Category: plot

An idea struck me the other day, and I realized I haven’t talked about it here in a while so I thought I’d go over it again.  And, as usual, the best way to do that is with a story.

I talked last summer about moving and getting rid of a ton of old Warhammer figures.  I’d built and painted a lot of them.  Some of them were classic figs from twenty-odd years ago.  A few of them were honestly kind of beautiful, in their own way.  A couple were still sealed in the original package.

So I saved a few, maybe six or seven, that I thought I may use someday.  Or just really liked a lot.  The rest… got traded in for store credit.

But here’s the thing.  With them gone, my shelves became a lot cleaner and neater.  And I got a lot better with my hobby time.  I could find things much faster, which meant I was getting more done.   It sounds really straightforward, but getting rid of the clutter that wasn’t doing anything made my hobby much better.

I think this holds for stories, too.  As writers, we like to think the only limit is our imaginations.  But we’re still dealing with other restrictions.  The size of my manuscript.  The size of my cast of characters.  The patience of my readers. If someone’s going to take up space in my story, there needs to be a reason for them to be there.

An example I’ve given before is Guido, the super-strong mutant from X-Factor.  Guido was a fun-loving, John Lennon-sunglasses-wearing guy who made the “gorilla body” physique popular years before Luther in The Umbrella Academy.  Also, as I understand it, now he’s dead and one of the lords of Hell or something like that, because who wants fun-loving characters around when we could have drama, right? Or maybe he’s alive again.  I lost track.

Anyway…

When Guido made his debut with X-Factor at a press conference, one of the reporters called out “He must be the strong guy!  Every group’s got a strong guy!”  Which led Guido to start calling himself Strong Guy from that point on, but also drew attention to the point that… well, yeah.  Every group does have a strong guy.  Because in the stories most superhero comics lean towards, a strong guy is very handy to have around.  There’s a reason to have them on the team and in the story.

In stories, we sometimes end up with characters that don’t serve a purpose.  Perhaps they’ve got a fantastic voice or a really clever description.  Maybe they’re a kind of character that doesn’t get seen a lot.  Maybe I came up with the idea for them in the shower and just really like how they turned out.

But if they’re not really doing anything to advance the plot or the story… I should probably get rid of them.

Before anyone goes nuts, I admit this is a bit of a broad statement.  There are going to be lots of characters in any story, and some of them are going to have a minimal-at-best effect on the outcome.  The guy serving our food.  That woman guarding the armory.  The fourth person to die in the battle.

Thing is, though, I shouldn’t be putting a lot of effort into someone who isn’t actually going to be doing anything.  All my characters should be propelling the plot and/ or story forward.  If they’re just standing around not really doing much… well, why would I spend a lot of effort on them?  Why give them a name and a backstory and a detailed physical description if all they’re going to do is walk up to the table and drop off three drinks?

This brings me nicely to a potential exception to this statement.  Sometimes we just run into someone interesting.  That one person who stands out because of their wild wardrobe or random pearls of wisdom or… heck, I don’t know, maybe they’re just funny and flirting a lot.  It’s not that uncommon to have this sort of chance, memorable encounter.  Think of the bit player in a movie who stands out in a scene just as much as the main character. Sure they exist, and we all love to encounter them in a story.  Sometimes the reason to be there can just be “this is really cool.”

However…

If I’ve got three or four or more characters like this, that’s starting to really cut into my page count.  At just three or four pages per encounter, that’s twelve or sixteen pages of my manuscript that have nothing to do with my story.  It adds up quick.  This is me deciding I’ll keep a few of those little toy soldiers, but just the special ones, and the ones that look good, and the ones that have fond memories, and the rare ones,  and suddenly I’ve put a hundred of them back on the shelf.

If I’m one of those writers who tries to make every single character special… well, there’s a good chance people are going to start getting frustrated with my lack of focus.

Y’see, Timmy, it keeps coming back to that idea of clutter.  Things getting in the way and slowing us down.  It’s okay to a small extent, but once it hits a certain point… we just have to stop everything.  And the people we’re trying to impress with it…  they’ll probably get annoyed with me.  Or flee in terror and call one of those hoarders shows.  Or the literary equivalent of one, I guess.

I may have some of the coolest, rarest, most beautiful characters out there.  But if they’re not really doing anything, I should maybe at least consider getting rid of them.

Speaking of which, next time…

Well, I’m starting a new book, and we haven’t talked about that whole process in a while.  So maybe I’ll talk a bit about drafts.  Unless one of you has something else you’d rather hear about?

Until then… go write.

            Day late.  Sorry.  Still recovering from the move.  It’s just this sort of ongoing project…

            Anyway, an idea crossed my mind recently and—after batting it around for a bit—I thought it might be worth sharing with all of you.

            A while back I talked a bit about a certain type of character—the chosen one.  That lucky person pretty much preordained for a great destiny.  Sometimes literally preordained.  Ancient scrolls and prophecies aren’t that uncommon, although there are also legendary parents and preternatural skills to take into account.

            The most common beginning for such a story is, after a chapter or two establishing their completely normal and mundane life, somebody shows up to collect said chosen one and whisk them off to that amazing destiny we were just talking about.

            And that’s kinda the bit I want to talk about.

            I think it’s very important to note that our chosen one’s story doesn’t begin because of some overwhelming threat.  It’s almost always for simpler reasons.  They’re finally the right age.  They found the hidden room.  They inherited that special book or locket or sword.
            You might be able to find an exception to this rule, sure, but let’s go over a few popular examples…

            Buffy Summers doesn’t receive her Slayer calling because the Master is rising in Sunnydale—the last Slayer died and she inherited the power.  That’s it.

            Harry Potter isn’t brought to Hogwarts to fight Voldemort—he’s only brought cause it’s his birthday and he’s old enough to start classes.

            Katniss doesn’t take her sister’s place to become the symbol of the resistance—she just happens to be successful in the Hunger Games in the right way at the right time.

            Luke doesn’t join the Rebellion to blow up the Death Star.

            Rey didn’t join the resistance to fight Kylo Ren.

            Jay didn’t join the MIB to stop an Arcturian Battle Cruiser.

            I think the reason for this is that if X is this overwhelming threat… all these training montages and bonding moments are going to seem like a horrible waste of time.  “Wow, Phoebe’s the chosen one—the one who was foreseen—who will save us from the murderous threat of the Yakkonator.  Even now it closes in on our city of three million people, ready to drain their blood and harvest their souls. But first… you need to practice your footwork for a few days.  Also, you and Wakko need to figure out how to be better partners—in every sense.  Focus on that for a bit.”
            One of the big tricks to a successful chosen one story is that it’s really two parallel stories.  It’s about Phoebe discovering her destiny/parentage/abilities, yeah, but it’s also about our heroes discovering, oh, crap, it looks like the Yakkonator is waking up now, not in 2021.

            These threads need to stay separate so they can each develop on their own.  Phoebe needs that time to train and grow as a character, because if all we need to do is toss a nineteen year old Banana Republic clerk in front of the Yakkonator—trained or not—to fulfill her destiny, then the Yakkonator isn’t much of a threat, is it? And if she absolutely needs training but the Sacred Order of Antiyakkination waited until the last possible minute to bring her into the fold… seriously, what’s wrong with these guys?  If you’re trying to fit six years of training into six days, maybe you just could’ve started six years ago?  These people just look stupid now.  And if she needs those years of training but pulls it off in days… well, aren’t we back at that first example again?

            So when I’m plotting out a great destiny to for my chosen one, I need to remember not to tie them immediately to that destiny.  Give them space to grow.  Maybe not hit them up with that ultimate evil in the first hour or two.

            Everyone’ll have more fun with it that way.

            Next time, I’d like to encourage you to take a few deep breaths.

            Until then… go write.

            This title might sound familiar, but I’m going to blab about something a little different this week.

            Also I may be using the words “narrative” or “tale’” a lot this week, just to cut down on confusion.  You’ll see why as I go on.  Trust me, it’s easier this way.

            I’ve talked about plot and story here a few times.  You may remember the idea that plot is what takes place outsidemy character, story is what takes place inside my character.  Plot affects the world while story affects my character.

            I’d like to add to that a bit…

            I was writing up a post a few weeks ago and found myself second-guessing a statement I made. Paraphrasing, I said that everything my character does, the decisions they make, the actions they take, is plot.  And I pondered that for a few minutes, then even discussed it with my special lady-friend. After all, aren’t there decisions that fall under story?  Aren’t their actions that could be considered part of the story?

            Maybe not…

            I think story tends to be a bit more passive than plot.  While plot results from a character’s decisions and actions, story tends to develop from their experiences and observations.  Plot develops from what they’re doing, story develops from what’s done to them.  Story is character development, their arc.

            No one decides to fall in love, or to learn to trust again, or to shift their political views.  There’s no single moment where Ebenezer Scrooge decides to give up his miserly ways and be a better person.  We may come to realize these things have happened, but that’s after the fact.  The change kinda happened on its own as we were exposed to new facts and new situations.  Simple truth is… we rarely change by choice.

             Even if I have a narrative where someone doesmake an active decision to trust again, that usually isn’t their story.  Think of any successful tale where someone makes an active decision to change—the end lesson they learn, their big realization, is almost never about that change.  If I decide to lose fifty pounds, I’ll find out I do have the willpower to do this.  Or that ultimately looks aren’t as important as happiness, and Phoebe’s really shallow for thinking otherwise.  Or that I secretly have pyrokinetic powers which have been activated by the sudden metabolic increase in calorie-burning.

            But a narrative where I decide to lose fifty pounds and then I just lose fifty pounds?  That sounds boring as hell, doesn’t it?

            There’s a good phrase to remember, and I’ve already used it a few times– “…comes to realize…”  If I’m using this, I’m implying something already happened and my character’s kinda getting caught up. A lot of the time, when I’m talking about Phoebe coming to realize she’s hated her job for years or Wakko coming to realize he’s been pursuing the sexy nurse when he’s really in love with Phoebe… that’s a huge part of their arc.  That’s their story.

            Yes, Batman can also come to realize the Riddler’s been behind this all along. That’s a different kind of realization.  Don’t get pedantic on me.

            And it honestly just hit me while I was writing that Batman joke, this might be why so many “story” heavy narratives end up feeling a bit shallow.  To me, anyway.  If I accept that story develops from things happening to my character—that this is where their arc comes from—then how can they have a story without a plot?  If today’s just another day in my characters life where nothing different happens… why would they change?  And any change that did happen to them would feel really unmotivated because…well, there’s no motivation for it. Because there’s no plot.

            So when I’m trying to find that plot-story balance in my work, maybe I should keep this aspect of it in mind.  My character can do things to affect plot… but the plot needs to have an effect on the story, too. Despite the title of this little rant, it’s not really plot vs. story, so much as it is the two of them in this sort of mutually-symbiotic relationship where they feed off each other and grow stronger together.

            Next time… I’d like to talk about horses.

            Until then, go write.

            Okay, I don’t have a ton of time this week because I’m trying to get a draft done.  Had a great time at WonderCon last weekend (thank you all for coming out), but I probably did a lot more prep than I needed to and lost some time.  So this one’s on me.

            Anyway…

            I’ve been trying to read a lot more this year. Combined with my usual Saturday geekery movies, it means I’ve been digesting a lot of stories.  And I’ve noticed a bit of a recurring problem.

            In a lot of stories, we’ll see characters do cool things or have bit s of mysterious dialogue… but it’s kinda hollow.  There’s nothing behind them.  No inspiration or motive or…anything.  It’s just action for the sake of action.  Being cool or mysterious with no motivation except to try to be a little bit cool or mysterious. The story progresses and we never find out why these things happened.

            I mean, I can guess why they happened.  The writer or storyteller saw this moment in another story and tried to transplant it.  But they only transported the moment itself—not all the other elements in the story that support it.

            If I’ve got a completed story—mine or someone else’s—here are three questions I should ask myself.

What is my character trying to do?

Why are they doing it?

How are they trying to do it?

            I should be able to give an answer for all three of these, for any character in my story.  And I can ask these questions at any time.  Right at the start.  Top of the second act. Just as we roll into the third act. At any point in the story, it should be clear to me (the writer) what the character wants to achieve, why they’re doing this, and what they’re doing to accomplish that goal.

            And I may not always get the same answer.  What Dot is trying to do in the first 50 pages of my vampire kaiju novel may not be what she’s trying to do in the last 50 pages.  In fact, it probably won’t be.  It’s extremely common for goals to shift during the course of a story as my character learns new things.

            But there should always be an answer to these questions.  There needs to be.  If I can’t come up with an answer, it means my character is doing something unmotivated at best. At the worst, they’re not doing anything.

            Not only that, once someone’s gone through the whole story as a reader, they should be able to see the evidence of the answers in the story.  Once I know that Wakko’s trying to hide the fact that he murdered his brother, his actions in previous scenes should line up with this. Even if I didn’t understand his motives for doing something then, they should be very clear the second time through.

            Even before that, though, there should be some sense of why my character is acting this way or that.  Most readers aren’t going to sit through 200 pages of “just trust me.”  We need to have some sense of what the answers to those questions might be, even if it later turns out we completely misinterpreted them.

            Y’see, Timmy, there’s another way to think of these three questions. They’re my plot.  If my character has no reason for doing the things they do, or doesn’t do anything… maybe my story doesn’t have a plot.

            Flip through your story. Ask those three questions.  And hopefully… you’ll have the answers.

            Next time… it’s that time again.  Yeah, ewe know what I’m talking abut….

            Until then… go write.