Of Plots and Pants and Plodding Processes

"Are you a plotter or a pantser," people often ask. It sounds like an easy-to-answer question.

It's not.

I used to think I was a plotter, but every time I said it, it sounded – even to me – like “I am a plodder.” Now, this may accurately describe my writing speed, but it does nothing to convey the wonderful exhilaration of the writing process.

This is my process: I go where the story takes me!

I’m hardly a pantser, though. I’ve written exactly one book by the seat of my pants. My characters were interesting, but had no direction; I felt like I was wasting both my time and theirs. They were so out of control, the story kept haring off on wild tangents. 

I know there's a story in here somewhere...

In order to save the story, I had to stop writing and do what I should have done in the beginning: determine the beats and develop a road map. Then I had to axe vast quantities of text (which, given my “plodder” pace, was enough to permanently cure any future pantsing nonsense). I felt like an archaeologist wielding a machete to clear away the jungle overgrowth from a hidden city before I could get to work making sense of the ruins.

As a writer, I am a huge devotee of structure, which is why I originally cast my lot with the plotters. Love me my road map! The danger with relying too heavily on a map, however, is becoming a slave to the highway. Though the interstate may be the fastest drive from Point A to Point B, it’s rarely the most satisfying or the most interesting.

So, I don’t feel comfortable identifying with either Plotters or Pantsers. Instead, I consider myself a Docent. 

I am the story’s caretaker. The tour guide. My job entails presenting the story and the characters in the best, most interesting way possible. Sometimes that means slavishly adhering to my plot points. Sometimes that means staying out of my characters’ way while they go exploring.

-->> What are you? Plotter? Pantser? Or something completely different? Leave a comment and tell me about your process!

K.I.S.S.: Keep it Simple, Scriptwriter

I spent some time recently talking with my friend Paul, a scriptwriter and film director. He gave me some feedback on a script I was a little too close to. Then I gave him an opinion on a project he was working on. Then we bounced other pet ideas off of each other.

Throughout our discussion, one theme emerged, time and time again – keep it simple!

We both found areas of weakness in the other’s script where the waters were being muddied by Too Much Stuff. Too many characters… Too many things going on… Too much backstory. Just too much.

As Paul reminded me: you have only 90 minutes in a movie to tell your story. It has to be succinct and to the point. So now, I have two options – find the main story I want to tell in my screenplay, cut everything else, and spend the whole movie developing the single thread, OR keep everything, flesh it all out more, and make the screenplay into a novel.

I’ve said it before, and I’ll say it again – short stories translate into great movies (see “The Shawshank Redemption,” for instance).

Novels, however, rarely do. There is too much in a book to condense into two hours. Much must be cut, go by the wayside or be ignored in order to make the movie the right length. Often, that means tampering with a book’s structure and internal construction. Which is why great books often make for inferior movies – their stories require more than two hours to tell.

Once you have a work completed, ask yourself how much time will be allotted to it on the audience’s end. In other words – people can spend hours, if not days, with a book. With a movie, however, they invest 90 to 120 minutes of their time. A TV show needs 30 to 60 minutes of commitment (if you’re really compelling and they don’t have a remote handy). Articles require only 5 to 10 minutes to read.

Armed with that knowledge, edit your piece accordingly:

• Find the most important part – the thing you most want to say – then focus only on it. 
• Polish that Thing so it shines for the time allotted according to the medium. 
• Strip out everything that distracts from the story. 
• Erase all deviating  plot lines. 
• Get rid of anything that needs explaining, unless it directly relates to your point. 
• Axe all periphery characters.

Simplify, simplify, simplify. In doing so, not only will you make your story stronger, but you will also crystallize your point – making your future pitches for the project stronger and more focused.

Have any ideas for simplifying your writing and making your story stronger? I'd love to hear them!

I Plot, Therefore I Am...

...Much More Likely to Get Where I Want To Go

I am an ardent fan of outlining my work before I start writing it. In the current writers' vernacular, most would consider me a "plotter" rather than a "pantser." (This is not to be confused with the urban slang word pantser used to describe a person who pulls down the already sagging pants of a gangsta wannabe currently displaying a generous portion of his underthings to the world.)

For a lengthy but interesting treatise that gives equal time to the merits of both camps, check out Cindy Myers' "Plotter or Pantser" post. In essence, it all boils down to two things:

A plotter plans things out in advance.

A pantser starts writing and flies by the seat of his or her... You get it.

I have tried writing sans outline with only a general idea of where I wanted to end up. I even finished the book. I now have 85,000 words that I refuse to inflict on anyone. They are destined to sit on my hard drive indefinitely, because what the book needs is for me to apply one or both of the following Plans to it and beat it into shape. Which will require pulling threads of stories that don't work right, re-structuring major characters, and editing with an eye toward structure and salability. All of which sounds like more work than I feel like doing at the moment. And so, anarchy & chaos continue to reign supreme in that particular project.

I don't look at an outline as a "fill in the blanks" novel-writing tool, though I know several authors that do, and that works for them.

(A side note: when I write non-fiction books, I make a detailed table of contents, expand it as much as possible, and list questions that must be answered for the reader by the end of each chapter. That, then, becomes my working outline and writing the book is very much like a fill-in-the-blanks kind of project. The process works well for me for non-fiction, but it takes all the fun out of fiction writing, in my opinion.)

When writing fiction, I operate under the assumption that in order to ultimately work, a story needs to have a framework that holds it in place.

Furthermore, each major character that populates the work not only propels the plot forward, but also has his or her own story line that continues even when the character isn't Center Stage.

Therefore, though it sounds stuffy, boring, and the very antithesis of the creative process, I rely on an outline to keep my story structure in place. It frees me to focus on the minutiae of building sentences and crafting nifty vignettes within the story without losing sight of the Point.

In other words, having an outline gives me a road map from beginning to end. It allows me to take interesting short side trips to explore points of interest along the way, but ensures that I don't stray too far off track.

Plotting Plan 1: Use Tried & True as a Launching Pad.

I am a huge fan of using the Hero's Journey (or a variation therof) as a "cheat" for outlining my story. The reason for this is that, at its core, the Hero's Journey encompasses and embodies what humans have come to expect from a story. It provides a useful, endlessly adaptable framework on which to hang our writing.

[If you're not intimately familiar with what I'm talking about, the Hero's Journey Wikipedia page is invaluable for brainstorming and outlining. The content on the top of the page explains the basics of the structure. But toward the middle of the page there are Other Formulations that offer alternatives and structural nuances.

Devotees of Joseph Campbell may insist that there is so much more to the Hero's Journey than Wikipedia. Well, duh. But when outlining a story, I'm not doing an English major's graduate thesis. I'm just looking for landmarks so I can plan my hero's journey.]

I don't see using the Hero's Journey as writing with a formula. I consider it more like following tried and true guidelines to tell my tale. The structure can be mutated into myriad story possibilities, but if my story utilizes any of the 17 stages (not all stages are present in all stories -- even in the illustrative source material), then I feel it should do so in the correct sequence.

That's how I use the Hero's Journey as my outline. I take my premise / story / idea and write out the gist of what happens. Then I compare it to the accepted Hero's Journey models and see which fits best. That enables me to make an informed decision about what portions to combine or leave out all together. I can also see potential errors in structure from the beginning.

I'll fill in the basic story details following the Hero's Journey as quickly as possible so I can get writing. If I get a *brilliant* idea for something new halfway through my story, I'll hold it up to the Hero's Journey lens to see if it helps or hinders my original vision / intent.

A further note: I also use a modified version of the Hero's Journey to plot individual character arcs within the larger story. Again, I find it invaluable in keeping me on track, in forcing me to put my characters into difficult situations, and in making sure that stuff happens without me charging off tilting at plot windmills.

Plotting Plan 2: Story Beats / Screenwriting 101

A second tool I use for outlining and staying on track is a slightly modified screenwriting story beat sheet.

I LOVE this, by the way. It is absolutely invaluable for figuring out all the plot twists and major character arcs before delving into the deep story.

Since a screenplay is no more than 110 pages long and each scene is approximately 2 - 3 pages, that means the meat of the story must be told in 45 - 50 bite-sized pieces. There are a million screenwriting books out there, each trying to tell you both how to both play by the rules and how to break them, but the fact remains that the Western movie-going public has specific expectations for their stories.

I use a grid of 1-inch squares to plan the beats of my scripts. (Truth be told, my grid is an old calendar. A month & a half, with 1 day allotted to each scene / beat = completed story outline.)

The 45 square grid helps me visualize my whole story. It shows me where my pace is too slow, illuminates gaps in my original logic, and forces me to solidify my subplots.

When I know where the major encounters of my story are, how my main character moves from Point A to Point B, what trials (s)he encounters and how they are surmounted, who the antagonist is, and how things are ultimately resolved for maximum impact to both character and audience, then I can get writing.

Sometimes I'll write the screenplay, if I want to focus on the visual elements of the story. Other times, I'll write the novel, if I want to explore the inner lives of my characters. Either way, knowing my 50 major landmarks along the way keeps me from digressing into tangents and keeps my stories from dissolving into anarchy or chaos.

I've found that, contrary to expectations, working from either a Hero's Journey outline OR a story-beat grid does not leave me uninspired. I generally do both the Hero's Journey work AND a story beat plan before beginning.

Then, each chapter or scene begins with what's already mapped out on my grid. It completely alleviates the blank-page syndrome. It breaks my writing up in bite-sized, easily attackable pieces, and tells me what needs to be done to move the story on.

I follow the outline / story beat grid for the first draft. Then I embellish and explore short new paths for various characters on the second draft. After that, it's just a case of a solid edit and the thing is done!

Plotting my story before I begin is the best exercise I've found to determine whether or not I have a story worth telling. It also helps keep me on track so I can eventually #Write2TheEnd, instead of leaving my characters with their pants down.

What about you? Are you a Plotter or a Pantser? What are your favorite tried-and-true plotting tools? Or, do you just wing it? Share your insight or pants-losing stories with me!

Useful Links to Stir the Creative Soul

All of these links relate in some way to a recent topic of discussion in the Writing Practicum -- a group of talented writers that I facilitate on Tuesday nights. Each of the first four is a sort of C.S. Lewis-like "Wood Between the Worlds" that serves as a jumping-off place to other, related sites that merit additional exploring...

For those who are outlining a story, organizing thoughts, brainstorming, or heavily involved in plot or character development, mind-mapping is a useful exercise. For highly rated and reviewed (free) mind-mapping software, try FreeMind.


If you are considering signing with a literary agent or manager to further your career, first read this excellent blog post on Questions to Ask before signing with an agent. The comments at the end are also enlightening.

If you are interested in finding ways to harness and direct your creative impulses, this blog post by the author of the bestselling "The 4-Hour Work Week" is a great introduction to the particulars of Lucid Dreaming.

And this blog post contains a very good primer on Personal Branding – important for authors interested in developing and establishing a platform. Pay special attention to the presentation embedded within the post. It's a whole mini-seminar in itself.

Writing Contests of Note

Writer’s Digest Poetry Awards (For poems less than 32 lines.) Deadline Dec. 1, 2009.

Genre Wars Short Story contest. For stories up to 2,000 words. Free to enter. Small cash prizes. Publication in anthology for winners.

And the Big One...

Writer’s Cruise with Cynthia Whitcomb

Depart April 10, 2010 for a 14 day cruise from Miami trans-Atlantic, to the Canary Islands, Barcelona, Spain; Villefranche, France; Florence or Pisa, Italy; ending in Rome on April 24 on the Royal Carribbean cruise line. Prices begin at less than $100 per day (not including airfare). Includes the Writer's Workshop, all meals, great networking, and being treated like royalty.

Find out about what happened during the 2009 cruise. Then, set your sights on the seas!

Surprise Me!

One of the best things you can do as a writer is to keep your reader guessing. Guessing readers turn pages to see if their suspicions are correct. Readers who have all the answers spoonfed to them close the book, turn out the light, and go to sleep. Then, it's anyone's guess as to whether the book will ever see the light of day again...

Last night, at the Novel Writing Practicum, I suggested that writers think of their narrative as a game:
• Too predictable = too easy. Reader grows bored and stops.
• Too unpredictable = impossible to win. Reader grows frustrated and stops.
• Establish the playing field & the rules early.
• Adhere to the rules you set.

Part of establishing the "playing field" involves clearly placing your book in a particular, recognizable genre. Another aspect of the "rules" has to do with the decisions you make about things like reality and narration (First or third person? Omniscient or narrow? Biased or objective?).

The readers’ fun is in thinking they know more than you.
Your fun is in surprising the readers AND keeping them turning pages.

The writer's toolkit of surprises includes such gems as:
• Narrative sleight of hand and misdirection.

• Unexpected emotions or actions. (Think Scarlett in "Gone with the Wind." Any vulnerability comes a a surprise, which brings added depth to the moment.)

• Reveal of previously hidden information.

• Characters acting in ways contrary to their nature. (In a wonderful scene in Being Julia, the main character -- a diva -- goes out of her way during practice to allow the ingenue to shine. The entire scene is memorable because it includes one surprise after another. What makes it even more effective is when the diva allows her true nature to shine -- in a scene that is also rife with surprises.)

• Previously introduced but now forgotten element takes center stage.

• Unexpected alliances or feuds.

• “One fact short of understanding.” (Excellently played out in thrillers -- Shattered (or "Butterfly on a Wheel") and The Illusionist are two films that use this method very well.


“Let the audience add up two plus two. They’ll love you forever.” Billy Wilder gave his mentor Ernst Lubitsch credit for emphasizing surprise in the game of storytelling.

It should come as no surprise, however, that the more you engage your readers and give them a puzzle they can sink their teeth into, the sooner they'll come back to you for more!

Plot Spots

Last Tuesday, in my Writer's Workshop, we discussed Plot. Now -- I'm not one of those who believes that a story is either plot-driven or character-driven. No: I happen to believe that all stories are inextricably tied to the characters within them (even if the only character is the narrator...).

However, I also believe in the Plot Spot. The Plot Spot, as I explained to my students, is the Thing that impacts a character's life and forces that character to make a choice. The resulting story, then, hinges upon the character's choice. For instance:

A major early Plot Spot in Wanted, is the Store Shootout. It establishes every major plot point that drives the next 30 minutes of the film, and it presents Wesley, the main character, with a choice that will impact the rest of his life.

A significant Plot Spot in Happy Feet occurs where Memphis loses the egg that has been entrusted to his care. Though he recovers it, he blames that incident for damaging his son and making him "different."

Some stories have many Plot Spots -- many crossroads that force their characters to make life-changing, long-term, significant decisions. The story line of such works eventually looks like a dot-to-dot of possible turning points, connected by a single line of choices.

Other stories have very few Plot Spots. One could argue that Twilight only has two. If Edward didn't save Bella in the high school parking lot, she wouldn't even know to ask about his special powers. And if James wasn't such a tracker, there would be no reason for Bella to run to Phoenix. (Of course, that's overly simplifying the story -- but the point is that some story lines are heavily reliant on Plot Spots. Others are not.)

After examining what constitutes a Plot Spot, I challenged my students to examine their current projects in the light of "What Happens?" One way to do that is to practice Playing God with a particular scene. For instance:

Underline, or otherwise identify key plot points in your scene. For each one, articulate:

• How will this point pay off later?
• Why is it important for the reader to remember this?
• How will this affect the character’s choices / life?

• (brainstorming option) Identify at least 5 reasonable, logical choices the character could make as a result of each plot point. Follow each choice a short distance to see where that “plot road” takes you.

o Look for ways to work in these “alternate paths” in other characters, to illustrate to the reader the validity of your lead character’s actions.

o KNOW, beyond any doubt, why the story unfolds the way it does. The lead CANNOT a passive victim of chance. Know the consequences your lead unleashes.

o Explore dark alleys. (This is especially effective in ascertaining that you, the writer, are not being Too Nice to your main character. Let him or her fall into some difficult places. Beware of treating your characters with kid gloves. Remember: how we handle hardship is what defines us.)

My students are to bring their re-worked scenes, complete with Plot Spots, to class this week. I'm always amazed and inspired at how a hard look at What Happens can make one's writing SOOoo much more interesting.

Update

My friend, Trudy Morgan-Cole, had a very successful online book launch for her latest work, By the Rivers of Brooklyn. In fact, she actually charted in the Top 10 of the Canadian online bookseller that she used to do the launch. I'm so proud of her! Yay, Trudy!

I donated a complete "Character Building Practicum" as a bonus prize to a lucky winning writer who participated in the online launch. I'm always happy to help my friends with their marketing efforts. And I'm looking forward to working with the writer who claimed the prize.

I've just finished a manuscript edit of an inspirational memoir written by an author I've been mentoring for the past year. It's quite good, I must say. She is attending the Grand Rapids Christian Writer's Workshop with me later this week. With luck, she'll be able to bring the project to the attention of a good agent or publisher who can get it in print in a timely manner.

The Marathon Man screenplay edit continues, and should (God willing) be finished this week. This is great, because Ryan has promised me that he will have his edits and additional content ready for me by the end of the month.

I hope to also finish the sample chapter for the Marathon Man book proposal by the end of this week. Not only will it be good to be able to send it off to the agent who has requested it, but it will free me up to work on two personal projects that are clamoring for attention.

Never a dull moment. If someone were to chart the Plot Points in my life, I wonder what sort of story would be taking shape...