PLOT

DEVELOPMENT
CHARTS AND TIPS
FOR OUTLINING AND
PLOTTING A NOVEL
 ELEMENTS OF FICTION

Point-by-Point Plot
One story structure—the Hero’s Adventure—rules them all, according to liter-
ary history. Take a closer look at the basic parts of the most popular plotline.

B Y E L I ZA BE TH SI M S

36 I WRITER’S WORKBOOK I 2014

H ow do the most successful authors of our time con-
struct their stories? If you read them, and if you
also read some ancient myths, you will begin to see par-
• A CHALLENGE TAKES SHAPE. The challenge may be
refused, at first. “No way, I’m not going to risk my
neck for that!”
allels. You will feel smacked upside the head with paral- • A REFUSAL, OFTEN. But eventually the hero decides
lels. You’ll realize that the top authors of today use sto- to accept the challenge. She might even be forced to
rytelling techniques that writers used back when plans accept it by circumstances.
were being drawn up for the pyramids. • THE CHALLENGE IS ACCEPTED. The adventure begins.
An excellent book about ancient myths is The Hero • THE HERO LEAVES THE FAMILIAR WORLD. And she

With a Thousand Faces by Joseph Campbell. The title sets off into another world. It’s dangerous. The hero
says it all. Across cultures and generations, some varia- could use some help, and very often …
tion of a hero figures into every beloved story. And the • HELPERS MATERIALIZE. A helper might have special

typical story is about an individual who goes on a quest skills the hero doesn’t have, or he might have special
or a journey. By the end, the individual becomes a hero. insights or wisdom, in which case he takes the form
This is called the Hero’s Adventure. of a mentor.
• SETBACKS OCCUR. The hero is tested, she makes gains,
The Hero’s Adventure is the most archetypal story
of all because it’s the basis for more novels than any she endures setbacks, she fights for what is right, she
other kind of story. Novels of all different genres, from resists evil. The going’s tough!
• THE HERO REGROUPS AND GAINS SOME GROUND
romances to thrillers to sci-fi to mystery, are based on
AGAIN. Maybe she needs another visit to a mentor, or
the Hero’s Adventure.
maybe she makes a personal breakthrough and over-
So what is the Hero’s Adventure? You know it already,
comes a great inner obstacle, perhaps her own fear.
and you may even have elements of it in the story you’re
• THE FOE IS VANQUISHED OR THE ELIXIR IS SEIZED.
working on. But I suspect you haven’t yet methodically
Eventually she defeats the foe or comes into posses-
and thoroughly appropriated it for yourself.
sion of something that will restore the natural order—
a cure, or new knowledge that will bring justice or the
THE HERO’S ADVENTURE BASIC RECIPE
return of prosperity.
Here is a basic recipe to demonstrate how the Hero’s
• THE HERO RETURNS TO THE FAMILIAR WORLD. And
Adventure plays out. This is a template you can apply
the problem is fixed, or justice is done. The natural
to your own work-in-progress—you might be surprised
order is restored.
by how closely it matches elements you already have
in play. The person who accepts the challenge and prevails is
elevated to a special position, somewhere above human,
• A MESSENGER COMES. The messenger might be somewhere below god. She is the hero.
human, or a message might come from an experience—
like a brush with death or a dream. At any rate, some- THE HERO’S ADVENTURE AT WORK
thing has gone wrong; the natural order of the world Famous stories from King Arthur and Excalibur to The
has been disturbed. Wonderful Wizard of Oz to The Little Engine That Could
• A PROBLEM IS PRESENTED. Perhaps something has to Harry Potter are based on the Hero’s Adventure. Let’s
been taken away from the tribe, or some misfortune look at a concrete example from a well-known source:
or malfeasance has occurred. the Sherlock Holmes story “The Adventure of the
• SOMEONE IS MARKED OUT AS THE PERSON TO SOLVE Speckled Band” by Sir Arthur Conan Doyle.
THIS PROBLEM. She is chosen according to some past
deed of her parents or by her own reputation or hap- • A MESSENGER COMES. Holmes and Watson are hang-
penstance. This person, of course, emerges as the ing out in the familiar world of 221B Baker St. when a
hero at the end. young lady comes calling.

WritersDigest.com I 37
 ELEMENTS OF FICTION

• A PROBLEM IS PRESENTED. The young lady tells

Holmes that her sister has died under strange circum- Writing Your Own
stances, and she now fears for her own life. Hero’s Journey
• SOMEONE IS MARKED OUT AS THE PERSON TO SOLVE
Here are some questions to consider while you’re
THIS PROBLEM. Knowing of Holmes’ reputation, the
young lady asks him for help. working with the Hero’s Adventure:
• Who is my hero, and what is his familiar world?
• A CHALLENGE TAKES SHAPE. Holmes asks many ques-
tions, and perceives the seriousness of the situation. • How has the natural order been disturbed? Is

• A REFUSAL, OFTEN. Holmes rarely refuses a challenge, somebody dead, is somebody about to become
though he has been known to be reluctant at times. dead, is somebody—or are there a lot of some-
In this case, Holmes senses great urgency, so he bodies—in danger? What is out of balance?
doesn’t waffle. • Who or what is my messenger?
• THE CHALLENGE IS ACCEPTED. The adventure begins.
• What is the unfamiliar world my hero will enter?
• THE HERO LEAVES THE FAMILIAR WORLD. Holmes
• What is the quest or mission?
sets off from 221B Baker St. and enters the busy,
• What is my hero’s inner conflict? (One idea to
raucous streets of London, thence to a creepy old
mansion in the country. It’s dangerous. The hero prompt you: In what way(s) is my hero flawed?)

could use some assistance. • What are the stakes? What will be gained with vic-

• HELPERS MATERIALIZE. And guess what? He’s got tory? What will be lost with failure?
Watson at his side! Much investigation occurs, with • What weakness might cause my hero to screw up?
progress, and then … • Who are my hero’s helpers?
• SETBACKS OCCUR. Things go wrong, problems turn • What or who will my hero have to fight?
out to be more difficult than anticipated.
• THE HERO REGROUPS AND GAINS SOME GROUND
AGAIN. After a nail-biting, death-defying climax,
cal location as the beginning. A Hero’s Adventure can
Holmes prevails, discovering a deadly plot and a
begin in Chicago and end up in Los Angeles.
bizarre method of murder. The perpetrator is killed by
The Hero’s Adventure is a fail-safe model for story-
the very method he had used to kill another.
telling. However, it is not the be-all and end-all. As you
• THE FOE IS VANQUISHED OR THE ELIXIR IS SEIZED.
can see, it’s simply a way of planning, organizing and/
Holmes and Watson wrap up the case for the local or linking your scenes for maximum effect. It was good
police and return to their flat in London. enough for the ancients, it was good enough for the
• THE HERO RETURNS TO THE FAMILIAR WORLD. And
most memorable authors of recent centuries, and it’s
we feel secure because we know justice has been good enough for us.
done; the killer cannot kill again. The natural order Best of all, it’s flexible. You can follow it quite literally,
is restored. or you can use it as a general guide. The template I’ve
presented here is simple and stress free. You can use it
Read practically any good, successful dramatic to make your novel reach deep into your readers’ minds
novel and you will find similar story bones. This is not and hearts.
by accident. Good authors have an instinct for such The more I think about it, the more I bet that the
things. We can sharpen our instincts by studying, as story you’ve been working on, however much of it you
you’re doing right now, and by writing, which you’ve have, contains elements of the Hero’s Adventure already.
been doing all along. Have you been yelling that to me through the time/
You might be thinking, Must my Hero’s Adventure space continuum?
begin and end in exactly the same place, like the Sherlock Yes!
Holmes stories? Good. WW
It can if you want, but no, it doesn’t have to. Many
terrific stories end with the natural order being restored Excerpted from You’ve Got a Book in You © 2013 by Elizabeth Sims,
but not necessarily in the same physical or psychologi- with permission from Writer’s Digest Books.

38 I WRITER’S WORKBOOK I 2014

 Map It Out
A story map can help you take your story to the finish line—whether you’re starting
from the beginning or lost somewhere in the middle.

B Y NA NCY E LLE N D O D D

W hat is my novel missing? How can I develop this

single idea? Is my story structure complete?
Sounds like you need a story map.
ward. As you map your ideas, you’ll discover that they
help to propagate more ideas. Especially if you’re stuck
at a particular point in your novel, you may want to
Just as a road map helps you plot your travel plans, a update or create a new map so it reflects—or creates—
story map serves as a visual outline that helps you see fresh ideas and story structure.
the direction your story is taking and whether you’ve If you’ve already outlined or written most of your
overlooked any major points of interest along the way. story, a story map may point out where your structure
And it works: As you fill in a story map with your ideas, is weak or not fully developed by what you can’t fill in,
you quickly see what you don’t know about your story or by what you’re struggling to answer.
or how to organize it. BE LOOSE. You’re simply placing on a chart what
Based on timeless storytelling principles established you understand about your story. Everything you write
by Aristotle, this writing tool doesn’t change the inspi- can be considered a placeholder until you develop a
rational quirkiness of the way you write or take away stronger idea. Sometimes what you think is the begin-
from how you approach the craft—rather, it helps you ning hook may change to be the climax or a conflict
sharpen your story’s essential core elements … the once you better understand your story. For now, write
internal ones readers will be looking for, whether what you know—and put it where you think it belongs.
they know it or not. Although a simple idea, the story You can always change it once you have a clearer under-
map has proven to be useful for both beginners and standing of what you’re writing about.
advanced writers alike. USE PHRASES IN YOUR MAP THAT CAPTURE YOUR
Before we get to our map, here are three keys to suc- IDEAS BY SHOWING RATHER THAN TELLING—JUST AS
cessfully navigating your own: YOU WOULD IN YOUR FICTION. For example: Mary lets
INTRODUCE A STORY MAP AT ANY STAGE OF YOUR Bill know she’s angry is telling, while Mary rips up their
WRITING PROCESS. If you’re just beginning your story, marriage certificate shows the story, has more energy
implementing a story map will help you see where to and takes the idea to the next level, which often leads to
start and where to spin off ideas to move your piece for- the next idea.

WritersDigest.com I 39
 ELEMENTS OF FICTION

Navigate Your
HOOK GOAL 1ST TURNING POINT EXTRA PLOT POINT
This is an engaging The protagonist’s goal, This establishes the A second plot point is
opening, which often which is key to a story, conflict the story is needed only if a bigger
foreshadows the conflict and can be established as early trying to resolve. The main conflict is required follow-
propels the story forward. If as the hook, or during the conflict can occur in the ing the main plot (based on
you have extra hook ideas, conflict. It can also change hook or closely following it, genre, the strength of the
you might also use them as as the story moves forward. or after the initial story and first plot point, etc.). The
twists or revelations later. characters are set up. The second plot point should im-
middle of the story starts mediately spin the story into
immediately or shortly after, the middle.
depending on whether
there’s backstory or addi-
Main Themes tional setup.

& Dramatic
Questions
These are the “big-picture”
concepts on which the story is
based. List them prominently
somewhere on your map to TIP:
How do you
keep the story moving in the map a story?
right direction and focus your Everyone’s methods
work. They may change—but are different—that’s
analyzing these concepts will what makes writing
unique. You can place
help you develop a compass your ideas on your map
for your story. in whatever order
they occur
to you.

B EG IN N I NG M I D D LE

WHAT’S AT STAKE RISING ACTION

A strong story always has something at stake for the The middle consists of conflicts that
protagonist. It should feel as though it’s a life-and-death create obstacles or challenges to
issue that’s crucial (and/or urgent) to the protagonist. thwart the protagonist. These climb
This should define the first act of your story. in importance, severity or intensity as
they lead up to the climax.

40 I WRITER’S WORKBOOK I 2014

 Novel Story Map Key
Story Map Key
A story has one to seven acts,
A story has one to seven acts,
depending on its form and
depending on its form and
length. The map’s vertical lines
length. The map’s vertical lines
are dashes
are dashesbecause
becausethey
theydon’t
don’t
OBSTACLES CLIMAX REVELATION represent a fixed numberofof
represent a fi xed number
Depending on the form This is the largest After the climax, there’s pages or
pages or aaset
setpoint
pointininthe
thestory,
and length of the story, obstacle, and it often a major revelation and can
story, andmove
canaccording to the
move according
the protagonist should face determines whether the of something that either the
three to seven obstacles, or protagonist wins or loses. protagonist or the audience
to the development.
story’s story’s development.
challenges. Each should be It’s been described as being didn’t know. Some pointsindicated
Some points indicatedinin
more difficult for the protag- where the protagonist fails white depict elements
white (( )) depict elements
onist to overcome. Note the (and the ending has been sometimes used toenhance
enhance a
zigzagged line representing described as where the sometimes used to
the obstacles—the story is protagonist figures out story, based on genre.
a story, based on genre.
tighter if the resolution of how to turn things around).
one obstacle results in the However, the protagonist
creation of another. may also win in the climax.
It’s not until the end that
we realize how the story is
RESOLUTION
resolved after this win or fail.
The resolution is the outcome
of the story: Does the pro-
tagonist meet his goal? Does it
still matter? Did the goal change
for the better or for the worse?
Make a list of questions like these,
and answer them for yourself.

TAG
A tag usually consists of a
moral to the story through
one of the character’s eyes, or an
indication of what the characters’
futures might be.

Sense of Urgency
Throughout your book, you
need an idea that pushes
the story forward and keeps
the reader reading. This can
TIP: be something like a ticking E ND
Flip chart or bomb or a time line before
art paper offers
something changes, or just an
plenty of writing
overall feeling by the way it’s
FALLING ACTION
space for story map
The end, or dénouement, has falling
creation. Post your written. List it at the bottom
map on an art action in which the story winds down.
of your map.
board or wall. Final revelations and loose ends are
tied up. WW

Nancy Ellen Dodd is the author of The Writer’s

Compass: From Story Map to Finished Draft in 7 Stages
(Writer’s Digest Books).

WritersDigest.com I 41
 Stuck in the Middle
A mid-draft slump is often nothing more than a symptom of a weak support
beam somewhere in your story. Run these simple diagnostics, and you’ll be
standing strong again in no time.
B Y L AR RY BR O O KS

WritersDigest.com I 57
 ELEMENTS OF FICTION

N obody ever said writing a good novel was going to

be easy. It’s highly likely that at some point you’ll
find yourself thoroughly stuck, and when it happens in
reason may connect to your premise itself. The role of a
premise is to give the hero something to do, rather than
something to exist within, and good ones always ask the
the middle it can make you crazy because it all started reader to care about the hero, rather than just his sur-
out so well. But the news isn’t exclusively bad. Because roundings or the issues he’s facing.
once identified, a mid-story hiccup can become an When a story comes off as more diary-like than dra-
opportunity to make your narrative even better, from matic, when the narrative reads like a series of one-act
start to finish. plays rather than a larger, singular dramatic arc, it is
A mid-draft slump is a symptom, calling for a diag- the middle that takes the hit. Because when readers
nosis before you can effectively treat it. Believing you get there, they’re not going to be content to passively
can write your way out of this mess, that you can rescue observe the events as they unfold. They’ll be looking for
the middle with a strong closing act, is a seductive trap, something specific to root for.
because your reader may never make it that far. When
that reader is an agent or an editor, this assumption
becomes a fatal one. Change is the name of the
There are four common maladies that can result in
a miserable middle. While you may find overlap in game in the core of your
terms of these symptoms, sometimes all it takes is some story: from setup to hero as
simple care administered to any one to get the story
ticking again. responder, from responder
to warrior, and then, in the
1. IS YOUR PREMISE, WHILE THEMATIC AND
A GREAT STAGE FOR YOUR CHARACTER, final quarter, from warrior to
DRAMATICALLY WEAK? heroic problem-solver. Which
The truth is, not all premises are created equal. “It
seemed like a good idea at the time” is the lament of won’t work unless those
many missteps in life, and launching a story without the middle chapters are solid.
requisite dramatic chops is as stark an example as any.
There’s a reason Clive Cussler’s breakout novel was titled
Raise the Titanic! instead of Raise the Aktiengesellschaft
Barge! Like most bestsellers that rocket careers to diz- 2. CAN YOUR CORE STORY BE CLEARLY AND
zying heights, Cussler’s story had something concep- SUCCINCTLY STATED?
tual behind its dramatic premise. Basically, he had us A workable premise almost always poses a compelling
at Titanic. dramatic question that entices readers to stick around
DOES YOUR PREMISE HAVE SOMETHING CONCEP- to see what happens. It keeps readers reading because
TUAL ENERGIZING IT? Premises grounded in rich histor- there is something at stake, something you’ve made
ical or thematic settings can lead to wonderful stories. them care about. The dramatic question is the dramati-
The problem comes when the setting becomes the story zation of the core story you are telling.
(take note, historical writers), rather than the context CAN YOU DEFINE YOUR CORE STORY AS A DRA-
for a dramatic arc set within it. If your narrative is com- MATIC ARC AND LIFT A COMPELLING DRAMATIC QUES-
posed primarily of a series of moments and happenings TION, ONE THAT FRAMES YOUR CORE STORY, FROM
showcasing place, time, setting, culture, politics or a YOUR PREMISE? Will the hero rescue the kidnapped
specific chapter in history, then your middle pages may child? is a dramatic question with huge stakes arising
already be asleep as a result. from the premise: A bank manager is forced to rob his
DOES YOUR READER HAVE SOMETHING TO ROOT own bank in order to pay the ransom to get his daughter
FOR IN YOUR MIDDLE CHAPTERS? If you can’t immedi- back. Notice how they are different, how the dramatic
ately identify just what they should be rooting for, the question arises from the core story. Your middle chap-

58 I WRITER’S WORKBOOK I 2014

ters must further define the core story through the pur- trouble. Because your middle is entirely about the core
suit of an answer to the dramatic question. story itself.
WILL THE READER CARE ENOUGH ABOUT THE DOES YOUR FIRST PLOT POINT COMPEL YOUR HERO
ANSWER TO THE DRAMATIC QUESTION? Causing your TO SHIFT INTO RESPONSE MODE? What new informa-
reader to care begins in the opening chapters, where tion changes the story in a way that accomplishes this?
you set up the premise, but you take it to another level This should be a clear and succinct moment, a bolt of
when the hero is put under pressure or threat, which awareness, a calling, even an epiphany. It is often the
is the job of your middle chapters. Here is where the moment when the hero is suddenly threatened, and for
reader is swept vicariously away with the hero into the better or worse decides what’s next, be it avoidance or
jaws of a dilemma of some kind. That dilemma is your fleeing or simply pursuing more information. Whatever
core story. that response may be, it shifts the story into a higher
IS YOUR MIDDLE WHOLLY ENGAGED IN ADVANC- gear, with stakes involved and the hero now focused on
ING YOUR CORE STORY? The real juice of storytelling is a need and/or a goal. Nothing drums up emotion (for
showing how the answer to the dramatic question will your hero or for your reader) quite like conflict, which
be revealed, thus rendering it as context for the vicari- is precisely what the First Plot Point imbues in the story.
ous journey itself. If you don’t have that question in DOES THIS FIRST PLOT POINT APPEAR AT THE
play by the time you approach the middle chapters, if PROPER PLACE IN THE STORY? Given that your open-
the narrative is still internal and experiential (as in, ing chapters are tasked with setting up the context of
hero goes to Venice and does this and that to get over the story, the First Plot Point should occur with the full
his divorce, then goes home), you miss both boats: the benefit of that setup in place. Which means your open-
readers’ desire for an outcome, and their vicarious ride ing hook is an ill-advised place to address the mission
in getting to it. of the First Plot Point. Conversely, if you position it too
When you’re still in first gear by the time you hit late, you risk losing the reader in the process.
the middle chapters, you risk stalling out altogether. Your First Plot Point commences the whole of the
If you’re still in tour-guide mode without giving your middle arc of your story, a full 50 percent of the total,
hero a compelling problem to solve or a worthy goal to give or take. So this point is best situated at about the
pursue, with threat and/or risk lurking and something 20 to 25 percent mark.
of value hanging in the balance (stakes), if you’re still
revealing backstory and showing us the sights … that’s 4. HAVE THE NATURE AND CONTEXT OF
your middle management miscue right there. YOUR HERO’S MISSION, FOCUS, PRIORITIES,
NEEDS AND DECISIONS/ACTIONS SHIFTED
3. HAVE YOU LAUNCHED THE CORE STORY BECAUSE OF THE IMPLICATIONS OF
WITH A PIVOTAL FIRST PLOT POINT THAT IS THE FIRST PLOT POINT TURN?
WELL-PLACED AND FULLY REALIZED? An effective middle depends so heavily on a viable,
Defining a conceptually rich premise and then execut- potent and clear First Plot Point because it defines what
ing it are as different as taking a picture of a house and the middle is about: your hero’s response to the newly
actually building one. Even if your core story is solid, minted quest.
how and where you launch it—story structure—is what IS YOUR HERO FULLY ENGAGED IN THE PURSUIT OF
defines the efficacy of your middle. THE ANSWER TO THE STORY’S DRAMATIC QUESTION BY
The moment of that launch is when the story shifts THE MIDPOINT? Your middle chapters should continue
from set-up mode to full speed ahead. This is called to elevate, escalate and surprise. Within them, at some
the First Plot Point. It is a major story beat, the big point, the hero is going to undergo another important
twist that rocks the hero’s world, commencing some- transition: from responding to the problem to attacking
thing urgent to do about a new situation or calling, with the problem. There is a prescribed moment in classic
obstacles and stakes in play. story architecture for this shift: the Midpoint story beat,
Mess this up, ignite this in the wrong place or leap- which resides squarely in the middle of your middle, if
frog it entirely, and your middle will instantly be in you will.

WritersDigest.com I 59
 ELEMENTS OF FICTION

DOES YOUR HERO TURN A CORNER AT THE THE ENDGAME OF MIDDLE

MIDPOINT? The events of your story should drive your STORY MANAGEMENT
hero to attack the core goal or problem more aggres- Change is the name of the game in the core of your
sively at approximately the middle of the story, turn- story: from setup to hero as responder, from responder
ing a corner from responder to warrior (proactive and to warrior, and then, in the final quarter, from war-
bold) based on new information offered at the middle. rior to heroic problem-solver. Which won’t work unless
If the Midpoint doesn’t transition the story from hero- those middle chapters are solid.
response mode into proactive problem-attack mode, It is here where all of the key structural elements—
your whole middle will get stuck in second gear. conceptual premise, core story, dramatic question, First

FIRST PLOT POINT

(STORY BEAT)
New, story-changing informa-
HOOK tion enters the narrative, defining
An early moment snags reader an immediate situation, need,
interest, relative to either plot or problem, goal or threat that
character. Often without expla- causes the hero’s life and priori-
nation or context, something ties to shift and escalate urgently.
happens (be it subtle or large) This key story beat defines the
CORE SUPPORT: that demands attention, clarity hero’s quest, and thus the core
and resolution. The hook opens story itself. The plot is fully in
Middles don’t stand alone. They depend
a dramatic door that invites the motion, with antagonistic forces
on entry and egress, built from weight-
reader to come inside. and stakes exerting pressure.
bearing contexts that hold the pieces
together as the story is propelled forward.
Execute well, and the story will be built
from the right structural stuff, allowing 1 2 3
the whole to reach its highest dramatic
potential without crumbling under the
weight of its own thematic intentions.
SET-UP SCENES
Here are the nine major parts of a
Opening chapters have much
strong story, each with its own succinct
to accomplish: They introduce
contextual mission contributing to the
the hero and a pre-plot life
whole. Numbers 4 though 6 comprise
and circumstance; foreshadow
your middle, accommodating about 50
forthcoming drama by put-
percent of your manuscript.
ting necessary pieces into play,
often without context; launch
both subplot and context; and
insert the mechanics leading to
the First Plot Point into
the narrative.

60 I WRITER’S WORKBOOK I 2014

 Plot Point and Midpoint—become prerequisites to get- up for, so don’t leave them waiting in the middle. Keep
ting your middle right as a whole functioning arc. If the story on track as you move it forward, and take
you find your story on weak ground, accurate diagnos- thrilling twists and turns along the way.
tics at each of these points are key, because an unde- When you do, readers will come back for more. And
tected broken link deflates each and every story beat it’ll be your middle, as much as your premise and your
that follows it. prose, that makes it happen. WW
You are the architect of that assembly—which, when Larry Brooks is the author of Story Physics: Harnessing the Underlying
it works, becomes a moving dramatic vehicle, sweeping Forces of Storytelling (Writer’s Digest Books). His latest novel is Deadly
readers along toward a destination. It’s what they signed Faux. Visit his website at storyfix.com.

MIDPOINT (STORY BEAT)

New information enters the
story and shifts the hero’s con- SECOND PLOT POINT
text from that of a responder to (STORY BEAT)
that of a proactive attacker of New information again arises,
the problem. This new infor- often as a result of the hero’s RESOLUTION (STORY
mation empowers and embold- efforts, that will lead the hero BEAT OR EPILOGUE)
ens the hero on the quest. (For down a path toward resolution, What’s been at stake in the
example, if a mysterious per- calling for even more courage story is achieved, and often
son has been chasing the hero and ingenuity in the face of an the hero’s immediate future
up to now, this is where the even more energized antago- is glimpsed, with everything
identity of that person or thing nistic force. Stakes are at an all- changed because of the experi-
might be revealed.) time high. ence that has led to this point.

4 5 6 7 8 9

HERO RESPONSE HERO PROBLEM SCENES RAMPING

SCENES ATTACK SCENES TO CLIMAX
The hero responds to this The hero moves forward in These scenes set up and exe-
new situation. The antagonis- context to more fully under- cute the path toward a show-
tic force rattles its sword and standing the stakes and obsta- down as the hero takes action,
exposes its own goals, as the cles, with hands-on confronta- as the issues and elements con-
hero discovers more about the tion, strategy and cleverness. verge. The hero should be the
situation and makes seemingly But the antagonistic force primary catalyst, if not
necessary moves, which is ramping up its game, too, the architect, of the
usually make things worse or escalating drama and tension. forthcoming resolution
more urgent. Things usually get worse before of the problem.
they get better.

WritersDigest.com I 61
 ELEMENTS OF FICTION

Worksheet: Keep Your Story Moving

When you have a targeted direction and narrative for your story, you’ll be less likely to get stuck in the middle
somewhere. Complete this worksheet, and you’ll find specific scene ideas popping into your head to keep your story
moving forward.
As your story takes form in your mind, fill in the blank lines below with either a) a singular narrative mission for the
scene (example: hero meets love interest for first time), and/or b) the narrative content of the scene (example: Bob
and Shirley run into each other at the reunion).

Conceptual hook/appeal:

Theme(s):

Through-line:

Part One - Setup:

1.1

1.2

1.3

1.4

1.5

1.6

1.7

1.8

1.9

1.10

1.11

1.12

1.13

1.14 (First Plot Point)

Keep Your Story Moving worksheet excerpted from Story Physics: Harnessing the Underlying
Forces of Storytelling © 2013 by Larry Brooks, with permission from Writer’s Digest Books.

62 I WRITER’S WORKBOOK I 2014

Tackling the Tough Spots
In any story, there are bound to be incongruities and continuity problems.
Find out how to smooth over those prickly plot points with these tips and
troubleshooting chart.

B Y S TE VE N JA M E S

WritersDigest.com I 63
 ELEMENTS OF FICTION

A plot flaw is either a glitch in causality or believability.

When a character acts in a way that doesn’t make
sense (a problem with believability) or when a scene doesn’t
plot flaws toward the end of your story because narrative
momentum will be pressing in.
Make sure your reader trusts you, and then trust your
naturally follow from the one that precedes it (that is, there’s reader. But keep a close eye on your story. Blatant mis-
no contingent relationship), readers will stumble and start takes will jar and distract readers.
to lose faith in the world of the story or in the storyteller’s
ability to uphold the belief that they’ve put in the narrative.
Anything that’s inexplicable to readers will create a
momentary gap between them and their engagement with Keeping Momentum
the story. To ratchet up the tension of your story, don’t default
We all know it when we come across it—that unbeliev- to simply adding more action. When a story begins to
able jump in logic, often a coincidence that the author is stall, tighten the screws to increase the escalation or:
using to drive the story forward.
If things happen for no reason—plot flaw. If there isn’t • Remind readers what the protagonist wants.
enough stimulus to elicit that response—plot flaw. • Look carefully at the dialogue. If it’s mostly
Imagine that your protagonist hears that a killer is in explanatory, give the speaker something to
the neighborhood and she decides to go upstairs and take accomplish during the conversation.
a shower. Readers will think, “What?! Why doesn’t she • Promise more danger, and then take a step
lock the door, or call the police, or run to her car and get toward it.
out of the area?”
—Adrienne Crezo
At the very moment in your story where you want your
readers to be drawn deeper into the narrative, they’ll pull
away and start to question your character’s actions, and to
some extent, your storytelling ability. In the first printing of my novel The Pawn, I made the
Unless there’s a specific reason to keep readers asking mistake of having the antagonist step onto a porch and then,
“Why?,” you’ll want to make it as hard as possible for them three pages later, open the front door and step outside.
to be confused or wonder what’s going on. Remember, Oops.
the more you fulfill the promises you made earlier in your A mistake like that will confuse readers and cause them
story, the more readers will trust you with the questions to page back through your book to see if they remember
they might have about what’s happening now. This will, in things correctly or not. And of course, that’ll drive them out
some cases, give you more flexibility to breeze past some of being present in your story.

64 I WRITER’S WORKBOOK I 2014

 Errors in fact checking will also distract readers from Don’t leave readers confused. If someone picks up some-
your story. If you mention a woman’s sable hair after you’ve thing, he needs to put it down. If he opens a door and it’s
referred to her as a blond earlier in the book, or if you get freezing outside, he (or someone else) needs to close it.
a date wrong, or someone’s age is off, or you refer to the If you leave actions incomplete, you’ll cause readers to
wrong way to use or hold a certain type of gun, readers will stumble. For example, the character answers the phone but
rightfully take you to task. then never puts it away: What? He jumped into the pool?
The last I heard, he was talking on the phone. Did he take his
cell with him into the water?
Checklist: Work It Out If something is out of place, let another character in your
story notice it: “That shouldn’t be here. What’s going on?” If
When one of your story’s scenes doesn’t work, be your character doesn’t acknowledge that something unusual
sure to check these factors: is going on but readers notice it, they’ll feel smarter than the
☐ Honesty: Is it honest about life? character and might also think they found a “mistake.”
☐ Believability: Does each character act in If something is obvious, tell your readers: “Clearly no
believable ways based on what she wants and who one would be at the office this early in the morning, but I
she is? called ahead just to make sure.” If you don’t point out that
☐ Escalation: Is there an escalation of the it’s obvious that no one would be there, readers might think,
struggle or too much repetition or exposition? That’s stupid. Why would he call the office this early in the
☐ Causality: Are things caused by the events morning?
that precede them? Sometimes, as the author, you can flat out admit
☐ Twists: Are they too predictable, or, on the that things don’t quite make sense: “I couldn’t quite tie
other end of the spectrum, too ridiculous? all the threads together, but the killer had thought of
—Adrienne Crezo everything so far. I figured he’d covered all his bases.
And I really wasn’t sure what else to do.” If a comment
like that comes late in the story, after you have the trust
When a story lags, it’s often because of missing tension of your readers, that trust will allay their questions.
PHOTO © TSHER/FOTOLIA.COM

(there’s no unmet desire on the part of the characters) or Remember, you’re here to serve readers, and
lack of escalation (there’s too much repetition). To fix this, anything that gets in the way of your story undermines
show us how deeply the character wants something but can- that goal.
not get it, and escalate the story by making sure that thing is On the following pages is a chart of some of the most
even harder to get. common plot problems in novels, and how to fix them.

WritersDigest.com I 65
 ELEMENTS OF FICTION

FIX THE PROBLEM

PLOT PROBLEM:
BY USING:

Promises and payoff: Make something go wrong, or promise

TOO LITTLE TENSION
that it will.

Escalation: Identify and remove the early repetitious sections,

TOO MUCH REPETITION
and escalate the tension and action of the later ones.

TOO MUCH DESCRIPTION Brevity: Find a way to say more by saying less.

Desire: Remind the reader of the character’s unmet desire,

UNCLEAR INTENTION either for that scene or for the entire book. Or, sharpen the
intention of the character in that scene.

Causality: Confirm that you are moving the story along from
THINGS DON’T FOLLOW LOGICALLY
cause to effect, rather than effect to cause.

Foreshadowing: (1) Show readers the object, skill or character

COINCIDENCE earlier, and (2) remove transitions that just happen to arrive at
the right time to move a scene in a new direction.

Cohesion: Make sure the mood and voice are consistent and
LACKS UNITY the story pivots on complications and resolutions that escalate
throughout the narrative.

Scenes and setbacks: Summarize the scene rather than

NOTHING IS ALTERED
rendering it.

Fluidity: Delete the scene, or summarize it to fill in the transition

UNNECESSARY SCENES
its removal might cause to the narrative flow.

Surprise: Make sure the story escalates in a direction readers

TOO PREDICTABLE don’t expect but ends in a believable place to twist their expec-
tations against them.

Inevitability: Work on foreshadowing to remove coincidences

ENDING IS CONTRIVED and sharpen causality to make sure everything is causally related.
Verify that you’re not being too authorially intrusive in the story.

66 I WRITER’S WORKBOOK I 2014

 FIX THE PROBLEM
PLOT PROBLEM:
BY USING:

Morality: Write from the center of a moral dilemma or a deep

question about human nature rather than from an answer. Art’s
MESSAGE/AGENDA DRIVEN only desire is telling the truth about life; let that be your guide.
Also, make sure the story is tension-driven rather than trying to
move things forward by relentless action or character descriptions.

Fluidity: Work on the flow, eliminate flashbacks, smooth out

STORY IS CHOPPY transitions and keep things moving naturally from one event to
the next.

Twists: Focus on escalation and surprise. Keep all your promises,

ENDING IS ANTICLIMACTIC/UNSATISFYING
then kill the story while it’s still kicking.

Escalation: Rather than simply following believability and causal-

ity (everything makes sense), let the scenes also be shaped by
PROSE WANDERS
the narrative force of escalation. Ask how you can make things
worse.

PROSE IS BORING Promises and payoff: Keep a promise, or put someone in peril.

Scenes and setbacks: Make sure your interludes are only as long
INTERLUDES ARE TOO LONG
as they need to be for that story and that genre.

Fluidity: Check to see if you’re moving from scene to interlude

CHAPTERS DON’T FLOW WELL and the scenes are all causally and believably tied to the ones
that precede and follow them.

Stakes: Raise them, and make them clear to your readers. Make
NOTHING VITAL IS AT STAKE
bigger promises.

Brevity: If they’re not necessary, delete them. If they play the

SEEMINGLY IMPORTANT CHARACTERS VANISH same role as other characters, combine them. If they are impor-
FROM THE STORY tant, look for ways that their character arcs can be shaped by
the progression of the story.

Promises and payoff: Every word you write is a promise. Recast

TOO MUCH INFORMATION ON MINOR CHARACTERS,
scenes so they bear only the narrative weight they need to in
PLACES, OR THINGS
order to support the story.

STORY STALLS OUT Escalation: Keep asking how you can make things worse.

Tension: Clarify the protagonist’s unmet desire. Also, make sure

READER CONFUSION
the story is moving forward from cause to effect.

WritersDigest.com I 67
 ELEMENTS OF FICTION

FIX THE PROBLEM

PLOT PROBLEM:
BY USING:

Empathy: (1) Confirm that the main character is someone read-

READER APATHY ers care about, and (2) give the character a wound or deep
human desire that we all share.

Setting: Look at the scene through the eyes of the character. If

CAN’T PICTURE THE SETTING
they can see it, readers will, too.

Fluidity: If you choose to use a flashback, just use one, tell that
story, and then come back and get on with the main one you’re
TOO MANY FLASHBACKS
telling. Only use a flashback if it propels the story forward more
than if you didn’t use it.

Characterization: Externalize emotion. Find a way to have your

character express what he’s feeling through his actions (slams a
TOO MUCH DELIBERATION/SELF-REFLECTION
door), body language (tightens his fists), and posture (ram-rod
straight or, conversely, wilted).

Fluidity: Work on the flow. Let characters spar with words. Don’t
LONG, EXPLANATORY DIALOGUE
use dialogue for exposition.

Scenes and setbacks: Make the character’s intention clear, and

TOO MUCH TIME SPENT SETTING UP TRANSITIONS OF
then get on with it. Let him go to sleep, attend the concert, or
TIME AND PLACE
whatever.

Story ingredients: Tension drives stories forward. When you

have no more tension, you’ll lose readers’ interest. If necessary,
TOO MUCH STORY AFTER THE RESOLUTION after the climax, include a scene to wrap up any loose ends (that
is, fulfill any unfulfilled promises) and then end with closure that
makes it clear the story is done.

OVERWRITING Brevity: Every word must matter.

Cohesiveness: Drop the idea of using a theme. Get rid of some

THEME IS EVIDENT
of your blatant images and symbolism. Just tell the story.

Scenes and setbacks: Rethread the story so the transitions

EASILY IDENTIFIABLE ACTS
between the scenes are less visible.

Believability: Evaluate each of the characters’ choices

UNBELIEVABLE SCENES OR SEQUENCES and responses, and make sure they fit with that person’s
characterization.

Distractions: Get on with the story. Anything that can lead a

SHOWING OFF YOUR RESEARCH character to leave the world of the narrative should be changed
or deleted.

WW Excerpted from Story Trumps Structure © 2014 by Steven James, with permission from Writer’s Digest Books.

68 I WRITER’S WORKBOOK I 2014