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
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”
Here’s a great way to start it out: “To initiate your story, your protagonist will either 1) lose something vital and try to regain it, 2) see something desirable and try to obtain it, or 3) experience something traumatic and try to overcome it.” Pg. 42.
There are three basic types of character struggles: internal, interpersonal, and external. Click to Tweet
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?