Ian Dawson's Blog - Posts Tagged "seinfeld"
Writing Tip of the Week: Subplots – Part One
The subplot. Most stories have at least one, and others have several. Whether it’s known as a subplot or a B-story, these can help enhance your narrative, add depth to your characters, or give the reader a breather when things get too intense in the main story.
Let’s talk about subplots!
What is a Subplot?
A subplot is a secondary story connected to the main story, either directly or indirectly. It can include the main character, or it can be related to a side character whose actions in the subplot will affect the main story at some point.
As stated in the intro, there can be more than one, but all should wind up intersecting with the main story at some point. Seinfeld and Curb Your Enthusiasm do this masterfully, weaving multiple storylines into the main one by the end of the episode.
In Jurassic Park (which I will use for my examples in this post), we are introduced to two subplots early in the film: Dr. Grant’s dislike of children; and Dennis Nedry’s deal with Dodgson to steal the dinosaur embryos.
Let’s talk about the qualities of a subplot using these examples.
Subplots have PURPOSE
You ever watch a movie where a subplot is introduced that leads absolutely nowhere? There doesn’t seem to be any reason for it to exist other than to eat up time. A compelling subplot has a reason to exist. It can be either character-driven or story-driven, but by the end, it’s clear why it was part of the story.
Dr. Grant’s dislike of children is a character-driven subplot. We are shown this side of Grant early, so when he meets Lex and Tim on the island, we already know his opinions about kids, which gives us a baseline for character growth.
Nedry being paid to steal the embryos is a story-driven subplot. His actions in getting the embryos – shutting off power and fences – lead to the T-Rex escape that catapults the plot of the film forward.
Subplots ENHANCE
Subplots need to add something to the overall story. They are only useful if they impact something happening in the main story. A subplot needs to give us insight into who a character is, where the story might lead, or emphasize one of the story’s themes.
Dr. Grant’s character-driven subplot enhances his character as he’s placed in situations where he has to rescue Lex and Tim, save Tim’s life, and rely on Lex to reboot the park’s security system. His views on kids evolve as the story unfolds through the film’s final moments, where Lex and Tim are asleep next to him in the helicopter.
Likewise, Nedry’s story-driven subplot enhances the narrative by causing the chaos that leads to dinosaurs escaping their paddocks and roaming free around the island. Since Nedry has locked everyone out of the system, the only solution is for the power to be shut off entirely and the system rebooted, which then causes the Raptors to escape. All of Nedry’s actions help to move the story forward.
But Wait, There’s More!
Next time, we’ll explore a couple more subplot characteristics. See you then!
What’s your favorite subplot from a movie or TV show? Leave a comment and let me know!
Let’s talk about subplots!
What is a Subplot?
A subplot is a secondary story connected to the main story, either directly or indirectly. It can include the main character, or it can be related to a side character whose actions in the subplot will affect the main story at some point.
As stated in the intro, there can be more than one, but all should wind up intersecting with the main story at some point. Seinfeld and Curb Your Enthusiasm do this masterfully, weaving multiple storylines into the main one by the end of the episode.
In Jurassic Park (which I will use for my examples in this post), we are introduced to two subplots early in the film: Dr. Grant’s dislike of children; and Dennis Nedry’s deal with Dodgson to steal the dinosaur embryos.
Let’s talk about the qualities of a subplot using these examples.
Subplots have PURPOSE
You ever watch a movie where a subplot is introduced that leads absolutely nowhere? There doesn’t seem to be any reason for it to exist other than to eat up time. A compelling subplot has a reason to exist. It can be either character-driven or story-driven, but by the end, it’s clear why it was part of the story.
Dr. Grant’s dislike of children is a character-driven subplot. We are shown this side of Grant early, so when he meets Lex and Tim on the island, we already know his opinions about kids, which gives us a baseline for character growth.
Nedry being paid to steal the embryos is a story-driven subplot. His actions in getting the embryos – shutting off power and fences – lead to the T-Rex escape that catapults the plot of the film forward.
Subplots ENHANCE
Subplots need to add something to the overall story. They are only useful if they impact something happening in the main story. A subplot needs to give us insight into who a character is, where the story might lead, or emphasize one of the story’s themes.
Dr. Grant’s character-driven subplot enhances his character as he’s placed in situations where he has to rescue Lex and Tim, save Tim’s life, and rely on Lex to reboot the park’s security system. His views on kids evolve as the story unfolds through the film’s final moments, where Lex and Tim are asleep next to him in the helicopter.
Likewise, Nedry’s story-driven subplot enhances the narrative by causing the chaos that leads to dinosaurs escaping their paddocks and roaming free around the island. Since Nedry has locked everyone out of the system, the only solution is for the power to be shut off entirely and the system rebooted, which then causes the Raptors to escape. All of Nedry’s actions help to move the story forward.
But Wait, There’s More!
Next time, we’ll explore a couple more subplot characteristics. See you then!
What’s your favorite subplot from a movie or TV show? Leave a comment and let me know!
Writing Tip of the Week: Subplots – Part Two
Last time, we began to explore what a subplot is, its purpose, and how they can be used to enhance the main story. Today, we’ll continue that discussion with examples from Jurassic Park.
Let’s keep going!
Subplots have ARCS
A subplot should be considered a mini-story within the main story, with its own beginning, middle, and end. Often, subplots might be introduced in a film, but they lack a conclusion for one reason or another. Ensure that your subplots have an end-point and that their conclusion ties into the main story.
In Jurassic Park, Dr. Grant’s character-driven subplot has a definite arc. From him making it clear at the dig site that he has no patience for kids and then not wanting anything to go in the same SUV as Lex and Tim when he first meets them.
Grant becomes their savior and protector when things go to hell on the island, even telling a panicked Lex that he’s not gonna leave her and her brother. He then becomes a father figure to them, educating them about the dinosaurs as they hike back to safety. By the film’s end, Grant no longer seems to have any aversion to kids and seems rather comfortable around them.
With Nedry, his story-driven subplot arc is shorter but still impactful. His greed leads him to steal the embryos from the island to give to Nedry. His plans are complicated by a storm that hits the island, making it harder for him to get to the boat in time to get away. He rigs the security, camera, and power systems to assist in his theft.
Still, his actions result in dinosaurs getting loose. As he escapes to the East Dock, he skids off the road, runs into a “playful” Dilophosaurus, and meets his fate; the embryos are lost under a pile of mud.
Both subplots have a clear beginning, middle, and end. If we never saw Nedry’s fate but found out about it in passing during The Lost World, that would not have been a satisfying conclusion to that subplot.
Or, if Grant had left on a separate helicopter from Lex and Tim, we wouldn’t have been given a conclusion that indicates that his thoughts about kids have now changed for the better.
Subplots END
This seems logical, but sometimes if there are too many story threads, some can get lost, and their endings never happen. The reader or viewer can be left with questions about what happened or even frustrated that a subplot was introduced and never finished.
As you revise your manuscript or screenplay, please keep track of your subplots and make sure they conclude at some point. Their endings should have some impact or meaning to the main story, and if they don’t, they aren’t necessary to include.
Can a subplot begin before or end after the main story? Yes. Grant’s subplot begins before he and Ellie are invited to the island and ends after they leave. But a subplot shouldn’t drag on much longer past the ending of the main story.
Final Thoughts
A subplot’s purpose is to enhance the main plot by being character-driven or story-driven. Subplots should have a definite arc, with a beginning, middle, and end, and a subplot must link to the main story.
What are some subplots in novels, TV shows, or movies that you’ve noticed lack connection to the main story or have no conclusion? Leave a comment and let me know!
Happy Writing, and I’ll see you next time!
Let’s keep going!
Subplots have ARCS
A subplot should be considered a mini-story within the main story, with its own beginning, middle, and end. Often, subplots might be introduced in a film, but they lack a conclusion for one reason or another. Ensure that your subplots have an end-point and that their conclusion ties into the main story.
In Jurassic Park, Dr. Grant’s character-driven subplot has a definite arc. From him making it clear at the dig site that he has no patience for kids and then not wanting anything to go in the same SUV as Lex and Tim when he first meets them.
Grant becomes their savior and protector when things go to hell on the island, even telling a panicked Lex that he’s not gonna leave her and her brother. He then becomes a father figure to them, educating them about the dinosaurs as they hike back to safety. By the film’s end, Grant no longer seems to have any aversion to kids and seems rather comfortable around them.
With Nedry, his story-driven subplot arc is shorter but still impactful. His greed leads him to steal the embryos from the island to give to Nedry. His plans are complicated by a storm that hits the island, making it harder for him to get to the boat in time to get away. He rigs the security, camera, and power systems to assist in his theft.
Still, his actions result in dinosaurs getting loose. As he escapes to the East Dock, he skids off the road, runs into a “playful” Dilophosaurus, and meets his fate; the embryos are lost under a pile of mud.
Both subplots have a clear beginning, middle, and end. If we never saw Nedry’s fate but found out about it in passing during The Lost World, that would not have been a satisfying conclusion to that subplot.
Or, if Grant had left on a separate helicopter from Lex and Tim, we wouldn’t have been given a conclusion that indicates that his thoughts about kids have now changed for the better.
Subplots END
This seems logical, but sometimes if there are too many story threads, some can get lost, and their endings never happen. The reader or viewer can be left with questions about what happened or even frustrated that a subplot was introduced and never finished.
As you revise your manuscript or screenplay, please keep track of your subplots and make sure they conclude at some point. Their endings should have some impact or meaning to the main story, and if they don’t, they aren’t necessary to include.
Can a subplot begin before or end after the main story? Yes. Grant’s subplot begins before he and Ellie are invited to the island and ends after they leave. But a subplot shouldn’t drag on much longer past the ending of the main story.
Final Thoughts
A subplot’s purpose is to enhance the main plot by being character-driven or story-driven. Subplots should have a definite arc, with a beginning, middle, and end, and a subplot must link to the main story.
What are some subplots in novels, TV shows, or movies that you’ve noticed lack connection to the main story or have no conclusion? Leave a comment and let me know!
Happy Writing, and I’ll see you next time!
Help! My Story Isn’t Working! – Is It the Story?
We all tell stories every day. Whether it’s an event that happened to us on the way to work or something that happened to someone else, stories are how we communicate and connect with those around us. When it comes to fiction, the same adage holds: our goals with fiction are to communicate and connect with readers.
When anyone sits down to craft a fictional narrative, many challenges can arise, even if they have a solid idea to work from. It’s okay. There’s no reason to panic, fling yourself on the bed, and cry into your pillow about how the creative Muses have abandoned you.
All writers – yes, even pros – can have problems getting a story to work. And a story problem should have a solution. Today, we’ll explore three possible story problems and three possible solutions to try with each.
But first…
What’s Your Story?
We all have story ideas written down. They can be simple or complex, but there’s something about those ideas that compels you to jot them down for later. You might have one in mind that you really like, but something is nagging at the back of your mind that makes you wonder if there’s trouble ahead before you even start.
Identifying potential story problems early will save you greater headaches in the long run since you can address and fix those issues before you’re 10,000 or even 100,000 words into a manuscript.
The story itself tells us the basics. Let’s look at a few examples:
The Shining by Stephen King
Jack Torrance's new job at the Overlook Hotel is the perfect chance for a fresh start. As the off-season caretaker at the atmospheric old hotel, he'll have plenty of time to spend reconnecting with his family and working on his writing. But as the harsh winter weather sets in, the idyllic location feels ever more remote...and more sinister. And the only one to notice the strange and terrible forces gathering around the Overlook is Danny Torrance, a uniquely gifted five-year-old.
Beloved by Toni Morrison
Sethe was born a slave and escaped to Ohio, but eighteen years later, she is still not free. Sethe has too many memories of Sweet Home, the beautiful farm where so many hideous things happened. And Sethe’s new home is haunted by the ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved.
Where the Red Fern Grows by Wilson Rawls
Billy, Old Dan and Little Ann -- a Boy and His Two Dogs...
A loving threesome, they ranged the dark hills and river bottoms of Cherokee country. Old Dan had the brawn, Little Ann had the brains -- and Billy had the will to train them to be the finest hunting team in the valley. Glory and victory were coming to them, but sadness waited too. And close by was the strange and wonderful power that's only found...
These three examples draw the reader into the world of the story that awaits. We’re given several intriguing aspects of each narrative and its main character or characters that lead readers to want to know more and dive into the story to find out what happens.
Now, let’s explore ways to help your story become more substantial and more compelling.
Problem: My Story Is Boring
Possible Solution #1: Develop a Story That Excites You
Nothing causes a writer to lose interest more than writing a story they aren’t enthused about. Just going through the motions and writing to write is a good way to cause a reader to feel the same way you do about the story. If you’re not excited about what’s happening, why should anyone else be?
Anytime you develop an idea, it should be something you are passionate about and are ready to commit a lot of time, effort, and energy to, along with losing plenty of sleep as your mind keeps writing long after you’ve finished for the night.
If your story lacks this level of creative excitement, consider revising the initial idea to craft a story that sparks your interest in its direction and character development throughout the narrative.
Possible Solution #2: Share It with Others; What Do They Think?
You’re in the early stages, you’re unsure of your story idea, and you have no emotional stake in the game at this point. If you feel your story is lacking, consider sharing it with a few people to get their perspective. For this to work, you’ll need people who will give you honest feedback. It’s the only way to improve the story and make it worth working on.
Show it to five people. If no one seems interested in the story, ask them why. Their feedback and input will be valuable to you as you move forward and continue to develop the story.
Possible Solution #3: Ask Yourself What Intrigued You About the Story Originally
This ties into #1, but there had to be a reason you thought this was an idea worthy of writing down. We all have dozens of ideas that pass through our brains every hour of the day, so what made this one stand out? Was it connected to an event you experienced? Is it something that happened to someone you know?
Is there an emotional connection to the story that’s now missing because time has passed? Can you revisit that emotional point as you reflect on the events that led to this story idea?
Working to recapture that initial moment may give you the clarity and motivation you need to see the story from a better perspective and help it get out of feeling bland and boring.
Problem: My Story Doesn’t Have a Solid Hook
Possible Solution #1: As a Reader, What Would Motivate You to Read the Book?
We are our first audience. Even before we sit down to develop the story’s outline, we’re flipping through events that might take place as the story progresses. It makes sense that there is something about this story that makes you want to write it, and that is where the hook lies.
Re-read the blurbs for the novels presented earlier in this post. What aspects of them hook you in, grab your attention, make you want to know more? If you saw a blurb on the back of your book, what would get you to buy and read it as soon as you get home?
Possible Solution #2: Take a Step Back and Make a List
This is the perfect time in a story’s lifecycle to brainstorm and make lists of ideas. If you’re happy with the basic concept of your story but need a better hook, it’s time to sit down and write out as many story hooks as you can think of. Some will be great, some not so great, and some will make you cringe that you even wrote them down. It doesn’t matter. Write it down and filter through all the hooks you came up with and see if there are two or three that fit into your story and make it a novel you’d love to read.
Possible Solution #3: Do Some Hook Research
You read books, watch movies, and enjoy TV shows. All of them have a hook that intrigued you, pulled you in, and made you unable to look away. Go through your favorites and write down what the hook was for you that got you invested in these stories.
One of the greatest moments that hooked me and millions of viewers was the opening sequence of Breaking Bad. There was so much going on, so many questions, and so much kinetic energy emanating from the screen that it became impossible not to watch to see what happened next.
What shows, movies, or novels did this for you? How can you emulate that feeling in your story?
Problem: I Just Realized My Story’s Been Done Before
Possible Solution #1: Accept that Most Stories Have Been Told Before
With a few rare exceptions, most stories have been told in some form at least once. But that shouldn’t discourage you; that should encourage you. Since similar stories – also known as antecedents – exist, you can see how others have worked within your genre and make the changes necessary to make your story unique to you and your voice.
There’s a reason Westerns, superhero movies, horror movies, and romantic comedies are standard film genres. Many of these films follow a similar template, but it's the ones with their own unique style of storytelling that truly stand out.
Possible Solution #2: Making Your Story Unique
What makes you, you? What life experiences, conversations, skills, quirks, and other aspects of your life make up who you are? These are all things that can be mined and utilized for story ideas and character traits that can make your story more than just a run-of-the-mill genre piece.
Larry David, co-creator of Seinfeld, carries around a small notebook and pen wherever he goes. He has used the story ideas based on things that have happened to him and others as launching points for stories on Seinfeld and Curb Your Enthusiasm. He used his life experiences to give his stories a unique voice that made both shows stand out.
While it’s tempting to follow the trends, it can also be refreshing to readers to find a new voice that isn’t like all the rest.
Possible Solution #3: Mixing Genres
This is another excellent time to experiment and see if you can blend two genres to create a fresh take on a tried-and-true story. Play around and see what zany ideas you can come up with when playing with genres that aren’t typically blended together. Do any of the pairings intrigue you and make you curious about how they would function in your story? Does the new genre generate any new character ideas or story hooks?
In the mid- to late-1950s, American TV was populated with lots of traditional family shows like Father Knows Best, Leave It to Beaver, and The Donna Reed Show. This was a reliable genre of television that was a staple on the three networks.
In the mid-1960s, networks started to experiment and blend this family-oriented genre with the supernatural, giving audiences Bewitched, The Munsters, and The Addams Family. Suddenly, a fresh perspective and energy were injected into the traditional family series, satirizing aspects of it through humor and antics not seen in the previous iteration.
Consider what genres would make your story more interesting and make it stand out from the pack, and see what creative pathways you can explore.
Brainstorm, Brainstorm, Brainstorm
There are millions of story possibilities that exist in the universe and your imagination. As you work to improve your story, take the time to brainstorm and write down every possible story idea and thread you can think of, from the brilliant to the worst idea you could ever think of using.
It is within these brainstorming sessions that you may find the key to unlock your story and give it the power you’ve been looking for. It’s okay to list 20, 30, or even 50 ideas, then walk away and come back later to review and eliminate the useless ones. Within that list, you may find the idea that sparks something that begins to connect the creative dots that lead to your story going from dull and listless to energized and engaging.
Next Time…
The series has just begun! In my next post, we’ll dive into ways to improve your story’s plot.
Happy Writing, and I’ll see you next time!
When anyone sits down to craft a fictional narrative, many challenges can arise, even if they have a solid idea to work from. It’s okay. There’s no reason to panic, fling yourself on the bed, and cry into your pillow about how the creative Muses have abandoned you.
All writers – yes, even pros – can have problems getting a story to work. And a story problem should have a solution. Today, we’ll explore three possible story problems and three possible solutions to try with each.
But first…
What’s Your Story?
We all have story ideas written down. They can be simple or complex, but there’s something about those ideas that compels you to jot them down for later. You might have one in mind that you really like, but something is nagging at the back of your mind that makes you wonder if there’s trouble ahead before you even start.
Identifying potential story problems early will save you greater headaches in the long run since you can address and fix those issues before you’re 10,000 or even 100,000 words into a manuscript.
The story itself tells us the basics. Let’s look at a few examples:
The Shining by Stephen King
Jack Torrance's new job at the Overlook Hotel is the perfect chance for a fresh start. As the off-season caretaker at the atmospheric old hotel, he'll have plenty of time to spend reconnecting with his family and working on his writing. But as the harsh winter weather sets in, the idyllic location feels ever more remote...and more sinister. And the only one to notice the strange and terrible forces gathering around the Overlook is Danny Torrance, a uniquely gifted five-year-old.
Beloved by Toni Morrison
Sethe was born a slave and escaped to Ohio, but eighteen years later, she is still not free. Sethe has too many memories of Sweet Home, the beautiful farm where so many hideous things happened. And Sethe’s new home is haunted by the ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved.
Where the Red Fern Grows by Wilson Rawls
Billy, Old Dan and Little Ann -- a Boy and His Two Dogs...
A loving threesome, they ranged the dark hills and river bottoms of Cherokee country. Old Dan had the brawn, Little Ann had the brains -- and Billy had the will to train them to be the finest hunting team in the valley. Glory and victory were coming to them, but sadness waited too. And close by was the strange and wonderful power that's only found...
These three examples draw the reader into the world of the story that awaits. We’re given several intriguing aspects of each narrative and its main character or characters that lead readers to want to know more and dive into the story to find out what happens.
Now, let’s explore ways to help your story become more substantial and more compelling.
Problem: My Story Is Boring
Possible Solution #1: Develop a Story That Excites You
Nothing causes a writer to lose interest more than writing a story they aren’t enthused about. Just going through the motions and writing to write is a good way to cause a reader to feel the same way you do about the story. If you’re not excited about what’s happening, why should anyone else be?
Anytime you develop an idea, it should be something you are passionate about and are ready to commit a lot of time, effort, and energy to, along with losing plenty of sleep as your mind keeps writing long after you’ve finished for the night.
If your story lacks this level of creative excitement, consider revising the initial idea to craft a story that sparks your interest in its direction and character development throughout the narrative.
Possible Solution #2: Share It with Others; What Do They Think?
You’re in the early stages, you’re unsure of your story idea, and you have no emotional stake in the game at this point. If you feel your story is lacking, consider sharing it with a few people to get their perspective. For this to work, you’ll need people who will give you honest feedback. It’s the only way to improve the story and make it worth working on.
Show it to five people. If no one seems interested in the story, ask them why. Their feedback and input will be valuable to you as you move forward and continue to develop the story.
Possible Solution #3: Ask Yourself What Intrigued You About the Story Originally
This ties into #1, but there had to be a reason you thought this was an idea worthy of writing down. We all have dozens of ideas that pass through our brains every hour of the day, so what made this one stand out? Was it connected to an event you experienced? Is it something that happened to someone you know?
Is there an emotional connection to the story that’s now missing because time has passed? Can you revisit that emotional point as you reflect on the events that led to this story idea?
Working to recapture that initial moment may give you the clarity and motivation you need to see the story from a better perspective and help it get out of feeling bland and boring.
Problem: My Story Doesn’t Have a Solid Hook
Possible Solution #1: As a Reader, What Would Motivate You to Read the Book?
We are our first audience. Even before we sit down to develop the story’s outline, we’re flipping through events that might take place as the story progresses. It makes sense that there is something about this story that makes you want to write it, and that is where the hook lies.
Re-read the blurbs for the novels presented earlier in this post. What aspects of them hook you in, grab your attention, make you want to know more? If you saw a blurb on the back of your book, what would get you to buy and read it as soon as you get home?
Possible Solution #2: Take a Step Back and Make a List
This is the perfect time in a story’s lifecycle to brainstorm and make lists of ideas. If you’re happy with the basic concept of your story but need a better hook, it’s time to sit down and write out as many story hooks as you can think of. Some will be great, some not so great, and some will make you cringe that you even wrote them down. It doesn’t matter. Write it down and filter through all the hooks you came up with and see if there are two or three that fit into your story and make it a novel you’d love to read.
Possible Solution #3: Do Some Hook Research
You read books, watch movies, and enjoy TV shows. All of them have a hook that intrigued you, pulled you in, and made you unable to look away. Go through your favorites and write down what the hook was for you that got you invested in these stories.
One of the greatest moments that hooked me and millions of viewers was the opening sequence of Breaking Bad. There was so much going on, so many questions, and so much kinetic energy emanating from the screen that it became impossible not to watch to see what happened next.
What shows, movies, or novels did this for you? How can you emulate that feeling in your story?
Problem: I Just Realized My Story’s Been Done Before
Possible Solution #1: Accept that Most Stories Have Been Told Before
With a few rare exceptions, most stories have been told in some form at least once. But that shouldn’t discourage you; that should encourage you. Since similar stories – also known as antecedents – exist, you can see how others have worked within your genre and make the changes necessary to make your story unique to you and your voice.
There’s a reason Westerns, superhero movies, horror movies, and romantic comedies are standard film genres. Many of these films follow a similar template, but it's the ones with their own unique style of storytelling that truly stand out.
Possible Solution #2: Making Your Story Unique
What makes you, you? What life experiences, conversations, skills, quirks, and other aspects of your life make up who you are? These are all things that can be mined and utilized for story ideas and character traits that can make your story more than just a run-of-the-mill genre piece.
Larry David, co-creator of Seinfeld, carries around a small notebook and pen wherever he goes. He has used the story ideas based on things that have happened to him and others as launching points for stories on Seinfeld and Curb Your Enthusiasm. He used his life experiences to give his stories a unique voice that made both shows stand out.
While it’s tempting to follow the trends, it can also be refreshing to readers to find a new voice that isn’t like all the rest.
Possible Solution #3: Mixing Genres
This is another excellent time to experiment and see if you can blend two genres to create a fresh take on a tried-and-true story. Play around and see what zany ideas you can come up with when playing with genres that aren’t typically blended together. Do any of the pairings intrigue you and make you curious about how they would function in your story? Does the new genre generate any new character ideas or story hooks?
In the mid- to late-1950s, American TV was populated with lots of traditional family shows like Father Knows Best, Leave It to Beaver, and The Donna Reed Show. This was a reliable genre of television that was a staple on the three networks.
In the mid-1960s, networks started to experiment and blend this family-oriented genre with the supernatural, giving audiences Bewitched, The Munsters, and The Addams Family. Suddenly, a fresh perspective and energy were injected into the traditional family series, satirizing aspects of it through humor and antics not seen in the previous iteration.
Consider what genres would make your story more interesting and make it stand out from the pack, and see what creative pathways you can explore.
Brainstorm, Brainstorm, Brainstorm
There are millions of story possibilities that exist in the universe and your imagination. As you work to improve your story, take the time to brainstorm and write down every possible story idea and thread you can think of, from the brilliant to the worst idea you could ever think of using.
It is within these brainstorming sessions that you may find the key to unlock your story and give it the power you’ve been looking for. It’s okay to list 20, 30, or even 50 ideas, then walk away and come back later to review and eliminate the useless ones. Within that list, you may find the idea that sparks something that begins to connect the creative dots that lead to your story going from dull and listless to energized and engaging.
Next Time…
The series has just begun! In my next post, we’ll dive into ways to improve your story’s plot.
Happy Writing, and I’ll see you next time!
Help! My Story Isn’t Working! – Is It the Plot?
Last time, we explored ways to make a lackluster story stronger and more interesting for both yourself as a writer and for your future readers. Today, we’ll explore ways to strengthen your story’s plot.
But wait, you may be saying. Aren’t story and plot the same thing? While they are directly related, they both serve different functions. Think of the story as the overarching concept of what happens in your narrative, while the plot is all the moments and events that happen to get us from beginning to end.
For example, National Lampoon’s Vacation is about the Griswold family’s trip from Chicago to Walley World in California. That’s the story. The plot includes all the wacky misadventures, disasters, ups, and downs that plague the family during their travels. While it’s essential to start with a strong story, a strong plot is the key to keeping readers turning the page, wanting to know what happens next.
Plotting the Plot
Many writing tools and templates exist that break down the key plot elements that can help you craft your narrative from start to finish before you sit down to write your first draft. I like to think of these as the can’t-miss stops along your story’s journey.
Here’s a breakdown of the fundamental plot elements that should be present in your story:
ACT ONE
Inciting Incident: “a single event that either happens directly to the protagonist or is caused by the protagonist” (McKee 190).
Plot Point/Stunning Surprise 1: “the arrival of some event or dramatic reversal that creates a moment of shock for the Hero and drops the curtain on the first act – while immediately raising is again on the second act” (Edson 118).
ACT TWO
Mid-Point: “The Hero reaches a Point of No Return beyond which turning back is no longer an option…Conflict with the Adversary becomes deeply personal…A ‘ticking clock’ time limit is set in motion…An unmasking takes place, literally or figuratively, and an inner truth gets revealed” (Edson 219-220).
Plot Point/Stunning Surprise 2: “comes out of the blue and changes everything. It signals the end of Act Two and the beginning of Act Three…frequently the primary additional punch of Stunning Surprise #2 is that it completely destroys the Hero’s plan for victory and announces that sweeping improvisation will now be required for the Hero to have any chance of besting the Adversary” (Edson 129).
ACT THREE
Climax/Obligatory Scene: “third-act final showdown between Hero and Adversary that resolves the main plot question once and for all” (Edson 137).
Denouement: “wraps up the plot loose ends and relationships” (Edson 137).
With these concepts in mind, let’s explore some possible problems and potential solutions to help you improve your plot.
Problem: I have a great idea, and I jumped right into writing it, but I have no idea where I’m going with the story, and I’m ready to walk away.
Possible Solution #1: Stop writing the manuscript and start writing your outline.
It’s a story I heard in all my writing classes: A person has an idea. That person jumps headfirst into writing the story based on the concept. They then lose focus, eventually stopping writing and forgetting what they were once so excited about.
Now, if you’re in the same boat, take a step back and plan out where your story is headed. Break things down and really work on what the key plot elements are before you jump back into the manuscript phase. This will be helpful for two reasons: 1) You now have a roadmap for where the story is going; and 2) You don’t have to guess where the story is headed, it’s already mapped out.
Possible Solution #2: Figure out where things fell off, and build from there.
How far did you get before the story fizzled? Did you have a solid inciting incident that got things moving? If you did, figure out what made it such a solid event for your story to launch from, then brainstorm ways to escalate the conflict to hit the next major plot point forward.
Again, step back from the drafting process and stick with the fundamentals: the outline. I know it can be hard to sit down and work these things out, but once you’re embedded in the world of the story, you’re definitely going to want your outline by your side.
Problem: The outline I’ve written isn’t working for me. My plot isn’t exciting or interesting.
Possible Solution #1: Toss and reset.
When in doubt, throw it out. No rule says you can’t chuck a plot point that isn’t working or doesn’t help add momentum to your storyline. That’s the beauty of starting with an outline; you can brainstorm, experiment, and play around with things before there are thousands of words and choices made that would now have to be scrapped.
All novels are Choose Your Own Adventure books for the author, but we get to make the final decision of where the reader goes in the final plotting of the story. If your plot isn’t making you want to write and see what happens next, it’s time to try something new.
Possible Solution #2: What would make it interesting to you?
As I said in the first post about Story, you are the first audience for your work. If you aren’t into it, the audience will have just as hard a time, if not harder, getting into what you’ve written.
If you were reading this book, what plot elements, twists, and turns would keep you reading? What can you do to increase the energy, the stakes, and the problems faced by the main character to keep yourself and readers engaged and focused on each page?
Possible Solution #3: When in doubt, brainstorm it out.
Taking the time to brainstorm and come up with multiple ideas for each major plot element will give you a variety of options to pick from to craft the most compelling plot you can.
Nothing is set in stone until you want it to be, and you have the power and control over the story and plot to make decisions that will prevent what you’re writing from becoming dull and uninteresting.
Problem: My plot is too predictable.
Possible Solution #1: Predictable to whom?
If you’ve lived with a story and plot inside your head for a while, it can feel like what you’re working on is predictable and all your twists are easy for a reader to see coming a mile away. However, this may not be the case. Since you’ve lived in your fictional world for so long, you know what’s going to happen, but other people don’t.
While you may prefer people read your novel and not an outline, take the time to craft a complete outline of your story, then have a trusted person read it and give you honest feedback. If they tell you they figured out who the killer was as soon as the character was introduced, that’s a clear sign that others may find the story too predictable.
However, if they don’t figure it out and are glued to the outline, you may be overthinking the predictability concern, and should keep moving forward with the outline and book.
Possible Solution #2: Why zig, when you can zag?
The opening sequence to the movie, The Other Guys, is a perfect example of this concept. Two cops, played by The Rock and Samuel L. Jackson, are in pursuit of a gang of robbery suspects. The duo chase them onto a roof, where the robbers escape using a zipline. Our two cocky cops decide to “aim for the bushes,” fist bump, and jump off the building, only to fall to their deaths. It comes out of left field, is unpredictable, and is one of those moments that you can’t believe just happened.
https://youtu.be/MvkN3003iU4?si=-ra-r...
As you work on revising your plot outline, ask yourself what the opposite of what you have written down happened instead? How would that impact your story? What direction would things go? Would it take things in a direction that readers would never see coming? Experiment with this idea of trying the opposite of what you would typically think of doing.
Hey, it worked for George Costanza!
https://youtu.be/CizwH_T7pjg?si=7RISv...
It’s All Part of the Process
It’s okay to get frustrated and feel stuck as you work through crafting a solid set of plot points to get your story and its characters from Point A to Point Z. It’s just how the creative process is. In the end, you’ll have a stronger finished product having taken the time to work on and develop a solid plot for your story.
The above problems and suggested solutions are provided as a guide to help you make your creative writing project the best it can be.
Next Time...
We’ve tackled story and plot; now it’s time to see what problems can arise with your characters.
Happy Writing, and I’ll see you next time!
Check out my blog post on Plot by clicking HERE!
Sources:
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
McKee, Robert. Story. Harper Collins, 1997.
But wait, you may be saying. Aren’t story and plot the same thing? While they are directly related, they both serve different functions. Think of the story as the overarching concept of what happens in your narrative, while the plot is all the moments and events that happen to get us from beginning to end.
For example, National Lampoon’s Vacation is about the Griswold family’s trip from Chicago to Walley World in California. That’s the story. The plot includes all the wacky misadventures, disasters, ups, and downs that plague the family during their travels. While it’s essential to start with a strong story, a strong plot is the key to keeping readers turning the page, wanting to know what happens next.
Plotting the Plot
Many writing tools and templates exist that break down the key plot elements that can help you craft your narrative from start to finish before you sit down to write your first draft. I like to think of these as the can’t-miss stops along your story’s journey.
Here’s a breakdown of the fundamental plot elements that should be present in your story:
ACT ONE
Inciting Incident: “a single event that either happens directly to the protagonist or is caused by the protagonist” (McKee 190).
Plot Point/Stunning Surprise 1: “the arrival of some event or dramatic reversal that creates a moment of shock for the Hero and drops the curtain on the first act – while immediately raising is again on the second act” (Edson 118).
ACT TWO
Mid-Point: “The Hero reaches a Point of No Return beyond which turning back is no longer an option…Conflict with the Adversary becomes deeply personal…A ‘ticking clock’ time limit is set in motion…An unmasking takes place, literally or figuratively, and an inner truth gets revealed” (Edson 219-220).
Plot Point/Stunning Surprise 2: “comes out of the blue and changes everything. It signals the end of Act Two and the beginning of Act Three…frequently the primary additional punch of Stunning Surprise #2 is that it completely destroys the Hero’s plan for victory and announces that sweeping improvisation will now be required for the Hero to have any chance of besting the Adversary” (Edson 129).
ACT THREE
Climax/Obligatory Scene: “third-act final showdown between Hero and Adversary that resolves the main plot question once and for all” (Edson 137).
Denouement: “wraps up the plot loose ends and relationships” (Edson 137).
With these concepts in mind, let’s explore some possible problems and potential solutions to help you improve your plot.
Problem: I have a great idea, and I jumped right into writing it, but I have no idea where I’m going with the story, and I’m ready to walk away.
Possible Solution #1: Stop writing the manuscript and start writing your outline.
It’s a story I heard in all my writing classes: A person has an idea. That person jumps headfirst into writing the story based on the concept. They then lose focus, eventually stopping writing and forgetting what they were once so excited about.
Now, if you’re in the same boat, take a step back and plan out where your story is headed. Break things down and really work on what the key plot elements are before you jump back into the manuscript phase. This will be helpful for two reasons: 1) You now have a roadmap for where the story is going; and 2) You don’t have to guess where the story is headed, it’s already mapped out.
Possible Solution #2: Figure out where things fell off, and build from there.
How far did you get before the story fizzled? Did you have a solid inciting incident that got things moving? If you did, figure out what made it such a solid event for your story to launch from, then brainstorm ways to escalate the conflict to hit the next major plot point forward.
Again, step back from the drafting process and stick with the fundamentals: the outline. I know it can be hard to sit down and work these things out, but once you’re embedded in the world of the story, you’re definitely going to want your outline by your side.
Problem: The outline I’ve written isn’t working for me. My plot isn’t exciting or interesting.
Possible Solution #1: Toss and reset.
When in doubt, throw it out. No rule says you can’t chuck a plot point that isn’t working or doesn’t help add momentum to your storyline. That’s the beauty of starting with an outline; you can brainstorm, experiment, and play around with things before there are thousands of words and choices made that would now have to be scrapped.
All novels are Choose Your Own Adventure books for the author, but we get to make the final decision of where the reader goes in the final plotting of the story. If your plot isn’t making you want to write and see what happens next, it’s time to try something new.
Possible Solution #2: What would make it interesting to you?
As I said in the first post about Story, you are the first audience for your work. If you aren’t into it, the audience will have just as hard a time, if not harder, getting into what you’ve written.
If you were reading this book, what plot elements, twists, and turns would keep you reading? What can you do to increase the energy, the stakes, and the problems faced by the main character to keep yourself and readers engaged and focused on each page?
Possible Solution #3: When in doubt, brainstorm it out.
Taking the time to brainstorm and come up with multiple ideas for each major plot element will give you a variety of options to pick from to craft the most compelling plot you can.
Nothing is set in stone until you want it to be, and you have the power and control over the story and plot to make decisions that will prevent what you’re writing from becoming dull and uninteresting.
Problem: My plot is too predictable.
Possible Solution #1: Predictable to whom?
If you’ve lived with a story and plot inside your head for a while, it can feel like what you’re working on is predictable and all your twists are easy for a reader to see coming a mile away. However, this may not be the case. Since you’ve lived in your fictional world for so long, you know what’s going to happen, but other people don’t.
While you may prefer people read your novel and not an outline, take the time to craft a complete outline of your story, then have a trusted person read it and give you honest feedback. If they tell you they figured out who the killer was as soon as the character was introduced, that’s a clear sign that others may find the story too predictable.
However, if they don’t figure it out and are glued to the outline, you may be overthinking the predictability concern, and should keep moving forward with the outline and book.
Possible Solution #2: Why zig, when you can zag?
The opening sequence to the movie, The Other Guys, is a perfect example of this concept. Two cops, played by The Rock and Samuel L. Jackson, are in pursuit of a gang of robbery suspects. The duo chase them onto a roof, where the robbers escape using a zipline. Our two cocky cops decide to “aim for the bushes,” fist bump, and jump off the building, only to fall to their deaths. It comes out of left field, is unpredictable, and is one of those moments that you can’t believe just happened.
https://youtu.be/MvkN3003iU4?si=-ra-r...
As you work on revising your plot outline, ask yourself what the opposite of what you have written down happened instead? How would that impact your story? What direction would things go? Would it take things in a direction that readers would never see coming? Experiment with this idea of trying the opposite of what you would typically think of doing.
Hey, it worked for George Costanza!
https://youtu.be/CizwH_T7pjg?si=7RISv...
It’s All Part of the Process
It’s okay to get frustrated and feel stuck as you work through crafting a solid set of plot points to get your story and its characters from Point A to Point Z. It’s just how the creative process is. In the end, you’ll have a stronger finished product having taken the time to work on and develop a solid plot for your story.
The above problems and suggested solutions are provided as a guide to help you make your creative writing project the best it can be.
Next Time...
We’ve tackled story and plot; now it’s time to see what problems can arise with your characters.
Happy Writing, and I’ll see you next time!
Check out my blog post on Plot by clicking HERE!
Sources:
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
McKee, Robert. Story. Harper Collins, 1997.
