Hello Rebels, welcome to episode 77 of The Rebel Author Podcast. Today, I’m talking to Martha Alderson all about plot whispering and creativity.

The post 077 Plot Whispering with Martha Alderson appeared first on Sacha Black.

Sentient.

I’m telling you.

Those little story critters know exactly what their doing. Lulling us into a false sense of security and then when we’re balls deep into the flabby middle, they slap us upside the head with something so good, we can’t ignore it. Tyrants. Heathens. Thou cullionly idle-headed hedge-pigs!

And so, the plot is messed up, the timeline fudged and your brain a crockpot of drafts, twists, confused dialogue and stroppy characters.

What to do?

Here’s a quick tip to help you beat those little darlings back into shape.

The reason why most of us get confused when a left field twist appears at an inconvenient time, is because the timeline is inevitably bumfuckled. Subplots need pulling out, crunching up, shredding and peppering back into the right place. But if your plot is even remotely complicated that is no easy task. After all, it’s why you wrote an outline from the start.

So. Here’s my quick tip:

Ingredients

1. Obscenely large paper (or normal bits stuck together)
2. Post its (in a variety of colours), or if you don’t own post its (WHY NOT, YOU STATIONERY HEATHENS?) coloured pens for differentiation purposes.
3. Your brain (if an introverted thinker)
4. Or if an extroverted thinker – another person if you have one available. If not, try kidnapping, bribery or blackmail.

Method

Take each chapter in chronological order, and talk (or think) through every point that happens in that chapter, then write it down. Go in chronological order, from start to finish.

On your bits of paper, use each column (vertically) to represent your chapter. Each key point from a subplot should be colour coded:

This is so you can:

a) see how your subplots move through the story

b) whether or not you have a gap

c) and if they’re rounded off nicely.

Keep going until you hit the final chapter. Once there, review each coloured subplot for the above points. Then review your entire story, notes, text or info you’re holding in your head to look for gaps – you would be amazed how easy it is to leave things unfinished.

There we have it. One super quick tip to untangle plot problems.

What methods do you guys use to work out your plot issues?

If you liked this post, why not get even more awesome writing tips in the book 13 Steps To Evil – How to Craft Superbad Villains. Click this link and just tap the logo of your device or regular bookshop and it will take you to the right page. You can also get a FREE villains cheatsheet by joining my mailing list just click here.

Read Keepers, the first book in my Young Adult fantasy series now. Or to hear more about the release of the sequels as well as get regular CogMail updates you can do so here.

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The post Untangle Plot Problems With This Quick Tip #MondayBlogs #amwriting appeared first on Sacha Black.

See, when I think, or try to work out a problem, like how to prevent the terror tot shoving his finger up his nose in public, I think in pictures and voices. Yes, I hear a voice in my head, but not the kind of voice that whispers violent temptations, although sometimes it might be nice to blame my rage on it… Where was I? Some people think in words or numbers or actions. If you have synesthesia you might even think in colours, senses or feelings.

This has never been a problem for me. It just meant I created mood boards for my story worlds and characters on my pinterest or instagram, rather than filling out character templates and scene plans.

That was until I wanted to check the pacing and tension of my novel.

Once you’re knee-deep wading through the slush of your story, you know as well as I do, you can’t see the commas for the sentences. Let alone step back enough to see the shape of your newly trimmed bush manuscript.

So I set about some research and have figured out my own method, using a Sacha sandwich of pilfered ideas, to help visual writers figure out their uppers from their downers.

But before I launch headlong into visual trickery, I need to caveat what I’ve done.

Story structure takes many forms. All stories build the tension until they reach their big O crescendo ending.

Murder mysteries usually start with a bang, have a gradual build up followed by a spangly-jazz-pants reveal at the end. Fantasy stories, Young Adult in particular tend to have a few more ups and downs spread throughout their stories.

Like anything in fiction, there are as many story structure followers as dark horse structure breakers. But that’s what makes stories interesting.

However, for the purposes of allowing me to wear my scientists white jacket and entertaining my experiment for a while longer, lets accept that most stories need to follow a progressively increasing line of tension.

There are a couple of basic story structures that are easy to follow, Dan Wells gives a great lecture series on the Seven Point Plot Plan which you can see in this YouTube video. If you haven’t watched it, you should.

In the videos he explains the various key points in a story:

Hook

Plot Point 1 (conflict)

Pinch Point 1 (more conflict/pressure/shit goes wrong)

Midpoint

Pinch Point 2 (more conflict, shit gets real when we think the heroes going to lose/die/spontaneously combust)

Plot Point 2 (suddenly the hero has the thing/tool/power he needs to win, yay)

Resolution (big fight, hero wins, villains dragging his spanked tail between his legs)

K.M Weiland follows a similar structure but has a couple of additional points she adds in. Because I am particularly visual, I happen to like her diagrams, links to them all can be found here. She adds:

Set up which is between 1 and 12% of your story

Build up between 12 and 25%

Reaction between 25 and 37%

Realisation between 37 and 50%

Action between 50 and 62%

Renewed Action 62 – 75%

Recovery 75 -87%

Confrontation 87 – 98% (climax starts)

Climatic event 98%

THE DIAGRAM

That’s all great y’all. But when you’re a visual/diagram slut like me, a bunch of words and percentages ain’t doing shit to help me sift through the opaque sludge my book’s pacing, structure and tension have given me.

So… In a moment of indecision I decided to chuck ‘coin flipping’ in the fuck it bucket and smush them both together in a Weiland-Wells LoveOff, curtsey of the diagram below.

You may want to click on it to enlarged it.

• The black line across the horizontal X axis has Mr. Wells’ points in black.
• Above the line in the turquoise are Miss Weiland’s added extras. Because hers stretch over a period in the book, I’ve represented them as that too.
• The horizontal dotted lines represent low, medium and high tension, low tension being the first line, high tension being the top line.
• The zigzag line doing the conga across my page, is my guestimation of where the ‘average’ novel should be according to their structures.

This is a baseline. What an average novel’s tension and pacing would look like. But I want to know how my novel compares. Is my tension right? Is the pacing correct? Is it too much, too little? Long rest periods?

In order to unfrazzle my head I decided to overlay my book onto the chart. You could over lay by scenes or chapters or just by plotting the main events. But for me, I wanted to know where every chapter (in order) sat on this map.

I have 1-2 sentence summaries of each chapter which give me enough information to remember roughly what the chapter is about.

I made a judgement call, using the sentences (and a hazy caffeine fuelled memory) to plot each chapter on the chart. This is the result (note it’s only a section so it’s enlarged)

*claps hands, gives self a gold medal* I can use a ruler. So what. What does this actually tell you? and how does it help figure out pacing and tension?

Word Counts  

I’ve probably written too much as chapter 25 (which is meant to be getting on for 40% through the story) is 31,000 words into my novel. In actuality, chapter 25 is probably only 25% of the way through my story. Meaning the book would come in at 120,000 if I carried on at the same pace. That or I’ve broken the rules and will speed up later. *cough*

I’m not going to do anything about this yet, at least not in this edit, but it does tell me to keep an eye on my word count.

Pace

It also tells me to watch my pace. I don’t want to race readers through the story during the first 31k only to bore them getting to the climax because I used all the action points early on. I think looking at the ups and downs there’s a fairly good rollercoaster, which if you put a line of best fit in, would gradually increase. So my pace, if I have my word count right, should be ok.

Tension Variation

I have three consecutive chapters (8,9 & 10) all at the same tension level. Maybe that’s ok, maybe it isn’t. Without reading the book start to finish I can’t tell the impact yet. The point is, I didn’t realise until I saw it visually. Now when I send my book to beta readers I can ask them to check whether the book slows too much during these three chapters.

Structure

When comparing the chapters and the events within them to the diagram, I can see (thankfully, *wipes brow*) I’ve actually included all the plot points I should have so far *huzzah – pats pantser back* What’s also helpful, I now know which chapters they are in too!

Are you a visual writer? How do you work out your plot and pacing? Do you even need it written down? Or do you go with your gut? What techniques do you use? Let me know in the comments.

For more reading on this topic (as well as the aforementioned authors) I also recommend Jane’s post on the plot planner,

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The post The Visual Writer's Guide to Pacing & Tension appeared first on Sacha Black.

I used to be an over plotter. A plotter who annoyed herself because she couldn’t do anything until she had planned ten ways to Sunday. The problem with that is, I ended up JUST plotting and not writing. Thank god I came to my senses!

Even though I am now edging towards free writing. There is one thing I can’t live without – a basic novel structure. I need to know what happens at A, what happens at Z and a couple of the key turning points at roughly F and P or maybe H and S…!

One of the things that helped me untwist my knickers was Dan Wells and his Seven Point Plot Structure. If you haven’t come across it, then this will be a delicious candy book covered treat.

I struggled for a long time to find the right sort of structure tool that would give me enough detail to create an effective plot but not so much detail it was overwhelming and prevented me from actually writing. I used this method to give me the basics, the simple A, F, P and Z, and then I expand up and out into my synopsis. The brilliance of this method is its simplicity. You can start with just 7 sentences, and those 7 expand to become paragraphs and eventually pages.

His method is to establish the following:

• Hook
• Plot Turn 1
• Pinch 1
• Midpoint
• Pinch 2
• Plot Turn 2
• Resolution

The interesting bit of Dan’s structure is not the plots points above – they seem pretty obvious and logical to me, but the order in which he suggests you create/complete them.

Dan starts at the end…! The order in which he writes the plot points is:

1. Resolution – This is where your entire book, all 100,000 words of it is leading to, so make sure you know what your ending is. Write your ending down first.

2. Hook – Once the end is written down, go back to the beginning. If you know your end point, then generally speaking your beginning will be the opposite state. For example, Rodney and Delboy end up as millionaires at the end of the TV show, but at the beginning of their story they start as paupers.

3. Midpoint – This is the point in the story where your characters move from reaction, to action. This doesn’t always have to be the ‘physical’ middle of your book, it could be a quarter of the way in, or much closer to the end. But it’s the point where the story stops happening to them, and they start driving it towards the end.

4. Plot Turn 1 –This is the first twist in the story. What conflict are you introducing? What pressure are you putting on your character to push them from the hook at the beginning to the midpoint where they need to take action?

5. Plot Turn 2 – This is where your protagonist gets the final piece of the puzzle in order to get to the end. For example, in the Matrix, this would be when Neo realizes he is The One.

6. Pinch 1 – After the first plot turn, you need to apply pressure to force the characters into action and towards the midpoint. Often this is the point the villain is introduced.

7. Pinch 2 – this is where you add even more pressure, make the situation look completely hopeless, ‘how will they ever be able to get out of this mess?’ Using the Matrix as an example again, this is when Mr. Smith shoots Neo, and it looks like he dies.

To watch the whole lecture series where Dan has much better explanations and examples, you can see the first video below which will take you through to YouTube where the others are.

For visual people, check out the diagram below:

If you liked this post, why not get even more awesome writing tips in the book 13 Steps To Evil – How to Craft Superbad Villains. Click this link and just tap the logo of your device or regular bookshop and it will take you to the right page. You can also get a FREE villains cheatsheet and a villain’s short course by joining my mailing list just click here.

Read Keepers, the first book in my Young Adult fantasy series now. Or to hear more about the release of the sequels as well as get regular CogMail updates you can do so here.

You can also find me on Facebook, Twitter, Instagram, Pinterest, Goodreads

The post The Quickest Plot Structuring Tool There Is appeared first on Sacha Black.