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I have finally found it! I have spent such a long time searching for the perfect structuring techniques for my novel. Along the way, I've also learned that my protagonist is too passive and wasn't moving the story along... but that's another blog piece for another day... Massive credit to Shaelin Bishop for her tips which have been extremely useful for me as a novice. One of the techniques I am covering, Shaelin has made a video explaining the process, which you can find here Although the video above relates to the 15 Beat Plot Structure, it's not the only one I'm talking about in this piece. What is the difference between outlining and structuring? For me, outlining is the very first step creating the plot points and the general 'A to B' of the story that you're telling (blog on outlining here). Let's assume that you've done your outline, you've written out all of the plot points and the things that you want to have happened in the story, whether that be from one point of view, or multiple points-of-view (blog on POV writing here). Structuring is taking all of those plot points and putting them in order. Not just chronologically, but in an order that will help move the story forwards. There are a couple of traditional structures that you can use which I will cover. I'm leaving my favourite until last, though. So, let's get into it. Traditional Structure This is the classic structure that you will find pretty much everywhere. However, it's everywhere because it works! Here's how it goes: Exposition - Setting the scene, introduction of the characters, and giving the general background needed to set the story up. Call-to-action - This is the moment where the protagonist is required to help solve a problem. Think Rick and Morty... every episode of Rick and Morty! Rising Action - A series of events that builds up to the climax Crises - The series of events and moments of conflict that leads up to the... Climax - The most intense conflict up to this point in the story Falling Action - The answering of any questions not yet addressed and the resolution of all crises. Resolution - The final moments where a new reality for the protagonist is realised. As you can probably tell... I've put a wee bit more time into the following structure. Stick with me on this, though... it's a game-changer! A Whole New World Here I am referring to the 15 Beat Plot Structure that I mentioned earlier. When I watched Shaelin's video I wrote it down to help myself understand how it worked. I'm quite a visual person so I found that putting it in a picture format was going to prove to be useful. So, after typing up my chicken-scratch handwriting I drafted this (I bloody love PowerPoint): Now let me explain what each of these actually mean because this structure was originally developed for screenplay, so the wording used directly relates to how it would do for television.
Also, to explain, a beat is something that happens within the story. Of which there are two types, a regular beat and an extended beat. A regular beat should be an event whereas an extended beat can be a series of events. So... let's get into it! Opening Image - This is as it says on the tin, it's the start of the story and this is where you can set your scene and introduce your reader to your universe. Theme Stated - This is where you imply what the theme is. Is there going to be a moral to your story? If so, this is where you set it up. If not, this should be where you initiate the reason behind the story... why your character needs to grow and progress/change. This isn't necessarily the second thing that should happen and can be moved around within Act I (the set-up phase). Which leads us onto exactly that... Set-Up - This is what is referred to as an extended beat and can be the whole point of Act I, to set the story up, meeting the central characters and starting to bring about the next point. The Catalyst - You may have heard it referred to in creative writing as the 'Inciting Incident'. This is the event that start's off the story's problem, if you will. Again... this should always be an event, not a description. Subsequently, this leads us onto... The Debate - This is usually done at a slower pace because it gives the protagonist time to contemplate and react to the inciting incident. Break Into Two - Literally breaking through into Act II. This is also known as the path of no return... ooooooooh. Spooky. Basically, once your protagonist has made this choice there is no going back. This is where you get to address the conflict between the protagonist and antagonist. B-Story - Introducing your sub-plot. Usually someone who is going to be able to help your protagonist move the story forwards. Fun and Games - This comes before the middle of the book. This is going to be your protagonist's grapple with the main issue. They are carrying out the choice that they made in the break into two. Usually quite a highly active point within the book full of movement and excitement. Midpoint - This is the section where your protagonist has grappled with the main issue and thinks that their job is done. It is a point of what is called 'false victory or false defeat'. In the words of Kenneth Wolstenholme... they think it's all over. But it isn't. Either they think they've won and the antagonist gets back up after the fight and takes off... or they have been defeated but muster the strength, usually with the help of the character from the sub-plot, to carry on and keep fighting. Bad Guys Close In - Basically, the antagonist is getting stronger and stronger and it looks like they're about to win the second round. Perhaps they returned to the fight with a gang in tow armed with weapons. All is Lost - Also known in literary as the breaking point for the protagonist. It seems as though there is no coming back. Your protagonist's focus may be blurring in and out, about to pass out after the onslaught. Then... astride their gallant proverbial steed comes... The Dark Knight of the Soul - Your protagonist musters even more strength than before. They've been carried away by Mr/Mrs B-Story who's dressed their wounds and fed them chicken soup (my head's in a strange place here). In which time, your protagonist has figured out their new plan. The final plan, the one that will either make or break them. It's all-or-nothing time, baby! Break into Three - Again... literally breaking into Act III. This is where all the action takes place. Your protagonist is carrying out their master plan. The battle between good and evil. Both parties leap into the air, weapons drawn ready to strike... Finale - Who won? Did your protagonist strike first with a fatal blow or are they dragging themselves to the corner of the room nursing a fatal wound. This is the part where your character should have changed emotionally. A different outlook... maybe they reflect 'if only I'd have...' (you get the drift). Or perhaps they are towering over their adversary, victory plastered all over them. Final Image - Sometimes this is short or it may be longer and used as a means to tying up loose ends and answering the unanswered. Still, this should be the section where no stone is left unturned. This is easily my favourite structure because it breaks it down for you. It's helped with my outlining too because it's allowed me to highlight sections that I've not yet thought of and iron out any plot holes. It's definitely made my story stronger. What do you think? Do you prefer the traditional or trying something a little bit newer? Let me know in the comments and thanks for reading! Until next time!
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Hi, I'm Phil Williams. Welcome to my blog.
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