Everything in my life feels more comfortable
if I have a plan. And that includes writing. Pre-planning
the plot doesn’t have to feel like a straight-jacket.
Some people look at a plot outline as a skeleton
on which to hang their story – for me it’s
more like a map. Maps don’t tie you down
to traveling in only one direction; getting lost
leads to many unexpected adventures.
When first writing out your plot, no matter what
outline format you use, you’ll have lots
of ideas for scenes of character development or
story action – use the strongest or the
most meaningful or the most emotional for readers.
For me, story ideas start with a character facing
trouble or a difficult situation or an unusual
setting. I love to brainstorm my plots, either
with other writers or alone, focusing on characters
or events – or both together.
If I begin with characters I wonder: Who is she?
Why is she in trouble or danger? Why is she worried?
Who caused the trouble or danger or worry? What
will happen if she wins/loses? How will she be
changed?
If I begin with events I wonder: Where is it
happening? What caused the situation? What’s
at risk? What type of person would be in this
position or place? Who would be most out of place?
The characters and the plot need to fit together;
the reader has to believe that these people could
possibly end up in that situation.
Then I figure out the goal for one of the two
main characters – and why they can’t
achieve that goal. I find out why their goal becomes
a quest they can’t abandon. I ponder the
one person who makes that quest difficult or impossible.
Then I figure out the second person’s goal
and how it conflicts with the first person’s
quest. Their goals should be in opposition: In
stronger stories both characters have internal
and external goals – and when both goals
conflict on both levels you’ll get high
tension scenes.
Then I work out scenes where the two protagonists
struggle to fulfill both of their goals…
or not. I try to have the characters’ good
qualities and flaws mirror each other which can
cause each of them to act / react…which
creates plot.
At this point I start stream of consciousness
writing – filling 10 to 30 pages. It’s
a jumble of ideas in point form, bits of dialogue,
a phrase or two of setting and description. Thoughts
pour out, jumbled together in little or no order,
and I don’t fret about where or how they’ll
fit together. This bit of writing would probably
make little or no sense to anyone else.
At this point I start collecting pictures of
my story’s people, settings, and totem objects.
Then I start writing another version of my story,
expanding the outline and notes into partial scenes,
leaving the occasional idea as a notation if I
don’t know how to flesh it out or I’m
not sure where, or if, it belongs. At this point
my synopsis can be 50 to 60 pages long. Occasionally
it’s longer.
Then I start digging deep into my characters’
goals and motivations. I search for the emotions
that are driving their quests - the secret, often
subconscious, reasons their heart and mind won’t
allow this quest to be abandoned or ignored. I
search for the real instigator – the one
event or factor that set them on this path. This
helps me create plot events that put them at the
most emotional risk. I try to ensure that every
scene, especially the story opening, shows (or
hints at) their personality and purpose.
There are many different methods for digging
into character motivation. I don’t use the
same method for every book or even every character
in one book. But I dig until I feel that spark
that brings the hero and heroine alive for me.
Joan Kilby says: “Individuals behave in
certain ways because of who they are. The choices
they make under pressure and the consequences
of their actions determine the plot. Without conflict
there is no plot.”
Build every scene around an irrevocable event
that changes the plot. Try to ensure that every
scene advances external or internal plot, increases
tension, reveals character growth or shows new
aspects of character. A scene should do more than
one of those. The most powerful scenes do them
all.
Scenes of high and low tension determine pacing.
A series of high tension scenes could be boring
if they’re not mingled with slower moments
where the readers and the characters can catch
their breath. When plotting the scene content,
consider which POV gives each scene more punch.
Figure out which character has more at stake in
the scene’s outcome and make them the POV
character.
Alicia Rasley says: “Protagonist’s
actions and reactions are the driving force of
the plot, and this causes events which change
him/her in some way. What are they willing to
do for their goal? What are they unwilling to
do?”
Each plot needs 2 - 4 major turning points.
A turning point is a major event that changes
the course of the plot and the protagonists must
act or react. Each turning point should re-direct
a character’s goals or the story action
or increase a character’s risk or the scene
tension
Use cause and effect in plotting. Your main character(s)
should save their world or devastate it. In classic
storytelling the characters’ flaws can cause
their own destruction and they must learn to control
that character flaw or change it. Perhaps a character’s
strength can lead to their ruin. Static characters
are boring; unless they change and grow the plot
will be weak.
Find ways to have external events cause internal
change. Then make the internal change cause new
external events.
I try to create an outline that shows:
• the ‘hook’ or set-up
• their external and internal problems
• turning points
• developing subplot(s)
• the rising conflict and increasing stakes
• the crisis or black moment
• the climax
• the resolution
I mention events where the hero and heroine (and
villain, if there is one) interact, decide, confront,
learn, realize or recognize. Show how each event
causes the next event.
And that’s why I have such a hard time
writing short synopses.
For me, plot relies on character goal and motivation
- and pacing is part of plot and influenced by
character.
If I have a map I don’t fret about where
the story is going. If I have a plan for the book,
I experience more joy in the writing and the words.
Plotting Resources
The following list is not comprehensive by any
means. Lots of information is available in books
and on the net. Teresa Eckford provided some of
the websites listed below.
WEBSITES:
The RWA® website www.rwanational.org has
archived many RWR articles at and the following
can be found under Members Only / craft / plotting:
Patrice Cassedy and Stuart Voytilla
JOURNEYS OF THE HEART - USING MYTHIC STRUCTURE
TO
CREATE BETTER ROMANCES
Susan Wiggs
RIPPED FROM THE HEADLINES: HOW REAL LIFE CAN
INFORM
YOUR STORY
Irene Goodman
FOURTEEN SURE-FIRE ROMANCE PLOTS
Debra Dixon and Jill Marie Landis
THE HERO’S JOURNEY—A ROAD MAP
Libby Sternberg
PROLOGUES AND EPILOGUES: LITERARY BOOKENDS
Eloisa James
PLOTTING IN THE WILD
Alicia Rasley has many excellent writing articles
on her website, some on plotting:
CHARACTER
<-> PLOT COHERENCE
STARTING
SMALL AND BUILDING PLOT
THE
THREE ACTS: MAJOR TURNING POINTS
THIRTEEN
PRIME PLOT PRINCIPLES
PLOTTING
WITHOUT FEARS
Adrianne Lee
PLOTTING
CONFLICT: (includes internal and external
conflict plot plan) “Conflict makes story”
Sarah Smith
HOW
TO PLOT WHEN YOU CAN’T
Carolyn
Jewel
for writers / craft / miscellaneous important
stuff / plotting
PLOT
- WHAT IS IT AND HOW DO I GET ONE?
Karleen Bradford
OUTLINES:
THINK OF A SKELETON, NOT A CAGE
PLOTTING THE STORY
Lee Masterson
PLOTTING
YOUR NOVEL
JoAnn Ross
EXTERNAL
VS INTERNAL CONFLICT
Stella Cameron
PLOTTING
YOUR NOVEL
Tina St John
PLOT:
TURNING IDEAS INTO BOOKS
Lisa Gardner
PLOTTING
THE NOVEL: OTHERWISE KNOWN AS THE REAL REASON
WRITERS ARE NEUROTIC
Deborah
Hale
writing tips/archived articles in left column
FORGING PLOT CHAINS
PROBLEM/SOLUTION CHAINS: A SOLUTION FOR PLOTTING
PROBLEMS
Karen Harbaugh
PLOTTING
AND CHARACTERIZATION WITH ARCHETYPES AND FAIRY
TALES
Joan Kilby
TRULY,
MADLY, DEEPLY: ADDING DEPTH AND COMPLEXITY TO
YOUR STORY THROUGH CHARACTER AND PLOT
BOOKS:
Dwight V. Swain
TECHNIQUES OF THE SELLING WRITER
Christopher Vogler
THE WRITER’S JOURNEY: MYTHIC STRUCTURE FOR
STORYTELLERS AND SCREENWRITERS
Debra Dixon
GMC:
GOAL, MOTIVATION AND CONFLICT
Pam McCutcheon and Michael Waite
THE
WRITER’S BRAINSTORMING KIT: THINKING IN
NEW DIRECTIONS
Vanessa Grant
WRITING ROMANCE
Self
Counsel Press
Nancy Kress
BEGINNINGS, MIDDLES & ENDS
Writers
Digest Books
Alicia Rasley
THE
STORY WITHIN GUIDEBOOK
Interactive guidebook to plotting popular fiction
Karen S. Wiesner
FIRST
DRAFT IN 30 DAYS
Judy Jackson is a member of RWA®-Greater
Vancouver Chapter.
Articles may be reprinted in RWA® chapter
newsletters, attributed to the Spotlight.
Non-RWA® newsletters may not reprint articles
without the permission of the authors.
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