NaNoWriMo Day 8: 7th Key Scene: Call to Adventure

“I have been successful probably because I have always realized that I knew nothing about writing and have merely tried to tell an interesting story entertainingly.”

– Edgar Rice Burroughs

The Midpoint: Breaking It Down

In the Call to Adventure the protagonist accepts a quest, takes on a challenge that will occupy her till the Climax at the end of the story. I’m going to call this challenge the Story Goal because it will be the engine driving the action of the story, of the plot, right up to the very end. This goal defines the protagonist’s arc and becomes the story’s backbone, tying all the other character arcs to itself.

The protagonist doesn’t always accept the Call to Adventure. Often she rejects the Call and must be talked into it, often by a mentor. If a mentor is involved they may give the protagonist something that will aid her on her journey. For example, in Star Wars IV: A New Hope, Obi-Wan Kenobi gives Luke his father’s lightsaber.

What is it?

A problem/challenge. At the Call to Adventure the hero is offered a challenge or adventure.  The Call must make it clear what the hero’s goal is.

Stakes established. The Call to Adventure should reveal the states. We need to know what will count as a win and what will count as a loss, and we need to know how the protagonist will be rewarded for a win and what price will be exacted if she loses.

Call is freely accepted. The protagonist must be able to reject the Call to Adventure. Sure, there might be dire consequences if she rejects the Call but, nevertheless, it’s important that she has the opportunity.

The upshot: During the Call to Adventure, a decision must be made, action then taken and a conflict faced.

The Difference Between the Inciting Incident and the Call to Adventure

As we saw when we talked about the Inciting Incident, the Ordinary World is relatively static at the beginning of the story. Often, there is something deeply wrong with the protagonist’s normal existence, but it could also be that she is simply in stasis. She is surviving but she isn’t living.

Another way of looking at the protagonist’s initial state is that she has reached a kind of false, local, optima. The protagonist isn't happy and knows she's not happy but is scared that if she tries to change, her life will get worse.

For example, in the movie The Matrix, at the beginning of the story Neo—or, rather, Mr. Thomas Anderson—knows that something is wrong; not just with his life but with the world. He doesn’t know what exactly is wrong, but he has searched for the answer all his life.

The _Inciting Incident_ shatters the protagonist’s status quo, her state of equilibrium. Something happens that changes the protagonist’s world, a change which will, sooner or later, shatter her status quo. The Inciting Incident creates an imbalance, an inequality that the protagonist must, eventually, address.

At the beginning of _The Matrix_ words, unbidden, flash on Anderson's computer screen: "Follow the white rabbit." I would argue that this is the inciting incident, the event that sets a series of other events in motion that, eventually, leads to his call to adventure. Or the Inciting Incident could have happened in the backstory when Cypher first began to work for the first Matrix.

One could argue that Anderson receives a few calls to adventure, but I think that the Call came when Morpheus tries to talk Neo out of his office building so he can avoid the Agents capturing him. Mr. Anderson declines the Call to Adventure. This changes when, at the end of Act One when, Neo is offered the choice between the red pill and the blue pill.  Then he makes a choice and is locked into the quest.

I find it fruitful to view the Inciting Incident and the Call to Adventure as conceptually distinct because they serve different, though complementary, functions.

As we saw in that section, the Inciting Incident (which is an exciting incident) is meant to a) grab the audience's attention and b) sets the story in motion by breaking the status quo. The Call to Adventure, on the other hand, connects the hero to the cataclysmic changes in the Ordinary World.

You can see how these two events, the Inciting Incident and Call to Adventure, would often go together.

The bottom line: If how you view the Inciting Incident and Call to Adventure works for you, then great! In the end there's only one rule: use what works for you.

Where is it?

The Call to Adventure happens at the same time or shortly after the Inciting Incident. Definitely within the first act (the first 25% of the story).

How is it connected to the protagonist’s desires?

The Call to Adventure connects the protagonist to the changes in the world that the Inciting Incident introduced. The Call to Adventure must also be a call to take some action that will move the protagonist closer to fulfilling their internal and external desires.

The Midpoint: Examples

In Star Wars IV: A New Hope, the Call to Adventure occurs when Obi-Wan Kenobi asks Luke to join him as he travels to Alderaan to bring the plans for the Death Star to the resistance.

Testing the Scene Example

Was a challenge put forward? Yes! Obi-Wan Kenobi asked Luke to join him on a dangerous mission to aid the rebel alliance.

Are the stakes clear? Yes. If the information Princess Leia gave to R2-D2 isn’t delivered to the resistance then the rebellion will be defeated.

Is the quest freely accepted? Yes. Luke rejects the Call at first, but after his aunt and uncle are murdered by the Empire Luke takes up the quest and accompanies Obi-Wan Kenobi.

How the Call to Action is Implemented in Three Genres: Action, Romance & Mystery

Action Genre

I’ve gone over this, above.

Romance Genre

I said before, when we were going over the inciting Incident, that that point is where the lovers-to-be are thrown into conflict. The Inciting Incident is the point at which the protagonist’s world is altered, but it’s not necessarily where the Call to Adventure is given.

In a romance story the Call to Adventure has to do with the call to bond with another human being, the call to make oneself vulnerable. It  is the call to love another even as we wish to be loved.

By the way, in doing research for this article I came across a terrific resource: The Hero’s Journey for Romance Writers.

Murder Mystery Genre

In a murder mystery, the Call occurs when the sleuth agrees to take on the responsibility of solving the murder and, by so doing, to bring justice to the community.

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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’d like to recommend Dialogue: The Art of Verbal Action for Page, Stage, and Screen by by Robert Mckee. From the blurb: “From Macbeth to Breaking Bad, McKee deconstructs key scenes to illustrate the strategies and techniques of dialogue. DIALOGUE applies a framework of incisive thinking to instruct the prospective writer on how to craft artful, impactful speech.”

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That’s it! If you’re doing NaNo, how’s it going? My take on NaNo is that as long as you write more in November than you would have otherwise, you’re a winner!

Talk to you again tomorrow, in the meantime, good writing!

Word count so far: 11,385
Word count for today: 1370
Total words this month: 12,755

(NaNoWriMo Day 7): 6th Key Scene: All Hope is Lost

Tell the readers a story! Because without a story, you are merely using words to prove you can string them together in logical sentences.

– Anne McCaffrey

The All Hope is Lost Scene: Breaking It Down

The All Hope is Lost scene occurs at the end of a series of try-fail cycles.[1] Each time the protagonist and her allies fail, the stakes are raised.

First try-fail cycle. The protagonist and her allies make a plan to defeat the antagonist and achieve the story goal. The plan fails.

Second try-fail cycle. The stakes are higher now but the protagonist and her allies don’t give up. The plan is revised and they try again. The revised plan ends in failure. This failure is more dramatic, more severe—perhaps one or more of the protagonist’s allies die or abandon the quest. Whatever the case, the plan fails spectacularly.

Final try-fail cycle. This is the All Hope is Lost scene. The stakes are now the highest they’ve been but the protagonist is not giving up. She thinks on the fly and tries one lasts thing. Perhaps it seems as though this time the plan will work, but it doesn’t. She fails and she fails spectacularly. There is now no hope at all that the protagonist can succeed in her quest.

What is it?

- Setup. Before the final try-fail cycle—the All Hope is Lost scene—there often is a ‘suiting up’ scene where the protagonist and her allies prepare for battle. This also serves another purpose, it tells your readers what the plan is and all the ways it can go wrong! (This is going to be a sequel.)

- Cause. What causes the final try-fail cycle to fail? It could be anything. Perhaps the protagonist’s plan hinges on one critical element that fails. Perhaps one of the protagonist’s allies is captured or killed, perhaps he turns traitor and gone over to join the antagonist’s band of un-merry men. The point is that the plan contains a critical element and, because element doesn’t come into play[2], the plan fails.

- Unexpected. What causes the final plan to fail should happen in a way that the audience won’t foresee. Though, looking back it must make perfect sense. Further, the plan will fail in a way the protagonist couldn’t have anticipated, but which in retrospect makes perfect sense.

- Stakes. Part of what makes the All Hope is Lost scene the All Hope is Lost scene rather than, say, the protagonist-is-mildly-inconvenienced scene, is that the consequences of failure are worse, much MUCH worse, than we thought they would be. Sure we spelled out the stakes, but the protagonist had underestimated. WAY underestimated.

As bad as things seemed at the end of the last try-fail cycle, now here, the protagonist plumbs the depths of the true bottom. We have now reached the lowest point in the story. It turns out that what the protagonist thought was the true bottom—the worst things could possibly get—was only a way-stop on the way to complete and total ruin.

Where is it?

If you’re using three acts, the All Hope is Lost point comes at the end of the second act. If you’re four acts, the All Hope is Lost point comes at the end of the third act.

How is it connected to the protagonist’s desires?

At this moment the protagonist’s desires seemed destined to be unsatisfied.

The All Hope is Lost Scene: Examples

I think one of the most effective All Hope is Lost scenes is in the movie Edge of Tomorrow. In that movie the protagonist, Cage, has a special power: every time he dies the day is reset. Why? No one is sure, but it happened when an alien bled all over him as the two lay dying on the battlefield. Something happens to Cage’s blood. The thing is, if Cage ever bleeds to death or has a blood transfusion, his death will no longer reset the day. That would be game over for humanity.

 Cage’s external goal is to kill the Omega (the Big Bad). If humanity is to survive, the Omega must die. Toward the end of the second act Cage uses a piece of tech on himself to find the Omega’s location. It works! That’s when the event that triggers the All Hope is Lost moment occurs: Cage gets shot in the leg and wakes up in the hospital having received a blood transfusion. He can no longer reset the day!

Testing the Scene Example

Setup. The setup here was Cage and Vrataski getting the gadget they needed and it was easier than they thought. They are then ambushed and they flee. It is their flight that initiates the All Hope is Lost scene.

Reason for failure. The reason for Cage losing his ability wasn’t exactly unforeseen, but it was a good time to play this particular card.

Stakes. The negative states going into the scene were, “If we fail to get the Omega’s location this time we might be able to get it next time.” It would have been a disappointment, a setback, but not a game-ender. Cage losing his ability is a game ender. It means rather than having tens, hundreds, or even thousands of tries to win a battle, they now have only one. It is a great way to launch into the action of the third act.

How the Midpoint is Implemented in Three Genres: Action, Romance & Mystery

Action Genre

I’ve covered this already with the example, above, from Edge of Tomorrow.

Romance Genre

In a romance, the All Hope is Lost scene is where the lovers break up once and for all. Something has happened, come between them, and they realize (or one of them does) that their relationship is impossible. She has been deluding herself; this can never, will never, work.

So, not only is it a break up, it is a finally-final breakup.

Murder Mystery Genre

In a murder mystery this is usually where it seems the murderer will get away with his crimes. The sleuth has a few ideas but he hasn’t been able to come up with the whole picture. He sees bits of it, parts of it, but not the whole thing. There’s a memory flickering at the edges of his consciousness, or perhaps an idea, but he can’t ... quite ... grasp it.

Perhaps something one of the other characters has said has been bothering him, a phrase that keeps rattling around inside his skull. He knows it’s signifiant but he just can’t think.

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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’d like to recommend On Writing Well, 30th Anniversary Edition: An Informal Guide to Writing Nonfiction by William Zinsser. From the blurb: “On Writing Well has been praised for its sound advice, its clarity and the warmth of its style. It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does ...”

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That’s it! I’ll talk to you again tomorrow. In the meantime, good writing!

Word count so far: 9,985
Word count for today: 1400
Total words this month: 11,385

Notes:

1. What I’m calling the All Hope is Lost scene is also known as the Major Setback.

2. This element could fail to come into play for various reasons. One of the protagonist’s allies doesn’t show up, the widget for the doohickey doesn’t arrive, the parcel isn’t delivered, and so on.

How To Tell If Your Book Is Ready To Publish

“I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.” 

—Frank Herbert, Dune.

Fear is an emotional response to a perceived threat. If the threat is real and your fear makes you act in adaptive ways then the system is working. Often, though, we’re afraid of things that never happen or that, in the big picture, just aren’t important.

Today I want to look at one fear that holds writers back from publishing their work: fear of receiving a one-star review.

If you publish enough books for long enough, you likely will get a one-star review. But let’s look at what that actually means.

1. Your reader found the book irritating to read.

If your story is poorly edited or if the formatting is off, your book could very well get a one-star review.

But these are easy problems to fix. These days it’s easier than ever to find a line editor for every budget. As for formatting your ebook, you can do this yourself using Scrivener or Vellum. If money isn’t an issue, and you have better things to do (like writing your next book!), my advice would be to pay someone to take care of this for you.

Remember: Never give someone a royalty for editing or formatting your work!

2. Mismatch between the kind of book readers thought they were buying and the kind of book they actually bought.

I think this is, hands-down, the most common reason for one-star reviews. Your story could be the best romance story in the long and colorful history of romance stories but if someone bought it thinking it was a science fiction yarn, they’re going to hate it with a passion!

Fortunately, there are a number of things you can do to help accurately communicate what kind of book you’ve written:

a) The Cover

One of the things your cover should communicate is the genre.

Look at the covers of best selling books in your genre and subcategories. What themes do they display? Get specific. If you’re writing a cosy, look up cosy mysteries on Amazon. Look at the subcategories. Which subcategories are selling well? What kind of covers do these books have? How does the cover communicate the theme of the book? What sorts of objects are on the cover? And so on.

b) The Blurb

Take a look at 10 of the best selling books in your genre. If you have the money and time to buy these books and read them, I encourage you to! But at least read the blurb. Is the blurb consistent with the genre? Since they’re best sellers it’s a good bet it is. Now look at your blurb and your cover. Are the themes mentioned in the blurb consistent with the cover? With the genre?

c) The Title

Same thing. Take a look at your list of 10 books. Look at the titles. Is it clear from each what the genre of the story is?

Friends from your social networks can help you out here. Ask them, When you see this cover, or this blurb, or this title, what genre do you think of?

3. The reader hates (say) murder mysteries but decided to give your book a try because it was free.

There’s nothing you can do about this. It happens most often when you offer your book for free, but even if you don’t, eventually someone who intensely dislikes the kind of book you wrote will read it, become upset and give you a one-star review. When that happens reach out to writers who have received their own fair share of one-star reviews. Then get back to writing! :-)

5 questions to ask yourself before you act:

1. If you do this, what is the WORST possible outcome? What would you lose?

2. How likely is the worst possible outcome?

3. If you do this, what is the BEST possible outcome? What would you gain?

4. How likely is the best possible outcome?

5. Is there anything you can do to lessen the likelihood of the worst possible outcome and increase the likelihood of the best possible outcome?

If the best outcome doesn’t get you all that much and the worst outcome could completely obliterate your business then perhaps embrace the saying, “Caution is the better part of valor”! But do examine if there is, perhaps, a way to mitigate the damage that the worst possible scenario represents.

On the other hand, if the worst possible outcome wouldn’t damage your business and the best outcome is tempting, why not go for it?!

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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’d like to recommend Plot & Structure: Techniques and Exercises for Crafting a Plot That Grips Readers from Start to Finish by James Scott Bell. From the blurb: “Filled with plot examples from popular novels, comprehensive checklists, and practical hands-on guidance, Write Great Fiction: Plot & Structure gives you the skills you need to approach plot and structure like an experienced pro.”

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That’s it for today! I’ll talk to you again tomorrow about another key scene. In the meantime, good writing!

Word count so far: 9,008 words
Word count today: 977 words
Word count so far: 9,985 words

(NaNoWriMo Day 5): 5th Key Scene: The Lock-In

People on the outside think there’s something magical about writing, that you go up in the attic at midnight and cast the bones and come down in the morning with a story, but it isn’t like that. You sit in back of the typewriter and you work, and that’s all there is to it. —Harlan Ellison

Today I’m going to talk about the Lock-In. Before I say more about this scene, though, I’d like to talk about something else.

A Clarification: What I Mean by “Key Scene”

What follows is my take on this, you might not agree with me and that’s fine. That’s great! How boring would it be if we all agreed?

I’ve been saying that the key scenes I’ve been blogging about are scenes that any narrative story will have either onstage or offstage.[3] Let me clarify what I mean by this.

Sometimes people write to me and say, “Karen, you’re wrong! One of my favorite authors, Jane Doe, has written a best selling novel and she’s never even heard of a story climax!”

Folks have been creating stories for millennia but many of the terms, the words, we use to describe elements of these stories are of recent invention. That’s okay. Things don’t come labeled with names. The Grand Canyon could have been called something else!

Just because a writer doesn’t know the term “story climax” doesn’t mean the stories they’ve written are devoid of a climax. If the book is selling well, I guarantee you it’s there!

Every well-formed narrative story has a climax, a moment, where the final conflict, the final confrontation, between the protagonist and the antagonistic force is played out and only one of them leaves victorious (or they could both lose). Maybe this scene isn’t written down on the page, maybe it is one of those stories I hate where the climax is gestured to offstage. But all narrative stories have one.

Similarly, at some point in any narrative story there will be a place where the protagonist is locked into her quest. She’s committed. There’s no going back.

This is true of all the narrative works I’ve read or watched. That said, there are non-narrative, non-representational works I’ve read/viewed that this isn’t true of. But what I’m talking about here are the kind of stories that have been told around campfires for millennia, the kind of stories children beg their parents to tell them before bed: stories told with the intention of entertaining an audience.

Plot Point One: The Lock-In: Breaking It Down

The idea of a plot point was introduced by Syd Field in his eminently readable book, Screenplay. It’s the idea of a significant event, a complication, that spins the action of the story around in a radically different direction.

According to Field there are only two plot points, one at the end of Act One (The Lock-In) and another at the end of Act Two (The All Hope is Lost Point[2]). Other folks like working with a system in which there are four plot points, four scenes that spin the action of the novel in a different direction: the Lock-In, the Midpoint Crisis, the All Hope is Lost point and the Climax. That’s fine too!

What is it?

This complication has the effect of locking the protagonist into her quest.

One of my favorite examples of a lock-in occurs in the Matrix when Morpheus gives Neo a choice: take the red pill and learn the truth he has been searching for all his life, the truth about the Matrix, or take the blue pill and continue life as before. Whichever choice Neo makes, there’s no going back.

In Star Wars IV: A New Hope when Luke finds his aunt and uncle dead, murdered by storm troopers, he understands there’s no going back. His ordinary world is gone.

Key points: 

• The Lock-In should be be a clear point of no return. That said, sometimes this transition is figurative. Sometimes one character says to another, “If you do this, there’s no going back.” Perhaps that is a bit on the nose, but it does the job.
• There needs be be a complication, a twist. The action of this scene needs to push the main plot in a different direction.

Where is it?

The Lock-In occurs at the end of Act One. In practice I’ve found that it can come anywhere from 25% to 30% of the way through a story.[4]

How is the Lock-In connected to the protagonist’s desires?

The protagonist's desires—internal and external—set the protagonist's goal. It is that goal that the protagonist is now committed to achieving.

Stepping Through an Example

I’m going to use Star Wars IV: A New Hope as my example.

Is this a point of no return? Yes. Luke’s aunt and uncle are dead. The farm has been destroyed. Luke cannot go back to his old life.

Is there a complication, a twist? Yes, and for the same reason. Because Luke’s aunt and uncle are dead his entire world has changed, his life has just gained a new direction. Luke doesn't even think about the academy anymore, his goal now is to aid the resistance.

How The Lock-In Is Implemented in Three Genres: Action, Romance & Mystery

I’ve found that during the Lock-In, regardless of genre, there is often some banter, a moment of bonding, between the protagonist and one of her companions (most likely a helper/sidekick).

Action Genre

We’ve just taken a look at Star Wars IV: A New Hope, so I won’t go over those points again here. One of my favorite Lock-In scenes is from Edge of Tomorrow where not only is Cage stripped of his rank as officer and made to join the cadets on the front line, but his fellow soldiers are told that he has been caught impersonating an officer!

Romance Genre

The central tension in a romance is whether the antagonist and protagonist (the lovers) will bond with each other. The exact form this bond takes depends on the sub-genre.

The Lock-In often coincides with the Confession of Love. Depending on how that goes the lovers may break up or possibly have their first kiss—or at least a significant kiss. It could be that their first kiss was more or less humdrum. If that’s the case then this kiss will blow their socks off!

See: 6 Scenes Any Love Story Must Have

Murder Mystery Genre

I’ve found—and here I’m drawing on my own personal experience as an avid consumer of mystery stories—that often a major clue is given at the Lock-In, something that transforms the second victim’s life and acts as a Point of No Return for that character.

Also, often, a second body is found at the Lock-In, something that spins the investigation off in a new direction. In this case, the second body is the clue.

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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. :-)

I know it looks a bit like a textbook, but don't be put off! This is a wonderful reference: Scene & Structure by Jack M. Bickham. I've read this book cover to cover and it helped me enormously, especially when it comes to understanding sequels and the logical order of story events. Cheers!

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That’s it for today! I’ll talk to you again tomorrow, but I might take a break from writing about key scenes.

How is NaNoWriMo going for you folks? Please share! :-)

Word count so far: 6,778
Word count for today: 1,500 non-fiction + 790 fiction = 2,290
Total words this month: 9,008

Notes:

1. I say every narrative story ever written because some stories are not representational.

2. Another name for this is the Major Setback.

3. If a scene occurs “onstage” then the narrator tells us about it. If a scene occurs “offstage” then we hear about it indirectly. Another character might talk about it or perhaps the viewpoint character will have a flashback.

4. Screenwriters will know exactly which page a key scene should fall on, but its position in a novel is less precise. That said, if you want your story to be easy to turn into a movie, it wouldn’t hurt to have the Lock-In at between 25% and 30%.

(NaNoWriMo Day 4): 4th Key Scene: The First Pinch Point

The work never matches the dream of perfection the artist has to start with. —William Faulkner

Welcome to the November madness that is NaNoWriMo! Every day this month I’m blogging about a key scene, one that any story will include. I take a close look at how this scene, this structure, is implemented in three popular genres: Action, Romance and Mystery. So far I've posted articles about the Inciting Incident, the Climax and the Midpoint Climax.

Today I'm going to talk about the first pinch point.

Pinch Point One: Breaking It Down

What is a pinch point? Sue Coletta writes: “A pinch point is a demonstration of the nature, power, and very essence of the antagonistic force.[1]”

Exactly!

I blogged about pinch points a little while ago (see: Story Structure: What Are Pinch Points?), but let’s go over them again. A pinch point reminds the reader of the nature of the antagonist, the extreme threat he poses to the protagonist and what is at stake. In other words, it brings us back to the main story arc.

Two different kinds of pinch points

As far as I can tell there are two different kinds of pinch points, depending on how developed the protagonist’s internal desire is; that is, how big of a role this desire plays in the overall story. (See: What Kind of Writer Are You? Dramatic Action versus Character Development.)

Outward facing pinch points.

For lack of a better term, I’m going to call these outward facing pinch points.

In an outward pinch point, the threat is mainly physical; the protagonist’s life is in danger. In these sorts of stories the protagonist usually doesn’t have a well-developed internal desire. Here the focus is on showing the audience the power of the antagonist and highlighting how very bad it will be for the protagonist if she fails to achieve her goal.

Raiders of the Lost Ark contains a great example of this. The first pinch point shows us the conflict between Indiana Jones and Dr. René Belloq. In this scene Indy believes Marion has been killed by Belloq’s minions. He gets drunk and goes to confront his nemesis. After a marvelous discussion about each man’s philosophy of life and relic hunting, the two men face-off—but it’s not a fair fight because Belloq is surrounded by his minions. Jones’ life is saved when a group of children surround him and escort him to safety.

Inward facing pinch points.

Second, there are inward facing pinch points. In an inward pinch point the threat doesn’t necessarily have to do with life and death (though it might), it has to do with the overall destruction of the life itself, of the one thing that makes it meaningful. It is a moment of truth leading to intense pain and radical change (perhaps not right away, but it puts events in motion).

For instance, in You’ve Got Mail, Kathleen Kelly loses the thing she loves most in the world, the bookstore she inherited from her mother. She loses it because a big chain bookstore, Fox Books, has moved into her neighborhood. In the first pinch point Kathleen Kelly and Joe Fox have a face-to-face confrontation and it is a barn burner. Kathleen is deep in denial and Joe, in the most brutal of ways, tells her the truth: You can’t complete with Fox Books, you are going to lose your business.

As a result Kathleen is wrenched out of the state of denial she has been stubbornly clinging to and the truth begins to filter through: she is going to lose her bookstore. This seems unkind, and it was, but it was true and it was something she needed to prepare for. Recognizing the truth of her impending loss broke her heart, but it also did her a service, it helped her prepare for the inevitable.

Where is it?

The first Pinch Point occurs about 37.5% of the way through a story, or half way through the middle of the first half of the second act. (If you’re using a four act structure, the first Pinch Point comes halfway through the second act.)

How is Pinch Point One connected to the protagonist’s desires?

In any kind of Pinch Point it is what the protagonist wants, what the protagonist is seeking, that brings her into conflict with the antagonist. Though the protagonist and antagonist have different ends, different ultimate goals, they both want/desire the same thing.

How Pinch Point One is Implemented in Three Genres: Action, Romance & Mystery

For the first pinch point there really isn’t a lot of variation across genre.

Action Genre

In an action story, this will be a scene that highlights the essential difference between the protagonist and antagonist, and how this difference is reflected in their actions. Also, there will be an element of violence or implied, perhaps impending, violence.

Romance Genre

In a romance, the first pinch point will be a menacing scene. For instance, perhaps there will be a misunderstanding and the antagonist will threaten, or appear to threaten, the protagonist. Or perhaps, as in You’ve Got Mail, the antagonist will harm the protagonist through wielding truth like a scalpel.

Murder Mystery Genre

In a murder mystery the first pinch point often takes the form of the detective receiving an anonymous note from the murderer, or perhaps something the murderer does puts the detective’s life in jeopardy.

This is a scene that showcases the essential difference between the sleuth and the killer, the difference in how they think of both the world in general and the value of human life in particular. If the killer threatens the sleuth this could be used to foreshadow events at the climax.

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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 would like to share a link to K.M. Weiland’s marvelous book, Outlining Your Novel: Map Your Way to Success. Her book can help you choose the right type of outline for you, guide you in brainstorming plot ideas, aid you in discovering your characters and show you how to structure your scenes. What’s not to like?!

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That’s it! I’ll talk to you again tomorrow when I go over another key scene.

How are you doing with NaNoWriMo? Do you have any tips and/or tricks you’d like to share for achieving your word count?

Word count so far: 5,578
Word count for today: 1,200
Total words this month: 6,778

Notes:

1. “Pinch Points In Fiction Writing,” by Sue Coletta.

(NaNoWriMo Day 3): 3rd Key Scene: The Midpoint Crisis

“When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art.’ I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing.” —George Orwell

Welcome to NaNoWriMo madness! Every day this month my plan is to blog about a key scene, one that pretty much any story of any genre has to include. Then I’ll take a closer look at how this scene, this structure, this general idea, is implemented in three popular genres: Action, Romance and Mystery. So far I've posted articles about the Inciting Incident and the Climax.

Today I'm going to talk about the Midpoint Crisis.

The Midpoint: Breaking It Down

I used to think that the Midpoint was primarily the place where the protagonist and antagonist confronted each other. I’ve changed my mind. It can be that, but it’s often more.

During the Midpoint the protagonist usually goes through what I’m going to call an enlightenment. She realizes that her understanding of the Special World of the Adventure is deeply flawed. She thought she knew what the Special World was like, what the capabilities of the antagonist are, but at the Midpoint she discovers she is oh-so-very wrong. As a result, the protagonist goes from being passive to active. She transitions from just reacting to the world to making plans and engaging with the antagonist.

What I just sketched in the above paragraph is generally true of most stories. Below, I go into specific variants. Note: Many of these points overlap. The difference, often, is one of emphasis.

What is it?

The protagonist goes from ignorance to knowledge. 

At the midpoint the protagonist discovers just how ignorant she has been about the Special World. Often the protagonist finds out how much she doesn’t know and, in that moment of revelation, is put at a disadvantage. The antagonist likes to do a bit of (justified!) gloating about how he has pulled the wool over her eyes. Then the protagonist uses this knowledge—and a bit of good luck—to escape.

Or, sometimes, the protagonist figures the truth out on her own. The antagonist doesn’t show up personally, he sends his minions to set a trap for the protagonist, one he hopes will prove fatal to her. But the protagonist is clever and figures out the antagonist’s scheme just in time to escape.

The pot of gold at the end of the Midpoint’s rainbow is that now the protagonist knows the true nature of the Special World. Sure, they know they’re in deep doodoo, but still. Understanding how little you know is the beginning of wisdom. Perhaps the protagonist has gotten a late start but at least now she’s in the game.

The protagonist goes from reacting to circumstances to shaping those circumstances. 

The protagonist goes from passive to active. Or perhaps that’s not the best way of putting it. It’s not as though the protagonist was a balloon drifting in the wind. When the antagonist makes a move on the protagonist she reacts, she resists, but that is the extent of her planning. The protagonist doesn’t initiate action. To be fair, perhaps she can’t because she doesn’t know the rules of the Special World yet and she keeps getting it wrong.

In any case, the rule of thumb is that before the midpoint the protagonist merely reacts to events. Something pushes her and she pushes back. She’s not thinking ahead, she’s not taking the fight to the enemy. She’s being swept along in a fast moving river, just keeping her head above water.

In the second half of the story, the protagonist makes a plan and does FINALLY take the fight to the enemy. She no longer merely reacts to the world around her, the crucible at the midpoint has transformed her into an active agent of change.

The protagonist goes through a point of no return. 

The Midpoint irrevocably changes the protagonist with the result being (among other things) that she cannot go back to the Ordinary World, at least not until she sees her quest to the end.

As we’ve seen, what the protagonist learns at the midpoint changes her, transforms her. There is no going back. This is a point of no return. What she learn at the midpoint transforms her from someone who reacts to circumstances, someone who is buffeted by external forces, into an agent who can form a plan and act on it. She is now an agent of change.

The protagonist chooses self-sacrifice because of something larger than themselves (e.g. love). 

Cage in Edge of Tomorrow is comfortable with his cowardice, his intimate, oh-so-reasonable concern for his own skin. But then he meets a girl, he falls in love, and at the Midpoint he puts her welfare before his own. It moves him from relying on her to save him to him taking the lead, to him trying to save her even if it means facing-off against the Big Bad all by his lonesome.

This all happens at the midpoint and it is this change, this internal transformation, that turns Cage from a passive, reactive, person to an active agent who makes plans and takes the fight to the enemy.

Discovery. 

The midpoint can simply be a moment of discovery, where the hero oh-so-briefly gains the thing he seeks only to have it snatched away from him. (After all, if it weren’t, the story would be over!) Sometimes this discovery is external (the protagonist briefly acquires his object of desire) and sometimes it is internal (the protagonist discovers who she really is). More on this below.

Where is it?

As the name suggests, this scene occurs smack dab in the center of the story. In practical terms, it usually occurs somewhere between 45% and 55% of the way through.

How is the Midpoint connected to the protagonist’s desires?

The midpoint confrontation is intimately connected to the protagonist’s desires (both internal and external) and the protagonist’s goal. For example, in Edge of Tomorrow, Cage’s weakness is an excessive concern for his own skin—he’s a coward. At the beginning of the movie his goal is to get as far away from the front lines as he can. His challenge is to love something more than he loves himself, more than he loves life. This begins at the midpoint.

The Midpoint: An Example

I’ve already given a number of examples. Ideally I would simply describe a scene in some detail and then go on to analyze it but today I’m running short of time so my description will have to be briefer than I would like.

In the movie Malice, Andy Safian, played by Bill Pullman, initially wants nothing more than to live in marital bliss with his wife, Tracy, and have reliable plumbing. After Tracy loses her unborn baby as well as her ability to have children (Andy gives the doctor permission to perform the surgery thinking he is saving her life), she lets Andy know she blames him for her loss and leaves him.

At this point Andy’s world is shattered and his goal becomes to find his wife and reconcile with her. At around the midpoint, or a little bit after[1], Andy begins to realize he never knew Tracy. Everything she told him about herself was a lie. But he doesn’t yet know why she did it. What did she want from him? Why did she do this? Why him? He needs to know.

This midpoint scene occurs a bit late, about 65% of the way through the movie, when Andy talks to Tracy’s mother, a woman he had thought dead, and finds out the whole ugly unvarnished truth about the woman he married. It is a dramatic scene. After Andy learns the truth he is able to come up with a plan that will even the scales of justice.

Andy’s journey is primarily one of ignorance to knowledge. Andy was happy. He was! Sure his life was based on illusion, but he was still happy as a drunken clam. But this was based on ignorance of who his wife really was and what she wanted from him.

Also, Andy’s journey is one of self-discovery. None of us really know what we’re capable of, what we will choose, until we are put through the crucible of life’s pinch points. Walking through the fire of his wife’s betrayal reveals who Andy really is. How? Through his choices. Everything is stripped away from him and in that rawness he is forced to act. These are primal choices, choices that reveal character, choices that reveal (both to themselves and the world) who someone really is.

How the Midpoint is Implemented in Three Genres: Action, Romance & Mystery

Action Genre

I know I’ve used this movie as an example a time or two, but let’s take a look at Indiana Jones and Raiders of the Lost Ark, since it is the quintessential action movie. At the midpoint Indiana Jones acquires his goal, he finds and (however briefly!) takes possession of the ark. This is a moment of (external) Discovery.

Romance Genre

The midpoint is where the two lovers come together. Whatever differences they have are temporarily resolved, their disputes are temporarily suspended. Depending on the spiciness of the romance, this could be anything from handholding to spending the night in a creatively equipped dungeon.

Murder Mystery Genre

I’ve read ... wow. A lot of murder mysteries, and they’re all a bit different. I don’t want to give anyone the impression that there’s only one thing to do at the midpoint. That said, there is often a false resolution at the midpoint. It seems as though the mystery is solved, that the murderer has been found. But, of course, he hasn't! If he had this would be the end of the story.

Often it only seems to the police as though the case is solved. The sleuth knows it isn’t but no one will believe her.

This is one of those places where the B-story can come in to lend a helping hand. The resolution to the B-story can expose the falseness of the A-story, expose that the person the police think is the killer really isn’t. For instance, the suspected killer can be murdered!

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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'd like to recommend a book that has meant a lot to me over the years, The War of Art by Steven Pressfield. Have you ever thought, “Who am I kidding, I’ll never be able to do this!” If so, read this book! Here’s what Robert McKee had to say about The War of Art: “As I closed The War of Art, I felt a surge of positive calm. I now know I can win this war. And if I can win, so can you.”

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That’s it for today! Tomorrow I’ll talk to you again about another key scene. Happy NaNo-ing!

Word count so far: 3,778 words.
Word count for today: 1,800 words.
Total words this month: 5,578 words.

Notes:

1. Or a little bit after the midpoint. There’s an important subplot that plays out in the first half of the movie that pushes the timing of the main arc back a bit.

(NaNoWriMo Day 2): 2nd Key Scene: The Climax

I find that when I write, as in life, I need to know where I’m going in order to get there. Yesterday I tackled the first key story scene, now I’ll leapfrog to the second to last: the Climax.

What happens at the Climax will determine everything else in the story, at least in terms of which goals feature in the preceding scenes, sequences and acts.

Subplots: An Aside

I’m not going to go into subplots in any detail today, but I thought I would at least mention them. A subplot has the same structure as any storyline (this sequence is from Shawn Coyne's book The Story Grid): Inciting Incident, Escalating Complications, a Midpoint Crises, a Climax and a Resolution.

In a main arc, all or most of the key story scenes must be onstage—think of a murder mystery where you don’t actually get to ‘see’ the body, you only hear about it after the fact through dialogue or narration, but you don’t get to see it through the viewpoint character’s senses. That would be FRUSTRATING!

In a subplot, on the other hand, omitting key scenes—especially minor ones—is absolutely necessary. After all, if a subplot and the main story arc each have equal weight then you would be writing two stories rather than one. [1]

Depending on the length of your final manuscript you’ll have at least one subplot. The key thing is that the ending of each subplot should integrate back into the main story line in such a way that it ratchets up the stakes and propels the story forward.

For example, in The Matrix Cypher betrays Morpheus to the Machines in exchange for being reinserted into the Matrix. That’s the subplot. (The story question in that movie was: Is Neo the One?) In the first of the three big setbacks, Cypher betrays the resistance and kills Switch.

Cypher is about to kill Neo when he says something to the effect, “If Neo really is the One then I won’t be able to kill him, some kind of miracle will have to happen to stop me.” Right then someone I thought was dead gets up, grabs a weapon and kills Cypher. This closes out the subplot AND ties into the main arc by adding weight to the idea that, despite the Oracle’s denial, Neo is indeed the One.

Let’s test the subplot: 

a. Were the stakes raised because of the resolution of the subplot? Yes! Agents have captured Morpheus and are torturing him for the codes that, if surrendered, will snuff out the last spark of human resistance.

b. Does the resolution of the subplot advance the main plot? Yes! The Oracle has told Neo he will have to choose between his life and Morpheus’ life. Neo decides Morpheus must live and goes to save him. This launches us into the last long and wonderful action-packed race to the finish. Terrific subplot!

c. Was the subplot itself well-formed? Yes, though I won’t step through its structure here.

The Story Question

The story question is simply: Will the protagonist succeed in achieving her goal? For example, here is the story question for Jim Butcher’s novel Storm Front:

“When a series of grisly supernatural murders tears through Chicago, wizard Harry Dresden sets out to find the killer. But will he succeed when he finds himself pitted against a dark wizard, a Warden of the White Council, a vicious gang war, and the Chicago Police Department?” [2]

Now, let's focus on what this post is really about, the climactic scene of your story.

The Climax: Breaking It Down

Yesterday I said that the Inciting Incident was the most important scene in your story—and it is. If the Inciting Incident falls flat, readers will become bored and stop reading. The Climax, though, is the second most important scene in a story. As someone once said to me: the first few pages of a novel sell that novel, the ending of the novel sells the next novel.

What is it?

The Climax answers the story question. It unambiguously shows the reader whether the protagonist won or lost the final confrontation with the antagonist.

The Climax should be unexpected. The best climaxes surprise us in the moment and then, upon reflection, seem inevitable.

The Climax should unfold because of the choices the main characters (especially the protagonist and antagonist) have made throughout the story.

Where is it?

The Climax usually occurs at some point in the last ten or five percent of the story. After the story question is answered the story is over. All that is left to do is wrap things up and cash out the stakes.

How is it connected to the protagonist’s desires?

Since the Climax unfolds from the choices the main characters make in the story—especially the choices the protagonist makes—and since the protagonist’s choices are driven by their external (and possibly internal) desire, ultimately, it is the protagonist’s desires that drive the action at the Climax.

How is it structured?

I’m not normally going to break down the structure of a key scene, but the climax strikes me as the most persnickety of the key scenes. (Here I draw from Jim Butcher’s article, Story Climax.)

a) Specific and Vivid

A specific, vivid, concrete event should mark the start of the Climax.

b) Protagonist is Alone

The protagonist needs to meet the antagonist by herself, alone, without backup.

c) Protagonist is Active

The protagonist needs to be active, she must bring the fight to the antagonist rather than the other way around.

d) False Failure

There should be one last gut-wrenching moment where your readers think (again!) that all is lost (e.g., Neo dies at the end of The Matrix; he gets back up, but the death itself is an gut-twisting ‘oh no!’ moment.).

e) Actions Must be Voluntary

The hero needs to make one last choice. Jim Butcher writes:

“Your protagonist has to CHOOSE whether or not to stay true to his purpose or to let himself be swayed by fear, by temptation, by weariness, or by anything else. In that Dark Moment, he has to make the call that ultimately reveals who your protagonist really is, deep down.” [2]

Further, this choice should be one that any rational person would consider completely insane. Why would anyone turn away from the only thing that has any hope of working to do thing that can’t work! But sometimes your protagonist has to turn away from the sure thing, from the way things are done, and do the apparently irrational thing that takes faith, that draws on their special skill, their special talent, their special way of seeing the world. Trust yourself Luke, use the force.

f) Dramatic reversal 

Jim Butcher writes, “The intrinsic nature of the story or of the protagonist's character influences or causes the events of the confrontation to be changed in an unexpected way, causing an outcome that is in harmony with the principles of poetic justice.” [2]

In other words, the solution your protagonist comes up with, why she wins the final confrontation, has to stem from your protagonist’s character, her strengths and weaknesses, his internal and external desires.

For more on this see: Jim Butcher On How To Write A Suspenseful Story Climax

The Climax: Examples

At the climax of The Matrix Neo becomes the One and transcends the Matrix. He lives in it but is not of it, he is no longer bound by it. Neo’s transformation reaches back to the desire he had at the beginning of the movie, to know the answer to the question, “What is the Matrix?” In general, Neo wanted to know the truth about the world around him and his place it in. You know, the simple stuff. ;)

Also, notice that Cypher tells Neo (and it seems as though he’s genuinely trying to help) to just do what they all do when they see an agent: run away. And Neo does this. Even after he fights Agent Smith in the penupulate fight of that movie, Neo is forced to flee. Agent Smith is operating on a higher plane, one no human has ever reached. It is only when Neo is forced to stop running (by being shot in the chest several times!) that something entirely illogical happens. After Trinity tells Neo she loves him and gives him a kiss he comes back to life. He has achieved his goal and now transcends the Matrix. Essentially, love played the role here that faith/trust played in the Matrix.

I’ll give you another example just because I loved the ending so much! In Edge of Tomorrow the protagonist, Cage, is branded a coward. This is because when given a choice between fighting and fleeing Cage displayed a decided preference for fleeing. By the middle of the movie, though, Cage has gained some courage and he is learning to care about the good of the group and not just his own personal good. By the end of the movie he is willing to lay down his life for his team and for the greater good. There is a very clear, consistent, entertaining progression from cowardice to courage.

Testing The Scene Example

Does the climax of The Matrix answer the story question, “Is Neo the One?” Yes! We get to see (as much as such a thing can be seen) Neo transform into the One. We also see his power in action when he destroys Agent Smith.

Did the climax of The Matrix surprise us? It surprised me. Even though I was fairly sure Neo was the One it did make me reconsider when Smith shoots and kills Neo. At that moment I honestly thought Neo was going to die and fail in his quest. So I was surprised when, after suitable prompting by Trinity, he gets up and obliterates Smith.

Does the Climax unfold because of the choices of the main characters? Yes. Neo chose to rescue Morpheus, and he did this believing that he wasn’t the One. He did this believing his fate would be to simply die but that his death would ensure Morpheus would live.

How the Climax is implemented in three genres: Action, Romance & Mystery

Action Genre

The Climax Scene is the ultimate confrontation between the protagonist and antagonist. In the action genre—as, indeed, in all genres—the protagonist and antagonist come into direct and final opposition. There can be no ambiguity that, this time, only one of them will walk away from the fight.

Romance Genre

The Climax is where the lovers get back together.

We haven’t looked at this scene yet, but the All Hope is Lost point in a romance is where the lovers break up, and this breakup seems final. Irrevocable. There is no possible way these two people can have any future with each other. The Climax settles whether their breakup really is forever. In the overwhelming majority of romance stories, they join together.

It’s important to note, though, that when the lovers reconcile it is because something deep within one or both of them has changed. They were incompatible because of something essential to each of them—or something they thought was essential. Often this happens in the Proof of Love scene. One or both of them do something selfless for the other even though there is no hope of reconciliation. This act of selflessness demonstrates the change that has occurred, or is occurring, within.

Murder Mystery Genre

In a mystery story the Climax is the big reveal. Here the sleuth goes over each person's motive, means and opportunity for committing the crime. In so doing, all the clues are trotted out and the sleuth explains how each relates to the murder. Most of the clues will prove to either be about crimes (or, possibly, titivating embarrassments) that have nothing to do with the murder.

I’ve written a number of articles on the topic of writing a murder mystery. If you’d like to give them a look I've listed them here along with a brief summary: How To Write A Murderously Good Mystery. (At some point next year I hope to publish the information contained in those many, scattered, articles into a medium sized book.)

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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'd like to recommend a book that's on my desk right now. I love it! It's basically a writing prompt generator that's also a pulp-and-paper book. Just now I opened it at random and here's the prompt I got: Upon winning the lottery, a gold prospector develops short-term memory loss. Here's another: On vacation for the first time in years, a night watchman goes on a blind date. If you're a story geek or you love playing around with writing prompt, this book will make you happy! Here's the link: The Amazing Story Generator: Creates Thousands of Writing Prompts.

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That's it for today! Thanks for reading and I'll talk to you again tomorrow, when I talk about another key story scene.

Word count so far: 1678
Word count for this article: About 2,100 words.
Word count so far: 3,778 words.

Notes:

1. This does happen. Some stories are told from the viewpoint of multiple characters, the aptly named viewpoint characters. For example, the lovers in a romance are often viewpoint characters, each finding their voice every other chapter. Sometimes this is effective, sometimes not. But if this is the first long-form story you’ve written don’t worry about subplots. At least, hold off on thinking too much about them until you’ve got the main arc hammered out.

2. Story Climax, Jim Butcher.

(NaNoWriMo Day 1) First Key Scene: The Inciting Incident

I try to create sympathy for my characters, then turn the monsters loose. —Stephen King

Welcome to NaNoWriMo madness! Every day this month my plan is to blog about a key scene, one that pretty much any story of any genre has to include. Then I’ll take a closer look at how this scene, this structure, this general idea, is implemented in three popular genres: Action, Romance and Mystery.

Today I'm going to talk about the Inciting Incident.

The Inciting Incident

What is it?

Exciting. The Inciting Incident—or the Exciting Incident as it is sometimes called—is the most important event of your story.

Shatters the status quo: The Inciting Incident shatters the protagonist’s status quo and sets events in motion. Everything before this event, this scene, is stasis. Equilibrium. After the Inciting Incident the story has a trajectory, a direction.

Necessary.  If this event did not happen there would be no story.

To sum up: the Inciting Incident does two things; it has two functions. First, it excites the attention of the audience and, second, it draws the main character (either immediately or after a chain of actions and reactions) into the story.

Where is it?

Although the exact position of this event will vary depending on the genre and the particular story, it generally occurs in the first ten percent of your manuscript. It’s not going to be the first thing you use to capture your reader's attention (so not on the first few pages) but since there’s really no story without this event, it needs to happen soon.

How is it connected to the protagonist’s desires?

Note: Most characters have an internal desire and an external desire but all have an external desire.

Whatever genre you are writing in, this event needs to be connected to your protagonist’s desires, to her goal. For example, as we’ve seen in Raiders of the Lost Ark the Inciting Incident has to do with Indy’s lifelong dream of finding the Ark.

At this moment in the story the protagonist probably has no idea what achieving her goal will cost her, or even whether she will actually want her object of desire if and when she claims it.

Before I move on to look at the form Inciting Incidents take in various genres, let’s look at an example.

The Inciting Incident: An Example

The Silence of the Lambs by Robert Harris is one of my favorite books, one of my favorite movies and, IMHO, one of the more successful adaptations of a book to the big screen. I’m pretty sure you’ve either read the book or watched the movie so, before you read on, think about it. What do you think is the Inciting Incident?

(* elevator music *)

(* theme from Jeopardy *)

Ready? Okay. The Inciting Incident occurs right after Clarice Starling is pulled off her training run by someone who looks official and who Starling calls “Sir.” She is told that Crawford wants to see her in his office. This creates a question in the reader/viewers mind: What does Crawford—a person who can send other folks on errands and who has an office—want with this cadet? Is she in trouble?

The Inciting Incident occurs when Jack Crawford offers Starling the assignment to get Dr. Hannibal Lector to take a survey and, while she’s at it, to attempt to get as much information from him as she can.

Here's another example, this time from Star Wars IV: A New Hope. Although there doesn't seem to be consensus on the point, I'm one of those who think that, in A New Hope, the Inciting Incident was when Darth Vader, seeking the plans for the Death Star the Resistance 'acquired,' attacks and boards Princess Leia's shuttle.

When Darth Vader attacks Princess Leia's diplomatic craft Vader introduces an imbalance that initiates a chain of events that eventually involves Luke's family and lead to Luke's Call to Adventure.

Granted, the Call to Adventure doesn't come till much later, but the Inciting Incident (Darth Vader boarding the shuttle) has set in motion a series of events which will culminate in the Call to adventure (Obi-Wan Kenobi asks Luke Skywalker to help him deliver the plans for the Death Star to the resistance base on Alderaan).

Testing the Scene

Is it necessary for the other scenes to happen: Yes! If Starling hadn’t accepted the assignment (her acceptance of the Call to Adventure) then none of the other events in the story would have occurred.

Is it exciting? Sure, though not as exciting as the scene where Starling meets Dr. Lector for the first time (that was one of the most riveting scenes in the movie).

Does it connect to Starling’s external desire? Yes! As you will recall the antagonist in SoTL is Jame Gumb, the serial killer who has been dubbed “Buffalo Bill.” Starling has two overriding desires in this story. The first, internal, is to silence the lambs. The second, external, is to catch the serial killer. You’ll notice that it’s here that we first learn of Buffalo Bill and his crimes—news clippings line the wall behind Crawford’s desk. Also, this is the first time the suggestion of a connection between Dr. Lector and Buffalo Bill is made.

How the Inciting Incident is implemented in three genres: Action, Romance & Mystery

Action Genre

Action stays very close to what I’ve just said, but it the excitement needs to be cranked up. (For more on this see Shawn Coyne’s book The Story Grid.) In an action story this event really does have to reach out and grab the reader’s imagination by the short and curlies.

For example, In Raider’s of the Lost Ark this was the scene where Indy finds out the Nazi’s have discovered Tanis, the resting place of the Ark. For me, that was a great hook.

Romance Genre

The Inciting Incident in a love story is the event that initially throws the two characters together and into conflict. Typically this occurs when they meet for the first time.

Generally, two things are communicated to the reader.

First, there is something special between these two characters. They’ve never felt quite this way about anyone before. Sometimes the attraction is purely sexual and sometimes there is more, it depends on the genre and subgenre of the story.

Second, they can’t stand each other. He’s too proud, she’s too prejudiced. He rich and titled, she is poor and a nobody. He is the warden of a prison, she is an escaped prisoner. He is a vampire, she is a vampire hunter. The list goes on. The important thing is that there is, baked into who these two characters are, an inherent incompatibility, a reason why it would be pure foolishness to even think these two people could ever be together.

Mystery Genre

We saw that with an action story we want to ratchet up the excitement, well in a mystery we want to ratchet up the (wait for it ...) mystery. We want to emphasize the strangeness of the event. Imagine that your pen starts to glow a brilliant emerald green or your cat gives you dating advice.

If you’re writing a murder mystery this is usually where the murder happens. Strictly speaking, it doesn’t have to be where the murder happens, but it almost always is. And that makes sense. After all, who-dun-it is the central question! Investigation cannot begin until a body is found.

I’ve found that often when the murder mystery is included as a subplot then the discovery of the body will either be combined with the Inciting Incident of the main plot or the body will be discovered later on in the story.

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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 a book that transformed how I thought about storytelling, Robert McKee's Story. Granted, Story was written primarily for screenwriters, but anyone interested in story structure will find this information indispensable. From the blurb: "In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen."

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That’s it! Tomorrow we will go over another key story scene. Stay tuned and good writing! Please share your word counts, if that would help motivate you. :-)

My word count: 1,678 words written, 1210 published. That’s it so far! I’m going to continue writing and I’ll update my wordcount tomorrow. :-)

Preparing For NaNoWriMo

Every day in November I’m going to lay out the structural bones of a crucial story scene.  I'll then break this scene down for three genres: Action, Romance, and Mystery. Then I'll talk about the different requirements of each. Today I'm kicking things off by talking about what we can do to prepare for the insanity that is NaNoWriMo.

At least, that’s the plan! This is going to be an adventure for me as well since, over the month of November, I’ll be blogging a book, only a non-fiction one. That’s something I’ve never done before!

My hope is that my daily blog posts will provide you with a seed, a start, something to hang your story ideas around—if you want it. Folks have been writing stories for millennia without all this explicit talk of story structure, so if you don’t feel you want or need it, that’s great! Go you!!

But, if you’d like to get an idea regarding what you might want to write on any particular day, or if you want to read something that might help get you started, then please drop by, pull up a seat and let’s write! :-)

Planning for NaNoWriMo

Here are a few things to consider as we head into the month of November (I expand on each of these, below):

1. What is your writing plan? How many words would you like to write a day?
2. What point of view will you write from? First, second or third?
3. What is the core of your story?
4. What is the essence of your protagonist and antagonist?
5. What genre, or genres, will you write in?
6. What is the setting?

1. Designing a Writing Plan.

How many days per week do you want to write?

For instance, you might want to plan on writing six days a week so you can have one day of wiggle room. Life has a way of derailing even the best laid plans, so giving yourself one day off a week isn’t a bad idea. That would give you 26 days to write 50,000 words which means your word count per writing day would be 1,924 words. This is what I did when I participated in NaNoWriMo and it worked out well.

On the other hand, if you plan on writing every day, your word count per day would only be 1667 words.

2. What Point of View Will You Write From? 

Will you write from the first, second or third person perspective? If you choose the first person perspective (which is my favorite!) then, although there are exceptions, you will likely have one viewpoint character throughout. Many of the first person perspective narratives I’ve read include short chapters written from a third person perspective featuring an important secondary character, but this is the sort of thing we’re not going to worry about on the zero draft.

If you choose to write from the third person perspective, then although one character will be the protagonist/hero, you will often have multiple viewpoint characters. For instance, many romance stories involve two viewpoint characters—the two lovers—and alternate their viewpoints every second chapter. Generally speaking, the point of view you open your story with will be that of your protagonist.

3. What is the Core of Your Story?

Generally speaking, a story is about a person (the protagonist) who wants something desperately but is repeatedly prevented from acquiring it by a person/force (the antagonist). Finally the matter comes to a head and the protagonist and antagonist face off in a final confrontation that will settle things once and for all.

If you would like to read more about story structure, here are a few articles:

A Story Structure In Three Acts
STORY STRUCTURE: 10 Simple Keys to Effective Plot Structure
Short Story Structures: Several Ways Of Structuring Short Fiction
Short Stories And Their Structure

4. Character Development

Let’s start thinking about our characters:

• Who is your protagonist?
• What does he/she do for a living? What would he/she like to do for a living?
• Is he/she romantically involved with anyone? Does he/she want to be romantically involved with anyone?
• Does he/she have children? If so, how many and what are their ages?
• What is his/her biggest fear?
• What is his/her darkest secret?
• Is he/she an optimist or a pessimist?
• Does he/she have a hobby?
• Is he/she obsessed with anything?
• What does he/she fear above all else? What does he/she love above all else?
• Is he/she religious? Superstitious?
• Does he/she own a vehicle? If so, what kind?
• What special skill or talent does he/she have?
• What could he/she NOT do, even if their life depended on it?

Here’s the most important question of all: What does this character want more than anything else? This is important because it determines the story question that everything else revolves around.

The character's main desire could be something your character doesn't know they want. For example, in the movie Titanic, Rose wanted freedom more than anything else, though I'm not sure she was aware of this at the beginning of the story. On the other hand, Frodo knew exactly what he wanted: to return the One Ring to Mordor.

After you’ve answered these questions with reference to the protagonist, try to answer them with reference to the antagonist.

Keep in mind that the goals of the protagonist and antagonist must be mutually exclusive: if the antagonist gets what he wants then the protagonist can't. Similarly, if the protagonist gets what he wants then the antagonist can't.

Here are additional questions that can help you get to know a character:

Character Question List
Character Checklist
Writer’s Digest: A Checklist for Developing Your Hero and Heroine

5. The Genre

Let's take a look at what Shawn Coyne has to say about genre:

"A Genre is a label that tells the reader/audience what to expect. Genres simply manage audience expectations. (The Story Grid)"

If you're writing a love story then your readers are going to expect a first meeting between the lovers, a confession of love, a first kiss, a break-up, and so on. (See: 6 Scenes Any Love Story Must Have)

In this sense a genre is a bit like a promise you give your readers. If your title is, "Murder at Whitemill" and the back blurb identifies it as a cosy then no matter how inspired your prose your readers are going to come for you with pitchforks if, say, no murder occurs or no one is brought to justice for the crime.

This is why it's important to know which genre, or genres, you are writing in and what the conventions of that genre are. That is, what readers of that genre will expect of your story.

6. The Setting

What is the setting? Where do the events of the story take place?

For instance, in The Matrix the Ordinary World is an illusion—an illusion of cities and office jobs and juicy steaks—and the Special World (reality) is one of human batteries and war between humans and machines. In Harry Potter and the Sorcerer’s Stone the Ordinary World is (roughly speaking) England and the Special World is Hogwarts.

The world of the adventure (this includes both the Ordinary and Special Worlds) is sculpted by the writer to provide a crucible for the protagonist. The setting is a cauldron, a crucible, designed to test the main character’s strengths and force him to face, and overcome, his weaknesses. Or, if it’s a tragedy, to fail and die.

Rather than go into this now, here's a post I wrote on this topic: Mind Worms and the Essence of Drama.

See also:
How To Give Your Character Meaningful Flaws
The Key To Making A Character Multidimensional: Pairs of Opposites

Just Breathe

If thinking about all this makes you hyperventilate, don’t worry about it! NaNoWriMo is about writing a zero draft, so it is about creativity and discovery.

I think the object of NaNoWriMo is to get as much of your story developed as possible in the month of November.

For some of us, that will involve writing 50,000+ words. For others, it will mean writing 40,000 or 30,000 or 20,000 or 10,000 or 5,000 or even just 1,000 words. And that’s okay!

If you develop a plan for your story, and begin implementing that plan, then you’ve won in the sense that you've pushed your story forward. If participating in NaNoWriMo gets you to write even one word more than you would have otherwise then, in my books, you’ve won!

For tomorrow: Try to figure out what it is your protagonist wants more than anything. Try to figure out the story goal.

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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. :-)

For a different perspective on NaNoWriMo here is the excellent, No Plot, No Problem!, by Chris Baty, founder of NaNoWriMo. From the book blurb: "Chris Baty ... has completely revised and expanded his definitive handbook for extreme noveling. Chris pulls from over 15 years of results-oriented writing experience to pack this compendium with new tips and tricks, ranging from week-by-week quick reference guides to encouraging advice from authors, and much more."

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That's it! Enough preliminaries and preparation! Got your writer's cap on? Awesome! Know what your character wants above and beyond all else? Excellent! I'll talk to you tomorrow. :-)

Writing to Entertain

I’m going to pick up the thread of my last blog post where I talked about two things that drive us to write: First, the desire to communicate. This is the desire to share ourselves, our thoughts, our souls, with others. Second, the desire to entertain.

Today I cash out what exactly I mean by entertainment and look at how, as writers, we can entertain our readers. The answer: To evoke a reader's emotion, the reader needs to identify with the character. Which means she has to have clearly defined goals, obstacles to those goals, she needs to have something to lose and something to gain, and there needs to be some sort of urgency.

In short, eliciting emotion has everything to do with story structure.

Entertainment: The Evoking of Emotion

Most readers want to be entertained. To entertain another person is to evoke their emotions. Even in some of Agatha Christie’s more cerebral whodunits there was the sedate emotion of curiosity.

Stephen King writes for many reasons but one of them is to entertain others, especially his wife. The following passage is from his book, On Writing:

“When I write a scene that strikes me as funny (like the pie-eating contest in “The Body” or the execution rehearsal in The Green Mile), I am also imagining my I.R. finding it funny. I love it when Tabby laughs out of control—she puts her hands up as if to say I surrender and these big tears go rolling down her cheeks. I love it, that’s all, fucking adore it, and when I get hold of something with that potential, I twist it as hard as I can. During the actual writing of such a scene (door closed), the thought of making her laugh—or cry—is in the back of my mind. During the rewrite (door open), the question—is it funny enough yet? scary enough?—is right up front. I try to watch her when she gets to a particular scene, hoping for at least a smile or—jackpot, baby!—that big belly-laugh with the hands up, waving in the air.”

Making someone else feel good—or feel anything for that matter!—is a thrill. Seeing them laugh or even smile. Seeing them tear up, it’s ... well, as King says, I just love it. It’s a high.

That’s entertainment.

And if you give people a story that makes them laugh and cry, love and hate, they will think their time well-wasted.

But how does one do that? How does one manipulate a reader’s emotions?

The Writer’s Quest

The question of how to evoke a reader’s emotions has defined my writer’s quest for most of my adult life. I want to write a story my father would have loved so much he would beg me to tell another.

Being able to make another person laugh is a valuable skill. Being able to make everyone within earshot hang on your every word has always been advantageous. Even before we had currency, travelers who could tell engaging stories bartered their skill for food and lodging. (In fact, this still happens. My friend was nearly killed on her last vacation—she’s fine now—and, in her words, ‘ate out on that story for a month’!)

What entertains us? You might think that the obvious answers are: sex, violence, death, and so on. And that’s probably right as far as it goes but I think it misses the point.

If I showed you the picture of someone who had been brutally murdered, my guess is that you would not be entertained. In fact, you’d likely be vaguely nauseous and not at all happy with me.

But, yes. For obvious reasons death interests us. A few days ago a friend called to tell me his dog, Zeus, had passed away. I had walked Zeus for years and, of course, had become attached. We both cried and reminisced. But then I asked: How did he die? That mattered to me. As it happens, he died peacefully in his sleep at the end of a long life. I took some solace in that. But I would have felt very different if, say, he had been hit by a car.

Yes, we slow down to gawk at the van with the crumpled front end on the side of the road, but what question do we ask: What happened?

I believe that humans aren’t interested in death as much as we are the story behind it. We want to know: Why? When? What? Where? How? We don’t want that horrible thing to happen to us. We think if we know, maybe we can avoid it.

Going back to something I touched on a moment ago, if I showed someone—let’s call her Beth—a picture of a gruesome murder, I doubt she would be happy with me. The picture itself isn’t entertaining. But Beth would be very interested in the answers to the following questions:

• Who was the victim? Was he a stranger or did I know him? 
• Where did the victim die? Next door or two states over?
• When did the victim die? 50 years ago or yesterday?
• Who killed the victim? Is the killer a stranger or do I know him?
• How did the victim die? Was it a quick death or was it slow and painful?

Reading this, putting myself in Beth’s place, it isn’t the photograph of the dead man that entertains me, it is that one of my goals is put in jeopardy: keeping myself and those I care about safe. It is that automatic, vicarious, sense of danger that puts all my senses on high alert.

These are also the kinds of questions we ask when we’re writing a story.

Beth’s goal: To protect herself and her family from the killer.
The opposition: The killer.
The Stakes: The lives of her family.
Urgency: If the victim lived next door and was killed a few hours ago, then the situation is urgent.

As I see Beth act I identify with her. I care whether she achieves her goal. I care when she suffers a setback. I care when she reaches the All Hope Is Lost Point and it seems she cannot succeed. And, finally, I have a warm cozy sense of well-being as the hero/protagonist bests the forces of opposition and, against all odds, achieves her goal.

My point is that entertainment isn’t static, it comes from the structure itself, from the arrangement of the many parts.

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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 would like to share a link to one of Dwight V. Swain’s excellent books, “Creating Characters: How to Build Story People.” I bought this years ago and it has helped me enormously. Here’s the blurb:

“The core of character,” he [Swain] says in chapter 1, “lies in each individual story person’s ability to care about something; to feel implicitly or explicitly, that something is important.” Building on that foundation—the capacity to care—Swain takes the would-be writer step-by-step through the fundamentals of finding and developing [characters].

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That’s it! I hope you could make some sense of my ramblings. NaNoWriMo is starting soon! My next post will be on Halloween, Monday, October 31 and then I will post every single day in November, outlining a key scene in a novel. So, if you’re NaNo-ing this year, swing on by!