZJBIFfOBK0oCi3zX7Vl-n8K28WWStfmxIpVD5tKdhQs-Xb2ee2ShH4WF7qSZw7YDZRiEPioCuQK/w400-h213/willy%20wonka%20boat%20scene.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><h3 style="text-align: left;">1. Goals</h3><p>A character's goal immediately gives the audience a sense of direction. This is because goals are about an outcome. They instantly convey what the character wants to happen, or doesn't want to happen. In order to be effective, though, they have to be achievable and relevant. Who cares if your character wants to do magic, if magic is literally impossible in your setting? That's not a real goal--it's a wish. </p><p>There are <a href="https://writershelpingwriters.net/2022/08/why-a-strong-plot-requires-a-significant-goal/">three basic types of goals</a>: obtain, avoid, or maintain.</p><p>Convey a clear, relevant, and achievable goal early, and your audience will not only have a strong sense of direction, but they'll be more invested--because they'll want to see if the character gets the goal.</p><p>Then, if you add how the character <i>plans</i> to get the goal, you'll reinforce the goal <i>and</i> sense of direction even more.</p><p><br /></p><h3 style="text-align: left;">2. Stakes</h3><p>Many like to define stakes as what is at risk in the story. I feel like it's more effective and more accurate to define them as <i>potential</i> consequences. It's what <i>could</i> happen if a condition is met. If Voldemort gets the Sorcerer's Stone, then he can return to power. If Frodo destroys the Ring, then he saves Middle-earth. If Katniss cuts down the tracker jacker hive, then she can get away from the Careers.</p><p>As you may have noticed, stakes are often tied to goals. They are often the potential consequences of meeting or not meeting a goal.</p><p><a href="https://www.septembercfawkes.com/2019/06/how-to-write-stakes-in-storytelling.html">Stakes</a> are about conveying to the audience what <i>could</i> happen. This gives what does happen, meaning.</p><p>Stakes also innately convey a pathway, a direction. If X happens, we'll go down path A. If Y happens, we'll go down path B.</p><p>I've never seen a story with too many stakes. I've seen <i>lots</i> of stories that don't have enough stakes. Walk the stakes out to create strong directionality.</p><p>And don't assume your audience will simply <i>imagine</i> the stakes on their own. Almost always, they want the story to tell them (explicitly or implicitly) the stakes. Almost always, the story is better when we clearly communicate the stakes. Avoid being vague. Help the audience imagine <i>which</i> important pathways the story could take.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNSwvQT7UbfUSlrY1Eot1QT3F7q2UREJ6GCyLD1wfLCumCE-p_GhoiXpPKsTqP80_tkC-UQ3JLvUFh8Y71Nbkd0mle6Tvx4XDUznbXxYAmlA51kKEmc2IA3E7td8G1r6Pms1CY8AUKKjSzcpV9Zq9znxNr8OvVDTlP_d3Wx8nclECZ5ILYUe16blpG/s1200/Frodo%20and%20the%20Ring.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNSwvQT7UbfUSlrY1Eot1QT3F7q2UREJ6GCyLD1wfLCumCE-p_GhoiXpPKsTqP80_tkC-UQ3JLvUFh8Y71Nbkd0mle6Tvx4XDUznbXxYAmlA51kKEmc2IA3E7td8G1r6Pms1CY8AUKKjSzcpV9Zq9znxNr8OvVDTlP_d3Wx8nclECZ5ILYUe16blpG/w400-h225/Frodo%20and%20the%20Ring.webp" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: center;">~</p><p>These are the two most important, and most effective, ways to create directionality--they accomplish multiple major things at once.</p><p>However, this doesn't mean they are the <i>only</i> ways to create directionality.</p><p>And while they are almost always critical to a solid plot, that doesn't mean you can't <i>ever</i> break the rules and have them be absent on occasion. </p><p>If they are absent though, that usually means something <i>else</i> needs to be used to create directionality in their place (unless, of course, you are working with a <a href="https://www.septembercfawkes.com/2017/10/working-with-teasers.html">teaser</a>--but even they can arguably have a sense of direction). So how do stories without legit goals or stakes still work? Well, they probably incorporate at least one of the following things--which you can also use to reinforce directionality when you <i>already</i> have goals and stakes in play.</p><p style="text-align: center;">~</p><h3 style="text-align: left;">3. Dramatic Irony</h3><p>Dramatic irony happens when the audience knows something the character doesn't. Often this is a critical piece of information, and frequently (though not always) it is implied that the character will learn the same thing at a later point in the story. In a horror, we watch the villain enter a dark room, and later see the heroine, oblivious, go in that same room. It's likely only a matter of time before the heroine realizes the villain is in there, and the audience anticipates that encounter. This creates directionality.</p><p>Even if the character never learns the critical information (such as the fact that Juliet isn't actually dead in <i>Romeo and Juliet</i>), the audience still anticipates how the character will interpret or react to what they do encounter (a Juliet who seems to be dead).</p><p><br /></p><h3 style="text-align: left;">4. Convergence of Plotlines</h3><p>In a story that contains multiple viewpoint characters, each with plotlines, it's often implied or assumed that these plotlines and characters will converge. We may start a story with a rich man eating a feast for breakfast, then taking his recent earnings to the bank. And after, we may cut to a scene where a poor, starving woman is begging, perhaps a block away from the same bank. The audience anticipates that these two characters will cross paths.</p><p>Sometimes the two viewpoints or plotlines don't seem to have anything in common, but the audience expects they will relate to each other on some level--they are in the same book after all.</p><p>Promise your audience a collision of plotlines, and you'll promise them a sense of direction.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn3qwpXY_6Lv6q2vkkk4cg5_zVl2rK9XHMb47acoPC4tN7zRUkWljYNaQVy_x3xvLB-hsC1ESuuJ4H8MM90fbXJKiiyIj6GQCo7Coc9Drwh5IMUK47si4p8fQJTe4NTmbHUOBMMYwXBhWhn-j75kQIFVNWS4sVYCR2_W3spOucEJE7TTt-tAF8KaqZ/s1280/christmas%20vacation%20advent%20caldendar.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn3qwpXY_6Lv6q2vkkk4cg5_zVl2rK9XHMb47acoPC4tN7zRUkWljYNaQVy_x3xvLB-hsC1ESuuJ4H8MM90fbXJKiiyIj6GQCo7Coc9Drwh5IMUK47si4p8fQJTe4NTmbHUOBMMYwXBhWhn-j75kQIFVNWS4sVYCR2_W3spOucEJE7TTt-tAF8KaqZ/w400-h225/christmas%20vacation%20advent%20caldendar.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">5. Countdowns</h3><p>A countdown automatically implies direction--whether or not the audience knows the consequences tied to it. We show a clock counting down, and we wonder if a bomb will go off or if another catastrophe will hit once it reaches zero. Or, it could be a countdown to a celebration, like the New Year.</p><p>Countdowns on a timer are obvious, but there are other types of countdowns too. A simple calendar can work as a countdown. In <i>Christmas Vacation</i>, an advent calendar is used to count down the days until Christmas. Each <i>Harry Potter</i> volume fulfills one school year, each chapter brings us closer to the year's end. So even when there isn't a dire goal in play, there is always directionality.</p><p>A deadline works in similar ways.</p><p>There can be a countdown when using up resources: Fuel is running out. Oxygen is limited. There is only one loaf of bread left to eat.</p><p>Illnesses and maladies can work as countdowns. There may be a countdown to when cancer wins, or when a spell leaves its target as an unseemly beast, permanently.</p><p>Countdowns always imply direction.</p><p>Knowing the potential consequences--the stakes--creates more tension and suspense, not knowing them creates intrigue.</p><p><br /></p><h3 style="text-align: left;">6. Geographical Destinations</h3><p>A destination naturally implies direction. In <i>The Emperor's New Groove</i>, Kuzco needs to make it back to his palace. Every step closer is progress, and every obstacle that blocks or pulls him off course is a setback.</p><p>But destinations can still work even when there isn't one <i>specific</i> destination yet established. Whenever you open a book that starts with a map, it implies a sense of geographical direction. You may not know exactly which place is the desired destination, but the map promises that the characters will be venturing to different places.</p><p><br /></p><h3 style="text-align: left;">7. Passive Mysteries</h3><p>Passive mysteries work by withholding <a href="https://www.septembercfawkes.com/2020/01/context-text-subtext-understand-how.html">context</a> from the audience. Stuff is happening, but the audience doesn't really know what it means (think: vagueness). Because of the lack of information, no one is really doing anything to solve the mystery--there aren't any "leads." (In contrast, in an <i>active</i> mystery, the character has the <i>goal</i> to solve the mystery and has leads to follow.)</p><p><a href="https://www.septembercfawkes.com/2017/10/working-with-teasers.html">Teasers</a> often work as passive mysteries (which is why I said sometimes even they have a sense of direction). The audience is promised that if they stick around, they will get the context they need, to understand what is going on. <i>The audience</i> is promised <i>a direction.</i></p><p>Passive mysteries often can't hold an audience for very long, strictly because they work off vagueness. You need other elements in play to get readers to stick around.</p><p>Nonetheless, the <i>promise</i> of context does give readers <i>some</i> sense of direction.</p><p>Active mysteries create directionality too, but in the same way that goals do. In an active mystery, the goal is to try to solve the mystery, so the audience is promised a direction with that.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS_prc8PArxeDxwpvWL6lvBwXNUmcBBhQ2l2xAiX5WhH0LjRRZzzebyPo4J7rPW6bmCC8zy5Pt9gCdMdWPNR5wtPmsnP7Ixq2b9UNUdYKQZf0-cn0FtONkwxEwzrbErHjlCsu0sXyfjPYCwgjsP4w8I8J0X4IPDpdRbeJ_QHigku-P5NYiW2ta5B7c/s1420/eragon%20map.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="916" data-original-width="1420" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS_prc8PArxeDxwpvWL6lvBwXNUmcBBhQ2l2xAiX5WhH0LjRRZzzebyPo4J7rPW6bmCC8zy5Pt9gCdMdWPNR5wtPmsnP7Ixq2b9UNUdYKQZf0-cn0FtONkwxEwzrbErHjlCsu0sXyfjPYCwgjsP4w8I8J0X4IPDpdRbeJ_QHigku-P5NYiW2ta5B7c/w400-h258/eragon%20map.jpg" width="400" /></a></div><p><br /></p><p>Directionality is important in every story, and not only is it important in the whole narrative arc, but it is important within acts, sequences, and scenes, too. Nearly every scene should have directionality, which should be established early on.</p><p>Once the audience has directionality, you can make the story more exciting and dramatic (and even "unpredictable"). They <i>think</i> things are going X direction, but something comes along that threatens that direction or even throws the characters off course and onto a new pathway, a new direction. Just like our (chocolate) waterfall hike. In any case, there should almost always be <i>a </i>sense of direction.</p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com2tag:blogger.com,1999:blog-4311874471131728227.post-54401126787173279282023-06-12T06:05:00.002-06:002023-06-12T06:21:49.578-06:007 (More) Things I Wish I'd Known as a Beginning Writer (Pt. 2)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81TA-cyqKs6-WfAZ57KPKgX2l-dTo2BPrfFGpxuLIMfcb3FfKb8B2qlg4-DBjRzX8kosNcTYKK957XzwrK3sVGdzeJ1yM0IzOjWK5e4nPkx3vFCgV65D7l0Oq1apG-BDsj1npwAx-ZwMbs2Kc6w1O3p4_0jpKsMfWLGjgHDfp3n_vUEkchLq0vjob/s1920/woman%20thinking.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81TA-cyqKs6-WfAZ57KPKgX2l-dTo2BPrfFGpxuLIMfcb3FfKb8B2qlg4-DBjRzX8kosNcTYKK957XzwrK3sVGdzeJ1yM0IzOjWK5e4nPkx3vFCgV65D7l0Oq1apG-BDsj1npwAx-ZwMbs2Kc6w1O3p4_0jpKsMfWLGjgHDfp3n_vUEkchLq0vjob/w400-h266/woman%20thinking.jpg" width="400" /></a></div><p><br /></p><p>Last time I shared <a href="https://www.septembercfawkes.com/2023/05/7-things-i-wish-id-known-writer.html">seven things I wish I'd known as a beginning writer</a>. Unsurprisingly, that wasn't an exhaustive list, and I've been thinking about it some more. So, I present to you, seven <i>more</i> things I wish I'd known as a beginning writer. . . .</p><span><a name='more'></a></span><p><br /></p><h3 style="text-align: left;">1. The Central Relationship Needs an Arc and an Actual Plot</h3><p>Many of us have been told we need a relationship plotline in our stories, but few of us have received any guidance on how to actually <i>do</i> that (unless, of course, you are writing romance).</p><p>And in my first novel attempt, back in the day, the central relationship was not romantic. I had an idea for what the relationship was like, but partway through the story, it wasn't working. And it was becoming super annoying.</p><p>What I didn't realize was that it was annoying <i>because</i> it was mostly static. Nothing was changing. The characters weren't growing closer together or further apart. Instead of the relationship plotline having "peaks" and "valleys," it was mostly just a straight line.</p><p>Of course, I knew it was going to change at the <i>end</i>.</p><p>But what I didn't understand was that it still needed a <i>plot</i> through the middle. 🤦♀️ Which means it still needed the basics of plot: goal, antagonist, conflict, consequences.</p><p>Not just interesting interactions and conversations. Not just banter and pastimes.</p><p>In <a href="https://www.septembercfawkes.com/2023/05/7-things-i-wish-id-known-writer.html">my last post</a>, I mentioned the three basic types of goals: obtain, avoid, maintain.</p><p>Well, <b>in relationship plots, this translates into these three basic goals: grow closer to the person (obtain), push further away from the person (avoid), maintain the relationship as is (maintain).</b></p><p><b>The antagonistic force is whatever gets in the way of that. </b>If your protagonist wants to draw closer to this person, then an antagonistic force should be pushing him away. If he wants to be apart from this person, then the antagonistic force should be pushing him closer. If he wants to maintain the relationship as is, then the antagonistic force is what disrupts that. This creates conflicts and should lead to consequences. </p><p>If you have a relationship plotline, it needs an actual plot.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8l4K69P2kLds4qMaXODWma06nWjOUElpXQu_qd33ypusvILYFfvqJ9i9MUHU4zmu5gdzMwcMk7L5_fq1-IdrEjEttdVny_tiNn6MdnazZYv24-wwbXvlU9a2ArX-FsB9HFnOd_oLXtAorIFyELkFlypOOTQg3bCqoJ17Y_R7fB0fM_q7Um8hgKN2I/s1920/56.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8l4K69P2kLds4qMaXODWma06nWjOUElpXQu_qd33ypusvILYFfvqJ9i9MUHU4zmu5gdzMwcMk7L5_fq1-IdrEjEttdVny_tiNn6MdnazZYv24-wwbXvlU9a2ArX-FsB9HFnOd_oLXtAorIFyELkFlypOOTQg3bCqoJ17Y_R7fB0fM_q7Um8hgKN2I/w400-h225/56.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">2. Choose a Tentative Theme Early, to Better Shape and Evaluate Your Story</h3><p>If you've been following me for a while, you probably know I consider these three things to be <a href="https://www.septembercfawkes.com/p/the-triarchy-method-of-story_7.html">the triarchy</a> (formerly known as "trinity") <a href="https://www.septembercfawkes.com/p/the-triarchy-method-of-story_7.html">of storytelling</a>: character, plot, and theme. </p><p><b>Each of these elements comes out of and influences the others.</b></p><p><b>This also means you can use each of these to help shape and evaluate the quality of the others.</b></p><p>It's much easier to write a solid <i>story</i> when you understand all three.</p><p>If you have only one or two pieces, it's harder to discern which ideas are just okay and which ideas are great. It's harder to discern what does or does not belong in your story.</p><p>The best ideas for your story are going to come from and touch each of those three things.</p><p>Most beginners are familiar with concepts of characters and plot.</p><p>Few know anything about theme.</p><p>And fewer still have the desire to learn anything about theme. It's often seen as unimportant or something that "just happens." Okay, sure, it <i>could</i> just happen. <i>Maybe</i>. </p><p>But writing your story will (in the long run) be much easier if you at least understand some basics about theme.</p><p>I have so much to say on theme, it could probably fill up a book (and maybe someday it will), but for now, if you want more information on it . . . I'd recommend starting with this article: <a href="https://mystorydoctor.com/the-secret-ingredients-to-write-theme/">The Secret Ingredients for Writing Theme</a>. It breaks down the key elements of theme, which can give you a good foundation.</p><p>Even if your theme ends up changing a bit, starting with an idea in mind will help keep your story on track.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwZOd0t2BUu2BQQKyHVuDfBDBCKN6VEJhZbtfI6ZJ8uyPlEvYURd51OKk74PV0OoNZY8uHCx4d5vgSrVOgeKKMWU_ZFpaOu1CIFEmhB_gsMtm3vV8pC8cLiuFvTfFL362xLKruLaX9DKNa7Csw9jyOyO0bGJUCblpQ_uwAn9gXVNf4f3xOaLA_cYpx/s1920/12.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwZOd0t2BUu2BQQKyHVuDfBDBCKN6VEJhZbtfI6ZJ8uyPlEvYURd51OKk74PV0OoNZY8uHCx4d5vgSrVOgeKKMWU_ZFpaOu1CIFEmhB_gsMtm3vV8pC8cLiuFvTfFL362xLKruLaX9DKNa7Csw9jyOyO0bGJUCblpQ_uwAn9gXVNf4f3xOaLA_cYpx/w400-h225/12.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">3. Your Story Needs a Counterargument</h3><p>Remember when I was talking about theme, and implied I wasn't going to go into it that much more? Well . . . I guess I'm going to go into it a <i>little</i> more.</p><p>The thematic statement is the argument the story is making about life.</p><p>But <b>it's not really an argument if no one is disagreeing.</b></p><p><b>This means your story needs a </b><b style="font-style: italic;">counterargument </b>(I call this the "anti-theme").</p><p>This counterargument will often manifest within the protagonist (as a "flaw" or misbelief or something the character needs to cast off or overcome) and/or within the main antagonistic force. </p><p>It can technically show up in other places and in other ways, but let's keep this basic.</p><p>So if your story ultimately shows the audience that it's best to be merciful, then a counterargument for that could be that it's best to enforce justice (<i>Les Mis</i>).</p><p>If your story ultimately shows the audience that it's best to ask for, give, and receive help, then a counterargument for that could be that it's best to avoid, withhold, and refuse help and do everything yourself (<i>A Man Called Otto</i>).</p><p>If your story ultimately shows the audience that it's best to rely on faith, then a counterargument for that could be that it's best to rely on technology (<i>Star Wars IV: A New Hope</i>).</p><p><b>The two arguments are locked in a "battle" of sorts, similar to how the protagonist and antagonist are, because they <i>are in opposition</i> to one another</b> (<a href="https://www.septembercfawkes.com/2023/05/7-things-i-wish-id-known-writer.html">see #5 in previous article</a>).</p><p>The arguments need to be <a href="https://www.septembercfawkes.com/2016/01/breaking-writing-rules-right-show-dont.html">"shown" more than "told."</a> And the counterargument should be given fair weight, because doing so will actually make the whole theme (and plot and characters) stronger.</p><p>Here are some examples to think about:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigP4_RaaK_3qk6ct5y2Xp0OAsGhDtVA4TPs_kaiwDNTnkTae5YlNOPbIStR8S-iIy0emhUmGLzeO4opfmdANQqVHFaE2O17F3RvXjENTtOnb__o8EncX_HIUSeIqnK3aDd6780xbgcLO44EzKNBmVj4ZuWqi9IJNN1FOVT33z5Lqlpodi9joyoZtb0/s1920/29.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigP4_RaaK_3qk6ct5y2Xp0OAsGhDtVA4TPs_kaiwDNTnkTae5YlNOPbIStR8S-iIy0emhUmGLzeO4opfmdANQqVHFaE2O17F3RvXjENTtOnb__o8EncX_HIUSeIqnK3aDd6780xbgcLO44EzKNBmVj4ZuWqi9IJNN1FOVT33z5Lqlpodi9joyoZtb0/w400-h225/29.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi7_R5kOwTL_AQTetjc29_9QeAyxWIIIZqb3IkZ9UhDGKfsf6B4gi1AytOfmYHqv8FRK1rxNwSf707W57-s9X4WwhpgHH2nl7xdJC9gSFontqO_I_KWtSAVvx5j9_wz4N2ObyN6I3pVDVPdgByx14BUDPjocaFpTEsoflxQrW8Wk12IVv_IXjZU5nR/s1920/30.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi7_R5kOwTL_AQTetjc29_9QeAyxWIIIZqb3IkZ9UhDGKfsf6B4gi1AytOfmYHqv8FRK1rxNwSf707W57-s9X4WwhpgHH2nl7xdJC9gSFontqO_I_KWtSAVvx5j9_wz4N2ObyN6I3pVDVPdgByx14BUDPjocaFpTEsoflxQrW8Wk12IVv_IXjZU5nR/w400-h225/30.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0lL6TBlszW55gf99UTmVv4rrWHYAWeC7pLEQ92PXkxJZ1XKQSvATEwb994byDrNSiJwnW5VY3rAYm0mT4gOSaqUOlUG7r5R60uRybY9yoGD7fgjfSwDC4-xCRXH7P5d4Cq6ZFbalPFqM6POX30fRkvv5KlpF6Neq5WMPAgh-PjkxQONugR-J5j1_5/s1920/35.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0lL6TBlszW55gf99UTmVv4rrWHYAWeC7pLEQ92PXkxJZ1XKQSvATEwb994byDrNSiJwnW5VY3rAYm0mT4gOSaqUOlUG7r5R60uRybY9yoGD7fgjfSwDC4-xCRXH7P5d4Cq6ZFbalPFqM6POX30fRkvv5KlpF6Neq5WMPAgh-PjkxQONugR-J5j1_5/w400-h225/35.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifJuqFCkTyUq5ZU5nl47VvdomxB9PJWu2-u-5mR9BvsVg5VFVezS15tZ1Y3FraxyYPtHpGJdZRmuSmgNwFiwbrF4RX4Z-btkaWYb9DOsj-M9yTWTXopG4et5aplLZPyOKnzfN32qmbdMFILWLDwvwlu7-R7kEFu3eXTjROaJNBApJakg641jW5M3Qk/s1920/a%20man%20called%20otto%20and%20knives%20out.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifJuqFCkTyUq5ZU5nl47VvdomxB9PJWu2-u-5mR9BvsVg5VFVezS15tZ1Y3FraxyYPtHpGJdZRmuSmgNwFiwbrF4RX4Z-btkaWYb9DOsj-M9yTWTXopG4et5aplLZPyOKnzfN32qmbdMFILWLDwvwlu7-R7kEFu3eXTjROaJNBApJakg641jW5M3Qk/w400-h225/a%20man%20called%20otto%20and%20knives%20out.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">4. Writing More isn't Enough to Take Your Work to a Professional Level</h3><p>We are often told that if we want to be great writers, we need to write more. And this is true. <i>To an extent</i>. </p><p>I've worked with writers who had been writing for decades, but were still at a beginner level.</p><p>I have known writers who bent over backward to meet word count goals, only to end up with a pile of slush they couldn't see their way out of.</p><p>I myself have spent enormous amounts of time and words trying to write something brilliant.</p><p>But <b>for the vast majority of people, putting in the time and word count isn't enough</b>.</p><p>What is the point of clocking in more and more hours and typing more and more words if you don't know <i>how</i> professional-level stories actually <i>work</i>?</p><p>Don't get me wrong--you absolutely need to put in time and words, and they absolutely will help you improve! And yes, quantity can improve quality.</p><p>But also <b>remember this: You don't know what you don't know</b>.</p><p>And <b>if you are practicing imperfectly, that doesn't guarantee that one day it's going to be perfect</b>.</p><p>If I have lousy technique every time I go bowling (and frankly, I do), that doesn't guarantee I'm going to get any better if I don't know what I'm doing wrong or how to improve or what good technique looks like--no matter how much time I put in.</p><p>This is sadly usually true for writing.</p><p>I'm not saying that <i>no one</i> gets to the professional level by <i>only</i> clocking in writing hours, but just that . . . I don't think <i>most</i> of us do. And I think some of us could spend decades clocking in the hours, and really, just be spinning our hamster wheels because we don't know what we don't know--we don't know <i>why</i> professional stories are <i>professional level</i>, so we don't know <i>how</i> to improve.</p><p>Hands-on practice is vital.</p><p>But so is education.</p><p><b>Sometimes it's actually <i>more</i> beneficial to learn about the craft from someone than to complete your Xth writing sprint to meet your word count goal</b>.</p><p>If I could speak to my past self, I would tell beginner me to spend more time studying the craft. In the long run, it would have actually helped me get better easier and much faster than clocking in another hour of writing (that would have ended up in the garbage bin anyway). I've put in a lot of hours that didn't get me very far because I didn't fully understand where I was trying to get, or how.</p><p>There is always more you can learn. And especially in the writing world, there is always another perspective to learn what you think you already know. Many writers talk about the same subjects, but come at them from different angles, and learning even those different angles can help you refine your understanding of that subject.</p><p>I'm not going to say that tomorrow you have to sign up to take a bunch of courses (though you can if you want), but make time to learn about the craft regularly. You may want to ask yourself: Is it better for me right now to write for an hour or to learn for an hour?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1cYiwywiCI1UcycpBG_OMRDOnBZ1KozQGyJb-cjl4rk_oIkI8dU0azue5rTu51J2pTOEhpQZYct4mNiF5VsyrvgUZ0rGpwkTldpJNaSyGuM3f4YVHotaVnOAiS9lg6LZ9FvhEaPcPJgKWfHc_mwGnbYe0hv_G9fNF1dxdHF0SWPqN6744NTNu0wy/s1920/typing%20at%20a%20computer%20writing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1279" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1cYiwywiCI1UcycpBG_OMRDOnBZ1KozQGyJb-cjl4rk_oIkI8dU0azue5rTu51J2pTOEhpQZYct4mNiF5VsyrvgUZ0rGpwkTldpJNaSyGuM3f4YVHotaVnOAiS9lg6LZ9FvhEaPcPJgKWfHc_mwGnbYe0hv_G9fNF1dxdHF0SWPqN6744NTNu0wy/w400-h266/typing%20at%20a%20computer%20writing.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">5. Conflict for the Sake of Conflict is Actually Filler--You Need Consequences!</h3><p>There is an adage in the writing community, which is that story = conflict.</p><p>And once again, it's true. <i>To an extent</i>.</p><p>But <b>adding a bunch of conflict isn't enough to make a story good.</b></p><p><b>If the conflict doesn't change anything--if it doesn't have at least the <i>power</i> to change any outcomes, then what is the point? It's just stuff happening.</b></p><p>Who cares if a bomb is going to go off, if no one or nothing significant is in danger of being blown up?</p><p><b>Conflicts <i>need</i> consequences to be meaningful.</b></p><p>It's really the <i>consequences</i> that hook and draw readers into the story. Or at least, the <i>potential consequences. </i>It's potential consequences that make up the <a href="https://www.septembercfawkes.com/2019/06/how-to-write-stakes-in-storytelling.html">stakes</a> in the story.</p><p>And they draw the audience in because the audience wants to see if what <i>could</i> happen actually <i>does</i> happen. </p><p>Once the audience understands the potential consequences (the stakes), they care about the conflict, because how the conflict is resolved will affect what happens next. The conflict now has significance because it changes the direction of the story, it changes the future.</p><p>Consequences also improve the story by strengthening a sense of cause and effect.</p><p>As I touched on <a href="https://www.septembercfawkes.com/2023/05/7-things-i-wish-id-known-writer.html">in my previous post (see #4)</a>, random bad things happening is actually <i>less</i> effective (and makes characters <i>less</i> sympathetic). And random good things happening is also <i>less</i> effective (and makes characters <i>less</i> admirable). Instead, it's better if the bad and good things that happen come as a <i>consequence</i> to how a conflict was resolved.</p><p>This often happens even at a scene level. Just as nearly every scene should have a goal and antagonist, nearly every scene should have conflict. How that conflict is resolved in that scene should also carry consequences and affect what's going to be happening in the near future of the story (generally speaking).</p><p>Consequences also allow the audience to experience tension, which, as counterintuitive as it sounds, can be more effective than outright conflict. Tension is the potential for problems to happen. Conflict is actual problems happening. Tension makes the audience feel suspense. But suspense often only exists <i>because</i> the audience understands the <i>potential consequences</i> (the stakes) in play.</p><p>If there are no known consequences, then the conflict often doesn't really matter to the audience, because they can't see how it will change anything significantly.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbsbBicvB5ZqaIrqjaS91d4pESoxRuGcWKz_pjWXmQYd6B-1zqWSnFUhMyOtQk-0uiy4hS2ubCo6R3eTM8y-5EaTh4zv5ardKSdv4bAbUQRZA838q3tMJXasNfvqO1dexw9DQS8semdZ6DWg_Nmb7sxxjt8Yw2fqXU5V5fdkWPb5itzdVmBpJhZ9D/s1920/31.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbsbBicvB5ZqaIrqjaS91d4pESoxRuGcWKz_pjWXmQYd6B-1zqWSnFUhMyOtQk-0uiy4hS2ubCo6R3eTM8y-5EaTh4zv5ardKSdv4bAbUQRZA838q3tMJXasNfvqO1dexw9DQS8semdZ6DWg_Nmb7sxxjt8Yw2fqXU5V5fdkWPb5itzdVmBpJhZ9D/w400-h225/31.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p><br /></p><h3 style="text-align: left;">6. Starting <i>in Medias Res</i> is Actually Harder, not Easier</h3><p>A lot of beginning writers struggle with beginnings--which makes sense, because they can be very difficult to write.</p><p>And so a lot of beginning writers are told to open their stories <i>in medias res</i>, which translates to "in the midst of things." This basically means you open the story up with some form of rising action (conflict)--usually it's that <i>scene's</i> rising action (<a href="https://www.septembercfawkes.com/2023/05/7-things-i-wish-id-known-writer.html">see #2 in my previous post</a>).</p><p>In other words, you are essentially cutting off the scene's <i>setup</i>.</p><p>While this can be effective, and while I may be unpopular in my opinion, I don't feel that it makes things <i>easier</i>. In fact, more often than not, I think it's actually harder to start <i>in medias res.</i></p><p>This relates to what we just talked about above in #5.</p><p>When we start a scene <i>in medias res</i>, we are starting with conflict, but if the audience doesn't know <i>why</i> the conflict matters, then it won't hold them for very long.</p><p><b>When you cut off the setup of a scene, you now have to find a way to convey who is there, where is "there," what is there, when, and why we care (the why is the stakes).</b></p><p><b>--all without slowing the pacing.</b></p><p>This is why I think it's often (though not always) more difficult.</p><p>Now don't misunderstand me. I'm not saying you <i>can't</i> start <i>in medias res</i>, or that you <i>shouldn't</i> start <i>in medias res.</i></p><p>I'm just saying it's tricky.</p><p>Instead, I would personally recommend starting just before the scene's conflict. Start early enough to give the audience context to understand what is about to go down: where and when the scene takes place, who is there, what the goal is, and what the potential consequences are. Make the setup long enough to convey the important stuff, but short enough to stay interesting.</p><p>Then get to the scene's conflict, the rising action.</p><p><a href="https://www.septembercfawkes.com/2021/11/how-in-medias-res-actually-works-when.html">You can read more than you probably want to know about <i>in medias res</i> here</a>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnvhGPAZaji_6lDQlMWXQLGoZb-1XyNIM7v3dfCu5yj9XSmi12WhlAn_S39nQb5wPwsVaiDoC1HdlfKqjsmMLGw-0SgGPnt1IVwyQRcoZcuJLexgIfqYS7cNx5041ivgAWbn-4kNB7T00RpcIglfyQBT_9fqSzQZRPMO6EhLlFOVa5aI2TM686rPSR/s1920/writing%20in%20a%20notebook.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1458" data-original-width="1920" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnvhGPAZaji_6lDQlMWXQLGoZb-1XyNIM7v3dfCu5yj9XSmi12WhlAn_S39nQb5wPwsVaiDoC1HdlfKqjsmMLGw-0SgGPnt1IVwyQRcoZcuJLexgIfqYS7cNx5041ivgAWbn-4kNB7T00RpcIglfyQBT_9fqSzQZRPMO6EhLlFOVa5aI2TM686rPSR/w400-h304/writing%20in%20a%20notebook.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">7. Yes, You Really Need to Do That If You Want to Write at a Professional Level</h3><p>This last thing is pretty nonspecific, as it's not about one particular piece of writing advice. When I started taking writing seriously and going to conferences and listening to podcasts and what have you, I often felt skeptical of what I heard. Now, sometimes that skepticism served me well (and has led to many of my blog posts), but other times that skepticism held me back. What's the difference?</p><p>Being skeptical of "writing rules" has, in the long (<i>long</i>) run, served me well, because it has actually led me to better understand the rules, why they are rules, how they work, and how and when to break them.</p><p>But sometimes it wasn't that I was skeptical of the rule itself. It was that I was skeptical that I needed to do X at all. I was skeptical that professionals <i>actually did</i> X.</p><p>For example, I would hear about <a href="https://www.septembercfawkes.com/2021/09/scene-structure-according-to-dwight-v.html">Swain's scene structure</a> and think, <i>Yeah, there is no way most people actually do all this and put all this thought into their scenes.</i> </p><p>Or I would run into a breakdown of character arcs and think, <i>Yeah, there is no way most people actually do all these things to write a great character arc</i>.</p><p>And in the community, I have brushed up against this same mentality from others. Viewpoint is a popular subject. "Do I really need to be in one character's viewpoint at a time?" or "Is it really that big of a deal that I described the viewpoint character's face?"</p><p>And I'm like . . . on the one hand, no, and on the other hand, well yes--if you want to write at a professional level and be competing <i>professionally</i>.</p><p>Not that no professional ever varies from that, but just that those are exceptions that prove the point.</p><p>And <b>it's not even that every professional is consciously doing X thing. They may be doing it subconsciously. But X thing usually still needs to be there, for the story to sound professional.</b></p><p><b>So yes, you really do need to do X thing if you want to be writing at a professional level.</b></p><p>If you don't care about writing at a professional level, then obviously you don't have to. It's totally valid to write for a hobby or just for fun.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2wMF85_oNOK741y_vzp4Zf0aMt0AZGmz0Y16w7eA78DNUgK8v0_HherX-VXg5CR-BIUKyGX_XvbvZuCrUpN9XDFLwFw_-yXuJn2vLwmHWL38dUOr0fa55vw8ylxqrV68Z31mDE5Wbl3mBaNVhPmOAdFjXdi3zv7G_FQsxONfunOhGrvmY5W49ECiC/s1920/reading%20a%20book%20with%20plants.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2wMF85_oNOK741y_vzp4Zf0aMt0AZGmz0Y16w7eA78DNUgK8v0_HherX-VXg5CR-BIUKyGX_XvbvZuCrUpN9XDFLwFw_-yXuJn2vLwmHWL38dUOr0fa55vw8ylxqrV68Z31mDE5Wbl3mBaNVhPmOAdFjXdi3zv7G_FQsxONfunOhGrvmY5W49ECiC/w400-h266/reading%20a%20book%20with%20plants.jpg" width="400" /></a></div><p><br /></p><p>Now I will echo what I said last time. If I had waited until I understood all these things to start writing, I would have been waiting forever. And some things I would have never properly understood without the actual writing process. Yes, we need to be educated on how stories work, but it's also important to sit down and write.</p><p style="text-align: center;">~</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWsDn7sxlaVMIMLjR-nPjxguGoRDA5LBlKIif3sCUtPX64POEqoAPB-1h8Iu2BAvox6hvRTiVp5zMPnqiTySn6hb1gwAfwGQ08JEgTZqxQPzLMlPW3UbiUTBq8lyPDapMBnPoIjxOiJSbubcZkJjdZNvbS74VsCx6ezupioQ8vi0RjRTzP_1F-TTOA/s1640/CB855BF2-B2FC-45DA-B838-7E4148441E1F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="924" data-original-width="1640" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWsDn7sxlaVMIMLjR-nPjxguGoRDA5LBlKIif3sCUtPX64POEqoAPB-1h8Iu2BAvox6hvRTiVp5zMPnqiTySn6hb1gwAfwGQ08JEgTZqxQPzLMlPW3UbiUTBq8lyPDapMBnPoIjxOiJSbubcZkJjdZNvbS74VsCx6ezupioQ8vi0RjRTzP_1F-TTOA/w400-h225/CB855BF2-B2FC-45DA-B838-7E4148441E1F.jpeg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;">Success isn’t just about luck. Though luck plays a part, you have to be prepared when luck strikes—and that takes putting in the work long before your lucky break. I think this can definitely be true with writing.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">If you need help preparing for your next opportunity, my friend Lewis Jorstad, from The Novel Smithy, has reopened his writing membership, the Forge, and it might just be the boost you need to bring some luck into your writing practice. Inside, he blends craft, accountability, and community into a powerful program for novelists ready to find their confidence as they leap from uncertain writer to thriving author.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Months ago, I was a guest in the Forge and got to teach its members about relationship arcs. It was a great experience.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>So if you want some writing help and you’re ready to master your craft, build a healthy writing routine, and prepare your novel for whatever the future holds, you might want to <a href="https://thenovelsmithy.com/join/?via=september">check out the Forge</a>.</b> It might just be the boost you need for your writing. ✍️</div></div>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com2tag:blogger.com,1999:blog-4311874471131728227.post-36757211991638731372023-05-24T17:25:00.002-06:002023-05-24T17:25:55.559-06:007 Things I Wish I'd Known as a Beginning Writer<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggrkLHKCGLKMq2b9A9FiJuY77T2f7I29auKmKxisr1qhCpcoKqRG92EZsLRS6W5-ulDyNPOUbH7GNw-qIZ0lGQzJvxpwkN6CNMU2KZLC5jo00VevjSMUxni4Go0TrHpNK2ZMPm_WuhwzpiqnMgktzDM1kPGmnVChetnEuzmt7FfOpQsEZZ-nP2QuMN/s1920/What%20I%20wish%20I%20knew%20as%20a%20beginning%20writer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggrkLHKCGLKMq2b9A9FiJuY77T2f7I29auKmKxisr1qhCpcoKqRG92EZsLRS6W5-ulDyNPOUbH7GNw-qIZ0lGQzJvxpwkN6CNMU2KZLC5jo00VevjSMUxni4Go0TrHpNK2ZMPm_WuhwzpiqnMgktzDM1kPGmnVChetnEuzmt7FfOpQsEZZ-nP2QuMN/w400-h266/What%20I%20wish%20I%20knew%20as%20a%20beginning%20writer.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>I wish I'd known so many things as a beginning fiction writer. . . . </p><p>Recently, I was teaching and mentoring at the Storymakers Conference, and I got into a conversation with a fellow editor and writer about such things, and I've sort of been thinking about them off and on ever since. Thus, this post. But I'll keep this intro brief. . . . </p><p>Here are seven things I wish I'd known when attempting to write my first novel.<span></span></p><a name='more'></a><p></p><p><br /></p><h3 style="text-align: left;">1. Nearly Every Scene Needs a Goal</h3><p>I consider goals to be the first element of plot. Without a goal, you can't have a true antagonist--because the antagonist is what <i>opposes</i> the goal. And without that, you can't have conflict. Or consequences. Or a true story.</p><p>But <b>not only does your protagonist need an overarching goal for the act or whole narrative arc, but there should almost always be a little goal for nearly any scene</b>. Often what happens, is the big goal will be broken up into scene-level goals. So, while Katniss's overarching goal is to win The Hunger Games, her scene-level goals may be to impress the Gamemakers, nail her interview with Caesar, or find Peeta in the arena. And of course, if there are multiple plotlines, as is often the case, there may be goals related to other plotlines beyond the main external one.</p><p>Admittedly (and unfortunately) though, even if someone had told me that 10+ years ago, I would have been very skeptical, and my mind would have immediately gone searching for scenes where there <i>isn't</i> a goal present.</p><p>I now realize, I had a very narrow view of <i>what</i> a goal was. See, when I heard the word "goal," I only thought of <i>obtaining</i> something. Thankfully, that is only one <i>type</i> of goal. Avoiding something can be a goal. And wanting to maintain things as they currently are can also be a goal--it just needs an antagonistic force (just as they all do).</p><p>So, <b>at the most basic level, there are three types of <a href="https://writershelpingwriters.net/2022/08/why-a-strong-plot-requires-a-significant-goal/">goals</a>: obtain, avoid, or maintain</b>.</p><p>The goal can change. It can even be achieved or abandoned. In which case, a new goal needs to come into play.</p><p>Some scenes don't <i>start</i> with a goal, but usually one comes in as the scene progresses, and goals may not be a big component of <a href="https://www.septembercfawkes.com/2021/10/sequel-structure-according-to-swain.html">sequel scenes</a>.</p><p>There are, of course, some rare situations where there isn't really a goal at all, but when that happens, there is often still <i>directionality</i>--a sense of where the story is going.</p><p>Goals help tighten up the story by giving the audience a <i>sense of direction</i>, and if you don't have a goal in play, then you need to come up with another way to do that, such as playing with dramatic irony (the audience senses that the direction the story is going, is that the characters will eventually figure out what they already know).</p><p>Until a goal is in play, the audience can't really measure if what is happening is progress or a setback, and they can't get a strong sense of why what is happening matters (because the characters aren't trying to get anywhere specific). </p><p>Goals are super important in the overarching plot. They are equally important, if not even more important, within scenes.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4g10ZTsyDP-euZbl8NJVlbiqe7mGqLa2dNyz7L5gypjT5x75N4HVYLtzO1QNL0J_mjP7CHui-W9D95bp0-9WvA_3kpekrHpi2723SOhhxp6H0I4VVq6qnDVI2lxoavugEcDVqHb0aIca0TpkJfig0OrPLnca4xbVhHlL2HMpiAblSwGxv307Pa9E7/s1920/Katniss%20big%20goals.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4g10ZTsyDP-euZbl8NJVlbiqe7mGqLa2dNyz7L5gypjT5x75N4HVYLtzO1QNL0J_mjP7CHui-W9D95bp0-9WvA_3kpekrHpi2723SOhhxp6H0I4VVq6qnDVI2lxoavugEcDVqHb0aIca0TpkJfig0OrPLnca4xbVhHlL2HMpiAblSwGxv307Pa9E7/w400-h225/Katniss%20big%20goals.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQKfURvKvrq1nHQuEAdcvarq2pT_JUosqAQpl0rca2vi12KKX5LW2cAdhhVpXUjhpUM_OKxCNwuEoRiRsHEnqdRkPdrsvgwQswYze4aIukgcQJO3DDejgCEt85BiJUwtBT8IoG-gjRKUysjxCCDPuq2RB8cxrbgV-QGSsg2gZVQXbnWQuNI_97hvGP/s1223/katniss%20small%20goals%20cropped.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1223" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQKfURvKvrq1nHQuEAdcvarq2pT_JUosqAQpl0rca2vi12KKX5LW2cAdhhVpXUjhpUM_OKxCNwuEoRiRsHEnqdRkPdrsvgwQswYze4aIukgcQJO3DDejgCEt85BiJUwtBT8IoG-gjRKUysjxCCDPuq2RB8cxrbgV-QGSsg2gZVQXbnWQuNI_97hvGP/s320/katniss%20small%20goals%20cropped.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><br /></p><h3 style="text-align: left;">2. Scenes and Acts Should Follow Basic Structure</h3><p><b>Most of us are probably familiar with basic story structure: rising action, climax, falling action.</b></p><p><b>But many of us weren't taught that this is also the <a href="https://www.septembercfawkes.com/2019/11/scene-vs-sequence-vs-act.html">basic structure of acts and scenes</a>.</b></p><p>The difference, is that, in acts and scenes, it's smaller and less impactful.</p><p>This shape is a fractal that repeats itself within the narrative arc. It's like a Russian nesting doll, with the smaller structures of it fitting into the larger ones.</p><p>This means most of your scenes should actually have a climactic turning point.</p><p>This also means that <b>the story should have changed at least a little because of the scene</b>. How the story was at the beginning of the scene, should be at least a little different from what it is at the end of the scene. If it's not, the scene is probably just exposition and/or filler.</p><p>There are, of course, some exceptions to this. For example, sometimes the point of the scene is to show how things <i>haven't</i> or <i>aren't</i> changing. But if most of your scenes don't follow this structure and aren't changing the story at least a little, they probably aren't progressing the story, and are just filler (unfortunately!).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ0a5APKnyPJloIAG-CsAhS2byBIMXh3XG44RP4fvC7jYqDz-ZIRAec6pzgmziXuz_r9X5vY61Zy4P3M2TGIVEbhcjl5_X1xQ3uxNbPx1tJSPTO-0--55aTH780nFjPPI8ABgrylaG5my_Xl4r28VJp6stBWoCPUp1WV3Ak5xDO_oXvrtWoIW0QOe_/s320/plot%20with%20acts.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="229" data-original-width="320" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ0a5APKnyPJloIAG-CsAhS2byBIMXh3XG44RP4fvC7jYqDz-ZIRAec6pzgmziXuz_r9X5vY61Zy4P3M2TGIVEbhcjl5_X1xQ3uxNbPx1tJSPTO-0--55aTH780nFjPPI8ABgrylaG5my_Xl4r28VJp6stBWoCPUp1WV3Ak5xDO_oXvrtWoIW0QOe_/w400-h286/plot%20with%20acts.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_56jieC_IM2bk7EHDD_yo7MavSjcSZ0UAHVOBniG0u3bROS-x_FlR2vXNesv-MzIj3jfzxBkVg8VqxgYgzHYKOq5ePcNgyOFJXQyESZ4aeYA48Bg2TpKHAd5bH8TAe3c_RffJfNcF16zf4-onQ0BfHyxtckyMJqoYJ_MlY0aJjlE7JeUFNYQKT1Ee/s862/scene.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="862" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_56jieC_IM2bk7EHDD_yo7MavSjcSZ0UAHVOBniG0u3bROS-x_FlR2vXNesv-MzIj3jfzxBkVg8VqxgYgzHYKOq5ePcNgyOFJXQyESZ4aeYA48Bg2TpKHAd5bH8TAe3c_RffJfNcF16zf4-onQ0BfHyxtckyMJqoYJ_MlY0aJjlE7JeUFNYQKT1Ee/w400-h256/scene.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">3. Know Your 4 Basic Character Arcs and Which You are Writing</h3><p>Some writing advice doesn't work well for all stories, and that can be especially true when you get into character arcs. <b>There are <a href="https://www.septembercfawkes.com/2022/05/the-4-basic-types-of-character-arcs.html">four basic types of character arcs</a>: positive change, negative change, positive steadfast, negative steadfast</b>. Any other character arc should fit into one of these four.</p><p>In brief, <b>a change-arc protagonist will do, more or less, a 180-degree flip about a belief system</b> or worldview. They go through a big change or transformation. If this is positive, the protagonist flips from an inaccurate worldview to an accurate one. If negative, the protagonist flips from an accurate worldview to an inaccurate one.</p><p><b>In a <a href="https://www.septembercfawkes.com/2021/04/debunking-6-myths-about-steadfast-flat.html">steadfast arc</a> (also called a flat arc), the protagonist will stay, more or less, the same at the end of the story as they were at the beginning of the story. They will uphold the same worldview</b>. A steadfast story is about the protagonist holding true to who he was in the beginning, despite other forces testing or tempting him to bend or quit. If this is positive, the protagonist is holding steadfast to an accurate worldview. If negative, the protagonist is holding stubbornly to an inaccurate worldview.</p><p>Of the four types, the most popular one is the positive change protagonist, which means there is a lot of great advice for that type. Unfortunately, that advice doesn't always translate well into the other three types.</p><p>This is where I ran into one of my biggest stumbling blocks when I was a "beginner" storyteller. I wanted to write a flat-arc/steadfast protagonist story, but I didn't know about those terms and I couldn't articulate what I was trying to do nor find resources to help me do it. I kept trying to apply change arc advice to a steadfast protagonist. It didn't work well and caused so<i> </i>many problems! Eventually, and unfortunately, I turned my steadfast protagonist into a change-arc protagonist in the process. Yikes.</p><p>While positive change arc protagonists are the most popular, they aren't the only type, and you don't have to write that type. So <b>know what type you are writing and be discerning about what advice does and does not apply to it.</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiqDig2IoQYhXNdB2v8idIBqvDTbxDVsq8IOXcTr46C3VY4TClGgDFFs2mijtU1rMhm4O40MgdjBGENYyWdqxr9NFw5qqpqplqp2D3WR7qCRLni-YQUEoicyMvzOa0vYJnXxFFQWp9LMATTrnExcHoNdU4IVSiL_YEO0g0UJY2XpFVcJHeOKpI_xHZ/s1920/89.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiqDig2IoQYhXNdB2v8idIBqvDTbxDVsq8IOXcTr46C3VY4TClGgDFFs2mijtU1rMhm4O40MgdjBGENYyWdqxr9NFw5qqpqplqp2D3WR7qCRLni-YQUEoicyMvzOa0vYJnXxFFQWp9LMATTrnExcHoNdU4IVSiL_YEO0g0UJY2XpFVcJHeOKpI_xHZ/w400-h225/89.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUv0gtvjcniIpUiyZqhpFCTtYPzMix7EBEVMoaeGExWMlz4LdZ0OlK9aeq_SFCCGqzp-4xSNrurNUzJydbyRKtYbdBIYUcAceRz_pGBBXx3tyCt3cHIrabb3pkCK7vwjLln2h_8wM2k2R5leEpgl9fPOvQjgs7f4EBKlt8WMWm294aP36Qq7CGFR0y/s1920/90.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUv0gtvjcniIpUiyZqhpFCTtYPzMix7EBEVMoaeGExWMlz4LdZ0OlK9aeq_SFCCGqzp-4xSNrurNUzJydbyRKtYbdBIYUcAceRz_pGBBXx3tyCt3cHIrabb3pkCK7vwjLln2h_8wM2k2R5leEpgl9fPOvQjgs7f4EBKlt8WMWm294aP36Qq7CGFR0y/w400-h225/90.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">4. Character Agency Actually Makes the Character <i>More</i> Sympathetic</h3><p>Let me admit something. While I think I'm somewhat of a natural at dissecting stories, I've learned I'm not a natural storyteller. After college, I could write pretty lines with a great style, but I really struggled with actual <i>story </i>elements. I don't think I'm natural at <i>story</i>. It seems I have had to learn everything the hard way in that regard. But I can't feel too bad about it, because trying to figure out why what I was doing didn't work has spurred much of this blog.</p><p>Anyway, when I started taking writing seriously, my protagonist did not exercise much agency. Bad things were just happening to him and he was just reacting, and he was really rather passive in plot (in part because I didn't understand the importance of goals nor that I could pick from <i>three</i> not just one type (see #1)). He wasn't making many choices or demonstrating his agency.</p><p>I wanted him to be really sympathetic because of his difficulties, and on a subconscious level, I thought that the lack of agency and control over his situation was doing that.</p><p>In reality, <b>as counterintuitive as it sounds, the opposite is actually true.</b></p><p><b>Agency makes characters <i>more</i> sympathetic.</b></p><p>Here is an example I like to give when teaching others about this concept.</p><p>Imagine a story where a mother's daughter goes to the store and gets shot and killed by criminals.</p><p>It's sad, of course, but it seems random. Bad things happen to everyone.</p><p>Now, imagine a story where the mother didn't want to go to the store, and so chose to send her daughter instead. Then the daughter got shot and killed by criminals.</p><p>Most of us would say the second one is sadder.</p><p>Why?</p><p>Because the mom now <b>holds some level of responsibility and accountability for what happened</b>. If the mom <i>hadn't</i> sent her daughter, she wouldn't be dead.</p><p>Now, don't get me wrong, obviously the criminals are the real ones to blame, and the daughter also exercised agency by deciding to help out her mom (which makes the daughter a more sympathetic character too--she was just trying to help).</p><p>But in the second scenario, there is a stronger sense of cause and effect, where the mother's choices led to negative consequences.</p><p>And now, she may be haunted by the choice she made. What if she had chosen differently? Maybe she should have gone to the store herself. Or maybe she should have just used a delivery service. Or maybe . . . (I think you get the point).</p><p>This makes her more sympathetic. Not less.</p><p>And one way to make a character particularly sympathetic is to have her make choices with the best intentions and then have them lead to painful, costly consequences.</p><p>I could do a whole article on character agency in the future . . . or maybe I'll just save it for <a href="https://www.septembercfawkes.com/p/the-triarchy-method-of-story_7.html">my online course</a>. 😉</p><p>For now, this should give you a little something to think about regarding it: exercising agency makes characters <i>more</i> sympathetic, not less.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_lFyml_oBjI2nmMQh2Aod7uXtWmYS4hBwHtD_f_IMQ9-jOOX_zQGsjSSaDgAi1VN_-8Bu7RjhA8bY21VIO_v3qADt9PKstNlYuDj58UCu78JNkrbVkeOwyNlXY1nag3-FdlPagTvoDj9O4m_t-Xfot6eOerdz-fwMZuWnntAS6dvxhg8R32vc_cZg/s1920/87.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_lFyml_oBjI2nmMQh2Aod7uXtWmYS4hBwHtD_f_IMQ9-jOOX_zQGsjSSaDgAi1VN_-8Bu7RjhA8bY21VIO_v3qADt9PKstNlYuDj58UCu78JNkrbVkeOwyNlXY1nag3-FdlPagTvoDj9O4m_t-Xfot6eOerdz-fwMZuWnntAS6dvxhg8R32vc_cZg/w400-h225/87.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">5. The Antagonistic Force isn't Only the Main "Big Baddie"--Your Story Should be Loaded with Them</h3><p>In the writing community, we often talk about <i>THE </i>Antagonistic Force <i>™ </i>in a story. We get very focused on <i>THE MAIN </i>Antagonistic Force ™--which makes total sense, I mean, duh! It's the biggest opposition.</p><p>But I sometimes feel like this leads to limiting perspectives that hurt our stories. (It certainly did for me and mine when I was learning.)</p><p>In reality, an antagonistic force isn't just some scary entity. <b>An antagonistic force is anything that <i>opposes</i> the goal</b> (see #1). <b>It is the obstacles and resistance <i>in the way of the goal</i></b>. It's not something that is just heckling or annoying<i> </i>the protagonist. It's blocking, resisting, or pushing the character away from the goal.</p><p>And if (nearly) every scene should have a goal and should follow basic story structure, naturally that means there should be <i>lots and lots and lots </i>of antagonistic forces in a story--even if that particular antagonist only lasts for one single scene. Even if that antagonist isn't <i>THE </i>Antagonistic Force <i>™.</i></p><p>We need antagonists to have conflict (or <a href="https://www.septembercfawkes.com/2017/03/tension-vs-conflict-hint-they-arent.html">even just tension--there is a difference</a>) and meaningful consequences in our stories. That means an ally may step into the role of an antagonist if only for a moment, even if the ally isn't what we think of as a "baddie." (It may just be she has a different idea of what to do next, and that opposes the protagonist's current goal.)</p><p>And the antagonistic force isn't always "bad." It's simply something that opposes the goal. That's it.</p><p><b>So even if you have a main antagonistic force, make sure your story has lots of lesser antagonistic forces along the way--things that oppose the current goal</b>. They may be temporary antagonists, but they are antagonists nonetheless.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUZ6dL--ra4vajP8LJ3ySjhn_tleZKysMWmb_tn0gMSZEgdvpwse6JBIFxaIFUlpNBIyFcvyT803pYekNC3E_OQz4tIhCW2NJszeAxFIvOyN_GIXMqbckQrG5b6d5sLix02QSbTGFBObilOlNJBXoboj6AJNz2cDhLcfh5l1d6A7HTSB-5fF3dpsY/s1920/17.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUZ6dL--ra4vajP8LJ3ySjhn_tleZKysMWmb_tn0gMSZEgdvpwse6JBIFxaIFUlpNBIyFcvyT803pYekNC3E_OQz4tIhCW2NJszeAxFIvOyN_GIXMqbckQrG5b6d5sLix02QSbTGFBObilOlNJBXoboj6AJNz2cDhLcfh5l1d6A7HTSB-5fF3dpsY/w400-h225/17.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn_Ddfp0Ui2GKFtXzafSOO9Rzcw1fgZbSURLMsx8jsqO6Q7jQTudP1tPKvvDpHA00Exa14NOut85moA9PLMXcJT0lIOfbO6S-wMjpHD1aK9S-Z5xfpPdMjqUIicyr7bJLDBiw1B31ScMNb3LYCQtf_1d7Uk03qoKqUWhCObDQy1iydOzo-qjkctM_S/s1920/23.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn_Ddfp0Ui2GKFtXzafSOO9Rzcw1fgZbSURLMsx8jsqO6Q7jQTudP1tPKvvDpHA00Exa14NOut85moA9PLMXcJT0lIOfbO6S-wMjpHD1aK9S-Z5xfpPdMjqUIicyr7bJLDBiw1B31ScMNb3LYCQtf_1d7Uk03qoKqUWhCObDQy1iydOzo-qjkctM_S/w400-h225/23.jpg" width="400" /></a></div><p><br /></p><p><br /></p><h3 style="text-align: left;">6. Create Side Characters with Lead Characters in Mind</h3><p>Once upon a time I brainstormed and ironed out a whole character who I, of course, thought was great. But when he finally got on the page with one of my main characters, the scene was terrible. The two did not go together well at all. It was some of the flattest most boring character interactions I'd ever written.</p><p>You see, while I liked both characters and worked a lot on each, they did not work well together--or perhaps, rather the problem was, they worked "too well" together, which was why it was so flat and boring. My main character in the scene was pretty nonchalant. The new side character I inserted was relaxed and lazy. Ack! What was I thinking? Because I had created each of them individually and because there were so many other features to them, I didn't realize how terrible they would be on the page alone together.</p><p><b>Rather than create each character as an "island," it's better to <a href="https://writershelpingwriters.net/2021/05/balancing-your-cast-of-characters/">create supporting characters with the leads in mind</a></b>. What kinds of qualities and attitudes are going to challenge and test your lead characters? What does your lead need to learn from this person? Or, what can the lead teach this person? What kind of person will uncover a new side to your lead? These are useful questions to ask when creating side characters.</p><p>In my story, in addition to being nonchalant, the main character valued honesty so much that he was often blunt (read: borderline rude). So I made the supporting character someone uptight who valued politeness. It took much less work on my part and the scene was much better for it.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-eBH1XXGptXa1BYYFH2WYuvqJHyWw_D5hKjvSAkqwvKYAPUZKGHDbRsTfZkAm49XHPPG0FjUezKXDv8EymlyFjeV3GT_lJuuthOYKPEqMiQCoB8s4rJ8OY-1iMKoiDilmrQPajE70Kki8E7W-xtsH4_E7vZNEvOw3a6e0UQyQiCvf4rf9YgxBcAg/s1920/17.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-eBH1XXGptXa1BYYFH2WYuvqJHyWw_D5hKjvSAkqwvKYAPUZKGHDbRsTfZkAm49XHPPG0FjUezKXDv8EymlyFjeV3GT_lJuuthOYKPEqMiQCoB8s4rJ8OY-1iMKoiDilmrQPajE70Kki8E7W-xtsH4_E7vZNEvOw3a6e0UQyQiCvf4rf9YgxBcAg/w400-h225/17.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYxd_BDiQ_XnV-cdYtIFOglhPS96nTrGxAG_ChZ9m7UaWh0yjVdCjrgP90KDFRlu_poi7-pdlLhjcPJl9TROl9qOd8YVBIHSPPfYNfgrAnyzNjFAmE6Vc7ieQa9VLmX_-HhUwjZCpCZjvlEpk03RBPhDArgh9m0bukheVit5nLalw70qYmdKjkbTr8/s1920/18.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYxd_BDiQ_XnV-cdYtIFOglhPS96nTrGxAG_ChZ9m7UaWh0yjVdCjrgP90KDFRlu_poi7-pdlLhjcPJl9TROl9qOd8YVBIHSPPfYNfgrAnyzNjFAmE6Vc7ieQa9VLmX_-HhUwjZCpCZjvlEpk03RBPhDArgh9m0bukheVit5nLalw70qYmdKjkbTr8/w400-h225/18.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">7. Pretty Lines and a Nice Style Will Only Get You So Far (Which is Not Very Far at All)</h3><p>As I already mentioned, when I got out of college, I could write in pretty lines and I had a nice style. In fact, style was one of the things I'd often get complimented on. But guess what? That doesn't matter if your story stinks.</p><p>There was an adage I would hear floating in writing communities around this time. Its basic idea was that if your lines are good enough, it doesn't matter what the story is, the reader will keep reading.</p><p>Today, I think this is a dangerous thing to be telling people, and when my story wasn't working out, I'd sometimes get stuck on that idea, thinking, <i>Well, I have a good style, and if I just write this clever enough, witty enough, interesting enough, beautiful enough--X enough--the reader will keep reading!</i></p><p>Let's just say I wasted a lot of time doing that.</p><p><b>It didn't matter how beautiful or funny the lines were if the plot, characters, and structure were broken</b>.</p><p>And ironically, I've learned that, actually, if you can figure out the story first, the lines will often come more easily. (This is because you aren't trying to make a pigsty look like the Taj Mahal. 😉)</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_w0WD804DDKBUKxf1s995UzamXpNW8i2fpcgjh5WOykp3DoUSqBF8RVMh0sQLjTckD6Q-reLmec8M7jvIkbaDvevvdrjeTi-vRGSH1a2_EVTKqcESdbcG91_3dyC7V7wkEvmtPLY5NcelGsLvTSEf3qvJ8TVxu08A7hEORVDPJH_1emkxGRXUlbW5/s1280/writing%20doubt.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_w0WD804DDKBUKxf1s995UzamXpNW8i2fpcgjh5WOykp3DoUSqBF8RVMh0sQLjTckD6Q-reLmec8M7jvIkbaDvevvdrjeTi-vRGSH1a2_EVTKqcESdbcG91_3dyC7V7wkEvmtPLY5NcelGsLvTSEf3qvJ8TVxu08A7hEORVDPJH_1emkxGRXUlbW5/w400-h266/writing%20doubt.jpg" width="400" /></a></div><p><br /></p><p>Well, there you have it. And yet . . .</p><p>. . . with all that said, I also recognize I was not <i>ready</i> to learn and understand all these things when I did start writing seriously. And some things you can only truly learn and understand <i>by</i> diving into the craft. I mean, if you wait to know everything to <i>start</i> writing, you will be waiting forever!<br /><br />But what about you? Is there anything you wish you'd known as a beginning writer? Let us know in the comments.</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com6tag:blogger.com,1999:blog-4311874471131728227.post-81272299434339618202023-04-26T08:25:00.000-06:002023-04-26T08:25:26.400-06:00What is a Character Tag? Definition, Purpose, and Examples<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0TpXaXq3tVMd9Pp5lUR1gpxeRsbcAV5r0ymiJrO7kyzvlmUMm1rQXbHjCSXfBwZsK8J0Lknl94YA0JWpQkrCKoqwsgMhGGHFVGw4vRkesMaB2uJncsqqOoLJmy5KhTdZAxoTs7JsE4jcSjW4dABEGGrlsQqrkjj7-h7UwPEkmsBkGFTtXqg8jto20/s2048/What%20is%20a%20character%20tag%20fiction%20writing.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1356" data-original-width="2048" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0TpXaXq3tVMd9Pp5lUR1gpxeRsbcAV5r0ymiJrO7kyzvlmUMm1rQXbHjCSXfBwZsK8J0Lknl94YA0JWpQkrCKoqwsgMhGGHFVGw4vRkesMaB2uJncsqqOoLJmy5KhTdZAxoTs7JsE4jcSjW4dABEGGrlsQqrkjj7-h7UwPEkmsBkGFTtXqg8jto20/w400-h265/What%20is%20a%20character%20tag%20fiction%20writing.PNG" width="400" /></a></div><br /><p></p><p><b>A character tag is a word, phrase, description, trait, or concept repeatedly associated with a specific character.</b></p><p><b><br /></b></p><h3 style="text-align: left;">Purpose of Character Tags in Fiction</h3><div style="text-align: left;"><u>There are several purposes for character tags:</u></div><p></p><ol style="text-align: left;"><li>Tags help define a character, making him more distinct, more individualized from other characters in the story.</li><li>Tags work as identifiers--they make it easier for the audience to quickly identify a character.</li><li>Tags help with recall. When used appropriately, a character tag allows the reader to immediately recall the character, his traits, personality, and mannerisms.</li></ol><p></p><p>Character tags can be particularly useful for flat characters and characters with small roles, who are often only defined by a few features, but tags can also be useful for round characters and characters with major roles.</p><p>They're especially important when working with a large cast of characters, because they allow the audience to easily keep track of who is who. </p><p>But in order to better understand them, let's look at some examples.<span></span></p><a name='more'></a><p></p><p><br /></p><h3 style="text-align: left;">Examples</h3><p><i>Harry Potter</i> is loaded with characters, but almost every character is tagged, making him or her more distinct and easy to identify, as well as recall.</p><p>From Harry's jet-black hair, green eyes, and lightning bolt scar, to Ron's freckles and long nose, and to Hermione's bushy brown mane and big front teeth--all of the lead characters are tagged. But so are many others.</p><p>Dumbledore is regularly noted as having half-moon spectacles, and eyes that can seem to x-ray others on occasion. Professor Trelawny wears shawls and usually smells of sherry. McGonagall is strict. Hagrid speaks in an eye dialect and has an enormous stature. Snape has his greasy hair and hooked nose. Cornelius Fudge frequently runs the brim of his bowler hat through his fingers. Collin Creevey has his camera. And Umbridge has the face of a toad with bows in her hair. </p><p>Even Ernie Macmillan, a character with a very small role, is repeatedly associated with the word "pompous."</p><p>Despite the series having literally hundreds of characters, the writer's use of character tags helps the audience keep track of them with little effort.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfsPdBWiS-X2nB9uMNU4bTp0iQ-J6UvmsqyGNQh6PlKCRo20n6l3yNtPRc_vs2LTOoSRpVaTPf6ST_bbmowRetZplmUJ7rHk8uikBuIrQlP2Djqyael7gWfx_CccePu0U-9gbHzRGbSiO6xAqOUrjZ1uu-bZCVN-WNEu_fJksADq08TeKsjoHAKEPL/s1920/reading%20a%20book%20woman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfsPdBWiS-X2nB9uMNU4bTp0iQ-J6UvmsqyGNQh6PlKCRo20n6l3yNtPRc_vs2LTOoSRpVaTPf6ST_bbmowRetZplmUJ7rHk8uikBuIrQlP2Djqyael7gWfx_CccePu0U-9gbHzRGbSiO6xAqOUrjZ1uu-bZCVN-WNEu_fJksADq08TeKsjoHAKEPL/w400-h266/reading%20a%20book%20woman.jpg" width="400" /></a></div><p><br /></p><p>Other books and series use character tags too, of course. In <i>The Hunger Games</i>, Katniss has her bow, braids, and Mockingjay pin, Peeta his blond hair and lashes, Gale his fiery eyes and personality, Haymitch his drunkenness and affinity for the word "sweetheart," Effie her wigs and politeness, Cinna his gold eyeliner, and Rue her regular stance of looking like a bird about to take flight.</p><p>Some more examples are, Olaf and his unibrow and shiny eyes in <i>A Series of Unfortunate Events</i>, Smeagol and his distinct voice in <i>The Lord of the Rings</i>, and Augustus with his cigarettes in <i>The Fault in Our Stars</i>.</p><p>A character tag can be almost anything: a physical description, a scent, a distinctive way of speaking, a mannerism or gait, a stance, a specific word.</p><p>But there are some dos and don'ts when it comes to working with them . . . </p><p><br /></p><h3 style="text-align: left;">Tips for Choosing, Using, and Writing Character Tags</h3><p>- <b>Avoid selecting generic and forgettable tags</b> for your characters. For most stories, regularly mentioning that a character is in a white shirt is about as effective as not mentioning her shirt. It's too generic to be memorable. </p><p>- Instead, <b>choose a tag that is distinct and easy to recall</b>--after all, that's kind of the point of having a character tag! So make sure you <b><a href="https://mystorydoctor.com/writing-the-right-details/">choose the <i>right</i> details</a> to turn into tags</b>. And honestly, human beings usually notice the most distinct features of a person first anyway, so your POV character should as well. Don't settle for a white shirt, when the character has a music note tattooed on her neck.</p><p>- At the same time, <b>make sure the tag can be conveyed succinctly</b>. If it's too long and complicated, it's going to slow pacing, since you have to refer to it repeatedly. It will probably also get annoying to your readers.</p><p>- <b>Generally speaking, the smaller the character's role, the more succinct the tag should be.</b> Out of the <i>Harry Potter </i>characters mentioned above, Ernie Macmillan has the smallest role. Notice his tag is one word, "pompous." Characters with bigger roles can have longer and more detailed tags, and more tags in general (that you can switch between). With that said, all tags should be <i>somewhat</i> succinct.</p><p>- <b>If possible, mention a character's tag(s) when she first comes "on stage."</b> This will help individualize her as audiences get a first impression, and will help audiences recall her and their experience with her later. This can be particularly important for supporting characters with small roles. Obviously with some major characters, like a POV character, it may not always work well to introduce the tags straight away, but you should have the <a href="https://mystorydoctor.com/understand-and-implement-voice-in-writing/">character's voice</a> to pull from at least.</p><p>- <b>If the character has a small role, it becomes more important to repeat or reference the tags when she comes back "on stage"</b>--that way the audience can quickly recall her. <b>If the character has a major role, you don't need to repeat the same tags every scene he is in</b>--don't overuse the tags. That could become annoying. Just refer to them often enough to be memorable and effective. It also helps to have multiple tags to switch between.</p><p>- <b>Avoid using the same tag for multiple characters</b>. If you've tagged Chelsey with the scent of rosemary, don't tag Olivia with the scent of rosemary too. This will make it harder for the audience to individualize the characters. However, if that's the point--that Chelsey is similar to Olivia, and that Olivia reminds the POV character of Chelsey--then that might be a justifiable rule break. Just know what you are doing and the effect it will have on the audience.</p><p>- <b>It's nice when the tag communicates something more about the character than what is directly on the page.</b> The reason Professor Trelawney often smells like sherry is because she drinks sherry when upset. It's her go-to coping mechanism. But this is more an added bonus than a rule--not every character tag needs subtext.</p><p>- <b>Generally speaking, concrete tags</b> (such as a music note tattoo) <b>are more effective and memorable than abstract tags</b> (such as "cute"). But abstract tags can be useful in keeping things succinct (i.e. Ernie being "pompous.") So while it's best to lean toward the concrete, it's okay to use the abstract on occasion.</p><p>- <b>It can be helpful to write down a character's tags in their character bible</b>, so <i>you</i> can easily recall and use them as a writer.</p><p>- <b>Choose the tags <i>you</i> want the audience to remember the character by</b>. What dominating qualities and characteristics best define this character?</p><p>- <b>Not <i>every single character</i> needs a character tag.</b> Your protagonist's one-time taxi driver might be a background character not worth tagging.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnhAFhU7WYXX7R0z_QJor0MOhxHoppC5-dSwLU6Pu3DB4poVgSyUqHAqiWMk1oXUtm_zhZ3M6pxBwP9VIw-jv67fr-d95iYjWtqWsz8KtnzqffvBvHpmvNArSZK3w44jzBweZFQ85i8JHAboY2SNB4ymG05aDF01BznaDtQvTyuRV9ddMtrXTyDcG/s1920/writing%20tags.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnhAFhU7WYXX7R0z_QJor0MOhxHoppC5-dSwLU6Pu3DB4poVgSyUqHAqiWMk1oXUtm_zhZ3M6pxBwP9VIw-jv67fr-d95iYjWtqWsz8KtnzqffvBvHpmvNArSZK3w44jzBweZFQ85i8JHAboY2SNB4ymG05aDF01BznaDtQvTyuRV9ddMtrXTyDcG/w400-h266/writing%20tags.jpg" width="400" /></a></div><br /><p><br /></p><h3 style="text-align: left;">Other Kinds of Tags</h3><p>Character tags can be used in other forms of storytelling, in films, plays, or comics. In <i>The Office</i>, Kevin Malone usually speaks in monotone and has a dull manner, while Dwight almost always wears a mustard-yellow button-down shirt, and Angela is surrounded by cats and baby pictures.</p><p>However, with that said, tags are <i>particularly</i> important for novels and short stories, because the audience doesn't have visuals to help them remember the characters.</p><p>Character tags are not to be confused with dialogue tags--which are used to identify the speaker of a line of dialogue. Examples include, "he said," "she whispered," "Mack complained," and "Savannah yelled." You can <a href="https://www.septembercfawkes.com/2017/02/breaking-writing-rules-right-only-use.html">read more about dialogue tags</a> and which to use in my article on them.</p><p>Finally, while tags are associated with characters, you can technically use them to tag places and experiences. What would the Gryffindor common room be like without its cozy fireplace and four poster beds? And every time Harry apparates, he gets a tug behind his navel. Such tags help the audience identify and recall other things in the story as well.</p><p><br /></p><h4 style="text-align: left;"><u>Related Articles:</u></h4><p><a href="https://www.septembercfawkes.com/2015/03/expand-deepen-and-create-motion-three.html">3 Methods that Keep Details Interesting</a></p><p><a href="https://www.septembercfawkes.com/2019/01/working-with-large-cast-of-characters.html">Working with a Large Cast of Characters</a></p><p><a href="https://www.septembercfawkes.com/2013/09/what-you-need-to-know-most-about.html">What You Need to Know Most about Character Voice</a></p><p><a href="https://www.septembercfawkes.com/2020/04/dos-and-donts-for-writing-your.html">Dos and Don'ts for Writing Your Viewpoint Character's Voice</a></p><p><a href="https://www.septembercfawkes.com/2017/02/breaking-writing-rules-right-only-use.html">Breaking Writing Rules Right: "Only Use Said"</a></p><p><a href="https://mystorydoctor.com/writing-the-right-details/">Writing the RIGHT Details</a></p><p><br /></p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-80772191231568669332023-03-13T04:00:00.001-06:002023-03-13T04:00:00.199-06:00Dealing with Self-Doubt as a Writer<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyhjxJyEZZtSoEmhOc3k-mhmKzpMpJCaYutBYjMp5WHkHJ6FBFGaXUYOy76-k-yw7tZ9QZEGAAUWbYeuxPJRQtLqF28csB2MmHfevbNNPHslaZhoTroBOh7FrUVJYMLtD6mveHnFWEm7n9edfIeD6r1tgC07HCfcfQSEoco7P2fiVe2LprSeXzRai/s1280/doubt.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyhjxJyEZZtSoEmhOc3k-mhmKzpMpJCaYutBYjMp5WHkHJ6FBFGaXUYOy76-k-yw7tZ9QZEGAAUWbYeuxPJRQtLqF28csB2MmHfevbNNPHslaZhoTroBOh7FrUVJYMLtD6mveHnFWEm7n9edfIeD6r1tgC07HCfcfQSEoco7P2fiVe2LprSeXzRai/w400-h266/doubt.jpg" width="400" /></a></div><br /><p><b>Dealing with self-doubt can be an important skill to learn as a writer. While doubt often feels like a negative experience, it's actually arguably a natural, healthy one. Once you properly understand doubt, the trick is to keep it from becoming toxically unbalanced.</b></p><p>Quite a while ago at this point, a follower asked me a question that related to self-doubt. </p><p>Now, I'm certainly not a psychologist or a therapist or anything like that. But I've certainly been plagued by self-doubt as much as probably any writer--and when I was starting out, likely even more.</p><p>I definitely don't know everything on the subject, and if you are dealing with legit trauma, you'll probably want to go to a professional. </p><p>With that said, I think my views on it may be useful to some people. (They are also useful for me to revisit.) And I know there will be some people who disagree with what I say--and that's okay. No one has to agree with me on everything.</p><p>But maybe you will learn something new.</p><p>Because we all deal with self-doubt on occasion. </p><p>And if you are a person who <i>literally</i> <i>never </i>experiences self-doubt, while many would likely envy you, I personally would be a little worried for you, for reasons that will make sense by the end of this article.</p><p>You see, <b>contrary to what our culture seems to want us to believe, experiencing some form of self-doubt is a natural--and I'd even argue--healthy thing.</b></p><p><b>It only truly becomes a problem when it is so unbalanced, that it becomes toxic</b>, that you let it stop you from doing anything, from living the life of your dreams.</p><p>If you can't tell yet . . . my take on this topic will likely be atypical.</p><p>But I do think it will be helpful.</p><p>First, however, I want to lay out some important groundwork. . . .</p><span><a name='more'></a></span><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs-PhT4TkNtwszCWsRfhwenbFAvjuuTEIX3DRE__Jqo_9IOKhSUNBBOLTjFOwsa1fa8x-NP0QxrQ3s7e0t_avE2xRqate-LOx6fqS-7iVK2-h-aOazXaww_8xg4klvajTuHAaFpLF75KLMwc95fO9VrUga7vyR8sqzjVaXhPJsARx_fUk9jZ56mYxP/s1280/thinking%20woman%20car%20window.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="864" data-original-width="1280" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs-PhT4TkNtwszCWsRfhwenbFAvjuuTEIX3DRE__Jqo_9IOKhSUNBBOLTjFOwsa1fa8x-NP0QxrQ3s7e0t_avE2xRqate-LOx6fqS-7iVK2-h-aOazXaww_8xg4klvajTuHAaFpLF75KLMwc95fO9VrUga7vyR8sqzjVaXhPJsARx_fUk9jZ56mYxP/w400-h270/thinking%20woman%20car%20window.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h2 style="text-align: left;">2 Types of Thoughts: Passing vs. Intentional</h2><p>Every once in a while, I hear a writer (or other professional) get asked, "Did you ever think of quitting?"</p><p>What seems like a simple question, is actually, rather complicated.</p><p>Because realistically, the <i>thought</i> of quitting should naturally pass through everyone's minds. The question is how long it stayed there and how seriously that person thought of it.</p><p>So, the questioner is actually asking: "Did you ever <i>seriously</i> consider quitting?"</p><p>You see, <b>we all have at least two types of thoughts: passing thoughts and intentional thoughts</b>.</p><p><b>Passing thoughts are thoughts that naturally pass through your head</b>--they may come up because of your current environment or circumstances, because of your biological needs, because of your personal tendencies, or because of whatever problem you are mentally trying to work out. For example, I may be at self-check-out and notice a man bagging his items without scanning them. A passing thought that would probably naturally come up is, <i>That guy is stealing</i>.</p><p>Might be true. Might not be true.</p><p>But it's natural for that to pass through my mind.</p><p><b>Intentional thoughts are different. They are thoughts we <i>intend</i> to think. They are thoughts we have more control over.</b> I may choose to think about food because I'm a chef, and I like to come up with new recipes (not really). Or I may choose to think about the next scene I want to write because I love writing (really). Or, I may choose to either refute the idea this guy at self-check-out is stealing, reinforce the idea, or consider both sides of the argument.</p><p><b>Often passing thoughts lead to intentional thoughts.</b></p><p><i>That guy is stealing</i>, may lead me to intentionally be on the lookout for signs that he is.</p><p><b>But it's also possible that intentional thoughts lead to passing thoughts.</b></p><p>For example, if I'm trying to intentionally solve a problem I'm having with a friend, I might have the passing thought of <i>She'll never forgive me.</i></p><p>That may or may not be true. Depending on the situation and relationship, it may be completely probable or completely improbable.</p><p>If you don't know the difference between passing and intentional thoughts, it can lead you toward some misconceptions. When I've mentioned this to people, on more than one occasion, someone has said, "I used to think I was a terrible person, because of my passing thoughts." In reality, it's your intentional thoughts and what you choose to do with the passing thoughts that matter most.</p><p>I think some of us are more predisposed or are in environments to have certain passing thoughts more than other people. And I also think it's not always easy to discern which category every thought fits into. Thoughts are weird.</p><p>But some types of passing thoughts are natural for any healthy human mind.</p><p>And that includes thoughts of doubt.</p><p>This leads me to my next foundational topic . . .</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHI_2UsfxRKE6hNlzfgUdRDg5t4mgsaB51Obye0jIE7SCR26JRQljFb5scqcm7tJb3ALzYmi-d2ucj3cmLwbAZE9nHilveirHyHYIe2XdoTfyJed2rUl7Exop78nbgX1k0ZPzNz4NlYnoKW_B3Fx3wCqSS2TFXd5mBDN5LqYas27vWFyck2BRi4xGO/s1280/handshake.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHI_2UsfxRKE6hNlzfgUdRDg5t4mgsaB51Obye0jIE7SCR26JRQljFb5scqcm7tJb3ALzYmi-d2ucj3cmLwbAZE9nHilveirHyHYIe2XdoTfyJed2rUl7Exop78nbgX1k0ZPzNz4NlYnoKW_B3Fx3wCqSS2TFXd5mBDN5LqYas27vWFyck2BRi4xGO/w400-h266/handshake.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h2 style="text-align: left;">Befriend Your Negative Feelings--They're Natural</h2><p><b>As I observe the world around me, I notice that many people's problems come from them not wanting to experience negative feelings</b>. (And I'm probably no exception.)</p><p>On the one hand, this is completely understandable and good--not wanting to feel fear will motivate you to avoid life-threatening danger. On the other hand, this is rather ridiculous because real life entails experiencing negative feelings regardless of what you do. I mean, even someone who literally does nothing will have bad things happen to them, or will have to experience boredom, or may have to live with the pains of what could have been.</p><p>Yet so many people try to run from negative feelings.</p><p>So many people are so terrified of experiencing negative feelings that they will go to great lengths and take bizarre, illogical paths to avoid them.</p><p>However, <b>contrary to how they make you feel, negative feelings aren't always bad.</b></p><p>In fact, they are often very natural.</p><p>Now, this isn't to say we need to run amok and make a huge point to experience negative feelings--use common sense.</p><p>But rather than try to eradicate negative feelings altogether, it's often actually more beneficial and more effective (in my opinion) to learn to live and work <i>with</i> them. Befriend your negative feelings. (At least at first--it's great if you can let them go when they aren't serving you.)</p><p>Sometimes trying to eradicate negative feelings is, actually, the same thing as trying to run away from them . . . because some types of negative feelings and logical processes will never go away--and they shouldn't. And if you have a problem with them, then maybe it's because you're trying to uproot them altogether. (Remember--doubt only truly becomes a problem when it is so unbalanced, it's toxic.)</p><p>Depending on the situation, that can lead you on a dangerous path. </p><p>Imagine brainwashing yourself to the point that you literally no longer felt any doubt.</p><p>Imagine the terrible problems and situations you might get yourself into. What if you spent all your savings on lottery tickets because there was no question in your mind that you wouldn't win--it never even <i>crossed</i> your mind (passing thought)? What if you wreaked havoc on your relationships because you were always 100% sure the other person would immediately agree with you, or do whatever you wanted, or feel exactly as you felt about something? What if you quit your job because you never had a moment of doubt that you could feed your kids while living your life as a beach bum?</p><p>Doubt is good.</p><p>Doubt is logical.</p><p><b>Doubt is a natural, healthy part of our thought processes.</b></p><p><b>It allows us to foresee problems, live in reality, and prepare for negative outcomes.</b></p><p>This is why if you never experience doubt--about writing or otherwise--I'd be worried about you.</p><p>Rather than try to run away from doubt--which will lead us to do nothing--or try to eradicate doubt--which will lead to frustration (or worse things if you are somehow successful)--<b>it's best to learn to live with and manage doubt.</b></p><p>The point isn't to get rid of it completely.</p><p>The point is to live with it.</p><p>The point is to manage it and keep it from becoming unbalanced and toxic.</p><p>With that in mind, <b>let's talk about some common writing doubts that <i>naturally</i> come up.</b></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCSXb7s-eUaYODQw38iQsHSCRqv1su0MQXSYhJKk67GlH1h48AVM1RWQylQIGi--3eAVrpIfNnJoW9Z8GA15nHeI5qNJQwVnnlzWzNBw5sTcBTLx-TVq2lECG-GPoI3gvbbNDyy2gG8lEdlRaTs9-iPTr6WJBobVE63oXLtaE78cMIyi8pxeyoyEIM/s1280/writing%20doubt.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCSXb7s-eUaYODQw38iQsHSCRqv1su0MQXSYhJKk67GlH1h48AVM1RWQylQIGi--3eAVrpIfNnJoW9Z8GA15nHeI5qNJQwVnnlzWzNBw5sTcBTLx-TVq2lECG-GPoI3gvbbNDyy2gG8lEdlRaTs9-iPTr6WJBobVE63oXLtaE78cMIyi8pxeyoyEIM/w400-h266/writing%20doubt.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h2 style="text-align: left;">Common Writing Doubts</h2><p>If you are a writer and are interrupted by the following doubts, guess what? You are probably normal!</p><p>Because, at least some of these will likely naturally come up in any healthy, functioning human brain--at least as <i>passing thoughts</i>.</p><p>Here are some sets of doubts that most of us deal with:</p><p><br /></p><h4 style="text-align: left;"><u>Doubts about Mortality</u></h4><p><i>Am I wasting my time/life with writing?</i> Is there something better I should be doing? Is there something more meaningful I should be doing that will help more people? If this doesn't pan out, will I have wasted years? My life?</p><h4 style="text-align: left;"><u>Doubts about Skills and Status</u></h4><p><i>What if I'm not a "real" writer?</i> What if I'm a terrible one? What if my story is dreadful? What if I'll never be great?</p><h4 style="text-align: left;"><u>Doubts about Outcomes and Reception</u></h4><p><i>What if no one wants to read my story?</i> What if people judge me for it? What if my loved ones hate it? Then hate me? What if I make no money at this? What if others don't support me? What if I'm a disappointment to them?</p><p><br /></p><p><b>Doubt's job is to prepare us for negative outcomes.</b></p><p><b>When passing thoughts of doubt come up, it's just doubt doing its job.</b></p><p>It's nothing to be scared of.</p><p>We just want to keep it in check.</p><p>In Dramatica Theory (you didn't think I'd be throwing out storytelling theory today, did you?), archetypes are determined by the natural functions of the human brain. The archetype that represents doubt is called "<b>The Skeptic</b>." If the voice of skepticism isn't expressed in a story, something will feel off to the audience, because a natural thought process is missing in the piece. If a character doesn't voice doubt, the audience will--this often manifests as the audience losing their willing suspension of disbelief.</p><p>But The Skeptic is balanced out by "<b>The Sidekick</b>," an archetype that represents and voices confidence. The Sidekick is a loyalist who is completely faithful to who or what they believe in. Their job is to be supportive.</p><p><b>We all have passing doubt. But if we don't balance it out with The Sidekick--faith and confidence--we'll find ourselves sinking and swirling in a vortex of despair. We'll find ourselves toxically unbalanced.</b></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5FXiNgg-ek7qvu2JAdP0o9JGk8WcKRmzZOkktWeAxcVGYofxbAWXJkfByuGr8v0qNPlkYfuxTbEpP1eXnCo0g045e2AVl2iGU-dwCmQ4nf8E61LhnFTp1CQ83Fb9V764qX03N3cU8xDnMBeX9vXc6SbQHoenlol9kZ4wu9R09iON4u8JBD6JF8qVB/s1280/reading%20woman%20pug.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5FXiNgg-ek7qvu2JAdP0o9JGk8WcKRmzZOkktWeAxcVGYofxbAWXJkfByuGr8v0qNPlkYfuxTbEpP1eXnCo0g045e2AVl2iGU-dwCmQ4nf8E61LhnFTp1CQ83Fb9V764qX03N3cU8xDnMBeX9vXc6SbQHoenlol9kZ4wu9R09iON4u8JBD6JF8qVB/w400-h266/reading%20woman%20pug.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h2 style="text-align: left;">Tell Yourself a Better Lie</h2><p>The Skeptic and The Sidekick are complete opposites, but they do have one thing in common: They are used to predict outcomes.</p><p><b>The Skeptic expresses what could go wrong.</b></p><p><b>The Sidekick expresses what could go right.</b></p><p>Doubt prepares us for negative outcomes.</p><p>Faith prepares us for positive outcomes.</p><p>When you are dealing with self-doubt, often you are dealing with perceived negative outcomes.</p><p>And while they maybe <i>could</i> happen, they haven't happened yet, so aren't necessarily <i>real</i>.</p><p>There is an online therapist I like to listen to named <a href="https://marisapeer.com/">Marisa Peer</a>, who created what's called "Rapid Transformational Therapy." She has worked as a therapist for highly successful people. When an actor in Hollywood was having a mental breakdown, she'd be called in to address the issue so that moviemakers could keep filming (they have expensive deadlines to meet after all).</p><p>I like a lot of Peer's approaches and perspectives. One of the things I've heard her explain multiple times that I find interesting, is that she says <b>a lot of our expressions of toxic self-doubt are actually lies</b>.</p><p>Think about it.</p><p>You may tell yourself, "Well, I'm not a <i>real</i> writer," even after you've spent days, months, or years writing. (Imposter syndrome, anyone?)</p><p>Or you may say, "No one will buy this book. Everyone will think it's terrible." But you don't know for sure if that is true. You don't know if that's reality.</p><p>Or you may say, "I am just sitting here wasting my life!" But that may not be correct. It may be that you write something as impactful as <i>Harry Potter</i>.</p><p>And yet when I say something like that, The Skeptic naturally comes in and says, "No way. Never gonna happen. Do you know how many people <i>haven't</i> written something that had that impact?"</p><p>The Skeptic is just doing its job.</p><p><b>But guess what? The Sidekick can "lie" just as effectively.</b></p><p>So, as Peer suggests, tell yourself a better lie.</p><p>Instead of intentionally thinking and dwelling on, "I'm not a <i>real</i> writer," intentionally think and dwell on, "I'm an amazing writer! People line up clear down the street just to get a book signed."</p><p>That may not be true. But neither is the statement, "I'm not a <i>real</i> writer." If you write, you are a real writer.</p><p>If you are going to be "lying" to yourself anyway, you might as well tell yourself a better lie. One that actually serves you. 😉</p><p>Don't mistake me--I'm not saying we should live in a non-reality. Remember what I've been saying much of this time: Doubt is a natural, important part of the human mind.</p><p>I'm not saying you need to throw it clear out the window.</p><p>But <b>if it's toxically unbalanced, you need to counter it by utilizing your Sidekick thought processes.</b> "Everyone loves this book." "This is gonna be a bestseller." "I'm one of the best writers." "I work harder on and utilize my time the best with this book."</p><p>You will go further and be more successful with the voice of The Sidekick in your mind. If you believe in yourself and are moving forward, you can improve. If you don't have any faith or confidence at all, you'll never do anything or go anywhere. </p><p>So <b>don't hate The Skeptic, but don't neglect The Sidekick</b>.</p><p>The more The Skeptic threatens to overwhelm you, the more you need to call upon and utilize The Sidekick (generally speaking).</p><p>As Marisa Peer also talks about, your mind often believes what you tell it to. You can imagine a fresh, crisp, juicy lemon, and your mouth will start watering. (As fiction writers, we <i>know</i> this, I mean . . . we're trying to create an experience for the reader all the time.) If you intentionally think with The Sidekick, your body and behavior will generally follow (or at least improve).</p><p>You can be shaking in your boots about an upcoming task, but if you tell yourself, "I'm an amazing X, and everything I touch turns to gold," you'll feel (and act) more capable.</p><p>Of course (you know me), there are always exceptions, such as if you literally have a chemical imbalance beyond your control. Or some of us really are fighting figurative dragons in our lives right now, which makes it all more difficult. Generally speaking, though, I think it can help nearly everyone (and maybe even, to some degree, the person with the imbalance or dragons).</p><p><b>A lot of doubts and insecurities are rooted in the belief that you aren't enough</b>. Start saying and trying to believe you <i>are</i> enough, just the way you currently are, and you may be surprised by what follows.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDhtUfCkLDIlGfo2IrW4Z_ywe35tXitF_0Jxe2EkBhXj5P9ose8ho5SwIEHyfHiwSfLho-B2Ch7Z39MlZjowedWMEccQIrRG58AkedS5fISWv6uPMB2LzSusOcfJnWRcyf-3NR-7ZMU0g_JzwTPZbVHcW4wB04hnvjH8jBnFrzaX7G_NWuMkx2R5AV/s1280/journal%20notebook.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDhtUfCkLDIlGfo2IrW4Z_ywe35tXitF_0Jxe2EkBhXj5P9ose8ho5SwIEHyfHiwSfLho-B2Ch7Z39MlZjowedWMEccQIrRG58AkedS5fISWv6uPMB2LzSusOcfJnWRcyf-3NR-7ZMU0g_JzwTPZbVHcW4wB04hnvjH8jBnFrzaX7G_NWuMkx2R5AV/w400-h266/journal%20notebook.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h2 style="text-align: left;">How I Personally Deal with Overwhelming Self-Doubt</h2><p>Probably like most of you, I've had experiences with overwhelming self-doubt--the kind of stuff that cripples you and makes you want to crawl into bed with the lights off. I could go into some anecdotes, but I don't really see the point.</p><p><b>If we don't want to eradicate doubt, how do we manage it? We feed The Sidekick and reign in The Skeptic.</b></p><p>Here are some things I do to personally do that:</p><p><br /></p><h4 style="text-align: left;"><u style="font-weight: normal;">Intentionally Think Positive Thoughts</u></h4><p>Doubt will naturally come in as a passing thought, and that's okay. And it's even okay to intentionally consider it. But <b>if it isn't helping or serving me, I need to intentionally think good thoughts</b> as I feed myself lots of positive self-talk. </p><p>Some people reading this will roll their eyes at this, but one of the phrases I've been saying to myself lately, is "Everything I touch turns to gold." Not magically--I have to put in that effort--but it's the idea that I have the capacity to turn anything I cross into metaphorical gold. Everything will become better because of what I do. Is it true? Well, is telling the opposite to myself true? (No.) Whether or not I actually better everything that comes my way, I will likely come closer to bettering it, by thinking I can. </p><p>Another phrase that is helpful for me, that I learned from a dear neighbor is, "I can do hard things." And because coping is a big deal, I sometimes add "while coping constructively" (not destructively).</p><p>If it's helpful to you, maybe <b>come up with a few go-to phrases you can intentionally think when self-doubt threatens to overwhelm you</b>.</p><p><br /></p><h4 style="text-align: left;"><u style="font-weight: normal;">Guided Meditations</u></h4><p><b>Meditation is a great way to calm a fearful, doubtful mind</b>. But because my writer brain always has a gazillion things it enjoys thinking about, when the going gets tough, I do my best meditations with some guidance. <a href="https://www.youtube.com/@TheHonestGuys">Honest Guys</a> on Youtube is my favorite (and they even have fantasy-themed meditations, like <i>The Hobbit </i>😉.) I also like <a href="https://www.youtube.com/@jasonstephensonmeditation">Jason Stephenson</a>. Beyond those, there are a few popular apps to consider, like <a href="https://www.calm.com/">Calm</a> and <a href="https://www.headspace.com/">Headspace</a> (but I like Honest Guys and Jason more).</p><p>And I know I said I wasn't gonna get anecdotal, but I guess I lied. I'll keep it short though. I once had to regularly teach a Sunday School class that I was terrified to teach--I was the second youngest person in the class and probably the second least experienced. I couldn't eat anything within two hours before church because I got so nervous. For a long time, every Sunday I taught, I'd find a relevant guided meditation (like one for fear or about confidence) from Honest Guys and do that in the morning, and it would work wonders in calming me. </p><p><br /></p><h4 style="text-align: left;"><u style="font-weight: normal;">Recording Kind Words</u></h4><p>Giving yourself positive self-talk is great, because no one can take that away from you. But when I'm really fearful or have toxic doubt, <b>it's sometimes equally helpful to recall kind words and good things other people have said to or about me</b>. These days, it's easy to write them in your phone and pull them out whenever The Skeptic threatens to overcome you. When I feel like I need more than positive self-talk, I have the positive words and compliments of others to help bolster me. And back when I was young, and lacking much experience, when I felt like I couldn't fully rely on myself or my own judgment, I had real words from those outside of me.</p><p>Along those lines, just recalling <b>positive memories and experiences</b> can help me balance out the negativity washing over me.</p><p><br /></p><h4 style="text-align: left;"><u style="font-weight: normal;">Prayer and Spiritual Guidance</u></h4><p>As you probably guessed from my anecdote, I'm a spiritual and religious person. Turning to God in prayer, as well as turning to the scriptures, definitely helps me. Many programs for those who are struggling in life, perhaps with addictions, talk about how <b>exercising belief in a higher power can lead to more success</b>. I know not everyone believes in such things, but this is what works for me. Even if you don't believe in a <i>God</i> god, turning to some kind of higher power may be helpful to you.</p><p><br /></p><h4 style="text-align: left;"><u style="font-weight: normal;">Replenish Your Motivation (and Yourself)</u></h4><p>When dealing with doubt, it's helpful for me to <b>recall why I started this writing journey</b> and what I hope to get out of it. I do this by looking at the past and remembering the (good) reasons why I'm presently here (as well as maybe reflecting on how far I've come). But I also look to the future and imagine what success appears and feels like.</p><p>Now, I have the tendency to burn myself out--or at least, get mighty close to it--and the closer I get to doing that, the more I have to consciously bolster The Sidekick. If I'm being honest, fatigue often leads to me feeling more insecure. So sometimes the best thing I can do is <b>take time to recharge and refill my creative well</b>. Watching one of my favorite shows is one of the quickest ways to do that for me. Listening to some of my favorite music and treating myself to a delicious meal helps too. Getting proper sleep and exercise can be key also. </p><p>It's harder to bolster The Sidekick when you are burned out or unwell.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlbpJqctQqwdueHMY4PA4L1yjZDkGHvK7yhrT1b-MUCDLrZXXXraJf81ncxzM9GwKoI1XmbkGaRbWnPWGqJ7rVegUhI42Sh6GNhsH4kdYB0xbH0893q_EF97hETJAkwbgbA_nx-U_P3Z7uYf8ouHrhqQcBXrmgzcYJNU7FVkGofKlYVf2GF3cSR0G-/s1280/meditation.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="697" data-original-width="1280" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlbpJqctQqwdueHMY4PA4L1yjZDkGHvK7yhrT1b-MUCDLrZXXXraJf81ncxzM9GwKoI1XmbkGaRbWnPWGqJ7rVegUhI42Sh6GNhsH4kdYB0xbH0893q_EF97hETJAkwbgbA_nx-U_P3Z7uYf8ouHrhqQcBXrmgzcYJNU7FVkGofKlYVf2GF3cSR0G-/w400-h217/meditation.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>In closing, there is one more thing I think is important to acknowledge. Assuming you aren't irrationally unbalanced, doubt is more likely to be an issue in areas where you have little experience. <b>The less experience you have with something, the more doubt will naturally be invited in.</b> Why? Cause you haven't done X enough times yet to grow confident in what you are doing. But that relates to <a href="https://www.septembercfawkes.com/2019/10/exactly-why-failure-is-key-to.html">another article</a> and <a href="https://www.septembercfawkes.com/2019/10/how-to-develop-discernment-and-wisdom.html">another article</a>.</p><p>It's normal and healthy to have doubt, but hopefully this post has helped you come up with ways to manage yours. It should never go away completely. But it also shouldn't overwhelm you to the point you're crippled. </p><p>As much as you hear your inner Skeptic, it's just as important (and in some situations, more important) to hear your inner Sidekick. Make sure you give it time and space to speak.</p><p>And if all else fails, don't let doubt stop you from living your dreams. While it's not fun, even if you are plagued by immense self-doubt, you can still choose to move forward in spite of it. You can still take the next steps on your journey. Good feelings aren't a strict prerequisite to doing that.</p><p>So go forth and live your best life.</p><p><br /></p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-22598853843161844592023-02-26T06:43:00.001-07:002023-02-26T06:43:51.366-07:00Testing Fate: A Closer Look at Person vs. Fate Conflict<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7uMZ0pCGjbjkOpRDaBX36w6vctDqo2p8OZY1LYqPaBsG16O6vzfHeIakgfYOvG4c3neAXoI672Nj7ihMK2nY6bx5Q5qKqx7UO9D-69X61qsx9LPt8jkKFChjl8L7hTlABpRfcPp4aTQTiHH5P8Yg59iu6djjGF9OaLy83jfL5tmVFP78Ukw1hhGtZ/s3264/Personvsfate.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2181" data-original-width="3264" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7uMZ0pCGjbjkOpRDaBX36w6vctDqo2p8OZY1LYqPaBsG16O6vzfHeIakgfYOvG4c3neAXoI672Nj7ihMK2nY6bx5Q5qKqx7UO9D-69X61qsx9LPt8jkKFChjl8L7hTlABpRfcPp4aTQTiHH5P8Yg59iu6djjGF9OaLy83jfL5tmVFP78Ukw1hhGtZ/w400-h268/Personvsfate.jpg" width="400" /></a></div><p><br /></p><p>Conflict is key to writing great stories. And while writers may categorize conflict differently, I categorize conflict into <a href="https://www.septembercfawkes.com/2021/07/the-8-types-of-conflict-with-examples.html">eight types</a>:</p><p></p><blockquote><p>Person vs. Self </p><p>Person vs. Person </p><p>Person vs. Nature </p><p>Person vs. Society </p><p>Person vs. God </p><p>Person vs. Fate </p><p>Person vs. the Supernatural </p><p>Person vs. Technology </p></blockquote><p></p><p>In today’s modern times, the Person vs. God conflict often gets left off lists or is combined with or even replaced by the Person vs. Fate conflict. But because fate conflicts don’t necessarily have gods, and god conflicts don’t necessarily include fate, I put them in separate categories.</p><p><b>Out of all the conflict types, Person vs. Fate is often the most misunderstood.<span></span></b></p><a name='more'></a><p></p><p>Many of us were introduced to the concept of Person vs. Fate through classic tragedies where the protagonist was foretold a future that led him to a dreadful end (like in <i>Oedipus Rex</i> or <i>Macbeth</i>). This has led some to proclaim that the Person vs. Fate conflict is unpopular or even outdated, and has also led some writers to shortchange this conflict type (if they even give it much thought). <b>In reality, a fate conflict happens whenever a character is struggling with a destiny–something is predetermined or foreordained, and the character somehow opposes that.</b> What is foretold need not always be tragic or lead to a dreadful end. Arguably, it need not always even be otherworldly.</p><p>In fantasy, fate often comes from a prophecy. In <i>Harry Potter and the Half-blood Prince</i>, Harry struggles with the prophecy that neither he nor Voldemort can really live while the other survives. In horror, this may be a kind of curse. In <i>Final Destination</i>, the characters are trying to cheat their deaths–they are fated to die. It can even play into the concept of the universe having an order or law that must be upheld or fulfilled. In <i>The Lion King</i>, Simba must embrace his destiny as the one true king to bring order to the Circle of Life. And if we broaden the concept a little more, we can find foretold fates in the normal world; in <i>The Fault in Our Stars</i> by John Green, Hazel is fated to die from terminal cancer. </p><p><b>Person vs. Fate conflicts are very effective because they get the audience to anticipate a future event, which <a href="https://www.septembercfawkes.com/2020/12/crafting-convergence.html">creates convergence</a></b>. "To converge" means to meet at a point, incline toward each other, or to come to a common conclusion. In crafting our stories, we often want a degree of convergence. Convergence is about getting the <a href="https://www.septembercfawkes.com/2020/05/how-to-create-page-turner-look-forward.html">audience to look ahead</a> to a specific moment that promises a (potential) outcome. This draws the audience in because they have to keep reading to see if what is expected to happen actually does happen, and they need to see how it happens. Introducing a Person vs. Fate conflict instantly brings that into the story. </p><p>Many fate conflicts are rendered as <a href="https://www.septembercfawkes.com/2017/10/working-with-teasers.html">teasers</a>. Some characters have premonitions in dreams or visions that only reveal a snippet of fate. Prophecies are often worded in ambiguous or metaphorical ways, giving rise to <a href="https://www.septembercfawkes.com/2016/01/vague-vs-ambigious-which-are-you-writing.html">multiple interpretations</a>. Teasers don't tell us a lot about the plot, but they do usually promise an emotion, and they always promise the audience that they'll understand the teaser better if they keep reading, which motivates them to keep turning pages.</p><p>If the promised fate and how it is to come about is ambiguous, this can bring in a sense of mystery. Characters, or simply the audience, may try to work out who the "chosen one" is, or what is needed to defeat the villain. Often a fate conflict works as a type of riddle.</p><p><b>Usually Person vs. Fate conflicts explore free will within strict limitations</b>. While some writers choose to ultimately emphasize a <i>lack</i> of free will, others choose to emphasize the <i>power</i> of free will. In <i>Oedipus Rex</i> characters try to change fate and end up bringing it about. In <i>Harry Potter and the Half-blood Prince</i>, Harry eventually realizes he has a choice to accept his role or not, and chooses to rise to the occasion. Characters destined to die, may have a moment where they decide how they will face that death.</p><p><b>How the character chooses to deal with the fate is often just as (if not more) interesting than the fate itself.</b> The character may openly fight against fate like Oedipus Rex, or the character may have more of a personal struggle with accepting the fate and its costs, like Simba. The audience may be invited to consider whether it’s worth the cost. In <i>Dr. Faustus</i> by Christopher Marlowe, Dr. Faustus sells his soul to the devil to gain all knowledge. Was gaining all knowledge worth a fate in hell?</p><p>Commonly characters who fight against fate are punished (and the fate portrayed as inevitable), but it's possible to write a story where that is depicted positively and/or where they succeed in altering fate. With this conflict type, consider whether or not the fate is altered, whether that is a good or bad thing, and whether the character ultimately embraces or rejects fate. Are they punished or rewarded for that? Was the effort worth it?</p><p>Typically, people think of fate conflicts coming from some force beyond the character’s power, but sometimes it’s interesting when the character makes a choice that leads to an inevitable fate, such as Dr. Faustus, or even Jack Sparrow, who makes a deal with Davy Jones in exchange for the Black Pearl in <i>Pirates of the Caribbean.</i></p><p>Fate conflicts traditionally come from the supernatural: prophecies, premonitions, curses, fortunes and predictions, a universal law, magical debts, or the will of otherworldly entities. But the concept can be broadened to include real-world fates: terminal illness, death row and other court sentences, forced marriage, being made a scapegoat, or forced labor. Admittedly, some conflict types can overlap with others, but looking at conflicts from a fate angle may open up your stories to new possibilities.</p><p>A few more examples of fate conflicts:</p><p></p><blockquote><p>Curses, like in <i>The Ring</i>, where a video is promised to kill the viewer in seven days.</p><p>Deals, like in <i>Pirates of the Caribbean</i>, where Jack is in debt to Davy Jones and must join The Flying Dutchman or be taken by the Kraken</p><p>Fortunes and predictions, like in <i>The Raven Boys</i> by Maggie Stiefvater, where Blue is told that if she kisses her true love, he will die</p><p>Supernatural entities, like in <i>A Christmas Carol</i> by Charles Dickens, where a ghost tells Scrooge of his coming death</p></blockquote><p></p><p><br /></p><p>For ideas on possible resolutions and stakes for the Person vs. Fate conflict, check out "<a href="https://www.septembercfawkes.com/2021/07/the-8-types-of-conflict-with-examples.html">The 8 Types of Conflict</a>."</p><p>Because this conflict is so often misunderstood, I simply wanted to do a post broadening our perspectives of it. Do you use Person vs. Fate conflicts?</p><p><br /></p><p style="text-align: center;">***</p><h3 style="text-align: left;">LAST CHANCE: My Writing Course Starts Next Week!</h3><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl4o1u4BZ-SaxpGh9-DATZ6-n1Ddrdy44tiefor4m-ZHiXOo6GbvngFeT57nniMORe_gfpRukx6gn6J57xuRva4_fqZ6GPlnCEk1T8jBnwaffBH2lDlfd2J6QqHIq0qcUKu0XJozWNeJ-41rez4VgFcVKr7Y1QBcd9Vwn9r5mX5QDcu520HbNqIyZa/s320/Triarchy%20Course%20September%20C.%20Fawkes%20(1).jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="320" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl4o1u4BZ-SaxpGh9-DATZ6-n1Ddrdy44tiefor4m-ZHiXOo6GbvngFeT57nniMORe_gfpRukx6gn6J57xuRva4_fqZ6GPlnCEk1T8jBnwaffBH2lDlfd2J6QqHIq0qcUKu0XJozWNeJ-41rez4VgFcVKr7Y1QBcd9Vwn9r5mX5QDcu520HbNqIyZa/w400-h400/Triarchy%20Course%20September%20C.%20Fawkes%20(1).jpeg" width="400" /></a></div><br /><p><br /></p><p>Craft your best book by focusing on what matters most: The “bones” of story.</p><p>This content-focused course will help you:</p><p></p><blockquote><p>- Brainstorm better and more relevant material</p><p>- Evaluate what ideas most belong in your story (preventing you from writing hundreds of pages that need to be scrapped), and</p><p>- Craft a page-turning plot with compelling characters that sticks with readers long after they’ve closed the book (. . . and hopefully leads them to preorder your next book).</p><p>- And more</p></blockquote><p></p><p>If you’ve found yourself writing and rewriting the same scenes, acts, or arcs, only to make them marginally better; or have struggled creating complex characters who are engaged in meaningful plots; or if you’ve been experiencing writer’s block over what you need to write next and how… The Triarchy Method will show you how to write a stronger, solid story by focusing on the “bones” of the story.</p><p></p><blockquote><p><b>Character</b></p><p>Character is represented by the rib cage—it houses the heart of story. It’s how the audience gains emotional experience from the narrative, through (to some degree) empathy.</p><p><b>Plot</b></p><p>Plot is represented by the backbone—it holds the story upright and together. It’s the curvature that makes up the narrative arc, the spine that runs from beginning to end.</p><p><b>Theme</b></p><p>Theme is represented by the skull—it hosts the intellect of story. It’s how the audience gleans meaning that sticks with them long after the narrative is over. It’s why the story matters.</p></blockquote><p></p><p>This live, online class is limited to 10 students and will focus on the core principles of each of the “bones” and how to structure them. Classes start March 7 and run Tuesdays and Thursdays at 6:30 pm Mountain Time (8:30pm EST) for a total of 23 classes. Classes ends on May 25.</p><p>For more information, visit <a href="https://mystorydoctor.com/the-triarchy-method-of-story/">https://mystorydoctor.com/the-triarchy-method-of-story/</a></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-84334452777601753422023-02-13T04:00:00.115-07:002023-10-07T08:38:08.695-06:00How to Write Strong Character Relationships: Tips, Arcs, Plot, Structure<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3DVUWsDmde7JNFTdwY7-Ba1slbp8atrS58oInMXg1qeZyUMUQvqdS6EeIBR214aP8G1y2Y7XfDgsfeIZ-k3lY4_10f5BZf8l9HLyD12B6GDXvJNdf8gHrofz4iDOP5INO9lmWouIthoI8GFcAzT0mSfbdHmB08Ofxc29gOBcibhE2ck2bOMMrEN8E/s2048/How%20to%20Write%20Strong%20Relationships%20Guide.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="2048" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3DVUWsDmde7JNFTdwY7-Ba1slbp8atrS58oInMXg1qeZyUMUQvqdS6EeIBR214aP8G1y2Y7XfDgsfeIZ-k3lY4_10f5BZf8l9HLyD12B6GDXvJNdf8gHrofz4iDOP5INO9lmWouIthoI8GFcAzT0mSfbdHmB08Ofxc29gOBcibhE2ck2bOMMrEN8E/w400-h264/How%20to%20Write%20Strong%20Relationships%20Guide.PNG" width="400" /></a></div><p><br /></p><p>Writing strong character relationships is critical for any author to master. Nearly every story, in nearly every genre, will feature a relationship for a plotline--whether that relationship is for the primary, secondary, tertiary, or quaternary plot, and whether that relationship is positive or negative, for allies, friends, love interests, coworkers, rivals, enemies, or what have you. </p><p>Set up the relationship dynamics right in your story, and any relationship will be easier to write.</p><p>Authors often use relationship plotlines because they fit exactly between the external plot and the internal plot. They aren't as broad and far-reaching as the external plot, but they aren't as deep or personal as the internal plot. This makes them a perfect fit to add dimension to any story.</p><p>Hello, everyone! I'm officially finishing up my relationship series (for now) with an overview of what we've covered. This page will work well to refresh you on the topic and help you find and recall any info you may need to come back to later. I hope this journey has been helpful to you, and I hope this page will help anyone new here, looking for a guide to writing relationships.</p><p><i>Please note for below: "Character A" and "Character B" may refer to either character in the relationship.<span></span></i></p><a name='more'></a><p></p><p><br /></p><h2 style="text-align: left;">A Guide to Writing Relationships: 7 Comprehensive Steps</h2><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKq6bEy0-DAXrtOr1gsGErIMTPIVhJgrGZ2csV06ZkoWUkw_ynHC4DMeyny9JFJS8l4fKKXEw9c1tcO5s6Y0c_5KkkcixipP7BcxPINMSIY_iU370pBqkcksFuE9dOSsr48GPjl7vfiM8IhdgnwRXf8BPFZO62Tdu4kiNG2-lpXrN4YZ3r_5McupTW/s3264/4%20Relationship%20Arc%20Types%20Writing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2164" data-original-width="3264" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKq6bEy0-DAXrtOr1gsGErIMTPIVhJgrGZ2csV06ZkoWUkw_ynHC4DMeyny9JFJS8l4fKKXEw9c1tcO5s6Y0c_5KkkcixipP7BcxPINMSIY_iU370pBqkcksFuE9dOSsr48GPjl7vfiM8IhdgnwRXf8BPFZO62Tdu4kiNG2-lpXrN4YZ3r_5McupTW/w400-h265/4%20Relationship%20Arc%20Types%20Writing.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">1. <a href="https://www.septembercfawkes.com/2022/10/the-4-basic-types-of-relationship-arcs.html">Identify the Characters' Relationship Arc</a></h3><p>There are several basic types of relationships . . . </p><p><b>A relationship arc is how a relationship grows or changes through a story. Every significant character relationship can be broken down into four basic arc types:</b></p><h4 style="text-align: left;"><u>Positive Change Relationship Arc</u></h4><p></p><blockquote><p>The characters start the story distant from each other. They are often strangers meeting for the first time, or they may even be downright enemies. But through the story, they grow closer in love and respect.</p><p><u>Examples:</u> Elizabeth and Mr. Darcy in <i>Pride and Prejudice</i>, Sulley and Boo in <i>Monsters Inc.</i> Mulder and Scully in <i>The X-Files.</i></p></blockquote><p><i></i></p><h4 style="text-align: left;"><u>Positive Steadfast Relationship Arc</u></h4><p></p><blockquote><p>In this relationship arc, the characters start already close and already have love and respect for each other. But through the story, their relationship is tested by the obstacles of the plot. They may have their rough patches, but ultimately, at the end, they stand by one another. They typically grow in their love and respect for one another.</p><p><u>Examples:</u> Frodo and Sam in <i>The Lord of the Rings</i>, Harry and Dumbledore in <i>Harry Potter and the Deathly Hallows</i>, Peter Parker and his love interest in some of the Spider-man installments.</p></blockquote><p></p><h4 style="text-align: left;"><u>Negative Change Relationship Arc</u></h4><p></p><blockquote><p>The characters start the story close, with love and respect for one another. But they are ultimately pulled apart and become distant, as strangers or enemies. Often they grow in dislike or disrespect for each other.</p><p><u>Examples:</u> Anakin and Obi-wan in <i>Star Wars Episode III: Revenge of the Sith</i>, Katniss and Gale in <i>The Hunger Games</i>, Mike and Will in <i>Stranger Things</i> (Seasons 1 - 4)</p></blockquote><p></p><h4 style="text-align: left;"><u>Negative Steadfast Relationship Arc</u></h4><p></p><blockquote><p>In this relationship arc, the characters start distant--often as strangers or enemies--and end distant. They may be close for a time, through the middle of the story, but at the end, they don't stand by one another. Often their dislike and disrespect will grow by degree.</p><p><u>Examples:</u> Winston and Julia in <i>1984</i>, Angier and Borden in <i>The Prestige</i>, Estella and the Baronness in <i>Cruella</i>.</p></blockquote><p></p><p>Beyond the basic relationship arcs, there are at least six variations. </p><p>It may be helpful to use more specific labels when mapping out your characters' relationship arc. For example: strangers --> enemies --> friends --> lovers</p><p>Your characters' relationship arc is one of the most important features to know in order to write a strong plotline for them. Know what direction they are growing, so you can write a great one. </p><p><a href="https://www.septembercfawkes.com/2022/10/the-4-basic-types-of-relationship-arcs.html">Read more about Relationship Arcs</a></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjJnzJAjGbswhYyTLLF9rhYUrDaw92gBdYQ5DzXoueXk_uJknQ8MnUWv9N7daXMoe_gVcxxMqGMc3Kom0H7ge50kOh6zQNtXcj2hzKUkqrinaAoHKqsbvNVRgBHpwTS8CgDZYMEDugHN8sYYZMP9k0L9_IlWRxcSo83kUP4FSl14FCEY-qJ54RSaex/s2048/Relationship%20arcs%20into%20plotlines.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1414" data-original-width="2048" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjJnzJAjGbswhYyTLLF9rhYUrDaw92gBdYQ5DzXoueXk_uJknQ8MnUWv9N7daXMoe_gVcxxMqGMc3Kom0H7ge50kOh6zQNtXcj2hzKUkqrinaAoHKqsbvNVRgBHpwTS8CgDZYMEDugHN8sYYZMP9k0L9_IlWRxcSo83kUP4FSl14FCEY-qJ54RSaex/w400-h276/Relationship%20arcs%20into%20plotlines.PNG" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">2. <a href="https://www.septembercfawkes.com/2022/10/turning-relationship-arcs-into-plots.html">Turn the Relationship Arc into a Plot</a>, through a Goal, Antagonist, Conflict, and Consequences</h3><p><b>Having an entertaining or fiery relationship that arcs isn't enough to create a solid plotline. In order to <i>be</i> a plotline, the relationship needs a <i>plot</i>.</b></p><p>The <a href="https://www.septembercfawkes.com/2022/07/the-primary-principles-of-plot-goal.html">primary principles of plot</a> are goal, antagonist, conflict, and consequences. You can't have a strong plot without them.</p><h4 style="text-align: left;"><u>Relationship Goal:</u></h4><p>In a relationship, at the most basic level, <b>there are only three goals: draw closer, grow apart, or maintain the relationship as is.</b></p><p>While other plotlines may influence the relationship plotline, when considering <i>only</i> the relationship one, ask, "How does my character feel about this other person? Does he want to draw closer to, grow apart from, or maintain things as is, with this other person?" That's the basic relationship goal.</p><p>However, it is likely the goal will change throughout the story.</p><h4 style="text-align: left;"><u>Relationship Antagonist:</u></h4><p>The antagonist is a form of <i>opposition</i> that is <i>in the way of the goal</i>. <b>The antagonist can come from something external</b> (outside the relationship), <b>from within the relationship</b> (the characters have differences that create obstacles), <b>or from within a character</b> (the character has internal conflict that is affecting the relationship).</p><p>At the basic level, the antagonist usually works like this:</p><p></p><blockquote><p>If the character wants to draw closer, the antagonistic force is what's keeping them apart.</p><p>If the character wants to grow apart, the antagonistic force is what's pushing them closer.</p><p>If the character wants to maintain, then the antagonistic force is what's disrupting normal.</p><p>* Sometimes the antagonistic force is the other person in the relationship.</p></blockquote><p></p><p>Many (if not most) weaknesses in relationship plotlines stem from weak antagonistic forces. Find the right, strong one, to make the characters' struggle believable (i.e. a simple misunderstanding that can be solved by a phone call probably isn't going to cut it).</p><h4 style="text-align: left;"><u>Conflict:</u></h4><p>The relationship goal and antagonist lead to conflict. There shouldn't be an easy, foreseeable way to fix this situation (if there is, the goal and/or antagonist isn't strong enough). </p><p>The more the characters want the relationship goal and the stronger the antagonistic force, the more powerful the conflict. <b>How the characters address the conflict will usually create the arc. As the characters overcome, or are overcome by, the obstacles, they will draw closer or further apart.</b></p><p>Always remember the other plotlines may affect the relationship plotline.</p><h4 style="text-align: left;"><u>Consequences:</u></h4><p>Conflict without consequences is just cleverly disguised filler. Conflict should change outcomes. Consider: What do these characters have to gain (and/or lose) in overcoming the conflict? What do they have to lose (and/or gain) in being overcome by the conflict? What are the stakes and ramifications?</p><p><b>Ideally, the consequences of the relationship plotline will bleed into other plotlines.</b> For example, if the characters can't work together, then the external plot goal can't be achieved. This is a common setup, but it's not the only setup. Likewise, consequences of other plotlines may affect the outcomes of the relationship plotline.</p><p><a href="https://www.septembercfawkes.com/2022/10/turning-relationship-arcs-into-plots.html">Read more about Relationship Goals, Antagonists, Conflicts, and Consequences</a></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_B4sufQ8hrMiCh26KdUjNG70lRtsdbfE3_CDdWDpCg7PHYfLpCz1rF92hLqjMF3Vcwf7g-3ZBb3Bf6CbWvCg8CDyCSZ1TXK6Tx7GmqnlsGf5NLNSYe2UIT2SNK0ihP_ZvluV2CBggeRI1yTOUWGbRkefdg2ogVozh953KGH03MTPqrbn6AjZJAQQS/s1920/Writing%20relationships%20plots.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_B4sufQ8hrMiCh26KdUjNG70lRtsdbfE3_CDdWDpCg7PHYfLpCz1rF92hLqjMF3Vcwf7g-3ZBb3Bf6CbWvCg8CDyCSZ1TXK6Tx7GmqnlsGf5NLNSYe2UIT2SNK0ihP_ZvluV2CBggeRI1yTOUWGbRkefdg2ogVozh953KGH03MTPqrbn6AjZJAQQS/w400-h266/Writing%20relationships%20plots.jpg" width="400" /></a></div><h3 style="text-align: left;">3. <a href="https://www.septembercfawkes.com/2022/11/turning-relationship-arcs-into-plots-2.html">Strengthen the Relationship Plotline</a> with Progress, Setbacks, Costs, and Turning Points</h3><p>The <a href="https://www.septembercfawkes.com/2022/07/the-secondary-principles-of-plot.html">secondary principles of plot</a> are progress, setbacks, costs, and turning points. Make sure the relationship journey contains these.</p><h4 style="text-align: left;"><u>Progress & Setbacks:</u></h4><p>The audience dislikes when there is no sense of direction. <b>To keep a relationship plotline from feeling aimless or like it is circling or stagnant, make sure there is progress toward the relationship goal and setbacks coming from the antagonistic force.</b></p><p>The relationship needs to be going somewhere, changing, as the characters are pushed closer or pulled apart. We want to create an ebb and flow, a zig-zag in the relationship. This is more impactful.</p><h4 style="text-align: left;"><u>Costs:</u></h4><p>Costs are what the character has to "pay" to move forward with the goal. The most meaningful costs come out of conflicts and consequences. </p><p>If a relationship has no costs, the characters didn't really have to struggle and sacrifice to be together (or, alternatively, apart).<b> Costs are needed to <i>show</i> what the relationship actually means to the characters.</b> As the plotline progresses, the costs should escalate.</p><p>The best dialogue, interactions, emotional responses, and physical descriptions will mean next to nothing if there is no proof or action behind them. <b>Don't just tell us what the relationship means. Show us.</b></p><h4 style="text-align: left;"><u>Turning Points:</u></h4><p>In a relationship, <b>a turning point happens when it becomes impossible for the relationship to go back to what it was previously.</b> This will happen through an action (event) or a revelation (information). </p><p>Almost always, a relationship turning point will be <b>marked with a moment of vulnerability, which is then accepted, rejected, or neglected by the other character:</b></p><p></p><blockquote>Action or Revelation --> Character A's Vulnerability --> Accepted or Rejected (or, Neglected) by Character B.</blockquote><p></p><p>The vulnerability may be voluntary or forced, and there are different types of vulnerability (psychological, professional, physical). Most relationships will have both positive and negative turns. </p><p>Escalate the turning points--the biggest turning point will happen at the climax of the relationship plotline.</p><p><a href="https://www.septembercfawkes.com/2022/11/turning-relationship-arcs-into-plots-2.html">Read more about Relationship Progress, Setbacks, Costs, and Turning Points</a> (Sample)</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilTDVrbxn_9tgh8bckooFJOgEXzPSu0ysKOM6pMlJ3iEzIOlpLpR-5B1356BRJP8JrAfYG6HMXL15Vs4zk1Zl3zv_QyUDwZAKd3WSVvUN6C9oB1b5tyrewx2NeAQB_qM0FCLmU3u6x_2I4DdKg-0P8CAfVUB__Zo_3yZLB69aPZElApDlnjmYLqP-y/s1920/Writing%20relationships%20plot%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilTDVrbxn_9tgh8bckooFJOgEXzPSu0ysKOM6pMlJ3iEzIOlpLpR-5B1356BRJP8JrAfYG6HMXL15Vs4zk1Zl3zv_QyUDwZAKd3WSVvUN6C9oB1b5tyrewx2NeAQB_qM0FCLmU3u6x_2I4DdKg-0P8CAfVUB__Zo_3yZLB69aPZElApDlnjmYLqP-y/w400-h266/Writing%20relationships%20plot%203.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">4. <a href="https://www.septembercfawkes.com/2022/11/turning-relationship-arcs-into-plots-3.html">Reinforce the Relationship Plotline</a> with Plans, Gaps, and Crises</h3><p>The <a href="https://www.septembercfawkes.com/2022/07/the-tertiary-principles-of-plot-plans.html">tertiary principles of plot</a> are plans, gaps, and crises. </p><h4 style="text-align: left;"><u>Plans:</u></h4><p>Having a plan reinforces the goal and a sense of progress. If the character truly wants something, they will have a plan to get it. </p><p><b>The character has a relationship goal. . . . How does the character plan to achieve that? </b></p><h4 style="text-align: left;"><u>Gaps:</u></h4><p>The gap is that space between what the character expects to happen and what actually does happen. The character has a goal and a plan and takes action, but sometimes reality delivers an unexpected outcome.</p><p>In relationships, <b>look for situations where the character takes an action toward a relationship goal, but it backfires.</b> For example, he may try to draw closer, but unknowingly pushes the other character away in the process (or vice versa). </p><h4 style="text-align: left;"><u>Crises:</u></h4><p>A crisis happens when a character has to make a choice between two opposing paths forward. They can't take both paths, and the choice is often difficult because there are stakes (consequences) tied to each path. The crisis is almost always sandwiched between two <i>mini</i>-turning points. For relationships, this is where it's usually found as well.</p><p>In a relationship turning point, <b>something leads to Character A being vulnerable. This puts Character B in a crisis about how to react.</b> If B accepts, then X will happen. If B rejects, then Y will happen. If B neglects, then Z will happen. It usually looks like this:</p><p></p><blockquote>Action or Revelation --> Character A's Vulnerability --> Crisis --> Accepted or Rejected (or, Neglected) by Character B.</blockquote><p></p><p>What Character B chooses will reveal true character and also arc the relationship.</p><p><a href="https://www.septembercfawkes.com/2022/11/turning-relationship-arcs-into-plots-3.html">Read more about Relationship Plans, Gaps, and Crises.</a> (Sample)</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK0cNFbKWodurBmogd5ShMgKFqA3cS0oAlif7VQowv7ohWZSd14WFYRxczwmVPkK_ZRHr-3BSjFOhVzTomW4fRvoSrSDgyMFxNdQEG8io5sGbMlnJyCs0nR1c6y1xv25Oyavg2S6ITUto51shYRANYYsVstbnP39K9idwmZT_sq6STHg_saDmdIAqn/s3264/1CEEBA14-FA00-4B2F-8F9A-5C64905C21C2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2247" data-original-width="3264" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK0cNFbKWodurBmogd5ShMgKFqA3cS0oAlif7VQowv7ohWZSd14WFYRxczwmVPkK_ZRHr-3BSjFOhVzTomW4fRvoSrSDgyMFxNdQEG8io5sGbMlnJyCs0nR1c6y1xv25Oyavg2S6ITUto51shYRANYYsVstbnP39K9idwmZT_sq6STHg_saDmdIAqn/w400-h275/1CEEBA14-FA00-4B2F-8F9A-5C64905C21C2.jpeg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: left;">5. <a href="https://www.septembercfawkes.com/2022/12/structuring-your-relationship-plotline.html">Structure Your Relationship Plotline</a> Correctly</h3><p>Now that you know the arc and plot elements, it's time to organize them into a structure.</p><p>Because relationship plots can take so many different forms, it's important to understand the foundational principles behind their structure. This will allow you to properly structure any relationship plotline.</p><p><b>Some relationships start in Act I, while others start in Act II.</b> You can have a relationship plotline that stretches over three acts, two acts, or even one act. But if it is the most prominent plotline, it (likely) needs to stretch through all three acts.</p><p><b>Each act should have a major turning point in the relationship</b>. This major turn will either push the characters closer or pull them further apart, usually in an irreversible way. Map out the push and pull of the acts through your story. (Keep in mind the relationship plotline may be influenced by other plotlines.)</p><p><b>Between each major turn, there is a journey that can be thought of as a three-step dance: two steps forward and one step back OR one step forward and two steps back</b>. Dance the characters between each major turn. Note: Act-level inciting incidents are what kick off this dance.</p><p>If you used specific labels (ex. strangers --> enemies --> friends --> lovers), each of these will likely be separated by a major turning point. </p><p>Make sure the biggest relationship moments are the act-level turning points!</p><p><a href="https://www.septembercfawkes.com/2022/12/structuring-your-relationship-plotline.html">Read more about Structuring Relationship Plotlines.</a> (Sample)</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjW3zP0OhQ9TmgUihO1ozKEPuWhOcOfDiP6V0d8gsDCOXzTUsqYbn0kE3QKU2y3NJ84GhDz00IccHimMtTX5c-y-d4ttH_S568j5Yf0vGJ69Y5aQvR6pTJqylLZje7uplygCSe8RcPcp_qBisMRFDqJNg_3MEdC5zu44P-sDH8R65K4Y_wMaPb1SQ4/s1280/Writing%20structure%20relationship%20plot.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjW3zP0OhQ9TmgUihO1ozKEPuWhOcOfDiP6V0d8gsDCOXzTUsqYbn0kE3QKU2y3NJ84GhDz00IccHimMtTX5c-y-d4ttH_S568j5Yf0vGJ69Y5aQvR6pTJqylLZje7uplygCSe8RcPcp_qBisMRFDqJNg_3MEdC5zu44P-sDH8R65K4Y_wMaPb1SQ4/w400-h266/Writing%20structure%20relationship%20plot.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: left;">6. Familiarize Yourself with <a href="https://www.septembercfawkes.com/2022/12/structuring-your-relationship-plotline.html">Common Key Beats</a></h3><p>Most relationship plotlines will include six key moments. When you know them and understand their functions, you can use them or adapt them for your relationship plotline.</p><h4 style="text-align: left;"><u>The Meet Cute:</u></h4><p>The Meet Cute is the first time the audience sees the relationship characters on the page together (whether they already know each other or are meeting for the first time). <b>Use this moment to convey where the characters stand currently with one another. </b>Ideally, you should individualize your Meet Cute to introduce the central relationship.</p><p>The Meet Cute may or may not be the relationship plotline's inciting incident, depending on how it affects the story.</p><h4 style="text-align: left;"><u>The Adhesion:</u></h4><p><b>Something locks the relationship characters together in an irrevocable way</b>. This can be external, within the relationship, or within one of the characters. </p><p>At this point, <b>there will be both an "adhesive" and "repellant" in play</b>--a force of push and a force of pull. The relationship goal and antagonist officially set up the main conflict.</p><h4 style="text-align: left;"><u>The Token:</u></h4><p><b>This is a moment where the characters draw real close, and it is often marked by a token of love and/or trust</b> (such as a first kiss, sharing a secret, or a rescue). This moves the relationship closer than it has been before in the story.</p><p>Usually, Character A will have an intensely vulnerable moment, that Character B will then accept and often even reciprocate.</p><h4 style="text-align: left;"><u>The Breakup:</u></h4><p>More or less the opposite of The Token, <b>The Breakup pulls the characters further apart than before.</b> Often one or both characters will be personally hurt (frequently from a form of rejection) and push away to protect themselves (or the other person).</p><p>Occasionally, in stories where the relationship plotline isn't the main plotline, the characters may simply be physically separated. </p><h4 style="text-align: left;"><u>The Grand Gesture:</u></h4><p><b>At the climax of the relationship plotline, Character A will have her most vulnerable moment. This will then be accepted or rejected or neglected by Character B</b> in a defining way that completes the relationship arc.</p><p>This is often a moment where Character A lays it all on the table and stands figuratively naked before Character B. Like The Token, it is often marked by a grand gesture of either love/trust or hate/distrust.</p><h4 style="text-align: left;"><u>The Denouement:</u></h4><p><b>Use this beat to validate how the relationship has changed and/or remained the same</b>--validate the completion of the relationship arc. Hint at a new normal for these characters. Show how the relationship changed or didn't change each individual character.</p><p><a href="https://www.septembercfawkes.com/2022/12/structuring-your-relationship-plotline.html">Read more about Key Beats in Relationships.</a></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-d9Kwz6Gl244ryUvvMJAZkW5LuixOg4iDg6RJFxU7moV8giLj1cuQVnIMZQIwiHV5VgEtWepK5yULmOQy_L0yUXL-ZBfrOOjvb4mYlJsaKCRXE6CN6YO3dtr0f53Kp4XwK0-H8ubc-cz4j66Z337zLmWeuyJNd0dWhndgVcYHPR2ALGCCJlR89svk/s3264/Strong%20Character%20Relationships.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2651" data-original-width="3264" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-d9Kwz6Gl244ryUvvMJAZkW5LuixOg4iDg6RJFxU7moV8giLj1cuQVnIMZQIwiHV5VgEtWepK5yULmOQy_L0yUXL-ZBfrOOjvb4mYlJsaKCRXE6CN6YO3dtr0f53Kp4XwK0-H8ubc-cz4j66Z337zLmWeuyJNd0dWhndgVcYHPR2ALGCCJlR89svk/w400-h325/Strong%20Character%20Relationships.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: left;">7. Flesh Out the Relationship</h3><p>With the most important pieces in place, you can further flesh out the relationship.</p><p><b>A. Familiarize yourself with the role of <a href="https://www.septembercfawkes.com/2020/07/writing-influence-character.html">the Influence Character</a></b>--this is often the person the protagonist has a central relationship with.</p><p>The Influence Character has power based on influence (or in some cases, is the one being influenced by the protagonist). Usually the Influence Character will embody a different kind of arc than the protagonist. If the protagonist has a change arc, the Influence Character will have a steadfast arc. If the protagonist has a steadfast arc, the Influence Character will have a change arc (generally speaking).</p><p>The protagonist and Influence Character are often somehow linked together in the plot or are on similar journeys. However, because they have different worldviews, they have different methodologies, so they may argue about <i>how</i> best to move forward.</p><p><b>B. Check out some of <a href="https://www.septembercfawkes.com/2015/02/relationship-as-character-crafting-duos.html">the key features that make relationships irresistible</a>.</b></p><p>Great relationships have a sense of history. And usually, the characters know each other too well. The participants should be opposites in some way that is relevant to the story. And they should probably show some form of affection (assuming they don't hate each other for the entire story).</p><p>If you are writing about a relationship that is already established before the story begins, you might want to employ <a href="https://www.septembercfawkes.com/2019/04/how-to-convey-established-relationship.html">these methods</a>: communicate what's normal, imply an off-page history, have one character predict how the other will behave, give a sense of how the relationship has changed, round out likeness with foiling and opposition with likeness.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1oJhkGSmrAC-Qy9hWA-S8BycPjnYUpuRwlmVZKblqCj7lhb0uX9d6n13h7i6SlZIF79-GhNNX8LQ5X-FADd1ZKlUE0AMRNLf_apKvdHOfrTKnz2GQ6s5fM9vKdQHR8dL6E7r41Qh6nwKvAwOaGcWnzzBtYYZ230dHQK5EUwov_TrICV2TVp9K5g8j/s1280/relationship%20arcs%20in%20a%20series.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1oJhkGSmrAC-Qy9hWA-S8BycPjnYUpuRwlmVZKblqCj7lhb0uX9d6n13h7i6SlZIF79-GhNNX8LQ5X-FADd1ZKlUE0AMRNLf_apKvdHOfrTKnz2GQ6s5fM9vKdQHR8dL6E7r41Qh6nwKvAwOaGcWnzzBtYYZ230dHQK5EUwov_TrICV2TVp9K5g8j/w400-h266/relationship%20arcs%20in%20a%20series.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">BONUS: Structure Your Relationship Arcs & Plots <a href="https://www.septembercfawkes.com/2023/01/structuring-relationship-arcs-plots-in.html">Through a Series</a></h3><p>If you are writing a series, you may be wondering how to handle relationship arcs and plots through multiple installments. </p><p>You have <b>a few ways to view relationship plotlines through a series:</b></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p>1. Each installment has a self-contained relationship plotline . . . that progresses an overarching series relationship plotline.</p><p>2. Each installment essentially has a "standalone" relationship plotline.</p><p>3. There is one relationship plotline stretched over the whole series.</p></blockquote><p>It's also possible to have some situations that seem to fit in between these.</p><p>One of the first questions to ask yourself is, "Are you plotting about the same character relationship?"</p><p>It's possible to write about a different relationship for each installment.</p><p>If you are writing about the same relationship, you may have a few restrictions and challenges. You might be limited on what arc you can choose, and you'll need to find a way to keep the push and pull in the relationship believable and interesting.</p><p>It's also possible to pull relationships from the background into the foreground, or push relationships from the foreground to the background. </p><p><a href="https://www.septembercfawkes.com/2023/01/structuring-relationship-arcs-plots-in.html">Read more about Structuring a Relationship in a Series.</a></p><p><br /></p><p>With all these things to explore, you'll be writing strong character relationships for any story, any genre, and any pair of characters.</p><p>Happy Shipping ;)</p><p><br /></p><h4 style="text-align: left;"><u>More Recommended Resources</u></h4><p><a href="https://writershelpingwriters.net/relationship-thesaurus/">The Relationship Thesaurus</a> at Writers Helping Writers</p><p><a href="https://www.romancingthebeat.com/">Romancing the Beat</a> by Gwen Hayes</p><p style="text-align: center;">***</p><h4 style="text-align: left;"><u>Special Reminder: I'm Teaching a New Writing Course!</u></h4><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfrabaAS--IeSZqFvxgaB1EfRM9gVMgD--4oBpGjLWf7hkhonC1sKOnPFRzpfveeeJTTcU7bcxO1SVlEslkSYcTGPgQLH1e4579Q7ieK-XEJUuWdnX4TKLu5PdZNyKQe1KxKiO4MNYWctWXtprzJomcSoLZGQhXDj5pVgRGtiv8zlRvmGsWYfM_DSs/s2000/Triarchy%20Course%20September%20C.%20Fawkes.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfrabaAS--IeSZqFvxgaB1EfRM9gVMgD--4oBpGjLWf7hkhonC1sKOnPFRzpfveeeJTTcU7bcxO1SVlEslkSYcTGPgQLH1e4579Q7ieK-XEJUuWdnX4TKLu5PdZNyKQe1KxKiO4MNYWctWXtprzJomcSoLZGQhXDj5pVgRGtiv8zlRvmGsWYfM_DSs/s320/Triarchy%20Course%20September%20C.%20Fawkes.jpeg" width="320" /></a></div><p><br /></p><p>Craft your best book by focusing on what matters most: The “bones” of story.</p><p>This content-focused course will help you:</p><p></p><blockquote><p>- Brainstorm better and more relevant material</p><p>- Evaluate what ideas most belong in your story (preventing you from writing hundreds of pages that need to be scrapped), and</p><p>- Craft a page-turning plot with compelling characters that sticks with readers long after they’ve closed the book (. . . and hopefully leads them to preorder your next book).</p><p>- And more</p></blockquote><p>If you’ve found yourself writing and rewriting the same scenes, acts, or arcs, only to make them marginally better; or have struggled creating complex characters who are engaged in meaningful plots; or if you’ve been experiencing writer’s block over what you need to write next and how… The Triarchy Method will show you how to write a stronger, solid story by focusing on the “bones” of the story.</p><p></p><blockquote><p><b>Character</b></p><p>Character is represented by the rib cage—it houses the heart of story. It’s how the audience gains emotional experience from the narrative, through (to some degree) empathy.</p><p><b>Plot</b></p><p>Plot is represented by the backbone—it holds the story upright and together. It’s the curvature that makes up the narrative arc, the spine that runs from beginning to end.</p><p><b>Theme</b></p><p>Theme is represented by the skull—it hosts the intellect of story. It’s how the audience gleans meaning that sticks with them long after the narrative is over. It’s why the story matters.</p></blockquote><p>This live, online class is limited to 10 students and will focus on the core principles of each of the “bones” and how to structure them. Classes start March 7 and run Tuesdays and Thursdays at 6:30 pm Mountain Time (8:30pm EST) for a total of 23 classes. Classes ends on May 25.</p><p>For more information, visit <a href="https://mystorydoctor.com/the-triarchy-method-of-story/">https://mystorydoctor.com/the-triarchy-method-of-story/</a></p><p style="text-align: center;">***</p><h4 style="text-align: left;"><u>Special Reminder (x2): I will be at LTUE this Week!</u></h4><p>I'm heading to Provo, Utah this week to be a panelist and moderator at <a href="https://ltue.net/">LTUE</a>. If you are going and would like to see any of my panels, click this picture to see it bigger: </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzYSCgZxy710C-5-JAgCgvXCK7qYml6AlNq9v5tpFsTUOgS65IUfsDdmcnCegJUCtRaxFOts7lBMZm8GUE0qdupXecz8UqzahgTAP1URrQTADEeZ4_v7xvlbtX76i5fUPkEt7j03iAjVa8V15BvB12DmoxCpk0uwj8SR-shXO783qAkqiskyBSeKF/s1144/LTUE%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="459" data-original-width="1144" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzYSCgZxy710C-5-JAgCgvXCK7qYml6AlNq9v5tpFsTUOgS65IUfsDdmcnCegJUCtRaxFOts7lBMZm8GUE0qdupXecz8UqzahgTAP1URrQTADEeZ4_v7xvlbtX76i5fUPkEt7j03iAjVa8V15BvB12DmoxCpk0uwj8SR-shXO783qAkqiskyBSeKF/w400-h160/LTUE%202.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: center;">***</p><h4 style="text-align: left;"><u>Special Announcement: I will be Teaching at Storymakers this May</u></h4><p>I will also be at Storymakers this May--the class will be both in-person and available online. It is called: "Be Ye Steadfast and Immovable": Writing Protagonists without Change Arcs. </p><p>Learn more about the Storymakers Conference <a href="https://storymakersguild.org/">here</a>.</p><p><br /></p><p><i>Whew! That is like . . . three more special announcements/reminders than I usually do</i>. ;)</p><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0tag:blogger.com,1999:blog-4311874471131728227.post-8181327284963445772023-01-30T04:00:00.012-07:002023-01-30T04:00:00.193-07:00Structuring Relationship Arcs & Plots in a Series<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCwyg7hXPPstQXd3dm2J-WPAuXZ-DUzzdCtoj8MwNF3py6s2UG9T9GdU4NgzjcOkHlykNMihc-4Eg61ISvaeO0_wq9AvXAxsy_6P68Sz2zncHTukoF1qedK7J4QBZgBTEOHHea1TsiphEbcxxllsCCWw1CgP8TuI42u1Fp-zaaIN-F--PZjHDddO4/s1280/relationship%20arcs%20in%20a%20series.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCwyg7hXPPstQXd3dm2J-WPAuXZ-DUzzdCtoj8MwNF3py6s2UG9T9GdU4NgzjcOkHlykNMihc-4Eg61ISvaeO0_wq9AvXAxsy_6P68Sz2zncHTukoF1qedK7J4QBZgBTEOHHea1TsiphEbcxxllsCCWw1CgP8TuI42u1Fp-zaaIN-F--PZjHDddO4/w400-h266/relationship%20arcs%20in%20a%20series.jpg" width="400" /></a></div><p><br /></p><p>Structuring relationship arcs and plots throughout a series can sometimes feel a little nebulous and daunting. Plenty of writers have messed up such attempts. Luckily, plenty of others get them right, and so can you. Just like everything else in this <a href="https://www.septembercfawkes.com/2022/10/the-4-basic-types-of-relationship-arcs.html">relationship arc</a> and <a href="https://www.septembercfawkes.com/2022/10/turning-relationship-arcs-into-plots.html">plot</a> series though, there is . . . a lot of room for variation. Nonetheless, this article will give you foundational guidelines to help you get it right in your series.</p><p>Hello, everyone! I thought I was basically done with my relationship articles, but I have been asked a couple of times how to handle relationship arcs and plotlines in a series. Well, in some ways, it is similar to how you handle character arcs in a series, which means . . . there is more than one way to do it.</p><span><a name='more'></a></span><p><br /></p><h3 style="text-align: left;">Structure in a Series</h3><p><b>When it comes to looking at a series, I find it helpful to view each volume the same way you would view an act in a single volume. </b></p><p>Scenes fit into sequences, sequences fit into acts, acts fit into global narrative arcs, and each global narrative arc makes up a volume, or installment, in a series.</p><p>This isn't a 100% accurate view for <i>all</i> series, but these days, I think it works for <i>most</i> series.</p><p>So, generally speaking, each of these units still follows the basic story structure. I've talked about this several times, most notably in "<a href="https://www.septembercfawkes.com/2019/11/scene-vs-sequence-vs-act.html">Scene vs. Sequence vs. Act</a>," but for convenience here are some visuals:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi67Ai1oBikLt79RxQb8rxmLJTv_nFFterXpAxgY5V66N-pJSs-XfZzAW450bv-bgYboYxPL6pF8C9gipwbSks-sWI0CzCcgIFYo6FgsjmVnDS4PoFZc4FnkUBVghjHocg032BIDREOZMTbw7FsGfq-oprWZM7DufxRKthLns_o-PfkNy-YYoexDrYA/s862/Act.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="862" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWLrTb8cClNrEsqjHff3ik_v1VnhaayAuyudtHGuml9GbYgK1B647s-jqZF-PFyfM4EBz6bL0H98IqB4lRff7lpUT2KkdJBRLOVLMMiAS8vn0mnyN8D-gndN5boi-b_H_tcjzpbFrMFgtL94SeSiUpIhq4WYtf8IRs8hjPPQUmBIAFWYdPFQUegm8t/s320/basic.jpg" width="320" /></a></span></div></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9YAYlYHS4CoqholI3G1WVLCCBCSMF16-eF482xnO-Y8ST5kNwODdorSv63Ac1yKHWz_wWmPbQky3eu0XXccz25tS6bXAun4vR3XFu7rUGjxhVpmstyMGUA8xHIQV9CVd81jGkLxC3BVqqAbVzYDH5y_-I0kDALi4ZkaMW0k2xX9-KBEazS3UpWvEj/s862/scene.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="862" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9YAYlYHS4CoqholI3G1WVLCCBCSMF16-eF482xnO-Y8ST5kNwODdorSv63Ac1yKHWz_wWmPbQky3eu0XXccz25tS6bXAun4vR3XFu7rUGjxhVpmstyMGUA8xHIQV9CVd81jGkLxC3BVqqAbVzYDH5y_-I0kDALi4ZkaMW0k2xX9-KBEazS3UpWvEj/s320/scene.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_LzaOxYgjmOlc_yGMLGQVvNJwRit2nV9CuDYCCo6JOTiDAKApOzXHNpXn4yTRsJW8kFytLgyLw9teAekFM0Sk90xm-6CPLhwEFMQlQzFjtiGdqDqkUYswL4-PkTX5ryQd3-3dd2XJ2IxtZ7GR5AKcBGeXfAkqETc_eZMzPWPNYKTSVGloxvOxopGL/s862/Sequence.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="862" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_LzaOxYgjmOlc_yGMLGQVvNJwRit2nV9CuDYCCo6JOTiDAKApOzXHNpXn4yTRsJW8kFytLgyLw9teAekFM0Sk90xm-6CPLhwEFMQlQzFjtiGdqDqkUYswL4-PkTX5ryQd3-3dd2XJ2IxtZ7GR5AKcBGeXfAkqETc_eZMzPWPNYKTSVGloxvOxopGL/s320/Sequence.jpg" width="320" /><img border="0" data-original-height="551" data-original-width="862" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi67Ai1oBikLt79RxQb8rxmLJTv_nFFterXpAxgY5V66N-pJSs-XfZzAW450bv-bgYboYxPL6pF8C9gipwbSks-sWI0CzCcgIFYo6FgsjmVnDS4PoFZc4FnkUBVghjHocg032BIDREOZMTbw7FsGfq-oprWZM7DufxRKthLns_o-PfkNy-YYoexDrYA/s320/Act.jpg" width="320" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj15VS-q1dgYHWXQsK1dXYDXjjOL2_vTQQauUrEXaPF-BD5RVy-O6YPxRFPn0fY_rokWfH-1cHHi8-BB16Z5s8TLbZNpQ4L8ziN6-almiuaE-i4eQL6Ah4vf_46aQGhiuCWaoBadQgWIzO4k6NDPZI9492y7aCGOPEydLxUPafh9gS2oz6h0CZyvmLk/s862/plot.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="862" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj15VS-q1dgYHWXQsK1dXYDXjjOL2_vTQQauUrEXaPF-BD5RVy-O6YPxRFPn0fY_rokWfH-1cHHi8-BB16Z5s8TLbZNpQ4L8ziN6-almiuaE-i4eQL6Ah4vf_46aQGhiuCWaoBadQgWIzO4k6NDPZI9492y7aCGOPEydLxUPafh9gS2oz6h0CZyvmLk/s320/plot.jpg" width="320" /></a></div><br /><p></p><p>Often, people divide Act II in half, at the midpoint, in which case, you may view the story more like this:</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ374npzt-K-UfXD4SwhsdFIX0ILJRrBaWXV0DBogRThFAGyUrIVAYf4ByUnJ5HiXsO0Qj6hTmbxPfGtCnVo6aLb9TRir2gKp1RH28aEiGOLYYZfFobNvVHR0emC418t0j_U-SVjgeIsPa5ANnztkOW4esjjvuI1iW151QvP-yBXKmmJiX6_ErF_0G/s771/plot%20with%20acts.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="771" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ374npzt-K-UfXD4SwhsdFIX0ILJRrBaWXV0DBogRThFAGyUrIVAYf4ByUnJ5HiXsO0Qj6hTmbxPfGtCnVo6aLb9TRir2gKp1RH28aEiGOLYYZfFobNvVHR0emC418t0j_U-SVjgeIsPa5ANnztkOW4esjjvuI1iW151QvP-yBXKmmJiX6_ErF_0G/s320/plot%20with%20acts.jpg" width="320" /></a></div><br /><p><br /></p><p>Because this shape is like a Russian nesting doll, or a fractal, there is no reason why you can't<b> extend it beyond a single book into a series as a whole.</b></p><p><b>So the series as a whole may have this shape, while each installment has this shape</b>. Each installment is getting us closer to the climax of the whole series. Therefore, each volume in a series is like, more or less, an act within one.</p><p>But this doesn't work for everything.</p><p>In a <b>serial</b>, there may not be an overarching plotline. It may be that <b>each installment is, more or less, a standalone</b>, that the audience could arguably read (or watch) in any order. In that case, you'll likely view each installment as its own thing.</p><p>Then, on the opposite side of the spectrum from that, you may occasionally find <b>one big story that has simply been cut into pieces</b>, like <i>The Lord of the Rings</i>. This trilogy was actually originally one book, but Tolkien was told it was too long, so he essentially just sliced it into three. This is why the installments can sorta feel like . . . well, they are just sliced. If you watch the movies, though, the filmmakers worked to try to make them each fit typical structure--which is one of the reasons why Shelob's lair was moved from the second book to the third film.</p><p>Keeping all this in mind, you have <b>a few ways to view relationship plotlines through a series:</b></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>1. Each installment has a self-contained relationship plotline . . . that progresses an overarching series relationship plotline.</p><p>2. Each installment essentially has a "standalone" relationship plotline.</p><p>3. There is one relationship plotline stretched over the whole series.</p></blockquote><p>It's also possible to have some situations that seem to fit in between these. . . . And it often gets complex. For one . . . </p><p>. . . the above numbers don't have to necessarily match up with how you view the series structure in general. </p><p>It's possible to have a serial series that stretches a relationship plotline over the whole series (such as Jim and Pam in <i>The Office</i>). Or, it's possible to have a "nesting doll" series where each installment simply has a standalone relationship plotline.</p><p>This is admittedly, one of the reasons why I've struggled with organizing this post.</p><p>With the third option, it's likely the relationship plotline isn't a dominant focal plotline for much of the series, but instead a lesser plotline or something more on the sidelines. For example, Jim and Pam's relationship isn't the primary plotline of most episodes of <i>The Office</i>. It may be an important component of most episodes, but if it were literally the primary plotline, the focus, it would have needed to progress faster. Otherwise, audiences would have banged their heads against their walls with how slow the story was going. Same goes for <i>The X-Files</i>.</p><p>Now, with that said, you <i>can</i> break both <i>The Office</i> and <i>The X-Files</i> down by seasons and see progressions within these relationships in the seasons. Episodes fit into seasons. Seasons fit into the series.</p><p>Rule of thumb: If you pick option three, you will (likely) need other more prominent plotlines, while you inch that one forward in the background or on the sidelines. </p><p>For much of the rest of this article, I'll be focusing on the first two options.</p><p> </p><h4 style="text-align: left;"><u>Reminder: Relationship Arc vs. Relationship Plotline</u></h4><p>While we may sometimes use the terms "relationship arc" and "relationship plotline" to mean the same thing, if you get really technical, they may not be the <i>exact</i> same thing. <b>Every relationship plotline needs a relationship arc. But not every relationship arc needs a plotline.</b></p><p>For example, say I have a story about a young man going on an adventure (I know, so original!). Before he leaves, I may show that he has a poor relationship with his mother. He leaves, goes on his adventure and has no contact with or influence from his mom. Perhaps, because of the adventure--the external and internal journeys--he realizes how to improve his relationship with his mom. At the end of the story, he returns home, and the two make up.</p><p>The relationship between the mother and son arguably has a relationship <i>arc</i>, but it's not really a relationship <i>plotline</i>.</p><p>If the mother and son had to go on the adventure together and work out their differences, which drew them closer together, it would be both a relationship arc and a relationship plotline.</p><p>See how that works?</p><p>Now that I've laid out some groundwork, let's get crafting . . . </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb_KdTxCJVltLZ3JYxth2LxJyx4_7E0FK9xjMXKItef-Ni3xdltWvnV8wkX_kkGpguVbLwj1EHLU7Mq66XLeDQcnIRa8ATSqrA3BockBUQ4HGVmvp8pXKK3JGoPHIryFHBfir7ISN6xFHPg_Au5Xob4pygS019cKP5s_Z1OM1ITVmospZtG3MTi5a7/s1200/jim-and-pam-the-office.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb_KdTxCJVltLZ3JYxth2LxJyx4_7E0FK9xjMXKItef-Ni3xdltWvnV8wkX_kkGpguVbLwj1EHLU7Mq66XLeDQcnIRa8ATSqrA3BockBUQ4HGVmvp8pXKK3JGoPHIryFHBfir7ISN6xFHPg_Au5Xob4pygS019cKP5s_Z1OM1ITVmospZtG3MTi5a7/w400-h225/jim-and-pam-the-office.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><h3 style="text-align: left;">Are You Plotting about the Same Character Relationship?</h3><p>This is perhaps the first question to ask yourself.</p><p>Most stories will feature a relationship plotline. </p><p>But just because one relationship fulfilled this in a previous volume, doesn't mean it needs to for the next volume.</p><p><br /></p><h4 style="text-align: left;"><u>Using Different Relationships for Different Installments</u></h4><p>The first, quickest example of this that comes to mind for me, is the <i>Diary of a Wimpy Kid</i> films. <b>Each installment focuses on a different relationship</b>. The first one has a plotline about the protagonist and his best friend. The second has one about the protagonist and his brother. The third about the protagonist and his dad. And the fourth about the protagonist and his mom. These are the relationship plotlines for each installment.</p><p>Notice, however, that <b>this doesn't mean that the protagonist's relationships with the others have disappeared from the story</b>. No one died, and no relationship ended. It's just that Greg's relationship with his best friend is no longer the prominent relationship <i>plotline</i> after the first installment. You can argue it's a positive steadfast relationship arc through the second, third, and fourth films, but it's not <i>the</i> main relationship plotline. That relationship takes more of a backseat, so the others can have their chance to shine.</p><p>In this sense, the <i>Diary of a Wimpy Kid </i>series <b>is structured so that each volume has, more or less, its own standalone relationship plotline, even if there are still other relationship arcs</b>.</p><p><i>Diary of a Wimpy Kid</i> leans more toward being a serial, and this works fine. </p><p><i>However</i>, as I touched on above, you don't have to <i>only</i> do this for serials.</p><p>For example, I'm working on a YA fantasy series that has an overarching plot, and each installment takes the readers closer to the series climax. The prominent relationship plotline in my first installment is not the same one for the second installment. In the first installment, the prominent relationship is between my protagonist and his friend's sister. In the second installment, the prominent relationship is between my protagonist and his enemy. </p><p>The first relationship is still very much there, and still important, but it takes more of a backseat.</p><p>It arguably even still has a plotline . . . but it's not <i>the</i> prominent relationship plotline. Instead, it's the relationship with the enemy that gets the biggest <a href="https://www.septembercfawkes.com/2022/11/turning-relationship-arcs-into-plots-2.html">turning points</a> and the most focus. <i>That's</i> the one I zoom in on for major events. The other still has antagonists and conflict but it's all more understated.</p><p>See what I mean about this all getting complex?</p><p><br /></p><h4 style="text-align: left;"><u>Using the Same Relationship through Installments</u></h4><p>If the same relationship that was used in the prior installment's relationship plotline will be used again in the next installment's key relationship plotline, things will be a bit different . . . though not as much as you would expect. What's mostly different is that the audience has already seen the relationship, conflicts, and costs. The audience already knows how this relationship has gone previously. </p><p>As a writer, you'll need to think of believable antagonists to push this relationship into conflict again. You'll need to think of believable ways to test, change, or turn it.</p><p>I'll be talking about this more below, so I won't go into detail here.</p><p><br /></p><h4 style="text-align: left;"><u>Using Multiple Relationships in the Same Installment</u></h4><p>I touched on this earlier, but I want to make sure to clearly acknowledge that it's also possible to have multiple relationship plotlines in a single installment (or even throughout a series).</p><p><b>It is possible there are two (or more) relationships that get plotlines and attention.</b> In <i>Revenge of the Sith</i>, while the most prominent relationship plotline is between Obi-Wan and Anakin, another very important one is between Anakin and Padme. In fact, the latter gets some of the key relationship beats I talked about last time. But because Obi-Wan and Anakin's gets the <i>most</i> attention and is what's featured in the climax, it's the most <i>prominent</i> relationship plotline. </p><p>Likewise, in <i>Monsters Inc.</i> Sulley and Mike also have a relationship plotline, which also has key beats. But it's not the most <i>prominent</i> relationship plotline. That goes to Sulley and Boo.</p><p>Remember: <b>How prominent the plotline is will determine how developed and fleshed out the plotline needs to be. It will also influence how it is structured</b>. The more prominent the plotline, the more it needs to hit the right turning points at the right percentages. The less prominent, and the less it needs to hit those at those times, and the less fleshed out it can be. Generally speaking.</p><p>In the second installment of my WIP series, the protagonist and the girl still have a plotline, but it's less dramatic and detailed.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGdC5c6SLa1EW88OI8-X6r061qBKs-3Ye3utiWT-O7bmWgOLFy6Qq1ghnvOtcVzxlMOHYdCu6IV5-Re80j-snHQsL5dYkiYuQNqmDV2Qr-b7izytt8tN5lROsyBG16SwtZSK1MIRQJs4fKf64g1U5Ua65pYj4NhGFRoqBWkBBRyqBvyId8Rtg2sn2H/s400/4%20Relationship%20Arc%20Types%20Writing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="265" data-original-width="400" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGdC5c6SLa1EW88OI8-X6r061qBKs-3Ye3utiWT-O7bmWgOLFy6Qq1ghnvOtcVzxlMOHYdCu6IV5-Re80j-snHQsL5dYkiYuQNqmDV2Qr-b7izytt8tN5lROsyBG16SwtZSK1MIRQJs4fKf64g1U5Ua65pYj4NhGFRoqBWkBBRyqBvyId8Rtg2sn2H/w400-h265/4%20Relationship%20Arc%20Types%20Writing.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Determine the Relationship Arc for the Installment</h3><p><b>If your sequel features a different relationship than the prior installment, then, just like the prior installment, you'll need to consider how it will arc.</b> In my WIP, volume one is a <a href="https://www.septembercfawkes.com/2022/10/the-4-basic-types-of-relationship-arcs.html">positive change relationship arc</a> . . . and volume two will probably be <a href="https://www.septembercfawkes.com/2022/10/the-4-basic-types-of-relationship-arcs.html">a negative steadfast relationship arc</a>.</p><p><b>If you are featuring the same relationship, depending on how the series is handled, there may be less options available to you. </b></p><p>For example, if volume one features a positive change relationship arc, you probably can't use that arc <i>again</i>, because the characters are already close.</p><p>But the reason I say "probably," is because it's <i>possible</i> quite a bit of time and a lot has happened between the installments. In that case, it may be that the characters have become distant or even enemies (again). If so, you need to fill in the audience as to how this <i>believably</i> happened. (<i>Please</i>, don't use a weak antagonist to explain it! Make it believable.)</p><p>Let's say no time has passed between installments, and volume two picks up right after volume one. This only gives you two options: <a href="https://www.septembercfawkes.com/2022/10/the-4-basic-types-of-relationship-arcs.html">positive steadfast</a>, or <a href="https://www.septembercfawkes.com/2022/10/the-4-basic-types-of-relationship-arcs.html">negative change</a>. The plot will test the relationship, and if that relationship survives, it will be a positive steadfast arc. If it doesn't, it will be a negative change arc.</p><p>See how this is different, and yet, not that different, from featuring a new relationship?</p><p><b>When we view each installment similar to how we view acts, we can push the characters together or pull them apart in similar ways.</b> Either, by the end of the volume, they are pushed closer together, or, they are pulled further apart (generally speaking). If the next installment starts with the relationship, more or less, in the same place, we then pick up where we left off.</p><p>Let's imagine we are working on a series that features the same relationship, and the relationship doesn't change drastically in the time between volumes. Here are some possible ways this can play out:</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>Volume 1: Positive Change --> Volume 2: Positive Steadfast --> Volume 3: Positive Steadfast --> Volume 4: Positive Steadfast</p><p>In this series, in each installment, the characters are getting closer. They may have fallouts in the middle of each sequel, but ultimately, their relationship is overcoming, surviving, or maybe even thriving, despite the conflicts brought on by antagonistic forces, and they are growing closer and closer and closer together.</p></blockquote><p>While not the perfect example of this (because I think you can argue it's not always the prominent relationship plotline), this is similar to the trio's relationships with each other in <i>Harry Potter</i>. They all become friends in the first volume, and while they definitely get in fights (some of which threaten to ruin their relationships for good), they ultimately all draw back together by the end of any given volume.</p><p>Here is another option.</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;">Volume 1: Positive Change --> 2. Positive Steadfast --> 3. Negative Change --> 4. Negative Steadfast</p></blockquote><p><br /></p><p>And more . . . </p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p>Volume 1: Negative Change --> 2. Negative Steadfast --> 3. Positive Change --> 4. Positive Steadfast</p><p>Volume 1: Negative Steadfast --> 2. Negative Steadfast --> 3. Positive Change --> 4. Negative Change</p><p>Volume 1: Positive Change --> 2. Positive Steadfast --> 3. Negative Change</p><p>Volume 1: Positive Steadfast --> 2. Negative Change</p><p>Volume 1: Negative Change --> 2. Positive Change</p></blockquote><p><br /></p><p>. . . I think you get the picture.</p><p>Again, <b>because most frequently structure is like a Russian nesting doll, we can zoom out. We can look at how the relationship <i>begins</i> and <i>ends</i> in the series, to categorize the overall <i>series</i> relationship arc.</b></p><p><i>As a series</i>, the trio in <i>Harry Potter</i> has a positive change relationship arc, because they all started as strangers, and ended as friends (or really, family). </p><p>Similarly, if I looked at the <i>Star Wars </i>prequels, I may say that, ultimately, <i>as a trilogy</i>, Obi-wan and Anakin have a negative steadfast arc, because they started as strangers and ended as enemies.</p><p>Yet within a single installment (<i>Revenge of the Sith</i>), they have a negative change arc.</p><p><b>Back to looking at acts in relation to volumes: Recall that each act will end with a major turn in the relationship that either draws the characters closer together, or pulls them further apart.</b></p><p><b>This is what we are doing in a series, on a bigger scale.</b></p><p>In the <i>Star Wars</i> prequels, we draw together, and together, then pull apart.</p><p>Though, Obi-Wan and Anakin aren't the major relationship plotline for the whole series, which brings me to my next point . . . </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSxioWKNx_Q4OSfF3EYw5_KF9kvK2NECM0xzmZhNUEbgb5tVti5mj8wdhx8AZBqJtTEBbRk0irqPZeI64QmzltE6SwCdm0A1KVD0WUZfHODoTgLFPVFNAkCjZ8oE-9053ymr8IrIwavss_fRjCrAX8IhJ3hvOYCW-2CScJ4esCcHFItgJDtTkvOHpj/s930/Katniss-Everdeen-and-Peeta-Mellark-the-hunger-games-38260949-930-586.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="930" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSxioWKNx_Q4OSfF3EYw5_KF9kvK2NECM0xzmZhNUEbgb5tVti5mj8wdhx8AZBqJtTEBbRk0irqPZeI64QmzltE6SwCdm0A1KVD0WUZfHODoTgLFPVFNAkCjZ8oE-9053ymr8IrIwavss_fRjCrAX8IhJ3hvOYCW-2CScJ4esCcHFItgJDtTkvOHpj/w400-h253/Katniss-Everdeen-and-Peeta-Mellark-the-hunger-games-38260949-930-586.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Foreground vs. Background Relationships</h3><p>As I mentioned earlier, <b>your character will likely have more than one relationship. Some relationships may be brought to the foreground, and others may be pushed more to the background. </b></p><p>I've used Katniss and Gale as an example of a negative change relationship multiple times. It's negative change in the <i>series</i>, but not every installment. It's also not the prominent relationship plotline in every installment.</p><p>The main, prominent relationship plot in the first volume, is between Katniss and Peeta. The second volume showcases each relationship (with more emphasis on Gale first, and Peeta later), and I would argue, that in the last volume, Katniss and Gale make up the main prominent relationship (Peeta is gone for a good portion of the book, and even when he comes back, he's not himself).</p><p>So Suzanne Collins brings Katniss's relationship with Gale from the background in volume one, to the foreground by volume three. While her relationship with Peeta takes, to some degree, a backseat in volume three.</p><p>Nonetheless, we can still map out the relationship <i>arc</i> with Gale, even if it's not always a prominent plotline.</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;">Volume 1: Positive Steadfast --> 2. Positive Steadfast --> 3. Negative Change</p></blockquote><p>Because they start close and end distant, overall, they ultimately have a negative change relationship.</p><p>But it's not that way for each volume.</p><p>We can also map out Katniss's relationship with Peeta, but this is a little tricky, because it contains some gray areas and variations. But I'll <i>try</i> to keep it basic.</p><p>Volume one draws them from distant to close, so I'd say that is a positive change relationship (although Peeta has loved Katniss from a distance, and they know one another, they aren't close in the beginning.)</p><p>Volume two is tricky. Between the end of one and the beginning of two, they've become more distant. Then they have to pretend to be close, but in actuality, their relationship has gone cold. By the end of this volume, Katniss loves Peeta, but now Peeta is pulled physically distant. I think you could argue this is another positive change arc, but it's not super clear-cut.</p><p>Volume three is, from Katniss's POV, positive steadfast. She loves Peeta already, but that love is tested by his mental state and behavior. But again, it's complicated, because Peeta, not in his right mind, doesn't like Katniss when he comes back and sees her as an enemy.</p><p>So this is an example of a relationship with a lot of variation, that makes it complicated and complex (and in some ways, difficult to categorize).</p><p>In any case, both relationships have arcs through the trilogy, but Collins moves them in and out of the background. Sorta like how, in my WIP, I moved the relationship of volume one more to the backseat for volume two. And likewise, the relationship of volume two I actually pulled forward from the backseat of volume one.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWAMerTBRzHY7TRi0BQTCUL2kIw-wBgmudv3HY-Z55ZhNAGFmywutjZIM5ZHWBMct7YRFZv_gbB8hPI9B2dgrfJTFGdvF4Xqaogin2_KkJ3RjC5NqFbIbSbgSd1fFnQf3NDiJWhd1fJKv_XX2fQyOelmujogJJRtyHwtu9gctduseOWz9n333amTGX/s1280/shrek%202%20meeting%20parents.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWAMerTBRzHY7TRi0BQTCUL2kIw-wBgmudv3HY-Z55ZhNAGFmywutjZIM5ZHWBMct7YRFZv_gbB8hPI9B2dgrfJTFGdvF4Xqaogin2_KkJ3RjC5NqFbIbSbgSd1fFnQf3NDiJWhd1fJKv_XX2fQyOelmujogJJRtyHwtu9gctduseOWz9n333amTGX/w400-h225/shrek%202%20meeting%20parents.jpg" width="400" /></a></div><p><br /></p><h3 style="text-align: left;">Handling the Ongoing Push and Pull of the Same Relationship</h3><h4 style="text-align: left;"><u>In a "Russian Nesting Doll"</u></h4><p>If you have a series that features the same relationship as a prominent plotline in each installment, and the relationship plotline itself is very prominent, <b>one of the main challenges will likely be how to keep the push and pull of it interesting and believable</b>. How much can you really push the same characters together and pull them apart?</p><p>If you only do it the same way, it will probably become repetitious and will feel inauthentic. </p><p>One of the most annoying things with relationships in sequels, happens when the writers have the relationship characters simply repeat a conflict that was already resolved in a prior installment.</p><p>If Elizabeth and Mr. Darcy already overcame their individual pride and prejudice to be together, we don't want to repeat the exact same thing for a sequel.</p><p><b>One--it's already been done.</b></p><p><b>Two--by doing it again, we suggest to the audience that the characters overcoming that conflict in the previous installment "wasn't real."</b> It undoes the work of the previous installment, which means the audience already feels disappointment. Which means, it's going to be extra difficult to satisfy the audience. It's a bad way to start the story.</p><p>Instead, you need to <b>search for something that is bigger or different, but that could still believably threaten and put pressure on the relationship</b>.</p><p>I actually think <i>Shrek 2</i> does a good job handling this. In the first movie, Shrek has to overcome his misbeliefs that he can't be loved romantically as an ogre, and he has to learn to open up to Fiona.</p><p>Both he as a character and the relationship itself have positive change arcs.</p><p>So how do we believably threaten their bliss?</p><p>If the writers redid the same thing with the same characters to the same degree, it would be annoying and disappointing. We wouldn't believe the antagonist as a real threat, because we already saw the characters overcome the situation the first time.</p><p>So instead, the writers widened the scope and strengthened the threat. It's not Farquad they have to deal with, but Fiona's dad (something more personal) and the deal he made with the Fairy Godmother about who will be prince over Far Far Away--a bigger and more relevant kingdom than Duloc. </p><p>Instead of Shrek having to simply relearn Fiona can love him again, the writers used external antagonists to ultimately argue that Fiona deserved something <i>better</i>. And that if he truly loved her, he'd let her go, so she could have a better life. It's only when this is fully argued, that the relationship itself is at serious risk.</p><p>But this is all generally speaking. For example . . . </p><p><br /></p><h4 style="text-align: left;"><u>In a Serial</u></h4><p>In a serial, characters often end up in, more or less, the same place where they started--they often have to, because each installment needs to work as essentially a standalone. This means <b>if you are writing more of a serial <i>relationship</i></b> (so to speak), it will likely have a steadfast relationship arc for each installment. Or, alternatively, if there is a change arc, <b>things are back to "normal"</b> by the start of the next installment.</p><p>Because of the nature of this approach, characters may overcome antagonistic forces and have a personal character arc, but <b>it may not be as . . . longlasting or transformative</b>. In a sense, you can argue the arc didn't go as deep as it would in another approach.</p><p>In a serial, rather than a character definitively arcing into or out of something, the writer is often working with a character who <b>wavers between two things</b>. Sometimes the character believes and does X and other times he believes and does Y. X and Y are opposing worldviews or pathways. </p><p>For example, in <i>The Office</i>, Michael Scott is often torn between being a friend and being a boss. Sometimes he chooses being a friend over a boss, and other times he chooses being a boss over a friend. He never really, definitively, arcs to a single worldview. He simply wavers.</p><p>When applied to relationships, we could say that <b>there are some recurring issues in the relationship, but they don't get 100% definitively resolved</b>, so instead, the relationship is regularly wavering between smooth sailing and rocky road. In such a case, it's more likely to be okay to bring up previous antagonistic forces, because the characters didn't 100% definitively overcome that.</p><p>Because they didn't 100% definitively overcome that, it doesn't leave audiences groaning.</p><p>Regardless, <b><i>exact</i> repetition of something is often annoying and kills narrative drive</b>. So even in a serial, you need to find some variation--different concrete manifestations of the same underlying issue. (Michael Scott doesn't try to be a friend in the exact same way over and over again; this desire manifests in different concrete ways. So you could say with "serial" relationships.)</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6TT9vyO_vFzajeujOVFOLkbGJe6VdVNexGv2HiYhYAUnd_xwYvIcCBS7ZLTpzDKxuumPtfjGV0dZNvX62Q-b8QJYk3Kn2zi3hkf6JD2zqQJ3qlkxqYWH5Wy11pFUqsIWhtsjM7HpifLKY9xjIBLIicsiYer_gA3OzN0xTnbM2eHvkN139tKd5PtFT/s1280/Obi-wan-and-Anakin-obi-wan-kenobi-27377107-1280-720.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6TT9vyO_vFzajeujOVFOLkbGJe6VdVNexGv2HiYhYAUnd_xwYvIcCBS7ZLTpzDKxuumPtfjGV0dZNvX62Q-b8QJYk3Kn2zi3hkf6JD2zqQJ3qlkxqYWH5Wy11pFUqsIWhtsjM7HpifLKY9xjIBLIicsiYer_gA3OzN0xTnbM2eHvkN139tKd5PtFT/w400-h225/Obi-wan-and-Anakin-obi-wan-kenobi-27377107-1280-720.jpg" width="400" /></a></div><p><br /></p><p>. . . And that just about covers it for relationship arcs and plots through a series.</p><p>My guess is that most of you will be doing a sort of "Russian nesting doll" approach with your relationship plotlines, or, you'll be featuring a different relationship in the installments . . . in any case, I hope this has been helpful to you.</p><p>P.S. In case you missed it last week, I will be teaching a new online writing course called "The Triarchy Method of Story." I'm so excited to dig deep into the "bones" of story and help others strengthen their own stories. For all the info, go <a href="https://mystorydoctor.com/the-triarchy-method-of-story/">here</a>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiczzdkA3xK_b5lZGhBlqbQn9BvsZuUZ_UKCOE6rGfMFmdgyEUDcyQfyKmrAht6VwCxg4bVQ7ppMV_AJHiMpxM5h-IqjXBisWl2PUFChKsQ0Z34GUg6oBagv650wLhlTBoJRaRlH1P6PS_zxTDRNbkvV3e2a-HNcHRWI2UI8pXfa8juod9uE3ax_Nc2/s768/the%20triarchy%20method.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="644" data-original-width="768" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiczzdkA3xK_b5lZGhBlqbQn9BvsZuUZ_UKCOE6rGfMFmdgyEUDcyQfyKmrAht6VwCxg4bVQ7ppMV_AJHiMpxM5h-IqjXBisWl2PUFChKsQ0Z34GUg6oBagv650wLhlTBoJRaRlH1P6PS_zxTDRNbkvV3e2a-HNcHRWI2UI8pXfa8juod9uE3ax_Nc2/s320/the%20triarchy%20method.png" width="320" /></a></div><br /><p><br /></p>September C. Fawkeshttp://www.blogger.com/profile/03229411886583938325noreply@blogger.com0