I know you’re scared, but there’s really nothing to fear. Plot happens every day. You’re living plot right now, albeit probably not as epically as you’d wish. You make plans, a goal, or a to-do list for the day; something happens to screw it up; you react emotionally; then you come up with a new or revised plan.
That’s plot. Over and over again. With each new conflict making it seemingly harder for you to accomplish your goal.
With each new conflict creating tension and raising the stakes because now you’re losing precious time to get through your list.
With each new conflict forcing you to find alternative and creative ways to make things go according to your plan.
The secrets of plot revealed.
And so for the next several days or weeks, you’ll be figuring out what your character’s goal is, throwing a wrench (or screwdriver) at it, showing us how the character reacts, then showing us how your character revises his old goal or comes up with a new way to reach it. Repeat this several times and by the end of your story, your main character will have grown as a person because, “that which does not kill us makes us stronger” (Friedrich Nietzsche).
Here’s another analogy: Plot is like planning a vacation.
You probably have some idea of where you want to go and some idea of things you’d like to see and do, but you don’t know how to get there or where you’ll stay until you start figuring out your itinerary. Plot is the writer’s version of an itinerary. And these are a few suggestions of how I came up with my itinerary.
I used bright pink stickys (the top row) to plot out the actual timeline of important events in the Jack the Ripper murders. Beneath that, I used orange stickys to map out the major scenes of my storyline in the corresponding order. I used stickys because I like having the ability to move things around, step back, and see how everything plays out.
Plus, as any teacher knows, writing on a blackboard (or a reasonable facsimile) uses different neural pathways (which is why teachers make more spelling and grammatical errors when writing on one than on paper) and forces your brain to work more “creatively.” And who doesn’t want to be more creative?
From this timeline, I wrote a synopsis of each scene on a half-sheet of paper (some writers use index cards but I’m cheap and used old notebooks) and arranged them in oder on my bed (you may wish to use a table or the floor). Again, I like having the flexibility of moving scenes and sequences around while being able to see how logically the whole story unfolds. This took several hours, but with each new pass at my plot, I came up with new scenes and subplots to fill out the outline.
After a generous amount of time working on my scene “cards,” I moved back to my wall timeline with a fresh sheet of paper (I cut sheets of paper stores use to wrap breakables and taped them to my wall). Keeping the original Jack the Ripper stickys up for reference, I plotted my corresponding murders with the orange stickys.
Next, I wrote a brief sentence or two (or three or four) summarizing each scene. I even used different colored markers for each plot and subplot thread as an easy visual guide to make sure I wasn’t leaving any one thread for too long. My color system is basically purple for the main plot, pink for romance (I know), green for family relationship problems, turquoise for suspect scenes, dark blue for journalism themes, orange for scenes that hide clues as to the killer’s identity, and magenta for school conflicts. Yours will depend on what genre you’re writing and what threads you think are most important.
One other outline tool that I use from my studies in screenwriting is a beat sheet. This is basically a numbered list of scenes, each described in only a few sentences. I revised mine two or three times while working on the wall timelines.
The best thing about the beat sheet is that it’s portable. You can bring it to Starbucks and not have people looking at you funny when you spread out a 3-foot long roll of paper with a bunch of colored writing on it. (Although I think I’m going to try it someday just to see how people react.)
So these first couple of passes at the outline were just to get my scenes down in a somewhat logical order and fill in as many gaps as I could. The wall timeline nor the beat sheet are the final version of my plot. There is more work to be done, and I’ll have more suggestions/tools for you too.
For now, work on writing out your ideas/scenes in whichever format feels comfortable or try different ones. Keep those neural pathways working.
Next time, we’ll go more in depth about plot points, scene structure, and how to fill out your beginning, middle, and end.