Psst! Come here! I'm going to let you in on a little secret this week for Follow Friday.

Are you ready? Okay. This is my very favorite website for writing tips:

Alexandra Sokoloff, screenwriter turned author, breaks down screenwriting techniques into easy steps for us writers on her blog.

What is high concept?

Three act structure

Creating Suspense

What Makes a Great Protagonist?

What Makes a Great Villain?

I could go on and on about how amazing this website is. I love this woman. I will bear hug her if I ever meet her. Her techniques are that helpful to me. So do yourself a favor and go check it out. Could be some great stuff in there for you, too.

Great weekend all around!

I did absolutely no plotting for the first manuscript I wrote. None. I just showed up at the laptop every day and started typing.

I love writing that way. Every day is a surprise. I didn't see the problem with that approach until I'd typed "The End."

That story had no real structure. No sense of rising stakes. Also, because I wrote this way, I didn’t give enough thought to my character’s goals, or their emotional arcs.

I wish I could tell you that--three manuscripts later--I’ve perfected plotting. That I have a fool-proof formula. I don't, though I have learned quite a bit.

In my files I have notes on three act structure. I have diagrams and graphs. I've taken classes and read books on the subject. And I've learned tricks from my fellow Muses.

Sometimes one approach speaks to me. (Outline the whole thing, start to finish.) Other times, it's something else. (Work from a one page synopsis.) What I’m here to say is that it is okay to not have it figured out right away. It's all right to change your approach with each novel, or even within a novel. The important thing with plotting is to find a balance between planning and creativity. Over plan and you lose the thrill of discovery. Under plan and you run the risk of the story unraveling in your hands.

It’s also okay to deviate from the conventions. Some stories—some of the best stories—do. But you need to know the rules to be able to break them to your best advantage.

For my current work in progress, I'm using what I call the Road Trip approach to plotting. I opened a document and put headers Act One, Act Two, Act Three. Then I added a few ideas for each section of the story. Emotional beats, or plot twists. Whatever I knew at the time. These were the stopping points on the road trip of the story. Places I really wanted to get to. But the best road trips are the ones that take unexpected detours.

I've gone right to a few of these planned points as I write the first draft, but I'm ok if the story or the characters steer me elsewhere. Then it's just a matter of following the fun but making sure I don't go too far off my course. If that's where I'm headed, then it's time to rethink the overall journey. Detours are good, but you don't want to end up in Miami if your end goal was to see New York.

I start every book with unbridled enthusiasm.  I have the perfect starting point, characters I'm interested in, and a kick ass climax.  I usually have two or three scenes along the way that are already begging to be written.

All I'm missing is everything in between.

I've overwhelmed and terrified by these missing links, these scenes and chapters that will (hopefully) propel the reader through the story, if only I can figure out what they are.  This is why I hate first drafts.  Blank pages and missing plot points are the bane of my writing life.  

How do I connect the dots between the inciting incident and the first turning point?  What scenes do I need along the way?

If I knew that, maybe I wouldn't hate first drafts so much.

But I am coming to terms with plot.  For one thing, in both books I've completed, I've ended up with too much plot: too many subplots, character arcs and plot twists that detract from the real story.  So I've come to terms with the fact that I will not only end up with a plot, I'll probably have to cut back on the second pass.

Where do these plot points come from?

Conflict.

Just like good scenes are full of conflict and tension, so are good plots. I've put together a list of some common types of conflicts that can be used to fill in those blank pages and connect the dots. 

Conflict between characters.  Conflicts between characters are vital to moving the plot forward.  Character conflicts can range from simply wanting different things or having different agendas to an all out battle royale.  These conflicts aren't limited to protagonists and antagonists.  In my stories, which have strong romantic themes, the main conflict is usually between the two protagonists, the heroine and hero. But there are also conflicts with parents, friends, teachers, rivals, bosses and, oh yeah, don't forget the actual enemies.

Setbacks.  Also known as complications.  It's not enough to hurl a bunch of obstacles in the characters' way.   Some of the obstacles should be insurmountable.  Force the characters to find another way around.  I have a name for characters that bound over every obstacle without difficulty- boring.  Readers are sadists.  They like to see characters suffer.  Writers should be sadists too.  Make your characters earn their victories, by losing a few rounds along the way. 

Unintended Consequences.    Be careful what you wish for...  The unintended consequence is a subspecies of the setback, but it's what happens when a character overcomes an obstacle or accomplishes a goal to find that the outcome is not what was expected.  So the characters get exactly what they think they want or need, reach a milestone, or even solve the main problem- only to discover that the results aren't at all what they expected.  Instead, things get even worse.   The unintended consequence can work as a great plot twist, simultaneously raising the stakes and keeping the characters (and readers) on their toes.

Internal Conflicts.  The best plotted novels give the reader a break every now and then, by providing some quiet moments where the reader and the characters can catch their breath.  But that doesn't mean there isn't conflict.  Internal conflicts are the mental and emotional stumbling blocks that keep a character from reaching their goal.  They're a mix of backstory, character flaws and psychological hurdles that must be overcome.  Find some places in the story to up the internal conflict, to have the character's worst fears realized, to challenge them to face their past or confront their future head on.  If the action and external problems are the bones of your story, internal conflicts are the heart and soul.  It is the characters' emotional struggles and psychological growth that makes a story resonate.

Feel your way through the plot by focusing on different types of conflict and using them to get from point A to point B to point C.

A good starting point is this conflict worksheet:

What does the main character want? 
What is he/she afraid of?
What obstacles are in the way?
How will the obstacles be overcome?
Which obstacles can't be overcome?
What goals does the main character need to accomplish along the way?
What are some unintended consequences of achieving some of them?
What psychological barriers are keeping the character from his or her goal?
What needs to happen before the character can overcome these barriers?
Who/what prevents the character from achieving his/her goal?
Why?
How does the character defeat the person/thing that stands in the way?
How does the person/thing defeat the main character?
Who helps the main character achieve his/her goal?
What does the main character think they know that is wrong?
What happens to reinforce this belief?
How is it turned on its head?

Then go ahead and torture them.  Make them face their worst fears.  Put them in their darkest hours.  Pit friend against friend, lover against lover, man against fate.

Go ahead.  Plot. 

Make them earn their story.

I’m just finishing a second round of revisions with my editor.  The middle section of my novel was a little flabby, and the pace slowed through several scenes.  My editor highlighted these scenes, made one or two comments (like, “This scene focuses on details that don’t really move the story forward.  Can you find ways to tighten it?” or, more succinctly, “Cut?”) and left the rest up to me.

Because I’m in this story for the history, I like to throw in as much fun historical detail as possible.  But occasionally I go off on a tangent.  Like three pages about Henry VIII’s niece, Margaret Douglas.  Who doesn’t even show up in the rest of the book.

If there’s one thing the editorial process has taught me, it’s that tangents are fun and the information in them is interesting.  But not all of them are necessary.  In fact, a short, additional subplot can slow the entire middle section of your book to a crawl.  So I’ve been busy killing some darlings and putting the rest on a Biggest Loser sort of diet.  Tough love.

Subplots add richness to a novel.  They add depth to characters and greater meaning to themes and present beautiful little “aha!” moments to the readers.  But I continually need to remind myself not to let them mask my true story or overshadow the central character.  And don’t let them slow you down.

As a counterpoint to revision (and a carrot for when I finish a difficult section) I’ve been reading ALL CLEAR (an historical time-travel novel for adults) by Connie Willis.  She is a master subplotter.  Those “aha!” moments?  Happen all the time.  But then, what you think is a subplot suddenly spills into the plot itself, like a creek feeding a river.  And it heightens the rush to the inevitable conclusion.  Just by reading Willis’s incredibly well-crafted novel, I have caught a glimpse of how I want my own writing to be.

I need to find the source of the creek and direct it surely toward the river, not allowing for meandering or eddies.  I need to remove the stagnant pools altogether.  And I need to focus each character’s journey along the waterways, so they aren’t swept away or left behind.

I still have a lot to learn about subplots.  I’ve done my best with writing and mapping and character arcs.  Every day I practice.  And thankfully, I have the Muses and their amazing insight. 

It’s a wild ride.  Sometimes, you just have to grab the gunwales and enjoy the journey.

This week the blog will be all about plotting in response to one of our "ASK US" requests (with a little bit of our own personal stories sprinkled in along the way).

I usually start a book with a general idea of the major plot points. I know what the big conflict will be and probably how it will resolve. I often don't know much else. This time, however, I wanted a little more guidance--especially when it came to sub-plots and tying it all together. I've never been an outliner, but I found this terrific visual exercise for plotting and thought I'd share it with you. I used it about one fourth of the way into my new manuscript and it really helped clarify major plot points, flesh out the subplots, and connect everything together.

This is not my original idea. I read about it on Cynthia Jaynes Omololu’s blog. (Cynthia is the author of Dirty Little Secrets, published by Walker Books). Cynthia mentions the method first appeared on the always resourceful Verla Kay Message Boards. and I know it's also been featured on QueryTracker. Whoever came up with the idea, it was definitely helpful for me, so thanks!

9 Steps for Plotting Fiction

Start with a piece of paper. It should be large enough to write on. You can use a 11x14 for a little more room, but 8x11 is fine. Draw two parallel lines both vertically and horizontally across the page, creating 9 comparable boxes, as if you were starting a game of tic-tac-toe. These boxes represent chapters, scenes, or sections, depending upon your book's intended length.

Number the boxes, starting from the upper left: 1, 2, 3.
Next row, starting from the left: 4, 5, 6.
Last row: 7, 8, 9.
Title each box…

1. Triggering Event

First things first. What happens? Why have you bothered to write a book, and more importantly, why should a reader invest time flipping through its pages? Your triggering event is the answer to these questions, so make it a good one. Also, don't make the reader wait very long for it. First page, first paragraph, first sentence. These are good spots for a triggering event.

2. Characterization

Generally, books succeed or fail on the strength of their characters, more so than on the strength of their plots. Box 2 is where you explore what makes your protagonist tick. No, this isn't an excuse for drawn out exposition, history, or back story. If your triggering event is captivating, the reader will discover enough about the protagonist in Box 2 simply by reading how he or she reacts to the event.

3. First Major Turning Point

By now, your plot is picking up steam, and because of Box 2, the reader is invested in the ride. Time to throw a curve ball. This turning point can be either a positive event for your protagonist, or a negative one, but it should lay the groundwork for the negative turning point in Box 6. There is a reason these boxes are touching one another; they interrelate. For example, Box 3 may introduce the motivation of the antagonist, which then justifies the events in Box 6.

4. Exposition

You've earned some time to fill the reader in on important data. Since this box touches Box 1, here's where you shed some light on that triggering event. Since it also touches Box 7, you get to foreshadow your pro-tagonist's darkest hour. Box 4 often reveals a relationship, character flaw, or personal history that contributes to the dark times ahead.

5. Connect the Dots

Here is where many plots fall apart. Box 5 represents the trickiest part of fiction, and since it is the center of the diagram (and book) it must connect to all the boxres around it. (2, 4, 6, & 8.) Kind of like the nucleus at the center of a bomb, Box 5 should tick systematically upon elements introduced in Boxes 2 and 4. And like the calm before the storm, Box 5 should give the false impression of resolution before heading like a freight train to Box 6. Most importantly, it needs to provide foreshadowing for the protagonist's revelation in Box 8. That's a lot for a little box to do, but focus on efficient prose to get it right. Your plot depends upon it.

6. Negative Turning Point

Here's where that bomb explodes and all (word censored) breaks loose. Good thing you laid the groundwork in Box 3. Good thing, too, that Box 9 will deliver some just desserts.

7. Antagonist Wins

The protagonist is defeated here, and the antagonist apparently wins. How the protagonist deals with the darkest hour of defeat depends upon the traits and/or story developed in Box 4, which leads to his or her revelation in the next square.

8. Revelation

Of course! The protagonist's revelation turns the tide. Here is where the protagonist connects the dots and overcomes the obstacles of Boxes 6 and 7 via the device introduced in Box 5.

9. Protagonist Wins

The negative turning point in Box 6 is rectified while the character's resolve from Box 8 is brought into full bloom. Congratulations! Another great tale told greatly.