T.S. Eliot: Good Writers Borrow, Great Writers Steal

T.S. Eliot stated, “Good writers borrow, great writers steal.” Aaron Sorkin’s version of this commandment is, “Good writers borrow from other writers. Great writers steal from them outright.” (And, of course, neither writer was talking about plagiarism! That is 100% wrong and guaranteed to end a writer's career.)

Ralph Pezzullo expresses this idea well in his article, “How to Steal Like a Writer”:

“To my mind, it’s not a question of borrowing or stealing; it’s responding to the writing that turns you on, trying to imitate it, finding that imitation lacking, and in the process of striving to improve on it, stumbling upon a style of your own.”

Someone told me once -- I was at the Surrey International Writers Conference -- that the trick to good writing was to take the universal (some idea that we all have no trouble grasping) and making that idea specific. Make that idea personal. I think this is one of the reasons why reading the work of writers we admire is essential, because in doing so we see all sorts of different ways this can be done.

For example, take the idea of murder. Murder is the intentional, unlawful, killing of another person. We all find it easy to grasp the idea of murder in the abstract. But what a good horror movie does is make that general idea specific and personal. There is a specific murderer, victim, place and time. The reader doesn’t just understand the idea of murder, they feel terrified by a very particular murderer (Jason, etc.) who could be lurking in the dark for THEM.

The Universal and the Particular

Like many of you, I read before bed. Since I use a tablet I turn off the lights and read in the dark. The blackness pools around me and is only kept at bay by the dim glow of my iPad. When I read a good horror novel I become increasingly scared of the various slimy tentacled creatures I am increasingly convinced are lurking in the dark at the foot of my bed just waiting for me to go to sleep.

How an idea is personalized -- how something general is made specific -- is something unique to each writer, perhaps it’s a part of their style, but the trick itself is something all effective writers know how to do. Which is why Stephen King’s advice to read and write regularly is helpful.

Imitation

If I might be so bold, I would add to Stephen King’s advice. I would admonish writers -- especially beginning writers -- to practise imitating their favorite authors.

Which brings me to a couple of writing exercises I’d like to suggest.

A Writing Exercise

Here’s one of my favorite writing exercises:

a. Read a few sentences or paragraphs from one of your favorite books.
b. Ask yourself, How did the text make you feel? Curious? Horrified? Scared? Scandalized? Angry?
c. What words or clauses did the writer use to create this effect? Study their language.

For example:

“Mr. and Mrs. Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much. They were the last people you’d expect to be involved in anything strange or mysterious, because they just didn’t hold with such nonsense.” (J.K. Rowling, The Sorcerer's Stone)

I love Rowling’s use of language! Mr. and Mrs. Dursley (no first names) were proud that they were not just normal but PERFECTLY normal. They seem like the kind of people who aspire to being as boring as possible. So, here, in the first few lines of her book, Rowling sets up a continuum of value: boring on the one end (and that definitely includes the Dursley’s) and strange and mysterious on the other (and that definitely includes Harry).

I think I need to read that book again!

So ...

How I felt after reading Rowling’s passage: I did NOT like the Dursley’s.

What caused this effect: “... perfectly normal, thank you very much.” I can imagine this, I can already start to see the characters. I hear the tone of voice it is said in, prim and proper. Cold. More interested in rules and what others think than in honest human connection.

And I just realized that Rowling, here, is using Free Indirect Discourse! Ha! Very effective. I’ve been experimenting with this in my own work. Anyway, moving on ...

Using Writing Exercises to Create an Outline

Let’s use this general idea of borrowing good ideas from other stories to write the outline for a novel.

a. Write down the main plot thread of one of your favorite stories.

Take one of your favorite books (you could also use a movie) -- it could be the same one you used for the previous exercise -- and, briefly, write down the main plot. Try to keep it as short as possible. Don’t worry about the side plots. For example, the main plot in The Matrix had to do with Mister Anderson becoming Neo, becoming The One. The side plots had to do with Neo and Trinity falling in love, Cypher betraying Morpheus to the enemy, and so on.

Okay. Clear as mud?

b. Now do the same thing with another book or movie, making sure the two are from different genres.

c. Make a new plot that draws from the events of both books. Be creative.

d. Using the events you’ve just created, assign each to a story structure of your choice. 

Here’s the story structure I use, but this is just one possible structure: Story Structure: The Hero's Journey. I use a three act structure, but you could go with four or six or twenty seven! Whatever makes sense to you.

About major turning points ....

Be sure to mark which events are the major turning points. Minimally, there will be ….

- A Call to Adventure at about the 12% mark,
- A reversal at around the 25% mark,
- The protagonist will come to a profound new understanding of the Story World at the midpoint (plus possibly a death),
- A reversal at around the 75% mark,
- A final confrontation between the protagonist and antagonist beginning about 85% of the way through.

Those percentages are very flexible, what really matters is the order.

e. Use the above structure to write a story!

For instance, thinking about the structure of the main plot for The Matrix and Harry Potter and the Sorcerer’s Stone, I could write a story about a girl, a vegetarian, who lives with her horrible aunt and uncle but who suspects that reality isn’t as she believes it to be. As a result of facing her fears and pushing herself to the breaking point, she grows into someone who can save the world.

What I'm reading:

I'm still reading Midnight Riot by Ben Aaronovitch, the first book in his Rivers of London series. No scaly things have materialized at the foot of my bed ... yet.

If you would like to support my blog ...

Every post I pick something I love and recommend it. This serves two purposes. I want to share what I’ve loved with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, Amazon puts a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

Today I’m recommending The Guardians by John Grisham. Here is an excerpt:

"Cullen Post travels the country fighting wrongful convictions and taking on clients forgotten by the system. With Quincy Miller, though, he gets far more than he bargained for. Powerful, ruthless people murdered Keith Russo, and they do not want Quincy Miller exonerated.

"They killed one lawyer twenty-two years ago, and they will kill another without a second thought."

Story Structure: The Hero's Journey

The Hero's Journey

Over the years I've written quite a bit about story structure. So much in fact that I resolved not to do another post about it for a while! But then I began writing my NaNoWriMo novel and a few more things fell into place.

I would really like to know what you think of it. Do you agree? Disagree? Is there anything you would add?

A few random comments before we get started

I believe that, with few exceptions, each genre story is a version of the hero's journey. The specifics are different but the general progression is more-or-less the same.

Not all points, below, will be in every story. For example, sometimes the Inciting Incident and The Call to Adventure will occur at the same time.

Also, sometimes the hero doesn't reject The Call to Adventure.

Another way this structure can vary occurs at the Midpoint. Occasionally the important change to The Hero's life is that he receives information about the story world. Other times the important change comes about because of a physical confrontation between the Big Bad and The Hero. Sometimes (for instance, in a romance) the change occurs when the lovers (the protagonist and antagonist) take their physical relationship to the next level.

About the Midpoint ...

I talk more about this below but, for me, the essential thing about the Midpoint is a revelation the hero has, one that comes about because the Big Bad gives (either directly or indirectly) The Hero some information that makes him view the story world in a fundamentally different way. For example, Cage in the movie Edge of Tomorrow realizes that he is a better fighter than his teacher, who happens to be the woman he is in love with. He realizes he has a choice between saving her life and saving the world. He chooses the world and in so doing, he transitions from cowardice to courage.

Because of what happens at the midpoint, because of the The Hero's sacrifice and resulting growth, The Hero's becomes a threat to the Big Bad.

The Hero has an inner and outer goal. At the beginning of the Midpoint the hero hasn't yet made a lot of progress toward his inner goal. As a result, the hero isn't much of a threat to the Big Bad.

At the Midpoint Cage accepts that he will have to give up the person he loves the most in order to save the world. That moment of sacrifice marks a fundamental transition, reorientation, in The Hero's hierarchy of values. It is BECAUSE the hero makes this sacrifice that he becomes a true danger to the Big Bad.  Now -- if I may use this expression -- the hero is in it to win it. He is committed. It doesn't matter if he survives as long as he wins.

At the second Pinch Point the hero comes into conflict with the Big Bad. Because The Hero went through a fundamental restructuring at around the Midpoint, he survives the confrontation, and now the Big Bad is concerned. He realizes that now The Hero is a threat. This sets things up for the hero's race for the finish and the climax of the story.

In what follows please take the percentages with a grain of salt, it's the order that matters. Also, I've done all calculations assuming at finished length of 75,000 words.

Act One

1.  Inciting Incident (1% -- 750)

An event that changes the nature of the Ordinary World. It is a disaster that divides the time before from the time after.

2. Call to Adventure (10% -- 7,500)

Because of the Inciting Incident, because of the way it has changed the world, the hero is asked to take on a dangerous challenge for the good of both himself and his community.

Note: The call to Adventure and the Inciting Incident can occur within the same scene.

3. Refusal of the Call (12% -- 9,000)

The hero isn’t a hero yet and the Adventure that he is being asked to undertake is dangerous. The hero doesn’t think he’s up to the task, he’s never done anything even remotely like this before! Besides, the hero has so many responsibilities, he just can’t leave. Maybe next year.

4. Disaster (16% -- 12,500)

An event occurs, something connected to how the Inciting Incident changed the story world, that divests the hero of many of his responsibilities. This event pushes the hero into the adventure and then burns his bridges so there's no going back.

For example, In Star Wars IV: A New Hope Luke said he couldn’t go with Obi Wan because he couldn’t leave his Aunt and Uncle; he was duty bound to help them run their farm. Then disaster hit. Stormtroopers killed Luke's Aunt and Uncle and burned their farm to the ground. Not only did this relieve Luke of his responsibilities but he was given a new motivation to take on the adventure Obi Wan offered: revenge.

5. Acceptance of the Call (20% -- 15,000)

The hero accepts the challenge being offered, usually by a mentor, to save both himself and his community. He does this even though he realizes that he is ill equipped for the task.

Act Two

6. Cross the threshold (25% -- 18,750)

The hero crosses over from the Ordinary World -- the world he’s used to -- to the Special World of the Adventure. Usually there is a journey involved. The Special World is very different from the Ordinary World and the hero has no idea how to act. His strengths are now weaknesses and perhaps at least one of his weaknesses is now a strength. The hero needs friends and allies to help him succeed in this strange new world.

The Hero will also make new enemies.

7. Tests and Trials (30% -- 22,500)

The hero is tested and found wanting (often this is played for laughs). The hero trains and gets better. Sometimes there is a series of scenes and sequels that ends in a minor competition that demonstrates the hero's progress.

8. The First Pinch Point (37% -- 27,750)

Since entering the Special World the hero has become sidetracked. He has been busy learning about the Special World and how to succeed in it. Now the hero's external goal becomes his primary focus.

It is here that the hero gets his first glimpse of the power of the Big Bad. At this point the hero has made some progress toward his external goal but not a lot of progress toward his internal goal. This means that the hero is not yet a strong threat to the Big Bad. Sometimes this attack is just the Big Bad playing with the hero like a cat with an injured mouse.

9. The Plan (42% -- 31,500)

The hero and his allies get together and make a plan to defeat the Big Bad. Often all The Hero's allies are present, there is eating and drinking, so this scene often takes place in a bar or great hall.

This is a lighter scene, perhaps there is a good natured argument. The allies bond.

Perhaps the hero has an ally that we think may be a traitor. This would be a good place to explore that.

10. The Approach (46% -- 34,500)

The Hero and his allies travel to the place of conflict.

11. The Midpoint Confrontation (50% -- 37,000)

Often, the hero confronts the Big Bad at the midpoint. The hero wins in the sense that he doesn’t get killed and escapes, but in all other ways he loses. As a result of his confrontation the Big Bad, either directly or indirectly, the hero is given a crucial piece of information. Something the hero thought was indisputably true about the Special World turns out to be false. Further, his attempt to defeat the Big Bad relied on this idea/thought/piece of information being true.

There isn't always a confrontation between the hero and the Big Bad at the midpoint. Occasionally The Hero confronts the Big Bad's minions, or sometimes -- if, for example, the Big Bad wants to recruit the hero -- they call a truce and talk. Occasionally the Big Bad calls a truce to get the hero out of the way so his minions can attack the hero's allies.

At some point after the First Pinch Point, and no later than the Midpoint, the hero makes significant progress toward his inner goal. This growth is usually in response to a significant failure or loss. For instance, in The Edge of Tomorrow Cage is presented with a choice: save the woman you love or save the world. He chooses the world -- Cage would never have done that at the beginning.

12. Escape (60% -- 45,000)

The hero escapes by the skin of his teeth. He reunites with his allies and tells them what he’s found out.

13. The Second Pinch Point (62% -- 46,500)

The hero gets his second experience of the full power of the Big Bad. This is the most powerful attack he and his allies have faced.

At this point the Big Bad is actually worried about the hero. Because of the progress he has made on his inner goal he has actually become dangerous. Here the Big Bad throws everything he has at The Hero in an effort to take him out.

14. The Plan (70% -- 52,500)

Because of the savage attack by the Big Bad, the hero and his allies realize they have to defeat him and now there is a ticking clock. It has to be done SOON.

Even though it is practically impossible to kill the Big Bad, if the hero is to save his friends, his community, the world and possibly the galaxy, he must confront the Big Bad and he must win. So the hero and his allies make a plan.

Note that the plan doesn’t have to be complicated. The hero’s sidekick could turn to the hero and ask, “So, what’s the plan?” The hero turns to her and says, “Don’t die.”

Act Three

After this point no new characters are introduced.

15. The Approach (75% -- 56,250)

The hero implements The Plan. Usually the hero has to travel to where the confrontation with the Big Bad will take place. At the end of the approach, there may be a confrontation between the hero’s sidekick and the Big Bad’s sidekick.

The Hero's Flaw

The Hero needs to face his inner flaw head-on. We want to expose his true nature. Perhaps, up until this point, The Hero has denied the existence of the inner flaw but now he admits it to himself and, as a result, becomes stronger. Strong enough to take on this nearly impossible task.

The Choice

Often The Hero is offered a choice by the Big Bad. He will have to decide between abandoning his outer/external goal (e.g., finding the ark, recovering the magical gem, etc.) and the life of someone he loves.

Often The Hero will abandon his external goal -- or at least make accomplishing it a LOT less likely -- to save the person he loves. But not always. For example, Cage in Edge of Tomorrow was given this choice at the Midpoint and he gave up the person he loved. 

The key here is that The Hero will choose to do the right thing, the courageous thing, at great personal cost.

In making this choice, The Hero should burn all his bridges. He is committed to whatever course of action he has decided on.

Ticking Clock

The Hero is often given a set period of time in which to decide which sacrifice he will make. In this way The Choice also sets up a ticking-clock which helps to increase suspense. Also, there should be some chance, however slight, that The Hero won't have to actually make The Choice.

16. All Hope is Lost (85% -- 63,750)

This is the lowest point in the story. It seems as though the hero has failed completely. There is no coming back from this. There is no more hope.

This is where the progress The Hero has made on his inner goal often becomes crucially important. If he were the same person who Accepted the Call in Act One, this setback, this disaster, would finish him off. But he's NOT the same person. He has grown. And because of this all hope is NOT lost.

Make this moment last, don't rush over it. This is where The Hero's true nature is revealed. (By the way, this point is from Deborah Chester.)

This is the final point of growth for The Hero. This is a bit like his death and resurrection. Here he lets go of everything he has been hanging on to, everything that has kept him from changing into the kind of person his community needs him to be, and becomes someone who can change the world.

17. The Climax (92% -- 69,000)

It seems as though The Hero has lost. As Deborah Chester writes:

"Although in the dark moment, the protagonist seems defeated ... and although the protagonist has sacrificed a goal -- the thing he thought he wanted most -- instead of his conscience or his principles .... and although the story question appears to be answered with a no ... and although the antagonist seems to have won ... that's not the way the story's going to end." (Deborah Chester, The Fantasy Fiction Formula)

The hero confronts the Big Bad.

Generally there will be at least three try-fail cycles and the hero will come to a point where it looks like The Hero has lost. But The Hero has grown because of his journey, because he accepted The Call to Adventure. He has become stronger.

Because he has changed The Hero is able to defy all the odds and win.

You might wonder, Well, okay, but exactly HOW does The Hero win? After all, it really looks as though the poor guy is finished.

Right. That is the tricky bit. Often writers call back to something cleverly planted earlier in the story. Perhaps two or three things that, when taken together and with a bit of luck will allow The Hero to do something exceptionally spectacular. And of course it doesn't hurt that the Big Bad is absolutely sure The Hero is finished and no longer a threat.

A couple of things to note: However The Hero ends up succeeding, it has to be from The Hero's own efforts. It's not that no one else can help him -- sometimes the Big Bad's abused Sidekick gives The Hero some help -- but the solution must come from The Hero.

Here's the message of this kind of story: If we take on challenges we will grow and become better than we are and, as a result of this growth, we could have a better life and be an asset to a community with which we are deeply connected. That’s why readers love these kind of stories, they echo a deeper truth.

At least, that’s my take on it! I’d be interested in knowing what you think.

18. The wrap-up (99% -- 74,250)

The Wrap-Up is crucial. It is perhaps the most important part of the book. Readers need to see the stakes being cashed out. How did the hero’s win affect his allies? His friends? His community? The world? How did his win affect his enemies and their communities?

The Wrap-Up can be very brief -- a couple of paragraphs. I try to keep it to under 1000 words. That said, some writers use an entire chapter for her Wrap-Up ... and it works!

Well, that's it! I'd love to hear what you think about this outline, especially if you disagree.

What I'm reading:

Right now I'm reading Midnight Riot by Ben Aaronovitch which is the first book in his Rivers of London series. What book(s) is on your bedside table?

If you would like to support my blog ...

Every post I pick something I love and recommend it. This serves two purposes. I want to share what I’ve loved with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, Amazon puts a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

Today I’m recommending Blue Moon by Lee Child. I haven't read this one yet, but it's at the top of my "to-read" list. Here is an excerpt:

"The city looked small on a map of America. It was just a tiny polite dot, near a red threadlike road that ran across an otherwise empty half inch of paper. But up close and on the ground it had half a million people."

Deborah Chester: How to Structure a Scene

I’ve been reading Deborah Chester’s excellent book on Story Structure: The Fantasy Fiction Formula.

Have you ever read any of the books in Jim Butcher’s The Dresden Files series? Butcher’s books usually find their way to the number one position on the New York Times Bestsellers list. Well, Deborah Chester was Jim Butcher’s writing mentor. Butcher wrote the first book in his series, Storm Front, while he was taking a class from her, a book he also dedicated to her.

Butcher also wrote the forward for Chester’s book:

“So, aspiring writer, let me do you the favor I wish someone had done me. Let me tell you what you need to hear.

“Shut up and do what Debbie tells you to do.
….
“Who am I to tell you that?

“I’m the guy who took the principles of story structure which she taught me and built a career on them. As I type this, I have published twenty-four novels, the last five of them #1 New York Times bestsellers. …

“And to this day, I still occasionally refer to my notes, taken in her classroom at the University of Oklahoma …” (The Fantasy Fiction Formula, Deborah Chester; Foreword by Jim Butcher)

Also, as Jim Butcher mentioned elsewhere in his foreword, Deborah Chester has also published 40 novels of her own.

What are stories?

I write popular fiction so that’s the sort of story I’m talking about here. The overwhelming majority of popular novels have the kind of structure I’m going to talk about. Why? Because it works. People find books with this structure difficult to put down.

What’s the secret to writing an immersive story?

Stories are made up of Scenes and Sequels. In this post I’m going to concentrate on scenes, I’ll talk about sequels in another post. My apologies in advance for the point form of this post, but there’s SO MUCH information to communicate that I can’t spend very much time on any one point.

What are scenes?

Scenes are the basic units of fiction.

Deborah Chester writes, “If a scene’s going to succeed, it’s because it serves up a CLEAR GOAL, STRONG STAKES, and INTENSE CONFLICT.” [emphasis mine]

In a scene, the protagonist confronts the antagonist in disagreement over a specific, concrete, objective.

What is the function of a scene?

Scenes:

- Push a story forward.
- Reveal character.
- Raise the stakes.
- Intensify suspense.
- Produce consequences later in the story, consequences that are related to the story goal.

What are the elements of a scene?

There are three main parts to a scene:

a. Every scene begins with a goal.
b. Every scene has conflict.
c. Every scene ends in a resolution.

Let’s look at each of these in turn.

a. Every scene begins with a goal

In the beginning of every scene the reader needs to know three things:

i) The characters. Who is the protagonist? Who or what is the antagonist?
ii) The setting. Where is the scene taking place? Could the action taking place as easily take place in another setting? If so, perhaps make the setting more relevant to the scene goal.
iii) The mood. Does the mood match the genre? For example, the setting in a horror story doesn’t always have to be dark and spooky, but that would help it cultivate the right mood.

Scene Goal:

The scene goal provides a scene with direction and organization. If you’re not sure what the scene goal is, ask yourself: What is your protagonist trying to do?

EVERYTHING in a scene revolves around the scene goal. Deborah Chester writes: “If a scene doesn’t change the protagonist’s situation, however slightly, or if it has no impact on later story development, cut it.”

A scene doesn’t start until the protagonist either THINKS, STATES or ACTS on a scene goal.

The scene goal needs to be both specific and attainable now.

Stakes:

- For each scene, ask yourself what is at stake?
- Stakes connect to your protagonist and antagonist's motivations.
- The stakes/conflict determine HOW LONG a scene will run.

b. Every scene has conflict.

The conflict is between the protagonist and antagonist.

(a.) Every scene has a protagonist.
(b.) Every scene has an antagonist and the antagonist is usually a person.
(c.) Every protagonist has a clear, concrete, goal for that scene. This goal is distinct from the story goal.
(d.) The protagonist’s scene goal must clearly relate to the story goal.

Kinds of Scene Conflict:

Deborah Chester writes, “There can be no progression of events unless the protagonist hits opposition. The stronger the opposition, the better the story.”

Conflict can be either internal or external.
- Internal conflict comes from either two desires clashing (for instance, a desire to eat chocolate and a desire to lose weight) or from a desire being affected by an event in the external world (for instance, a desire to eat chocolate and aliens coming to Earth and gobbling up every single last piece of chocolate).
- External conflict comes from a clash between two visible, external, events. For instance, if one character says to the other, “Give me all your money” and the other character says, “No!” then we’ve got external conflict. The conflict in a SCENE must be external. (The conflict in a SEQUEL can be internal.)

What conflict must do in a story:

- Conflict must advance the story.
- Conflict creates CHANGE in the protagonist’s situation.
- Conflict raises the stakes.
- Conflict makes the story outcome less certain.
- Conflict heightens suspense. We want readers to worry about how things will turn out for the protagonist.

Deborah Chester notes that there are two kinds of conflict in scenes: SCENE CONFLICT (which I’ve written about, above) and ADVERSITY. While scene conflict is about “two characters in opposition over a clear, specific goal,” adversity is random bad luck. There is a place for random bad luck in a story -- for instance, it can play a role in the protagonist getting into trouble during the beginning -- but only a very small role. The overwhelming majority of the time the conflict is scene conflict.

Conflict types:

Here are the various types of conflict you'll see in a story: Combat, Verbal disagreement, Interrogation, Evasion and Bickering. Deborah Chester goes into each of these in her book, but I will just mention something about bickering: don't let your primary characters bicker. This is fine for secondary characters -- it can help the reader get a peek into their respective characters -- but primary characters need more robust sorts of conflict to act as a crucible.

c. Scene endings: every scene ends in a resolution.

I've gone into this above, but there are certain things that can't be emphasized enough:

- A scene must end in such a way that things are WORSE for the protagonist.
- Solutions are eliminated, options are taken away. At the end of the story the protagonist has no choice but to face the villain in the story’s climax.
- The protagonist’s trouble is increased.
- The stakes are raised.

Note: There should be no narration in a scene!

Deborah Chester writes, “... scenes should end in complete or partial failure for the protagonist.” “You want your readers surprised, astonished, shocked, perhaps even crying.”

Setbacks

Here are some reasons why the protagonist might suffer a loss, a setback:

- The protagonist is outgunned by the antagonist.
- The protagonist is outsmarted by the antagonist.
- The protagonist is outmaneuvered by the antagonist.

Further, the setback the protagonist suffers must be partly because of something about him or her. For example, in The Princess Bride Inigo Montoya loses a fight because he has less experience and skill than the six fingered man. The six fingered man then goes on to murder Inigo's father and steal a sword. In no way is his father's death Inigo's fault -- we do not expect an untrained child to win a dual with the best swordsman in the land.

The pattern of a setback: the possibilities (yes; no; yes but; no and furthermore)

Every scene has a goal. For example, Jane wants to find a way out of the dungeon the villain has trapped her in. That’s the scene goal. Since that’s the goal, the scene question would be: Will Jane find a way out of the dungeon the villain has trapped her in?

(I've written more about this here: Parts of Story: Try-Fail Cycles)

There are four possible try-fail cycles:

i) Yes, Jane will find a way out of the dungeon. (Success)

ii) No, Jane will not find a way out of the dungeon. (Failure)

iii) Yes, Jane will find a way out of the dungeon BUT as she walks toward the human sized crack in the wall she finds herself surrounded by skeletons shrouded in cobwebs.

iv) No, Jane will not find a way out of the dungeon AND FURTHERMORE the air begins to run out and she starts to suffocate.

Cashing out Try-Fail Cycles

The first possibility (Yes) usually doesn’t happen until the last scene … and sometimes not even then! I say usually because you may write one or more scenes from the point of view of the antagonist, in which case he will win the contest between him and the protagonist.

The second possibility (No) also doesn’t occur very often. The protagonist needs to progress, needs to change. Staying the same is boring, and if the protagonist fails to attain her goal, she’s right back where she began.

The third possibility (Yes, but) is the most common outcome. The protagonist will achieve the scene goal (and so she gets stronger, better, she grows as a person), but something will go wrong, something that plunges her into even more danger.

The fourth and last possibility (No, and furthermore) isn’t used often and is best left for major turning points. This scene ending is a disaster for the protagonist.

BTW, there is a fifth version I’ve heard of: No, BUT … Here the protagonist fails to achieve the scene goal but she manages to do something to get her a bit closer to what she wants. For example, Jane will not find a way out of the dungeon BUT she fill find a candle and some matches.

The Sequel: When the scene is over, the protagonist ...

When the scene is over we often have a sequel, but I'm not going to talk about that here,  I'll eventually do another post on it. But, briefly, in a sequel we'll see the protagonist recover, dust himself off, pick up the pieces of his thwarted attempt to do something.

The protagonist will respond emotionally -- we'll see that he's angry. We'll see him vow to do whatever it takes to never let anything like that happen again. Given all this it will seem reasonable for the protagonist to take greater risks to achieve his goal in the next scene.

Protagonist and Antagonist

The scene’s antagonist needs to work in DIRECT OPPOSITION to the scene’s protagonist.

The antagonist doesn’t have to be the story villain, the Big Bad. Of course, it could be! But it might also be a friend, or ally or even the protagonist’s sidekick. For example, the two could disagree on how to achieve a common goal.

In Lord of the Rings Sam and Frodo fought over whether Golem could be trusted. Ask yourself:

- Why does the scene goal matter to the protagonist?
- Why does the scene goal matter to the antagonist?

Explaining the logic of a scene

Allow the protagonist to encounter serious, continually escalating trouble. This ensures that your protagonist is miserable most of the time (I talk about why this is important, below).

Use action/reaction units. Unless you’ve read Bickham or Swain this likely won’t make any sense to you. No worries, I talk more about it, below.

1. Keep your protagonist miserable by continually escalating/intensifying the trouble they get into.

DC writes that you do NOT want your protagonist to be successful or happy. You need them to be:

- Worried
- Stressed
- Suffering

Change is difficult. We don’t want to change. That means we need to force the protagonist (and perhaps her allies) to do things they normally wouldn’t. We need to force them to do things that will make them uncomfortable, that will even terrify them. Why? This is the only way humans can change: by doing what is difficult, by entering the forest where it is darkest, we get stronger (if we survive!)

Think of a blacksmith. Pure iron is stronger than impure iron. How does one get rid of the impurities? They are burned away in a crucible. The hottest fire yields the purest/best product. What is true for iron is also true for our characters, we must put them in a crucible to get rid of their weaknesses, to force them to change and grow.

As Deborah Chester says, “Your protagonist needs to run full-tilt into terrible trouble, fight her way through, and hit worse trouble, fight her way through, and hit worse trouble." And so on.

The protagonist must take risks the other characters won’t. She must stand and face problems to help her friends, or anyone she cares about.

2. The hero must fail.

Before the very end, the villain, the bad guy, will continually outmaneuver the protagonist.

DC writes, “Whatever matters most in the world to her [the protagonist] should be endangered so much that she can’t sit passively, crying and doing nothing. She must take action. She must become -- by stages, and through failures, and as a result of confrontations -- a hero.”

3. Use Action/Reaction Units (A/R Units)

A/R units are all about cause and effect. They have to do with an action and its immediate reaction.

There are two types of units: SIMPLE and COMPLICATED.

3a. Simple A/R unit.

What makes the simple A/R unit simple is that it includes, basically, one sentence (or one clause) that is an external, visible, action. This action is followed immediately by a reaction.

There must not be a gap or interruption between an action and its reaction.

For example: The girl threw a snowball at Mark. Mark ducked.

I’m not saying that's an eloquent example! But you get the idea.

3b. Complicated A/R units.

In a complicated A/R unit at least one of the characters involved in a complex scene won’t be fair or honest. There are two things here:

i) There is what the protagonist and antagonist are saying and doing, their dialogue and actions. (External)
ii) What the protagonist -- the viewpoint character -- is actually thinking and feeling. (Internal)

In other words, there needs to be tension between what the viewpoint character is saying versus what she’s feeling inside.

Here is an example Deborah Chester gave:

"Hello," Michael said.
Screeching, the pixie flew at Michael's face, trying to jab his eye with what looked like a sewing needle.
What the hell? Baffled by the tiny creature's rage, Michael swatted it away. "What's wrong with you?" he shouted.

Chester goes on to say that, "Michael's puzzlement about the pixie's behavior will mirror reader confusion." That's important because if the reader is confused but the character isn't then there's a problem with the writing.

That's it!

What I'm reading:

Last night I stayed up way past my bedtime because I had to finish Orphan X by Gregg Hurwitz. I thought about starting the next book in the Orphan X series, The Nowhere Man -- I know I'd love it -- but variety is good. I'm going to start either Lee Child's thriller, Blue Moon, or Midnight Riot by Ben Aaronovitch which is the first book in his Rivers of London series.

What are you reading, I'd love to know! 😀

If you would like to support my blog ...

Every post I pick something I love and recommend it. This serves two purposes. I want to share what I’ve loved with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, Amazon puts a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

Today (no surprise!) I’m wholeheartedly recommending The Fantasy Fiction Formula, by Deborah Chester.