Writing From Scratch #9

Writing from Scratch #9

Complex Plots, Part 2: Modifying Plots

The second way we’ll try complicating a plot is through plot modifiers. This happens when a try-fail cycle not only furthers the solution of one plot-problem but spawns a new plot-problem. What these plots actually modify are the stakes. They can give far-off worst-case scenarios more immediacy, which is what the plot analysis we’ll be getting into today does. Or they can show clear examples of what’s at stake for more abstract cases (think of Gollum in The Lord of the Rings clarifies our fears for what could happen to Frodo).

How does this work? Let’s look back at the plot analysis I did for The Expanse, Season 1 Episode 2, “The Big Empty.” A brief recap:

The Background: The Knight, a small, rickety life-boat sized spaceship with 5 survivors is all that’s left of the Canterbury after an attack on the larger vessel.

The Problem: The Knight’s radio is dead.

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Writing from Scratch #8

Now that we have gone over the four simple plot-problems (1, 2, 3, 4) and how they are solved through try-fail cycles, we’ll take a look at how to make complex, compound, and compound-complex plots through the same devices as sentence creation.

The first way we’ll try complicating a plot is by making the solution of the first noted plot-problem dependent on the solution of a second plot-problem, which stands in for easy solution prevention. We’re typically going to use dependent plots to strengthen audience satisfaction when the character is finally able to succeed. Or, like in the case-study we’ll look at today, they can be used to draw what appeared to be disparate plots together in longer works.

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Writing from Scratch #9

Complex Plots, Part 2: Modifying Plots

The second way we’ll try complicating a plot is through plot modifiers. This happens when a try-fail cycle not only furthers the solution of one plot-problem but spawns a new plot-problem. What these plots actually modify are the stakes. They can give far-off worst-case scenarios more immediacy, which is what the plot analysis we’ll be getting into today does. Or they can show clear examples of what’s at stake for more abstract cases (think of Gollum in The Lord of the Rings clarifies our fears for what could happen to Frodo).

How does this work? Let’s look back at the plot analysis I did for The Expanse, Season 1 Episode 2, “The Big Empty.” A brief recap:

The Background: The Knight, a small, rickety life-boat sized spaceship with 5 survivors is all that’s left of the Canterbury after an attack on the larger vessel.

The Problem: The Knight’s radio is dead.

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Writing from Scratch #8: Complex Plots, Part 1

Complex Plots, Part 1: Dependency

Now that we have gone over the four simple plot-problems (1, 2, 3, 4) and how they are solved through try-fail cycles, we’ll take a look at how to make complex, compound, and compound-complex plots through the same devices as sentence creation.

The first way we’ll try complicating a plot is by making the solution of the first noted plot-problem dependent on the solution of a second plot-problem, which stands in for easy solution prevention. We’re typically going to use dependent plots to strengthen audience satisfaction when the character is finally able to succeed. Or, like in the case-study we’ll look at today, they can be used to draw what appeared to be disparate plots together in longer works.

Let’s look at an example from Harry Potter and the Prisoner of Azkaban, Chapter Seventeen, “Cat, Rat, and Dog.”

The first plot-problem to arise an Event. Ron has been tackled by a large black dog that has been stalking Harry all school year and dragged underground. Harry succinctly gives the stakes as, “That thing’s big enough to eat him; we haven’t got time.” And what’s preventing them from going directly after Ron to save him is the Whomping Willow, which triggers an Inquiry plot – How does one get past the Whomping Willow to the tunnel?

First Harry tries to dodge through. He’s unable to get to the tunnel entrances and is thrashed by the branches for his trouble.

Then, Crookshanks appears and places his paw on a knot on the Whomping Willow’s trunk, which temporarily stills the whomping. This answers the question, and Harry and Hermione take the opportunity to dash beneath the stilled branches and into the tunnel.

Now, we return to the Event plot; Harry and Hermione will try to reestablish the status quo by rescuing Ron from the dog. If you’ve read the book, you know how that try-fail cycle continues on.

As we begin to add plots together in various ways, it is always important to remember that the plot-solutions should come in reverse order to the introductions of the plot-problems. The first plot problem introduced should be the last one solved (even when they are right on top of each other).

We’re going to continue with writing flash fiction. Using the Eighteen Sentence Story breakdown, we’ll expand just a little out from there. In the two sentences introducing the plot-problem, you’ll create a second plot-problem to prevent the first from being solved easily. Add 5-10 sentences for a try-fail cycle and plot solution to this second plot-problem, and then continue with the 5 sentence try-fail, 5 sentence solution, and 3 sentence wrap-up for the original plot-problem.

Prompt: write a flash fiction with a Milieu plot involving a treasure hunt; complicate the Milieu plot by first requiring an Inquiry plot answering “where” before moving onto the Milieu plot solution.

This was first published in July 2020, and I’ve written much more since on my website theferalcollection.com

Writing from Scratch #6: The Character Plot

The Character Plot

The problem of a Character plot involves a character’s worldview – their beliefs, values, desires, and fears. Many but not all stories include a Character plot, often called a character arc, in which a character’s worldview shifts. A Character plot is entirely concerned with the internal state of the character in question and as such is rarely seen on its own. When it is on its own, as it is in “Miss Brill” by Katherine Mansfield, you can end up with an extraordinary story.

Because a Character plot is entirely internal, the try-fail cycles don’t work out exactly the same as they do when dealing with an external/physical problem and solution; they are also up for interpretation by the reader when done subtly and beautifully as in “Miss Brill.” Character plot try-fails are often not even done intentionally as typically the character does not realize a change in the worldview needs to occur. So, read “Miss Brill” (it’s short, less than 2,000 words) and try for yourself to determine the problem – it’s not stated directly – and identify the try-fails. After, you can read over my interpretation, please let me know in the comments how our thoughts compare!

The Problem of Miss Brill’s Worldview: Miss Brill is incredibly lonely, and she doesn’t realize or acknowledge it.

First Try: Miss Brill cleans up and puts on her fox fur. Fail: Yes, Miss Brill recognizes for a brief moment that she is sad, but she doesn’t realize why and puts it out of her mind.

Second Try: She sits on her regular bench in the park and tries to eavesdrop on the old couple sitting nearby. Fail: No, the old couple don’t speak, and Miss Brill doesn’t attempt to interact.

Third Try: Miss Brill people watches everyone in the park. Fail: Yes, she sees the other older men and women sitting alone and still as statues around the park watching everyone else, but she doesn’t see that she herself is one of those people.

Fourth Try: Miss Brill watches the woman in ermine. Fail: No, she completely misses the similarity between herself and woman, and the woman in ermine is more determined to take action than Miss Brill.

Fifth Try: Miss Brill loses herself in a fantasy about everyone in the park, including herself, being a part of a play or performance. Fail: No, she clearly overestimates her importance, believing that everyone would miss her if she failed to show up on Sunday afternoon, and although she fantasizes that they have reached some common enlightenment or understanding, she doesn’t know what that understanding is.

Final Try: Miss Brill eavesdrops on the young couple. Solution: No, Miss Brill feels lonelier than ever, but she still won’t acknowledge it.

Prompt: write a flash fiction with a Character in which the plot-problem is the worldview “asking for help is a sign of weakness” and the plot-solution is the worldview “asking for help is a sign of strength.” Remember to keep the focus on the internal state of the character even as the character takes external actions. You’ll decide on the character, the setting, and the genre, as well as what are the stakes if the worldview doesn’t change and what is preventing the change from happening immediately.

Want more? This is just one of over 80 posts on my website theferalcollection.com/writing-from-scratch

Writing from Scratch #4

The Milieu Plot

The problem of the milieu plot involves a problem of location or setting. The character is often either in a place they need/want to escape from or not in the specific place they need/want to be in. The try-fail cycles will involve traveling away from or to the location. Gulliver’s Travels, The Great Escape, and The Hobbit contain milieu plots.

The Lord of the Rings contains one very large milieu – the problem of getting the One Ring from the Shire where its been hidden for a number of years to Mordor where it can finally be destroyed. We can further break this down into smaller milieu plots. Let’s look at one: the problem of crossing the Misty Mountains. (And we’ll use the events as they occur in the movie, since more people have watched that than read the book)

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