Plotting and Structure of Novels
Plotting novels is a chore for me, because I am a panster by
nature. Instead of sitting for a great length of time thinking, plotting, and
structuring a story, I want to write and let the storyline fall where it may. I’ve
learned, however, my panster method is not the best way. It leaves too much to
chance and makes the story seem messy. Readers are disappointed when a novel
doesn’t follow certain patterns of organization. Plotting takes discipline. I
suppose in my heart of hearts, I’m an undisciplined writer who must make a
special effort to control the impulse to let the chips fall where they may.
Following are two simple methods for plotting and structuring
a novel. They are only outlines. Elements may be added as needed, but outlines
help begin the thought process for planning and organizing a story.
The first is very simple and I call it, the Classic Plot
Structure. When all the elements and parts are added to the outline, a
storyline takes form.
The Classic Plot Structure:
. Plunge your main character
(lead/hero/heroine) into terrible trouble as soon as possible.
The definition of “terrible
trouble” differs depending on your genre. For a thriller it may mean your hero
is hanging from his fingernails from a railroad trestle. For a cozy romance, it
may mean your heroine must choose between two seemingly perfect suitors, each
of whom harbors a dark secret.
. Everything your character does
to get out of the trouble makes it only worse.
The complications must be logical
and grow increasingly bad until...
. The lead’s predicament appears
entirely hopeless.
. Finally, because of what the
conflict has taught the character from the beginning, your lead rises to the
occasion and battles out of the trouble, meets the challenge, accomplishes the
quest, or completes the journey.
Second is the LOCK system by James Scott Bell.
The LOCK System:
Plot & Structure:
Techniques and Exercises for Crafting a Plot That Grips
Readers from Start to
Finish. James Scott Bell. Writer’s Digest Books. 2004
James Scott Bell created the LOCK system of organizing a
story after analyzing hundreds
of novel plots. He developed the following
mnemonic to represent his plotting method.
Lead
Objective
Confrontation
Knockout
Lead
Bell says you must have a compelling lead character—somebody
the reader
will want to follow throughout the story.
I usually go to my list of hero and heroine descriptions,
find one who fits the
storyline, then answer a list of questions about the
character.
Objective
The lead character needs an objective—a want, or desire. We
often use the term, ‘goal’
Objective is the driving force of fiction. It generates
forward motion and keeps the Lead from just sitting around. ~ James Scott
Bell.
Bell says that there are two types of objectives :
to get something
to get away from something
I also add—to take something away from somebody.
You may have more objectives to add.
Confrontation
The lead character is on his way to realizing his objective
but must confront opposing forces. We often term this as ‘conflict’ from an
antagonistic force.
Opposition from characters and outside forces brings your
story fully to life. ~ James Scott Bell.
Bell also has a fine way of explaining this confrontation:
Get
your protagonist up a tree
Throw
rocks at him
Then
get him down.
I like to say—Get your protagonist in a bad place, make it
badder, make it more badder, then make things better.
Knockout
Knockout is the term Bell uses for the big fight or
satisfying
climax that any reader wants from the story.
A Quick Plotting
Formula using LOCK: from Writeworld
Write a quick plot for your current story idea. Use four
lines, one for each element of LOCK.
My Lead is a _______.
His/Her Objective is to _________.
She is Confronted by _______ who opposes her because__________.
The ending will be a Knockout because__________.
Brenda’s Bio:
Contact Information:
A Highland Emerald
Blurb:
Aine MacLean is forced into an arranged marriage with
Sir William, Chief of Clan Munro, yet her heart belongs to a handsome young
warrior in her father’s guard. She must leave Durant Castle, the home of her
birth on the Isle of Mull, and travel across Scotland in a perilous journey to
her husband’s home on Cromarty Firth. William agrees to a year and day of
handfasting, giving Aine an opportunity to accept him and his clan. He promises
her the protection of Clan Munro, however, Aine experiences kidnapping,
pirates, and almost loses her life in the River Moriston. She doubts the
sincerity of William’s promises and decides to return to Durant Castle when the
handfasting ends. William determines to win Aine’s heart. Will the brave knight
triumph in his fight for the bonnie lass?
