Plotting vs Pantsing Smackdown

There are two modes of story writing that I've come across. The one that sells, and the one that tells. The first one I think needs structure or else most readers won't get it, they won't stay engaged. I consider myself in the group of most readers. Most readers want to immerse in the story world and feel that arc upon which the protagonist journeys. We all understand that.

I read over at The KillZoneBlog where they discuss an article in Writer's Digest, "Just Write". The article indicates that by our own experiences we have a natural ability to write stories.  And so comes the argument of what method of story writing makes for great content, plotting or pantsing, for what the industry deems sellable.

Today, I'm going to be an advocate for the Pantser. Most folks who want to write have a passion to write. Not to tell a story, but to write, in any form. The story is just the most common and accessible means to doing just that. Writing is what we love to do. But, as mentioned at The KillZoneBlog, you don't just write a story, especially fiction. You must first understand the underlying mechanics of what makes stories work *cough* said the author of a story structure book to the novice writer. If you believe that, you haven't judged many writing contests. The talent pool is swimming with creative young writers who can tell great stories. Their imaginations are phenomenal.

What I like to argue, is for a great work of art to come to fruition, the writer must unleash the story within. That is, the telling of the truth. No form or structure is going to allow for the next great novel to come alive with as much impact. Story structure is what makes the reader get that familiar feel of a story. The beginning/middle/end, a call to journey, the  crisis, the denouement, whatever. It's what sells as a good read. Anyone wanting to write for a living must know this, learn it and apply it. Or you can fall back on the no-resolution resolution structure.

But a story that tells is different for me. The telling of a great story, even in fiction, is one that spills truth. It's one I deem a creation that forms from the implanted seed which grew inside the artist. The only way to spill truth for a writer with a story, is to be unbound from traditional forms of storytelling. How did S.E. Hinton, at such a young age, bang out The Outsiders? Or how did Mary Shelley pen Frankenstein? Do you think she was aware of story structure, or do you think she just wrote what was already within her? I think the latter. She'd endured the birth and death of her baby before she was 18 years old. The story was in her. It wasn't birthed from a formulaic presupposed rendition of the cookie cutter storyline. Though I'm sure publishers polished it up a bit after she wrote it.

Be careful not to provoke the artist into changing their vision. They shouldn't strive to fit a structure before they begin to write. Some guidance is great, but the gifted writer should write without scrutiny or the presupposition that they are incapable of producing greatness without guidance or structure. What came first? The story or the structure? No story should be bound by traditional and formulaic structures before writing it. The Writers Dream Kit contains over 32,000 story forms. I wonder how we discovered those forms. Were they written first?




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Writing Inspiration Comes in Many Forms

Don't call me crazy, but I was a bit depressed this past weekend. I wanted to write something so desperately and my brain wouldn't work. As a matter of fact, it worked against me!

Tim asked me why I was being so quiet and I didn't have an answer. He knew I'd had writer's block for the past month and the concern on his face was quite touching, so I blurted it out, "I want a ferret!"

He had this WTF look on his face, but I pressed on, "They're like cats and you can litter train them."

"They smell."

"No they don't."

"They do!"

"Let's go to Carol's Critters. I'll call them and see if they have any. I just want to look at one. You'll see how cute they are and you'll agree that we should get one."

Turned out they did have one and when we arrived at the store, there she was, resting in a hammock suspended from the top of a 90 gallon aquarium tank.

What a coincidence! I have a 90 gallon tank at home taking up room in the garage. Three years of maintaining a salt water fish tank had done it for me, but I knew I would eventually use the tank for something else.

She was a cutie, too! The ferret. The only problem? She was already 9 months old and not litter trained.

Also, I didn't have a lid that would support a hammock suspension system like the one in the store, which is something I would have to get because you can't have a ferret and not add that level of cuteness. No way.

I handed Carol my business card and asked her to please call me when she had new arrivals of baby ferrets and I would return. I couldn't help but notice Tim looked mighty pleased that we were leaving without the ferret. He knows me too well. I'm the compulsive buyer. Give it a week and I'd forget all about the ferret.

Back to my deep thoughts and sadness...and writer's block.

Today was my flex day, so I came home from work and found Tim in the driveway building something. It couldn't be! He had started working on the lid to my future home for Mo and Bo!

"What do you mean Mo and Bo?" he asked.

I must have said that out loud.

"Well, remember, Carol had said that ferrets come into the store in pairs of two. You can't just separate baby animals when they've been cuddling together all the way to their new destination. That would be cruel. Maybe even traumatizing!"

I'm so excited. The inspiration to write hit me instantly and so here it is. Now that I'm done telling you all about my new future ferrets, Mo and Bo, I must go thank my wonderful husband.

Wait, why is he staring at me like that?



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5 Motives For Animals in Fiction

I asked Tim to recall all the fictional novels he's read (or movies watched) where animals played a part. I did this because I was curious to know what other readers would come up with, not just me. He named the novels (movies) and I noticed there were, to me, different motivations for animals appearing as characters, even the walk-ons. These are the ones I found.


Please Like My Protagonist

At most conferences I've attended and online writing classes I've taken, the speakers have discussed this thing referred to as "pet the dog" which simply means get the reader to instantly like your protagonist. Whenever any character shows affection toward an animal, it will create this connection with your reader. How about an Orangutan? Remember Clyde in Every Which Way But Loose and its sequel? Best sidekick EVER!

Here's a quick example. When a cop picks up that cute puppy in an alley while searching for some bad guy, notice he gives it a quick snuggle before tucking it safely behind some dumpster? Now, back to the bad guy and doing the much needed deed, moving the plot along. It's not realistic, but it works. The cop has a soft spot, even while in the middle of a very dangerous chase. This cute scenario doesn't really belong in the story, but it serves one of two purposes for supplying elements which seem out of place. It adds to character development. The other would be to further the plot, which it does not.


Creating Conflicting Emotions

Two elements I love to experience at the same time are feeling my love for humanity and feeling love for a helpless NON-human type. How does one promote love for humanity? Um, you have an horrific animal which causes incomprehensible damage to society. Think King Kong, Godzilla, Food of the Gods, and Jaws. It's man against this indestructible creature wreaking havoc upon their villages.

And don't give these creatures any qualities that make them human, like King Kong actually falling in love with the girl. NOooooooo!!!! Now we have to like the creature, and that defeats the purpose of bringing society together to kill it. Talk about conflicting emotions for your readers.

In Jaws, the mother was protecting her 15 foot baby the fishermen killed! Those bastards. Of course, any mother would go after them murderers, and with great vengeance. How do you hate such a creature?


Creating Horror and Anticipation

One of the things in fiction that has a remarkable affect on readers, and I say this from my own experience as an avid reader of horror, is the mention of acts performed by domestic animals, acts we cannot deny but we cringe knowing of them. Like the cannibalism of hamsters when one of their own becomes ill. No, our pets are not cannibals!

Authors remind us of the horrors we wish to deny. They torture us with these tidbits of information, reminding our kindred of the evil which exists in our innocent world, the one we so desperately seek to escape. MWAHAHAHAHA!!

A stray dog wouldn't eat the scalp off a dead man. But, what if he'd been abandoned and was hungry, like the one in Stephen King's Gerald's Game? I think King described it like the sound of pulling up carpet? I don't care how hungry my Maggie ever gets, she'd never eat my scalp!

Promoting Religious Views

So, what does it say to you, the reader, when you read about the family pet who died? Pet Sematary is an example. Karma? Did you get a sense that the author had a particular religion they were depicting or did it just seem creepy to you? Coming back to life: evil times 3! I'm not suggesting this was the intent, but when I read the book, I felt a lot of ceremony in it.


Political Dissidence

Animal Farm is a great example of this, but that's literary stuff, so who cares? :)  Read it!

I use animals in my short story Snow Leopard. The cats in my story are major characters and they play a very prominent role in how I feel about political dissidence in America today. They are tools and my intent has always been the hope that my readers will relate on a deeper level at some point.


Okay, I admit, I'm being overly harsh on the writers out there, but I want to know. Do you think about why you include animals in your scenarios? Do you ever wonder why you find the need to include them? I think it's okay to do it, I just wonder if you know why you do it and do these specific reasons I point out hit the mark?



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Genre VS Literary Fiction - What's the Difference?

I was asked this question the other day and after thinking about my college years, learning about Ethnic Literature as well as American Literature, I pondered these differences. What I wrote then and what I read now (mostly horror and mystery) are quite different, but not by much. I've read a few debates about genre vs. literary fiction, and I discovered that so many authors get up in arms about their beloved writing, no matter with which group they relate.

Writers love what they produce on the page, like any artist to a canvas. So, it shouldn't be surprising that we defend our artistic pieces. So many critique our styles, our motivations, and our elitist attitudes. That's right, I just called us a bunch of elitists. I state this in a self-deprecating sense though, just to get it out there, in case you're already thinking of me as a literary snob. Yes, I'll admit, I love literary fiction, and I'm happy to share my favorite excerpts.

So, what IS the difference?

Lovers of literary fiction fall deeply with the idea of the work and the internal growth within the characters. They love the experience of reading the work, its beauty and simplicity. The introspection with which the story demands is the most compelling element of literary fiction, aside from its eloquently, flowing cadence.

I cried when I read David Copperfield by Charles Dickens. Why? Because the growth of David, the boy, into David, the man, was a phenomenal read and it touched me. I don't know how else to explain it.

Success, in the eye of the literary author, is experienced by the accumulation of acclaim by other literary types. The motivation is not for monetary gain, but rather the acknowledgement of the beauty within their intellectually stimulating prose.

Lovers of genre fiction enjoy a quick read with twists and plot. They are entertained by conflict and the elements of surprise, which pave the paths of their heros and heroines. Their experience is like a ride in a theme park. The masses love a good mystery or a great horror story. Many even love the romance, paranormal included.

Genre fiction is in high demand and so the number of copies sold and landing on the Best Seller list are indications of success for the genre fiction author, and thus monetary gain being the motivation behind writing. I'm not saying genre authors are not eloquent or compelling, and that they don't love to write, but simply their motivations are different due to a vast audience.

OH EM GHEE, did I just generalize? Yes, I think I did.

Am I adding to the stereotypes of literary snobs and genre rock stars? I hope not. This post was written in order to objectively compare and contrast, briefly, these two fiction types. I couldn't be more broad. Or could I?

Did I leave anything out? Should I have mentioned more about one group or the other?


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When Introducing New Characters

When introducing a new character into my stories, I ask myself 3 questions and if any of these cannot be answered, I make the decision either to omit the character or to provide scenes which have these areas covered. The answers to my questions are fully explained using the addition of Benjamin, the Belgian shepherd in Precinct 9.

 Will the character be instrumental in moving the plot forward?

When adding Benjamin, a.k.a. Benny, to my novel, I didn't have any plot elements set up to justify him, but I really wanted him in it because he's an awesome dog. So I created two plot elements. I had to make sure he will have purpose, he will be responsible for moving the plot along, and his actions will cause a change in my protagonist's journey. They are simple cause and effect elements.

Will the character provide a means to further develop my protagonist?

The relationship a character has with the protagonist is important to me and the more intimate the relationship, the more depth I can bring to both even if the relationship is a negative one. Remember Hannibal Lecter and Clarice Starling in Silence of the Lambs? 

Benny doesn’t share a negative relationship with Kelly, but I use him to show how much control she has over such a ferocious animal. He's a disciplined police dog and could bring down any 200 pound man who poses a threat. I consider his role to be the sidekick rather than protector. It's one of many roles I considered in the Writer's Dream Kit.

Will the character remain unchanged at the outcome of my story? 

Absolutely not!

Lots of things happen to characters during the course of a story. Even if I don't make a change for the character, the character changes. They have to for me. Why else have this character come along for the ride? It can't be merely as a form of entertainment. 

Things happen. Relationships end. People die. Others fall in love. Something has to happen to every character I introduce or I simply cannot get excited about writing their journey. In my stories, every character has a journey, no matter how minor compared to the protagonist’s.

Conclusion:

Why do I do this? 

Because I want my stories to feel as if everything I introduce is fully integrated. I don't want to make that mistake of introducing someone for the sake of having a really cool character in my story. I don't want to create any babies, if you know what I mean.

Do you have a process you use to keep your stories tight from the beginning? Maybe you have guidelines and/or standards you pursue. Care to share them? Comments are welcome, as always!

The Plot Clock by Jamie Morris

This year's TWA conference and book festival was the most beneficial one I've attended. One of the things I'm sharing with you today is the condensed version of The Plot Clock, a system developed by Ms. Jamie Morris.

First, here's a small graphic I created to show how these plot points look in relationship to one another. Each student in the mini class drew this by hand, but you don't want to see my scanned, handwritten version. You really don't. It is sad, really sad.

Note: The inner gray circle is just a reminder that any subplots within your main plot must also follow this circular path of THE PLOT CLOCK.



Act I (The Ordinary World)

Story Start

The story begins at the top of the plot clock and starts the protagonist on the journey while in the ordinary world. The character is developed and living in a world which is comfortable, safe, and familiar. In The Wizard of Oz, Dorothy is in Kansas, conflicted by her daily dealings with family and the evil Mrs. Gulch.

Inciting Incident

Something happens to the protagonist which calls upon them to act and leave behind the ordinary world. They may choose not to act right away; maybe they will question this step and not answer the call.

Either way, they are placed in a position to be aware of this dilemma. Dorothy locks herself in her room over the devastation of Mrs. Gulch taking Toto, a tornado whisks her away, leaving behind her family who had escaped into an underground shelter.

Binding Point

The protagonist is forced into leaving the ordinary world at which point they cannot return, at least not as the same person or via the same route. When Dorothy discovers she's in Oz, there's obviously no turning back. She must move forward to get back home.


Act II (The Special World)

The Special World

The special world will have a look and feel so different from the ordinary world. It should throw the protagonist out of her comfort zone. It's not safe and familiar, not like the ordinary world.

Many things will happen to your main character while in the special world (think of Dorothy meeting the Scarecrow, Tin man, and Cowardly Lion), but the most important things in Act II are exposing weaknesses.

Obstacles 

Exposing weaknesses in your characters makes them more likable. Nobody wants to read about perfect characters. This is an opportunity to test your characters so that when they come back in Acts III and IV, the reader will know from where they came and cheer for them when the time comes.

Low Entry Point

This is when the main character enters the lowest point in the story. It's when they discover things are truly hopeless and life is over as they know it. When Dorothy is told by Oz that he cannot get her home, she is devastated and must return with the evil witch's broom.

In Top Gun, when Maverick's wing man is killed in a freak accident, it's like his whole world changed instantly. The internal change has begun for these characters.


Act III (The Special World continued)

Internal Change

The biggest struggle for the main character happens in this part of the story. They've been tested beyond anything they could ever have imagined. They are desperate. This happens to Maverick in the moment he is declared not responsible for his friend's death, but he still carries demons.

Low Exit Point

The character exits the low point. A story must create change in your character and this change is what gets your character climbing toward the turning point. Your main character will now have obstacles which expose their strengths.

Obstacles

Exposing strengths in your characters makes them worthy of success. You can't keep them wallowing in weaknesses. Here is where they've earned their right to be where they are. They're wiser, less fearful, and more heroic in the choices they make. It's what gets them to the Turning Point.


Act IV (The Special World continued)

Turning Point

There is hope for your protagonist! This might come in the form of an anti-climax or it may just continue on with obstacles. I've decided to use it a bit differently in Precinct 9. We'll see how that goes.

This is the part where Maverick has graduated from Top Gun. Things look to be turning for the better and he's come to grips with the death of his friend and the demons left behind of his father's legacy.

Final Battle

Your protagonist must fight the fight of all fights. This is the huge dogfight in the sky for Maverick. It's a big win for him, too. He finally stuck with his wing man and they pull off a successful air battle. Likewise, Dorothy escapes captivity with help from friends and melts the wicked witch.

Denouement

Tie things together, explain things, show the happily ever after. In the romance novel, it's usually the man professing his love and explaining all the reasons why he'd been a complete oaf to her.

In Top Gun, it's when Maverick shows back up at the club where he'd met Charlie, the instructor. Someone plays the song he'd sung to her back then, "You've Lost That Loving Feeling". Dorothy is back in Kansas telling everyone about her dream and how they were all in it.

Do your stories follow The Plot Clock to some extent?