The last few weeks we’ve been looking at plot patterns as outlined in James Scott Bell’s Plot & Structure. This week, we’ll wrap up plot systems with Power and Allegory. #plotting #plotpatterns Click to Tweet To access previous posts, click here.
The last couple weeks we’ve been looking at plot patterns as outlined in James Scott Bell’s Plot & Structure. This week, we look at plot patterns of The Chase, and One Against/One Apart. Next week, we’ll wrap it up with Power and Allegory. #plotting #plotpatterns Click to Tweet
Today I’ll be using two resources to talk about plot patterns. One is James Scott Bell’s Plot & Structure. The other is DiAnn Mills’ Dance of Character & Plot. I’m using both, because even though what they say is similar, the way they say is different. Both perspectives can broaden your understanding of plotting. Click to Tweet #Plotpatterns #Plotting
Last time, I surveyed what plotting systems could work for a “pantser” or a “No Outline Person.” (NOP). I’m using James Scott Bell’s Plot & Structure. #amwriting #plotting systems #plotsystems. What are you—an OP or an NOP? Click to Tweet
Let’s take a look at the various plotting systems outliners or Outline Persons use, from index cards, to headlights, to the Borg.
In his book, Plot & Structure, James Scott Bell talks about two kinds of fiction writers: OPs and NOPs. To outline or not to outline, that is the question. #amwriting #tooutlineornot Bell encourages new fiction writers to try a little of both. Continue reading “Plotting Systems—Part I”
We’ve all heard about “the middle” of a story and usually what we hear is that it sags, stalls, and slumps. It doesn’t seem to move the story along or go anywhere. James Scott Bell addresses this in chapter five of Plot & Structure.
The middle is typically known as Act II. In a three-act construction, which most stories, plays, and movies are structured, Act II is important because it must move the story along. “What you do in Act II, the middle, is write scenes – scenes that stretch the tension, raise the stakes, keep readers worried, and build toward Act III in a way that seems inevitable.” Pg. 79. How do we do that?