Barbara Eberhard's Blog - Posts Tagged "plot-points"
Story Arcs
When I start to write a new novel, I write down an overall outline on 3x5 cards. I number each one, and each has a note or two about what's going to happen at that stage of the plot. All together, they tell the arc of the novel.
But, within each chapter, you should also create an arc. Each chapter should have a purpose - something that it does to push the story forward.
And that means having a mini story within the chapter.
At least, that's how I write.
The chapter title and the basics of what should happen in the chapter from the 3x5 card tell me the parameters under which I'm working. But how I get whatever has to happen to happen - well, that's up to me on a given day. And it's usually where the "magic" happens. Where a character may take a turn that's different from what I had planned. Or a conversation happens that ultimately changes one of the other plot points - and makes me have to update or develop a new 3x5 card.
Each chapter should have a beginning. Just as it's important for the novel to have a catchy first line or paragraph, so too, should each chapter. Why is this chapter important? What will the reader learn? Why is this chapter needed in the plot?
By the same token, the chapter should wrap up with something intriguing. Maybe it's the first part of a story that will play out in the next chapter. Maybe it's a lesson learned. Maybe it's a major change in direction for the reader - something the author intends, but hopes the reader doesn't see until he or she gets to that point in the novel.
And what comes in between should have an arc. Not necessarily following the course of time - the start of the chapter to the end of the chapter doesn't have to be sequential. But the ideas, the plot points, the characters' development - those should have an arc.
Through the story arc of the chapter. Through the story arc from chapter to chapter. And from the beginning to the end of the novel's story arc.
But, within each chapter, you should also create an arc. Each chapter should have a purpose - something that it does to push the story forward.
And that means having a mini story within the chapter.
At least, that's how I write.
The chapter title and the basics of what should happen in the chapter from the 3x5 card tell me the parameters under which I'm working. But how I get whatever has to happen to happen - well, that's up to me on a given day. And it's usually where the "magic" happens. Where a character may take a turn that's different from what I had planned. Or a conversation happens that ultimately changes one of the other plot points - and makes me have to update or develop a new 3x5 card.
Each chapter should have a beginning. Just as it's important for the novel to have a catchy first line or paragraph, so too, should each chapter. Why is this chapter important? What will the reader learn? Why is this chapter needed in the plot?
By the same token, the chapter should wrap up with something intriguing. Maybe it's the first part of a story that will play out in the next chapter. Maybe it's a lesson learned. Maybe it's a major change in direction for the reader - something the author intends, but hopes the reader doesn't see until he or she gets to that point in the novel.
And what comes in between should have an arc. Not necessarily following the course of time - the start of the chapter to the end of the chapter doesn't have to be sequential. But the ideas, the plot points, the characters' development - those should have an arc.
Through the story arc of the chapter. Through the story arc from chapter to chapter. And from the beginning to the end of the novel's story arc.
Changing Course - Again
When I first conceived Rich People's Problems, it was based on a dream.
In that dream, a rich woman - who others didn't know was rich - was miserable because her wealth had been revealed to the public after she had donated money to a good cause. She hadn't wanted to be famous. She had just wanted to do good things. In her panic over sudden being in the news, she runs away - and runs to the only famous person she knows - a childhood friend. The two of them work through her issues together and, eventually, fall in love.
When I started to put pen to paper, I had to solve some problems:
1) Where did this woman's wealth come from? I decided to make her a romance novel writer. Not that dissimilar to my own writing, though more straight-up romance novels than what I write.
2) If she was a romance novel writer, and making money from it, then how come she wasn't already famous? I decided that she wrote under a nom de plume. Lots of romance novelists do, so it made sense.
3) Why was he famous? And why did she know him? I decided that they had grown up together - which had been part of the dream - and that he had grown up rich, while she had not. And then I decided to make him a cowboy. This served several purposes. a) She would flee the city for the "country" or ranch in this case. b) He would already be rich, as well as famous, which would help with any inequities once they got together. c) It was a bit of an inside joke with my husband, who used to get advertisements on his Kindle for "billionaire cowboy" romance novels all the time.
4) What was their relationship in present day? I decided that it would be problematic. She would be asking for his help, yes. But they had a history that wasn't always nice. So, what had happened? Well, I had come up with this subtitle for the novel "The Story of Raggedy Ann and Andy". I needed an explanation for that. I invented a story of how Andrew's rich friends had called Anna "Raggedy Ann" when they were kids, insulting her and pointing out how different they were, even though they had grown up together on the ranch. Anna's mother worked for Andrew's father, making the kids not exactly peers. As kids, they were Ann and Andy, which is why the nickname made sense, even though the reader only knows her as Anna to start.
As I started to write, the part about Anna coming to see Andrew on the ranch got thrown aside. Instead, Anna comes to the ranch to be comforted by Cecelia, the ranch's chef, who was like a second mother to Anna. And I created more antipathy between Anna and Andrew.
But the original idea still lingered.
So, today, I softened some of Anna's anger toward Andrew - she's still insulted by his friends, though - and I put in about her wanting to consult with him about being famous - which I had taken out.
It feels better.
Though no promises that I won't change my mind again.
In that dream, a rich woman - who others didn't know was rich - was miserable because her wealth had been revealed to the public after she had donated money to a good cause. She hadn't wanted to be famous. She had just wanted to do good things. In her panic over sudden being in the news, she runs away - and runs to the only famous person she knows - a childhood friend. The two of them work through her issues together and, eventually, fall in love.
When I started to put pen to paper, I had to solve some problems:
1) Where did this woman's wealth come from? I decided to make her a romance novel writer. Not that dissimilar to my own writing, though more straight-up romance novels than what I write.
2) If she was a romance novel writer, and making money from it, then how come she wasn't already famous? I decided that she wrote under a nom de plume. Lots of romance novelists do, so it made sense.
3) Why was he famous? And why did she know him? I decided that they had grown up together - which had been part of the dream - and that he had grown up rich, while she had not. And then I decided to make him a cowboy. This served several purposes. a) She would flee the city for the "country" or ranch in this case. b) He would already be rich, as well as famous, which would help with any inequities once they got together. c) It was a bit of an inside joke with my husband, who used to get advertisements on his Kindle for "billionaire cowboy" romance novels all the time.
4) What was their relationship in present day? I decided that it would be problematic. She would be asking for his help, yes. But they had a history that wasn't always nice. So, what had happened? Well, I had come up with this subtitle for the novel "The Story of Raggedy Ann and Andy". I needed an explanation for that. I invented a story of how Andrew's rich friends had called Anna "Raggedy Ann" when they were kids, insulting her and pointing out how different they were, even though they had grown up together on the ranch. Anna's mother worked for Andrew's father, making the kids not exactly peers. As kids, they were Ann and Andy, which is why the nickname made sense, even though the reader only knows her as Anna to start.
As I started to write, the part about Anna coming to see Andrew on the ranch got thrown aside. Instead, Anna comes to the ranch to be comforted by Cecelia, the ranch's chef, who was like a second mother to Anna. And I created more antipathy between Anna and Andrew.
But the original idea still lingered.
So, today, I softened some of Anna's anger toward Andrew - she's still insulted by his friends, though - and I put in about her wanting to consult with him about being famous - which I had taken out.
It feels better.
Though no promises that I won't change my mind again.
