The Rules Of Romantic Comedy

Michael Hauge's Analysis Of Romantic Comedies

1. Hero's goal is to win the love of another character

This is the hero's main goal. He can have other goals, but this one needs to be introduced first and this conflict has to be the last one resolved. When it is, that's the end of the story.

2. The hero must have another goal, one besides winning the affections of his/her romantic attentions.

For instance, in Groundhog Day Bill Murray relentlessly pursues a relationship with Andie MacDowell but he also very much wants the day (it repeats Sisyphus-style) to end.

Two goals are better than one because they keep the pace lively. I thought some of the best scenes in Groundhog Day were those where Bill Murray was trying to escape the town. (BTW, rumor has it that Mr. Murray was bitten by the groundhog and had to have rabies shots!)

Another benefit of the hero having two goals is that the writer can make sure, at some point, they become mutually exclusive.

For instance, in The American President the president wants his crime bill passed but it turns out the only way that's going to happen is if he sells out his romantic interest.

3. When the people on the screen are laughing the audience isn't

Michael Hauge writes,

The driving motivations in romantic comedies actually grow out of immense pain and loss. The plots of the most successful romantic comedies of all time involve unemployment, disease, prostitution, physical abuse, physical deformity, humiliation, ridicule, the loss of one's children, attempted assassination, suicide and death.

The humor then arises from the way the heroes OVERREACT to their situations. They devise fantastic plots, pose as women, adopt false identities, juggle two lovers simultaneously, tell enormous lies, fly across the country to meet a voice on a radio, or do everything imaginable to sabotage their best friend's wedding. (Writing Romantic Comedies)

4. Romantic comedies are sexy

At some point your characters are going to have to confront their sexual desires for each other. The important thing is that if they end up going to bed, "we must see the events that lead to that decision, at least until the moment the two lovers embrace and the camera dissolves away".

5. There must be a happy ending

This doesn't mean that the hero always has to win over the heart of his object of desire and walk off with her/him into the sunset. It does mean that the audience must be left feeling satisfied with the resolution. You want them to feel that the ending was the best and most appropriate one.

6. Romantic comedies always involved deception

Most romantic comedies involve deception. One of the two people involved in the relationship, usually the hero, is lying to, or withholding information from, someone--usually the person the hero is falling for.

This lie will, of course, be found out but this usually happens after the midpoint. Michael Hauge writes:

When the secret is finally revealed or the lie exposed, it will split the lovers apart. In You’ve Got Mail Joe Fox doesn’t tell Kathleen Kelly that his corporation is the one threatening her independent bookstore. In The American President, Sydney Ellen Wade doesn’t know that President Shepherd is using her to get his gun control bill passed. (The 6 Categories Of Romantic Comedy)

5 Things That Must Be True Of All Romance Characters

I'll just list the major points, I encourage you to read Michael's article.

1. The audience must identify with the hero's desire for the romance character.

2. You must convince the audience that the hero and his/her romantic object are a perfect fit, that they are destined for each other.

3. Insurmountable obstacles must separate the two lovers.

4. The romance character must be intertwined with the hero's other goal. For example, in The American President the president's love interest is a lobbyist.

5. The romance character must interfere not only with the hero's desire for them but also with the hero attaining his/her secondary goal.

For example--again using The American President--the president has two goals: to win the heart of his love interest (Sydney) and to get re-elected. Sydney, though, is a lobbyist. This creates a conflict of interest--or the appearance of one--and, in any case, their relationship is hurting him politically. By the 3/4 mark it looks as though the president has a choice: re-election or Sydney; he can't have both.

Michael Hauge also writes about character archetypes and the structure of a romantic comedy. His article is well worth a read: Writing Romantic Comedies.

I'll leave you with this 2:16 minute video of Michael Hauge talking abut romantic comedies. You can read more about Michael Hauge here: Michael Hauge's Story Mastery.

Other articles you might like:

- 5 Tips For Creating Memorable Character Names
- Different Kinds Of Story Openings: Shock And Seduction
- Story Structure

Photo credit: "adam green:castles and tassels" by visualpanic under Creative Commons Attribution 2.0.

Story Structure

This was going to be the second post in a series on Chuck Wendig's ideas about story structure but my muse had other plans.

What follows is a description of a story structure that I think is common to the overwhelming majority of stories I've read, watched or listened to.

Narrative

Before I read Chuck Wendig's post on story structure I hadn't thought of structure in terms of measurement. Meter. The ups and downs, the rises and falls. It's almost like breathing, it's what brings a story to life.

Scenes strung together, like beads, to make sequences. Sequences comprise Acts. Acts, taken together, tell a story.

There is a beat, a rhythm, to story. Pause a moment, listen to it, write with it in mind.

The Magic Of Three

Three acts comprise most stories.

Act One (Approximately first 25% of story)

The First Act is the setup, The Ordinary World. This is where readers meet the characters, start rooting for the hero, learn what his strength is, what he is comfortable with, as well as what his weaknesses are, the things that are holding him back from getting what he really wants, perhaps even what he needs.

Although not all heroes have an inner weakness, many do, and it's here in the setup that it will be introduced.

In the First Act the hero is issued a Call To Adventure, perhaps he even Refuses The Call and needs the guidance of a mentor (Meeting With The Mentor).

For instance, Shrek is an ogre who just wants to be left alone in his swamp. When his swamp is invaded by legions of fairy-tale creatures this acts as a call to adventure because it provides the impetus for Shrek to leave his beloved swamp and search out the king so he can get things back to normal.

This gives us an early look at not only one of the defining personality characteristics of Shrek--he wants to be left alone--but his inner weakness. He wants companionship but he thinks he can't be loved because of what he is: an ogre. So he pushes everyone away.

Act Two, Part One (Starts at about the 25% mark and continues to about the 50% mark)

At the end of Act One the hero answers the call to adventure and crosses the threshold into the Special World. Here everything is different, strange. The hero's strength probably isn't going to serve him as well here, perhaps it even puts him at a disadvantage. The hero goes through a series of tests, most of which he fails, and he meets new people. (The beginning of Act Two is often where the B Story begins.) Some of these will become his stanch allies and travelling companions, some of them will become his sworn enemies.

This time of testing is also a time of Fun And Games. In a movie this is where you have a feel-good montage. Many of the scenes used for movie trailers come from this part of the story. Blake Snyder, author of Save The Cat!, writes that this is his one of his favorite parts to write.

Soon, though, the hero must confront the villain/antagonist, and the hero prepares for his Approach To The Inmost Cave. (One thing to note is that the villain's/antagonist's goal will be such that if he achieves it, the hero cannot and vice versa.)

This part of the story will often contain a moment of bonding. If there is a romance in the story, often the hero and his love interest will deepen their relationship before he heads off to confront the villain and, possibly, pay with his life. If there is no romance, the story will likely still contain a moment of bonding, a pause, a girding of the loins, and a review of the states. What will happen if the hero loses? Who will it effect? What will result if the hero wins?

Act Two, Part Two (Starts about about the 50% mark and continues to about the 75% mark)

Finally the moment of confrontation has arrived--this is the Midpoint of the story--and the hero faces the villain. The Ordeal has begun. Since we know the stakes of the battle, we watch anxiously as the hero risks everything to achieve his goal.
 
After the confrontation, if the hero is successful, he will get a Reward. This will be, in a sense, a false victory. Something else will soon happen that raises the danger, and the stakes. The hero hasn't resolved the conflict, instead he has just made it greater.

In some stories, perhaps many stories, there is no 'win' for the hero at the midpoint, instead the stakes just get bigger; the danger becomes more immediate. Where before it was only the hero's life at stake now it is the hero's entire party, perhaps even his loved ones back home, who are in danger if he fails.

Act Three (Starts at about the 75% mark)

The Road Back is much more difficult than the one which brought him to the special world. Things have radically changed, and for the worse.

Why is this? It could be many things. Perhaps the worst happened and the hero failed in his contest with the villain. Perhaps he won but his mentor, the person he most trusted, whose advice he had listened to and followed since he was a child, who he risked his life for and the lives of his friends, betrays him. Something happens that transforms the hero's world, or his view of it, and not for the better.

I sometimes think of this, the fundamental transition that occurs at, or just after, the midpoint, as having the veil torn from the hero's eyes. He thought he knew how things were, but he didn't. He was a child and now he's an adult and the burden he is being asked to bear will most likely crush him. If only he could resolve his inner conflict, that something that is holding him back from coming into his power, his true self.

But the hero doesn't give up. Even though it seems the entire force of creation has been set against him, he rallies and devises a plan. The plan is clever but it's a long-shot and he must ask more of his friends than he ever has before and right at the moment when the little band seems to be falling apart.

Against all odds, though, it seems to be working, the plan may be successful. The allies find the strength to pull together. Perhaps the hero finds a way to work with one of his sworn enemies.

And then it all falls apart. Something happens to (it seems) finally, conclusively, crush any hope the hero had of achieving his goal. We (the audience) know the stakes, so we know this means that the worst is going to happen. But no. That was only what we thought was the worst. The villain/antagonist gleefully tells the hero that the real stakes are very much worse than he thought.

This is the All Is Lost moment that happens just before the Climax.

At this point a very important change occurs in the hero. He resolves his inner conflict, that character trait, that thorn in his side, that was holding him back from coming into his power, whatever that is. I don't mean a superhuman ability--though it could be--but whatever it is the ground must have been laid for it, otherwise it would be a cheat. Perhaps the hero is finally able to think clearly, perhaps he finally understands how someone else feels (he needed empathy), perhaps he had to release a certain way of thinking that was holding him back.

Something fundamental within the hero changes and, as a result, he is able to defeat the villain and achieve his goal. (In stories where there is no internal conflict--Indiana Jones And The Raiders Of The Lost Ark for example--there may be no change. Instead the hero draws upon his knowledge, some characteristic that defines him, that sets him apart. His strength.)

Or not. Sometimes the hero doesn't win. Sometimes the revelation comes, but too late. Sometimes the revelation doesn't come at all.

Whatever happens, there will be an Aftermath where the audience sees the effects of the hero's efforts. How did the hero's Ordinary World change as a result of his adventure? What was his reward? Or, if he failed, what was the cost of his failure? Tie up loose ends, etc. This is the wrap up.

Caveat

I don't want to leave anyone with the impression that there's only one story structure. As Chuck Wendig says, every story has a structure and there are as many story structures as there are stories. No one can look at the structure of a story and say, "That's wrong!" just because it's different.

The structure I wrote about, above, is one I've been thinking about and working on for the last few months. I think (this is my own personal view) that it describes over 90% of the stories I've read/listened to/viewed, or at least parts of it do.

I like using story structures--structures like the above--as springboards to create my own adventures. And, sometimes, if I feel that something is wrong with a story but I just can't put my finger on it, I like going back to basics and studying various story structures as I try and puzzle out what went wrong with mine.

It usually helps!

I think that's the bottom line. If something helps you, use it, if it doesn't, then ignore it. Let your own sense of what is right for you be the bottom line.

Tomorrow we'll get back to Chuck Wendig and, as promised, I'll talk about Aristotle and his theory of tragedy, the magic of three, and how the microcosm mirrors the macrocosm.

“Story Structure” copyright © 2013 by Karen Woodward.

Other articles you might like:

- Chuck Wendig On Story Structure
- To Blog Or Not To Blog, That Is Jane Friedman's Question
- Hugh Howey's 3 Rules For Writing
- Short Story Structures: Several Ways Of Structuring Short Fiction

Photo credit: "belle&sebastian:dirty dream number two" by visualpanic under Creative Commons Attribution 2.0.

Chuck Wendig On Story Structure

I don't know what I was doing last January, but I let this gem of a blog post fall by the wayside (adult content warning): 25 Things You Should Know About Story Structure. (As you probably know, all things Chuck Wendig come with an adult content warning, so keep that in mind before you click the link. That said, my article is 100% kid friendly; though I doubt many kids are interesting in reading about story structure!)

It's time to correct my oversight. This is the first in a series of posts--likely three posts--that will take a look at what Chuck Wendig has to say about narrative structure. Let's get started!

Every Story Has A Structure

Chuck Wendig writes:

Structure is either something you design as a storyteller or something that just happens.

Structure, on its own, could be either felicitous or infelicitous. Put another way, if a story's structure is like a skeleton, then some stories have entire limbs missing, or growing where they shouldn't.

When this happens, many authors have the gut instinct that something is wrong even if they can't sense the arm growing out of their poor story's forehead. Or something like that. Chuck Wendig's metaphor is much more colorful and infinitely more memorable.

I've often wondered if writer's block is caused by one's muse shouting that the story structure is off. Like spoiled milk just turned, there's a niggling sense of unease; something isn't right.

Structure As Story Architecture

My dad used to love eating sandwiches on the couch while he watched TV, but it drove my mother--who had to clean up the crumbs--nuts! "Father, you'll ruin the couch!" she'd say. One day, dad replied, "Dear, I was not made for the couch, the couch was made for me."

A similar point could be made about story structure. As Chuck Wendig writes,

Structure serves story; story does not serve structure.

Just as you want certain things in a couch--my dad preferred his large, sturdy and eminently comfortable--you'll want a certain kind of structure for a certain kind of story. Chuck writes:

A cathedral is built toward certain considerations: the beauty of God, the presence of God’s story, the need for acoustics, the accommodation of seating, the sacrificial altar, the DJ booth, and so on. You design a structure to highlight the type of story you’re telling. Using a non-linear structure in a mystery story is so that you maximize on the uncertainty and use the rejiggered narrative to create suspense. Structure has purpose. Structure is where art and craft collide.

Two Things Any Story Needs To Have

In practically all stories--heck, in order to have a story--something needs to happen, usually something goes disastrously wrong--and then someone, the hero/protagonist has to fix things and re-establish order.

Certainly something has to change--there has to be a change of state--and the hero must respond in a meaningful way to the change.

Try telling a story in which absolutely nothing changes to a bunch of girl scouts sitting around a campfire. You'd get pelted with half-roasted marshmallows!

Well, no, they'd probably start talking amongst themselves or walk away, and that's worse. I'd rather pick the candy equivalent of napalm out of my hair for the next two weeks than bore people.

Not that I've ever participated in a melted marshmallow fight.

Nope. Never.

Moving on ...

Chuck sums up this point by saying that two things are essential to storytelling:

a) conflict
b) a hero/protagonist who responds to the conflict.

It's important that the hero intends to respond. If someone accidentally puts out a fire that would have claimed several lives--well, that's great--but it doesn't count the same as doing it on purpose. (Some comedies are built on this premise. For example, Mr. Magoo got himself into, and out of, potentially disastrous situations all the while completely oblivious to the danger he was in.)

The hero needs to realize what the stakes are, perhaps be terrified, but he, or she, needs to act regardless.

I'll leave it there for today. Next time we'll talk about Aristotle and his theory of tragedy, the magic of three, and how the microcosm mirrors the macrocosm. Stay tuned!

Update: Here is the next and final post in this series: Chuck Wendig On Story Structure, Part 2.

Do you think about your story's structure before you sit down to write, or are you more of a pantser, making it up as you go along?

Other articles you might like:

- To Blog Or Not To Blog, That Is Jane Friedman's Question
- Hugh Howey's 3 Rules For Writing
- 7 Secrets To Writing A Story Your Readers Won't Be Able To Put Down

Photo credit: "dem bones" by Robert Couse-Baker under Creative Commons Attribution 2.0.

Story Structure Provides A Framework For Meaning

PJ Reece in How to Create a Story Structure to Die For writes that a story is really made up of two stories and a middle. What happens at the middle of the story? In a word: death.

Death

In the middle of your story the hero dies, though not literally.

Figure 1: 10 of Swords

Like the tarot card of the same name, his death isn't literal. If there is a death card in the tarot I think it's the 10 of swords (see Figure 1). The death card (see picture at top)--the 13th card of the major arcana--is more about change. It signifies the end of one story, or way of life, and the beginning of the next. More than anything, it's about rebirth.

Heroes Have To Fail Before They Succeed 

In genre fiction, heroes usually succeed in their quest. We want to see the good-guy (or gal) win and triumph over their obstacles.

But in order for the protagonist's victory to mean something there has to be an ever present sense of the possibility of loss.

The way we give the reader this sense is by making it clear that the hero can fail. In fact, failure should be much more likely than victory.

How do we do this? How do we convince our readers that the protagonist can fail? By showing him fail, repeatedly, earlier in the story. As PJ Reece writes:

[In the Oscar winning movie, The Artist, a] silent movie star watches in dismay as talking pictures become all the rage.  George Valentin finds himself with no job, no girl, no more adoring fans.  He takes up the bottle and slips into oblivion.  Most protagonists would straightaway fall into the dark heart of the story and wake-up to the facts of life.

But not George.

Our hero continues to believe in yesteryear, which lays himself open to more punishment.  The screenwriter pushes George to rage and all the way to self-loathing.  His beliefs are literally killing him.  It looks like George might actually commit suicide.

That’s a story!

That brings us to the midpoint, the "dark heart of the story". This is where the hero relinquishes his old belief system--the symbolic death--and embraces a new way of viewing the world, and his problems.

Why The Hero Needs To Suffer

In each story there is a truth. Perhaps this truth is covered by the theme (for instance, 'liars never win') or perhaps it's something the hero needs to find out before he can accomplish his goal (this is his external goal, the story goal).

For instance, in The Firm Mitch McDeere had to re-discover the truth that he loved the law, and not just the money he could make from practicing it. It was that truth that let him to steer his way through the Scylla and Charybdis of the FBI and the mob.

The point is that the hero's suffering has to be connected to this truth, the truth that they need to uncover to overcome the obstacles before them and achieve their goal.

For instance, in Shrek the truth was that he had built up layers of protection around him to keep the world at bay because he didn't think anyone could love him. He was scared of getting hurt. Shrek had to confront this fear and overcome it in order to win the hand of the lady he loved. He had to come to a point where he realized the truth--that he wanted a companion, that he wanted Fiona. Shrek's failures helped him realize this.

Or so I would argue.

Other articles you might like:

- 6 Ways To Get Rid Of Infodumps At The Beginning Of A Story
- 8 Tips From Chuck Wendig On How To Read Like A Writer
- Author Solutions: The New Carnys?

Photo credits:
- Top photo (13th card of the major arcana in the Rider-Waite-Smith tarot deck): "RWS Tarot 13 Death.jpg" by Pamela Coleman Smith. File is no longer under copyright in US.
- Figure 1: 10 of Swords in the Rider-Waite-Smith tarot deck, "Swords10.jpg" by Pamela Coleman Smith. File is no longer under copyright in US.

Analyzing Story Structure

We've all heard the advice that to become a better writer we must first become better readers. I'd like to take this advice seriously.

I want to read and analyze more flash fiction so I can ... well, I think of it almost like pulling back the curtain on a magic trick. When I read a story I'm caught up and transported into the story world. Because of this I usually don't read critically, I'm happy to be whisked away and entertained.

This will be a challenge.

Here are some guidelines, some questions, I've come up to help me analyze narrative. I haven't made any attempt to provide a complete list of questions so if you see something missing please do let me know in the comments.

An Analysis of Narrative

Characterization

- Who is the protagonist? Antagonist? Who are the main characters? What are their names? 
- What do the characters look like physically? What do they wear? What are their quirks, their idiosyncrasies? What tags, traits and tells are associated with each main character?
- What point of view is the story told from?
- Map out the character arc for each main character.
- What are their goals? What object or state-of-affairs do they seek? (For instance, Indiana Jones in Raiders sought the ark.)
- Conflict. What is preventing the character from attaining their goal?
- Who is the antagonist? The protagonist? Is there a helper character? A foil? A mentor?

Story elements

- What is the setting?
- Is there a theme? If so, what is it?
- Is the story mainstream or genre/category? If the latter, which genre? Which sub-genre? (Wikipedia has a list of genres and sub-genres as well as a list of literary genres.)

Plot

- Describe the original world of the protagonist
- What was the inciting incident/call to adventure?
- Describe the new situation/special world.
- How is the protagonist tested?
- Is there a point of no return to mark the halfway point?
- How were the stakes raised in the second half of the story?
- What was the major setback (also sometimes called the 'dark night of the soul') toward the end of the story?
- Resolution. Was the main arc completed?

Note:

- When listing the facts of the story take note of who the information came from. You may find out later they were lying or, for whatever reason, it wasn't accurate.

Comments

These questions are intended to be suggestions only. Not every story has the same structure, nor should it. For myself, my goal is to simply pay closer attention to how the stories I read are constructed so I can continue to improve my own writing.

What questions do you ask when reading? What elements of story structure do you pay special attention to?

Other articles you might like:

- The Trouble With Adverbs
- 8 Tips For Finding The Motivation To Write
- Describing Character Reactions And Emotions: She Smiled, He Frowned

Photo credit: "shachihoko" by EmreAyar under Creative Commons Attribution 2.0.

Michael Hauge On How To Summarize Your Novel

Michael Hauge's Story Mastery

As some of you know, my right arm is out of commission so all typing--except for this blog!--is out of the question. As a result, I've been taking care of tasks I normally put off.

Tasks such as filing papers.

I struck gold! I went through some of the handouts from conferences I've attended--I thought I might find something interesting for a blog post--and came across Michael Hauge's handouts, along with my notes from the workshop he taught at Write On!

Michael Hauge's Biography

For those who don't know, Michael Hauge is a story consultant, what some folks call a story doctor, as well as an author and lecturer. The following is from his bio:

[Michael Hauge] has coached writers, producers, stars and directors on projects for Will Smith, Julia Roberts, Robert Downey Jr and Morgan Freeman, as well as for every major studio and network.

Michael has been involved "in the development of I AM LEGEND, HANCOCK and THE KARATE KID".

I was riveted by Michael's talks. If you ever have a chance to attend one of his workshops I recommend it.

Novel Summary Template

The really cool thing about Michael Hauge's template is that it isn't just a 'plug in the description' kind of thing, he ties it into the underlying structure of the story.

I'll do this in two parts. First, we'll look at the template, then we'll look at how the template ties into the underlying story structure.

This is straight from Michael Hauge's handout:

When hero who empathy/setup, is opportunity, s/he decides to new situation/preliminary goal. But when change of plans s/he now must outer motivation/primary goal but hero's plan as well as second goal. [NOT a necessity, except in most Romantic Comedies] in spite of the fact that outer conflict.

Michael Hauge's Six Stage Plot Structure

Now let's take Michael's tempate and see how it lines up with a story's underlying structure (see Figure 1). In the next section I'll give an example and pull everything together.

Figure 1. Click to Enlarge

KM Fawcett has written an amazing article: Michael Hauge's Six-Stage Plot Structure. I encourage you all to read it, she gives the best summary of Michael's system I've seen, here is a sample:

A character arcs when he moves from his identity to essence.

Identity = emotional armor (facade) worn to protect himself from some wound.
Essence = who the character is when the emotional armor is stripped. True self.
 
What is your hero’s wound? From the wound grows a fear. This fear gives IDENTITY (emotional armor) to the character.

The character should have a physical goal, but that goal is primarily a symbol. It represents an emotional need (the true goal). The end reward must satisfy the character’s emotional need.
 
The only way the character can get to his longing (his emotional need) is to step out of his IDENTITY (emotional armor) and into his ESSENCE (true self).

Once you’ve established your hero’s WOUND, FEAR, IDENTITY, ESSENCE, EMOTIONAL NEED and PHYSICAL OUTER GOAL, we can move onto The Six Stage Plot Structure.

That is only the start of her analysis, to read the whole thing, click here: Michael Hauge’s Six-Stage Plot Structure.

Michael Hauge's Example: Shrek

Okay, so now we're going to bring everything together. We're putting Michael's structure for a summary together with his underlying plot structure and coming up with something you can use to wow editors as well as the next person who asks you: So, what's your story about?

Hero = Shrek
Role = lovable, courageous ogre
Setup = lives alone in his swamp because the townspeople reject him, has his home invaded by fairy tale creatures
New Situation = go tell the powerful Lord Farquaad to send them back home
Change of plans = Farquaad sends Shrek on a mission in return for his swamp
Outer motivation = rescue a princess and give her to Farquaad
Hero's plan = overcoming a fearsome dragon
Secondary goal = win the love of the princess for himself
Outer conflict = a) Farquaad will stop at nothing to get her, b) Shrek is afraid she'll reject him, and c) she's secretly cursed with turning into an ogre herself every night.

So here's how that reads:

When Shrek, a lovable, courageous ogre who lives alone in his swamp because the townspeople reject him, has his home invaded by fairy tale creatures, he decides to go tell the powerful Lord Farquaad to send them back home. But when Farquaad sends Shrek on a mission in return for his swamp, Shrek now must rescue a princess and give her to Farquaad by overcoming a fearsome dragon, as well as win the love of the princess for himself, in spite of the fact that Farquaad will stone at nothing to get her. Shrek is afraid she'll reject him, and she's secretly cursed with turning into an ogre herself every night.

An added bonus is that since the summary is drawn right out of the structure of your novel, it's tethered to it, so doing this exercise before you write the first draft could save you a TON of work later.

Try it out! What is the summary for your work-in-progress? 

Other articles you might like:

- Six Things Writers Can Learn From Television
- How To Succeed As A Writer: The Value Of Failure
- The Magic Of Stephen King: A Sympathetic Character Is Dealt A Crushing Blow They Eventually Overcome

Photo credit: "Metrò Paris" by superUbO under Creative Commons Attribution 2.0.

The Structure Of Short Stories: The Elevator Pitch Version

This post is part two of my series on the structure of short stories. To read the first post, click here: The Structure Of Short Stories.

The Chicken And The Egg

One thing I should have said a few words about yesterday was how you can establish elements like setting (time, place, mood, and so on), who your characters are, what your protagonist's major conflict is, and all the rest of it, if you don't already have a good grasp of your story idea.

The fact is a lot of times we work our way into a short story through a bootstrapping process. Perhaps you have an initial idea--a critter with paranormal abilities, a pirate (arg!), two people who fall in love. Chances are, you'll have some an idea when you sit down what you want to do. Go with it. Brainstorm.

Here are some resources that might help generate ideas, or shape the ones you have:

Writing Prompts

Writing prompts can help defeat writer's block, but they're also great for generating ideas. There are many sites on the web with writing prompts, but here are two I like:

- Writing prompts
- CanTeach: Writing prompts

Seventh Sanctum

Seventh Sanctum has all sorts of generators. You can generate names, settings, even story ideas! The next time you're stuck for an idea, go browse.

The Essential Idea

If you don't have all the elements of your short story yet that's fine, but lets try and distill those you do have and, perhaps, get a few more along the way. You can make sure you're starting off on the right foot. (This is also a great exercise for after you've finished your story to make sure all the essentials are in place.)

Nathan Bransford has a terrific blog. The post I come back to the most is Nathan's Query Letter Mad Lib in which he gives the forumla for how to summarize your novel in one sentence. But to condense an entire story down to one sentence is challenging! I propose to first condense our story ideas into 5 sentences and then, from there, we can hone it even farther.

Sound like a plan? Great! Let's get started.

A 5 Sentence Story Description

Nathan Bransford very generously posted the query he used to shop around his first book: Jacob Wonderbar and the Cosmic Space Kapow. (Nathan used to be an agent for Curtis Brown Ltd.)

Let's dissect Nathan's description of his novel and see if we can't make a template out of it:

1. The ordinary world

"Jacob Wonderbar has been the bane of every substitute teacher at Magellan Middle School ever since his dad moved away from home."

[Protagonists name] has been [protagonists outer challenge] ever since [protagonist's wound]. 

2. Setting and characters introduced

"He never would have survived without his best friend Dexter, even if he is a little timid, and his cute-but-tough friend Sarah Daisy, who is chronically overscheduled."

He never would have survived without [friend1 description] [friend1 name], even if he is [friend1 fault], and his [friend2 description] [friend2 name], who is [friend2 fault]. 

3. Entering the special world

"But when the trio meets a mysterious man in silver one night they trade a corn dog for his sassy spaceship and blast off into the great unknown."

But when the trio meets [threshold guardian description] they [cross the threshold] and [exciting verb for "enter"] [the special world]. 

4. It all falls apart

"That is, until they break the universe in a giant space kapow and a nefarious space buccaneer named Mick Cracken maroons Jacob and Dexter on a tiny planet that smells like burp breath."

That is, until [the awful thing that happened as a result of protagonist's actions] and [antagonist description] named [antagonist name] does [some hideous deed to protagonist that hurts him and will definitely prevent him from reaching his external goal]. 

5. The challenge

"The friends have to work together to make it back to their little street where the houses look the same, even as Earth seems farther and farther away." 

The [protagonist] has to work [deed] to [achieve their external goal and return to the ordinary world].

Example: The Firm

1. Ordinary world

Mitch McDeer worked hard to get top grades at Harvard Law School because he never wanted to be poor again.

2. Characters and setting

He would never have succeeded without the love and support of his beautiful wife Abby who, more than anything, wants Mitch to stop running and accept who he is, and to accept his brother, even though his family is a reminder of what Mitch is running from: the shame of growing up in a trailer park, poor, raised by a mother who didn't really care about him.

3. Entering the special world 

When the lawyers from Bendini, Lambert & Locke offer Mitch more money than any other law firm it is a dream come true and he and Abby move into their brand new house, courtesy of the firm.

4. It all falls apart

Everything is great until Mitch learns about the secret files and discovers Bendini, Lambert & Locke is just a front for organized crime. As the FBI closes in on Mitch, threatening him with prison, the mob gets suspicious.

5. The challenge for the protagonist

Mitch has to rely on his wits to save himself and Abby. But is he up to the challenge?

One Sentence Summary

"A young lawyer joins a prestigous law firm only to discover that it has a sinister dark side. (The Firm, IMDB)"

Let's see if we can't expand on that summary of The Firm using Nathan's formula:

[protagonist name] is a [description of protagonist] living in [setting]. But when [complicating incident], [protagonist name] must [protagonist's quest] and [verb] [villain] in order to [protagonist's goal]. (Query Letter Mad Lib)

Here's my attempt:

Mitch McDeere is a smart, motivated, young lawyer living in Boston. But when he gets a job with a group of crooked lawyers, Mitch must thread his way between the dual threats of the FBI and the mob in order to preserve both his life and his law degree.

What I find interesting is that certain points had to fall by the wayside. Here we are forced to only focus on what is of primary importance for the plot: Mitch, the threat posed by the mob and the threat posed by the FBI.

Mitch's wife, Abby, was a large part of the plot, but in the one (okay TWO!) sentence summary she falls by the wayside.

Being ruthless like this and cutting away until you're left with the essential bits can help you focus, right from the beginning, on what is critical to your story. It can help make it strong and easier and quicker to write.

I think that's it for now. In the next post in this series--which probably won't be tomorrow, I'll give you folks a break!--I'll talk about Dan Well's 7-Point system.

(By the way if you haven't read Ben Guilfoy's article on how to write a serial you're missing out! I think serials are the next big thing and Ben's been writing them for years. He explains his system clearly and with humor. Truly, a must read.)

 Till tomorrow, happy writing!

Other articles you might like:

- The Structure Of Short Stories
- Where Ideas Come From And The Conspiracy Against Nothingness
- Roleplaying Games And Writing, Does The One Help The Other?

Photo credit: "Sunburst" by John-Morgan under Creative Commons Attribution 2.0.

The Structure Of Short Stories

The Structure Of A Short Story

I've been thinking about short stories lately; specifically, about how to structure them. I'd like to write an article that makes it easier for a new writer to create a decent short story right off the bat, the kind of article that might have helped accelerate my learning curve when I was starting out.

(Grin) I guess everyone's gotta have a goal! We'll see how this goes.

A Caveat: Use what works for you

Let me digress for a moment. I don't mean to suggest that there aren't many fine articles out there written by folks much more capable than myself. For instance, Kurt Vonnegut's article How to write with style. But everyone is unique, everyone has a different perspective. Perhaps you and I will be similar enough that my take on things will strike a cord with you. If so, great!

I'm not saying this structure, or any structure, is for everyone. If you like it and it works for you, great! If it doesn't, that's fine. (smile) Use what works for you.

The Roadmap

I've been working on a post on short story structure for the past few days but it keeps growing and, today, I realized I'm going to have to do this in parts. In this post I want to talk about what we need to bring to the table before we start building the structure of our story, before we start talking about hooks and pinches, midpoints and resolutions.

In the next post in this series I'll discuss how to condense the essential ideas in your short story down so they can be expressed in one, or a few, lines. The post after that we'll start talking about Dan Wells 7-Point system for short stories.

Another caveat: If you have an idea and it's bursting to get out, write it! You don't need me, or anyone, to tell you how to express your creativity. This structure is mainly for folks who have an idea curled at the back of their minds like a shy kitten. They know it's there, they know it wants to come out and play, but they can't quite coax it from its hiding spot.

Preparing To Write A Short Story

Before we start talking about story structure (hooks, turning points, pinches, resolutions, and so on) there are a few things we should decide on. Things such as:

1. The basic idea your story is about

What is the setting?

Time: Where are we in time? Is it the present? The past? The future?
Place: What geographic location are you going to use? (New York? LA? Toronto? Etc) Are you going to create your world or use this one?
Mood/Atmosphere: What feeling do you want to create at the beginning? Bright and cheerful? Dark and frightening? Is this going to change by the end? (See: Short Story Elements)
Social milieu: How does the social milieu shape your character's values? What cultures are you going to include? (Setting, Wikipedia)

What is the major conflict?

There are various kinds of conflicts:

- person against person,
- person against society,
- person against nature and
- person against self.

The protagonist often has both an internal and external conflict, so person against person (the antagonist) and person against self (the internal struggle) are the most common forms of conflict found in stories, at least genre stories which are the kind I am focusing on. (See: Conflict, Wikipedia)

For instance, in The Firm, Mitch McDeere has the outer goal of becoming a wealthy lawyer and the inner goal of shedding the negative emotions he has concerning his childhood (well, at first, he just wants to run away and ignore them). His external goal changes throughout the movie, as does how he approaches his inner goal. The obstacles/opposition to these goals creates conflict.

You don't have to have an inner conflict and in a short story you might find it too much to fit in, especially if you're a new writer.

A good strong external conflict (external goal + opposition) is an absolute must. It is the engine that will drive your story forward.

2. List your characters

This is a short story so you probably want to keep the number of characters to the bare minimum you need to tell the story.

You'll have a protagonist, an antagonist and one or both of them might have a helper. Also, the protagonist might have a mentor and there might be some sort of shady character trying to keep the protagonist from leaving the status quo/ordinary world.

Keep in mind that the same character could fill more than one role. For instance, the antagonist could corrupt the mentor and the mentor could act as the shadow-y character keeping the antagonist from crossing the threshold into the special world, the land of adventure. (See: Story Structures: Several Ways Of Structuring Short Fiction)

Character Sheets

I love character sheets! I gave this link in the article, below (Before You Start Writing ...) but I'll give it here as well: Character Brainstorming Worksheet. That's, hands down, the best character sheet I've seen in a long time!

Update (Dec 14, 2012): Thanks to Sam Hunt over at Dark-Fantasy Writers I just learnt about Seventh Sanctum. They have a great character generator over there, best I've seen. Fun to play around with (well, if you're a geek like me).

Test Your Characters

Martina Boone came up with a brilliant idea: Test your characters before you write them into your story to make sure they're strong enough. If this is something you'd like to read about I'll direct you here: Before You Start Writing Test Your Characters: Are They Strong Enough?

3. Who is your point of view (POV) character?

If you're going to write in third person omniscient or third person objective then you don't have to choose just one, but chances are you won't be writing from the these points of view. Usually your protagonist will be your POV character.

That said, there are notable exceptions. For instance, Sir Arthur Conan Doyle wrote his Sherlocke Holmes stories from the point of view of Watson but Sherlock Holmes was his protagonist.

Sometimes you may want to have two POV characters. For instance, often in romance stories one POV character is the girl the other the guy and the POV shifts between chapters. (Or girl/girl or guy/guy depending on the story you're writing.) If you're a new writer, or you want to write a story under 2,000 words, I'd suggest you pick just one.

4. Are you going to write in first, second or third person?

I'm not going to talk about narrative points of view. Wikipedia has a wonderful write up about each one, with examples galore: Narrative mode. If you're at all fuzzy about what first person, second person, third person subjective, third person objective and third person omniscient are please do head on over to Wikipedia and brush up. I know I have to read the definitions again every few years!

Sometimes the narrative point of view you choose will be (in part) determined by the genre you're writing for. For instance, most urban fantasy is written in the first person (See: Urban Fantasy: Threat or Menace? - The Story Board Ep. 1). Second person is popular only in special areas, for instance recipes, songs, blog posts, and so on. If you are like the majority of authors (why do I feel like I've just given someone a challenge? lol) you'll likely end up choosing between first person and third person subjective (also called third person limited).

5. A description of your story

This is something I always do. I've never read anyone else say to do this, so use this at your own risk!

Eventually (we'll talk about this in the next post in this series) we'll go over writing a one liner, or tag-line for your story. But lets not worry about that yet. Right now I'd like to you to write out what your story is about, all those ideas that have been purcolating in your noggin as we've been doing all this preparation work.

Go and write it out. That's okay. I'll wait.

Back? Good!

Okay. Your description might be 5 pages long or just a list of ideas (or you might have nothing at all), it's all good, but now you need to take what you've written and hone your story down to its essentials.

6. The one-liner/tag line

I'm going to break off here. Tomorrow I'll write about how to condense your story down to its essential elements and express them in one line.

Or at least that's the goal! See you next time.

Update: Here's a link to the next article in this series: The Structure Of Short Stories: The Elevator Pitch Version.

How about you? Do you use a story structure when you write? What is your process?

Other articles you might like:

- Roleplaying Games And Writing, Does The One Help The Other?
- How To Write A Twitter Story
- Why Your Story Should Have A Theme

Photo credit: "Моя Мелочь:) | My Meloch:)" by eXage under Creative Commons Attribution 2.0.

Short Story Structures: Several Ways Of Structuring Short Fiction

I have a problem. For the past two years or so, every time I set out to write a short story—something under 5,000 words—I fail miserably. It grows and grows and grows until I'm writing a 20,000 word novella!

And there's nothing wrong with that.

It used to be it was hard to sell novellas but the form is experiencing a resurgence. It appears that as long as buyers are informed about the length of a story, they don't mind variety. (See: Ian McEwan Believes The Novella Is The Perfect Form Of Prose Fiction)

But I digress. As I say, there isn't anything wrong with writing novellas, but I've grown increasingly anxious. Every time I begin a short story it morphs into a novella. It has gotten to the point that—even if only for the novelty of it!—I would like to write a short story.

The upshot is that I've researched various structures that could be used for short stories because I think my problem is that I'm trying to use the structure of a novel for a short story. Not good.

Here's what I found.

The Hero's Journey: The Structure For A Novel

So that we'll have something to contrast the various short story structures with, here's the classic monomyth structure in visual form. This comes by way of the wonderfully creative folks at TED:

Short Story Structure 1: A Character, In A Situation, With A Problem ...

1. A character,
2. in a situation,
3. with a problem,
4. who tries repeatedly to solve the problem,
5. but fails, usually making the problem worse.
6. At the climax of the story the hero makes a final attempt which may succeed or fail.
7. The result of the hero's final attempt is validated in a way that makes it clear what we saw was the final result.

I've paraphrased it, but that's from Philip Brewer's post, Story Structure in Short Stories. Originally it comes from Algis Budrys.

This structure seems better suited to the brevity of a short story, but let's keep looking.

Short Story Structure 2: Set-up, Response, Attack, Resolution

This short story structure comes to us by way of Larry Brooks's article: The Short Story on Structuring Your Short Story. He writes:

"Like life, our stories always reside somewhere along that same continuum of set-up… shift… response… shift… attack… shift… resolution."

1. Setup
2. Shift
3. Response
4. Shift (mid-point)
5. Attack
6. Shift
7. Resolution

Sarah A Hoyt: The Structure Of A Short Story

This wonderfully detailed short story structure comes from Sarah A. Hoyt's article, The Structure of A Short Story, and is, I'm afraid, a case of me saving the best till last. Well, almost last.

(All quotations are from Sarah's article.)

1. First line or two
"[I]ntroduce the most startling or grabby thing about your characters/setting/situation."

2. Rest of the first paragraph
"[L]ay out character/setting/ and most of all problem.  You might want to lead with problem as that brings out the most interesting things about your idea.  (If your idea isn’t interesting, WHY are you writing it?)"

3. Next few pages (From the first paragraph up to the 25% mark)
"Develop the present situation which your character is caught.  This situation is usually not the main problem, and you should have at least one try/fail before getting character out of the PRESENT situation.  About 1/4 of the way through the story, have the character realize what the REAL problem is."

4. From the 25% point to the mid-point
"Initiate try/fails to solve the main problem."

5. Mid-point
"Around middle of the story have character realize he was going about obtaining goal the wrong way or that his/her assumptions were oh, soooo wrong."

6. 62% (between the mid-point and the 3/4 mark)
"Activate cunning plan.  (This normally doesn’t involve a turnip, on account of not being a Black Adder story.)"

7. 75% mark
"Try fail sequences set up about 3/4 through the story."

8. 88% mark
"Black moment about 1/8th from the end."

9. 95% to 100%
"[R]esolution and usually not much of what my husband calls a cigarette moment, because it’s a short."

I especially love Sarah's attention to detail in the first paragraph, breaking it into two. Let's face it, folks are probably going to decide whether they'll read your story based on the first few lines.

For Kicks And Giggles: A Possible Short Story Structure

I've tried to condense the hero's journey into something manageable for a short story and (as you'll be able to tell) I've borrowed liberally.

1. Set-up/Status quo/Ordinary World

The hero has a well-defined need but there is something specific keeping her from meeting this need. (Another way of saying this is, "The hero has a well-defined goal, but there is something specific keeping her from acquiring what she seeks.)

2. Call to adventure/Inciting incident

Something (perhaps something shocking) happens to break the status quo.

3. Hero's Response

The hero might vacillate for a short time while she weighs what accepting the call to adventure will mean for her (good opportunity for a sequel), but she ultimately accepts the call and enters a new, strange, intensely unfamiliar situation/world.

4. Trial and Error

The hero tries to attain her goal, to meet the need that we read about at the beginning of the story. She fails. Perhaps she fails spectacularly and humorously. Even though she failed, she succeeds at something. Perhaps she gains an ally because, even though she fails, she just won't give up.

Hero looks back. Thinks about going back to the status quo, what that would mean.

5. Mid-point/Point of no return (50%)

Hero tries to defeat the thing that is preventing her from getting what she needs.

Hero Succeeds: If hero succeeds then there has to be a twist. The person/thing they thought was the Big Bad really isn't. The real Big Bad is revealed.

Hero Fails: Stakes are raised. Perhaps she loses her allies, perhaps she's injured. She fought impressively but, because she still has a weakness, her enemy either got away or beat her.

Either way, the mid-point is a point-of-no return. Because of what happens in this scene the hero no longer has the option of going back to the ordinary world. Also, often, the hero makes the problem (overcoming the obstacles to achieving her goal) worse in an unexpected way.

Note: I mention the hero's weakness, above. Her weakness could be anything, but it's nice if it can be related to whatever it is INTERNALLY that keeps her from achieving her goal.

6. Setback

Our hero has failed (see (5)). She tries to go back to the status quo but realizes that's not possible. Time for reflection and perhaps a pep-talk. Or perhaps she hits bottom and starts fighting everything in sight and the experience revives her. (It could happen! ;)

7. Acceptance

Hero accepts her fate and trains, or otherwise works on removing what is keeping her from reaching her goal. Her weakness (usually an internal thing; e.g., a bad attitude) is diminishing. She is getting control over it.

Make sure your readers know 'the plan', how the hero is going to defeat what is preventing her from reaching her goal. If there is one crucial element of the plan it helps. For instance, the presence of her mentor.

8. All is lost (75%)

The one thing that absolutely can't fail for the plan to work does fail. All hope is lost. The hero will never be able to ....  You get the idea. I think the movie The Firm, with Tom Cruise, did this brilliantly.

But, wait, all hope is not lost. It's an incredible long-shot. It's insane, really, to even consider it, especially given that the hero failed at the midpoint. But maybe, just maybe, if the hero does [insert deed], there's a chance the plan can still work.

9. Final Attack 

It is essential that the hero act immediately. It is now much harder for the hero to succeed than it was at the mid-point and the stakes are much higher.

Something spectacularly improbable yet plausible, happens and the hero executes the plan. At the end of this scene she will triumph over whatever was keeping her from attaining her goal. She has worked through the weakness that caused her to fail at the mid-point.

10. Wrap-up

Have the hero say goodbye to her allies and go back to the ordinary world. Show how her ordinary world has been transformed because of her journey (because your hero is, in some ways, a different person).

In my outline I have it that the hero was successful, but they might not be. Also, the hero might not  willingly go back to the ordinary world, perhaps she returns for the sake of someone she left behind, or perhaps she's chased back.

Final Thoughts

Looking over the story structure I just detailed I wonder if a person could use it to write a short story, say one of 1,000 words. Perhaps it would be more suited to a story of 5,000 words (or so). But, who knows? Perhaps I'll try it tonight as a challenge.

I hope you've gotten something from this article, even if it has only highlighted the problem, how difficult it is to squeeze all that story goodness into the tiny vessel of a short story.

If any of you would like to share your short story structures I would LOVE to see them.

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Every post I pick a book or audiobook I love and recommend it to my readers. 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 want to recommend "Story Structure: The Key to Successful Fiction" by William Bernhardt. From the blurb: "Story structure is one of the most important concepts for a writer to understand—and ironically, one of the least frequently taught. In this book, New York Times-bestselling author William Bernhardt explains the elements that make stories work, using examples spanning from Gilgamesh to The Hunger Games."

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Other articles you might like:

- Before You Start Writing Test Your Characters: Are They Strong Enough?
- Dean Wesley Smith's Advice To Indie Authors For 2013: How To Sell Fiction
- Robert Sawyer Says: Don't Worry About What's Popular, Write What You Love

Photo credit: "Angels in fury" by Jsome1 under Creative Commons Attribution 2.0.

Using Pinch Points To Increase Narrative Drive

Think of what a story would be without structure. Many of us don't have to imagine it, we have those stories buried under our beds!

Structure helps move a story along, it lends novels that most mysterious of things: narrative drive. The I-can't-put-it-down quality that keeps sane people up way past their bedtime.

Structure also helps writers when we have that feeling: Gee, shouldn't something be happening about now? But what? Following a structure, or even reading about it, can generate ideas.

The Purpose Of Writing/Storytelling

Screenwriters talk about structure more than novel writers, so I've been studying screenwriting. Not with the intention to write a script--novels are challenging enough!--but to learn about different story structures.

Whether we're talking about writing a novel, short story or a screenplay, it's the same basic idea: We're telling a story to an audience. We are entertainers seeking to wow the crowd.

One concept I discovered recently, that of the Pinch or Pinch Point, is another tool a writer can stow away in her toolbox just in case she needs it. And, during NaNoWriMo, who knows what will come in handy before the month is through.

Pinch Points

A pinch point is a reminder. It's a reminder of who the antagonist is and what is at stake. Further, this reminder isn't filtered by the hero's experience. In other words, it's not just how the hero sees the antagonist, or antagonistic force, this is how they are. Here we see their true nature. (Story Structure Series: #9 – Pinch Points, Larry Brooks)

The Structure Of Your Story: How To Use Pinch Points

There are two pinch points--sometimes just called "pinches"--in a novel or screenplay. Assuming a three act structure, the first pinch comes halfway through the first part of the 2nd act (3/8 mark) and the second pinch comes halfway through the second part of the 2nd act (5/8 mark).

Clear as mud? Here's a drawing:

First Pinch Point:

The first pinch point reminds us of the central conflict of the story.

Second Pinch Point: 

The second pinch point, like the first, reminds the audience of the central conflict of the story, but it also is linked to the first (Wikipedia, Screenwriting). It shows the audience the threat (whatever it is that still stands in the way of the hero achieving his goal). The pinch point scene lays out what the hero has yet to conquer/overcome/accomplish. (“The Help” – Isolating and Understanding the First “Pinch Point”, Larry Brooks)

My background isn't in screenwriting but, to me, pinch points seem a lot like sequels. Not exactly like a sequel, though, because sequels come after the scene, after the action. Perhaps a pinch is like a scene+sequel. You show your audience the antagonist in all their unadulterated glory (or horribleness) and then you see the aftermath, the personal consequences for the hero, the goals he has still accomplish and why he must accomplish them.

Examples of Pinch Points

First Pinch Point 

[I]n Star Wars, Pinch 1 is the Stormtroopers attacking the Millennium Falcon in Mos Eisley, reminding us the Empire is after the stolen plans to the Death Star R2-D2 is carrying and Luke and Ben Kenobi are trying to get to the Rebel Alliance (the main conflict). (Screenwriting, Wikipedia)

Second Pinch Point

In Star Wars, Pinch 2 is the Stormtroopers attacking them as they rescue the Princess in the Death Star. Both scenes remind us of the Empire's opposition, and using the Stormtrooper attack motif unifies both Pinches. (Screenwriting, Wikipedia)

So, in Star Wars, the pinch points remind us that the Big Bad is the Emperor. Further, the pinch points are related--the second one calls back to the first--through the use of Stormtroopers.

Even if we end up not using them, the concept of pinch points can help remind us that we shouldn't lose sight of the antagonist in the story. Sometimes this is a danger when the antagonist works behind the scenes, through his or her minions, and receives little "on stage" time.

# # #

If you're doing NaNoWriMo this year, best of luck! How's it going? It's been tough for me. Life has a way of intruding on my writing time. But that's okay! I'm at approximately 12,075 words, hopefully I'll have over 14,000 by the end of the day.

Go NaNo-ers! :-)

Other articles you might like:

- More Writing Advice From Jim Butcher
- How To Get Your Readers To Identify With Your Main Character
- Chuck Wendig And The Battle Song Of The Storyteller

Resources:
- Syd Field's Podcasts (Syd Field was the first person to publish a book on modern screenwriting)
- StoryFix (Run by Larry Brooks)

Photo credit: "Ice Storm" by JD Hancock under Creative Commons 2.0.

The Mysteries of Outlining and Nesting MICE: Creating Killer Stories

Yesterday I talked about Mary Robinette Kowal's workshop The Mysteries of Outlining and promised to show how this could be used in conjunction with Orson Scott Card's MICE Quotient to create killer stories.

Let's get started!

Nesting MICE Story Types

The power of structuring your story with MICE comes through when you start to nest story types. Let me give you an example. Let's say I'm writing a murder mystery. Usually murder mysteries are Idea Stories. They focus on the question: Who killed X and why? In an Idea Story the story is over when the problem--finding the murderer and explaining how the murder was done--is solved. But let's say I want to write my murder mystery as a Character Story rather than an Idea Story.

I can do this. How? By nesting story types.

In my main story I would focus on the widow and her changing role in society (a character structure) but since I want my story to also be a murder mystery I would have an Idea Story subplot where I ask the question: Who killed the widow's husband and why?

Close out subplots in the proper order

When you nest story types it's crucial to close them out in the proper order. I would need to close out the Idea Story subplot first and only then, at the very end of the book, close out the Character Story by showing that the widow had found a new role in society (or, if I was writing a tragedy, that she failed to do so).

If I had ended the story after the murderer was found and before the widow's fate was resolved my story would be incomplete and my readers dissatisfied.

Multiple subplots

Each subplot of your novel can have a different story structure. Just because your main story is, say, an Idea Story, or--as with Lord of the Rings--a Milieu Story, doesn't mean that you can't have subplots that incorporate other story types.

Using Orson Scott Card's MICE Quotient to help outline a story

As I mentioned yesterday, Mary Robinette Kowal taught a workshop on The Mysteries of Outlining at SiWC. You don't need to read that post to understand this one, but it might help. In any case, to make things easier to follow I'll include the updated list of actions we developed for the story of Rapunzel:

List of actions:
1. Parents steal a Rapunzel plant
2. Baby born
3a. Witch/enchantress takes baby
3b. Rapunzel locked in tower
5. Grows hair
6a. Prince out hunting
6b.Rapunzel sees prince and calls to him
6. Prince climbs tower
7. Witch discovers Rapunzel has been seeing the prince
8. Rapunzel is tossed out of the tower and left to fend for herself in the wilderness
9. The witch strikes the prince blind
10. Rapunzel and the prince find each other
11. Rapunzel's tears give the prince back his sight
12. Rapunzel and the prince live happily ever after

The question: How are we going to tell this story? Which action will be start with? Where will we draw the line between backstory, story, and postscript? In the wikipedia version of Rapunzel there is no backstory or postscript, all the events from 1 to 12 are included.

So, again, how are we going to tell this story of Rapunzel? We can help decide this question by choosing a story structure. Let's try out each in turn.

Milieu

Let's say we want to tell Rapunzel's story as a Milieu Story. This means our story will begin when our main character, let's say that's Rapunzel, enters a strange new world and that the story will end when she leaves it.

The only way that fits is if we begin the story at (3b) when Rapunzel enters the tower and end it at (8) when she leaves it. We wouldn't throw out points 1, 2 and 3a, they would simply become backstory and we would work them in at the appropriate time. It would be a sadder story, though, because we would leave Rapunzel learning to be free, learning to feed and clothe herself, learning to stay alive in the great wild forest.

The prince's story could be a sub-plot, one we might decide to write as an Idea Story. In this case the question/problem would be: How can the prince free the princess from the tower? The story would end when the question is answered at (8). We would have to change the outline a bit so the prince's arc would end before the story ends at (8) so we would need to swap (8) and (9) in the outline.

Idea

If we were telling this story from Rapunzel's point of view we might be most interested how she'll get away from the witch (question/problem: How will Rapunzel get out of the tower and escape the witch's power?) in which case we'd begin at (3a) with the witch taking the baby and putting her in the unscalable tower. The story would end when Rapunzel left the witch at (8).

Character

If we wanted to write Rapunzel as a Character Story how we began would depend on who we wanted to be our main character. If Rapunzel, we could start when she entered the tower as a baby (3b) or when the prince came into her life (6b), most likely the latter, since it's difficult for a baby to be unbearably dissatisfied with their life! The story would end when Rapunzel found her new role in life as queen at (12).

If we wanted the prince to be our main character we'd start and end the story at roughly the same place, at (6b) and (12).

Event

The Event Story is about the world being out of whack and the main character has to restore order. For this kind of story it would seem easiest to take the prince as the main character. He's out hunting and he sees a beautiful maiden locked in a tower. Perhaps she doesn't call to him, perhaps he hides behind a tree and sees the witch climbing down Rapunzel's golden locks. He becomes outraged at the injustice of keeping a young maiden locked up in a dusty old tower and vows to set things right.

To tell the story this way we'd have to change our outline slightly. Instead of Rapunzel seeing the prince and calling out to him, the prince would see the witch leave the tower and would go and investigate, so we'd need to change (6b). This story would end when the prince had restored order to the world and had taken Rapunzel home to be his wife and queen at (12).

Alternatively we could have Rapunzel realize that being locked in a tower by a witch isn't normal. At the moment she realizes this, at the moment she realizes the woman she had thought of as her mother is actually her jailor, the story would begin--probably somewhere around the time Rapunzel has grown her hair (5). Everything before that would be worked in as backstory. The main story would end when Rapunzel's world was put right and she was part of a family (12).

Choosing a MICE type depending on who you use as a main character

Instead of choosing a story structure and then figuring who we want our main character to be and where the story should begin, we could choose a main character and ask which MICE type would suit that point of view the best.


Well, that's it for this section! Do you have any questions about Orson Scott Card's MICE Quotient and how to use it in an outline? If so, please ask!

Tomorrow we'll look at the last of the tools Mary Robinette Kowal introduced in her workshop The Mysteries of Outlining: Yes, but ... / No, and ...

I was wondering, those of you participating in NaNoWriMo, how is your preparation coming along? Any tips or tricks you'd like to share?

Cheers!

This article is part of a series:
- Orson Scott Card & The MICE Quotient: How To Structure Your Story
- Mary Robinette Kowal and The Mysteries of Outlining
- The Mysteries of Outlining and Nesting MICE: Creating Killer Stories (Current article)
- Making A Scene: Using Conflicts And Setbacks To Create Narrative Drive

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- Dialogue: 7 Ways of Adding Variety

- Amazon Ranks Authors In Terms Of Their Book Sales