Writing a novel or a story is a lot like setting out on an adventure all your own. When you first start out, you’re like the fresh-faced young hero eagerly racing out of his little village of fine comforts and throwing himself headfirst into the glory of the day! 

But, just as it does for our characters, this doesn’t last long. You soon find yourself tired and hungry, and that the trail was much further and steeper than you thought it would be, but you’re committed, and so trudge on you must.

It is only when you open your bleary sleep-deprived eyes and look around somewhere near the midpoint that you realize…

I have no idea where I’m going.

You, my friend, have encountered the Deadly Swamp of Misdirection.

This swamp, the great bane in many writer’s life, is a story killer. (Trust me, I know firsthand.) The graveyard of Unfinished Manuscripts that died here are too many too count, and just like the bog-men of yore, these poor lost souls will haunt you forever if you keep abandoning them in this mire.

So, what can you do?

Grab a Map and Get back on Track

You don’t have to be a cartographer in order to navigate your way out of this swamp. All you need is a basic guide and your own internal story compass. So whether you are currently stuck in this swamp, or have just become too familiar with its waters to dare tread there again, this multi-part series is for you. 

Here, I’ll be taking you through what I have come to view as the fundamental building blocks of (most) stories. First, we’ll be going Back to Basics with the 3-Act Structure & Freytag’s Pyramid, then we’ll be expanding that into two journeys and six stages using Hauge’s system. Next we’ll delve into the Hero’s Journey by Vogler, and finally the Emotional Roller Coaster and Story Diamond by Stan Williams. 

Each of these concepts will build on top of each other until you have a more full and complete understanding of Plot Structure, an understanding to use or turn on its head as you see fit. Because as Pablo Picasso once said, “Learn the rules like a Pro, so you can break them like an Artist.”

What is Plot?

It may seem like a silly question, but what is Plot, anyway? 

Plot can be described as the logical cause & effect relationship between linked events, whereas story is the chronological sequence of events. In E.M. Forster’s Aspects of a Novel, he explained the difference as thus: “The king died and the queen died also” is a story, but “The king died and the queen died of grief” is a plot. Story is only what happened, Plot is also why it happened. Visualize story as beads on a string, one event happening after another, and plot as a chain that connects events to why they happened.

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The One-Sentence Summary is a good place to start seeing the scope of your plot, which can be summed up as a flawed character in a particular setting, facing a problem or challenge, that forces him to take action. Note how there is a cause (the problem) and an effect (the action).

Traditional 3-Act Structure

Most of you will have undoubtedly heard of the 3-Act Structure, and for good reason. This structure has its roots in the ancient Greeks as far back as Aristotle in 350 BC. In his book Poetics he wrote that the unified plot structure required a setup (beginning), a confrontation (middle), and a resolution (end). 

In the beginning, you set up the character’s intent, which is whatever they want but can’t get. According to Aristotle, this is one of two things: happiness or misery. 

In the middle, we have the rising action, which is the result of what happened in the beginning. Remember, plot is all about cause and effect, how the characters act and react to events, and how they change as a result.

In the end, the actions of the middle inevitably lead to the climax and the resolution of the conflict.

Freytag’s Pyramid

Then along came a German writer in the Nineteenth century by the name of Gustav Freytag who mapped the structure he noticed repeated again and again in literary works and expanded on Aristotle’s Triangle, the result? The Freytag Pyramid:

*Freytag originally developed only five levels to his pyramid, but over time two more have been added. 

1.  Introduction, Setup, or “Exposition”:

 *Personally I avoid saying “exposition” so as not to confuse it with the literary technique.

Here we meet the cast and get to know the “regular” world as our protagonist knows it. The exposition/introduction stage presents all the basics of your Plot to the reader, introducing them to the Genre, Setting, Characters, and the basis for his Internal Conflict throughout your story. This is also where you will be establishing the Voice, Mood, Tone, and Atmosphere, as well as the Pacing & Flow within your chosen writing Style. This enables the reader to understand more about the circumstances and the relationships the characters have with one another.

2.  Inciting Incident: 

 Just then, an exciting event happens! We may or may not be aware of the Main Goal or Conflict yet, but some serious Conflict is made clear. Earlier conflicts were still a part of the characters normal world and will likely reflect his internal journey or have been hinting towards this greater event, but it is this incident that peaks the reader’s interest and sets off the chain of events that impels your character forward into unfamiliar territory. 

Some possibilities include:

• Action (A murder, sudden explosion, robbery), 
• Dialogue (Mysterious phone call, old flame comes back), or 
• Situation (suddenly thrust into a situation they can’t handle)

3.  Rising Action:  (Goals, Conflict, Obstacles, and Complications)

Conflict is brewing and tension rises. The Goals and Stakes have been set, the Main Conflict defined. If there is a villain, we’ve met. All of our major players have been introduced and we’re a little more familiar with our surroundings. 

Time to turn it up a notch.

Nothing’s ever easy (certainly not writing a book), and this is the point in the story where the problems intensify and complications arise. Obstacles, barriers, new conflicts and situations come up at the worst of times or right on the cusp of victory and knock them back down.

Victoria Schmidt, the author of Story Structure Architect, defines three of these terms as “Action Points” and categorizes them thusly:

• Barrier: The character attempts a certain action and fails, must change directions or try a new approach in order to overcome. Barrier STOPS the action while character considers what to do
• Complications: Doesn’t pay off right away, creates anticipation in the reader for suspense.
• Ex. Hero is trying to catch a killer when his old flame walks in. Something in the scene tells us something will happen between them, but not yet, and it may just complicate things
• Situations: Schmidt uses an expanded version of Georges Polti’s 36 Dramatic Situations, however, this can be described as any event outside the main goal/objective already stated.

4.  Climax or Finalé:

You’ve climbed the mountain, defeated the guardian at the gate, met the princess, and now, all that’s left is to slay that dragon. The Climax is where you finally have the face-to-face showdown between your hero and villain. This is the quick-paced moment of greatest tension, where the problem is at last resolved and the goal at last accomplished (or in the case of tragedy, the hero fails and leaves the readers reflecting on the character and morals)

5.  Resolution: (Falling Action & Conclusion)

Ah victory at last, but the story’s not over yet! The Resolution contains two parts, the Falling Action and the Final Conclusion, wherein all loose ends are tied up, all sub-plots complete and the Main Character reflects on how he has changed emotionally and mentally. The Theme is reiterated and reinforced and both the character and the readers have learned something in the process.

If a sequel is planned, then it is set up here, but whatever you do, do NOT end on a cliffhanger! Make sure the primary problem has been dealt with in this installment, even if the villain got away or if there’s is a larger group of villains to contend with. Any loose ends left open for the sequel need to be acknowledged so the readers know you haven’t forgotten them, and consider ending on an intriguing incident or question that will leave the readers interested in the next book. 

Tune in next time for Michael Hauge's Two Journeys and Six Stages!

If you're anything like me, then the first thing you look for when you pick up a book is a good character to connect with. Someone to relate to, to share experiences with. Someone… to believe in. 

But how to you create such a character as a writer? 

Now bear in mind that I don’t just mean a believable person, that’s a start of course, but this goes beyond making sure your characters are well-balanced between their talents and their faults. What I mean is, a character to root for, whose cause and internal quest makes us believe in him, in his ability to overcome his own demons and so save the day in the wider world. 

This might seem like an impossible task for the beginner. I’m essentially asking you to deliver your theme through your character, but don’t worry, I’ll walk you through it.

What does this have to do with Building a Character?

EVERYTHING! 

Humans are moral beings. That doesn’t mean we always act morally, it means we speak in the language of morality. We innately have a sense of right and wrong and have long since used these insights in order to enforce standards of peace within a society. Even those that outright reject moral teachings or prefer moral ambiguity still tailor their message in opposition with a certain set of morals in mind. Regardless of your message, understanding the importance of stating it from a moral standpoint will deliver it with greater efficiency and emotional resonance than anything else. 

The Tale of Two Journeys

Throughout your story, this character you build will be experiencing two journeys. The outer one, where he is fighting space aliens, or saving a princess, or just trying to stave off starvation, but there is also an inner one. Where the events of the story slowly changes his inner worldview. While following the tips in this article and the resources it cites will get you a well-balanced character, adding this extra sense of morality will prepare you for your character’s inner journey (also known as the character arc), and for pinning down your theme (according to the Moral Premise by Stan Williams). So keep it in the back of your mind and remember, when your character really believes in something, we have something to root for. When your character has nothing to believe in (but will gain something later on), we can sense what he’s lacking and we beg for it to return. But only if you write it that way.

Of Vice & Virtue 

So, at the heart of your character is morality, and that morality is expressed and denied in the form of attributes and flaws. This is how you build a believable character. What sets this system apart is among your attributes you will choose one true Virtue and of your flaws, one true Vice. These must be diametrically opposed, and truthfully you’ll probably have a few to start with before you whittle it down to just the one. This will be the foundation for your Moral Premise and the main focus of your character’s inner change. 

The Virtue is the Moral Imperative for your character, though he may not yet realize what it is or how important it is to him. The Vice is the Fatal Flaw that directly violates this moral principle, and is how he is living at the beginning of the story. He may be knowingly living against this Virtue, in denial that it exists or is important, or ignorant of it entirely. Throughout the story this struggle represents the hero’s inner journey as he works to overcome this Fatal Flaw. (Note: If your character rejects this change and his Virtue, then your story is a Tragedy and will end poorly for him).

Here are some examples:

VICE: Selfishness, Cowardice, Doubt, Dishonor, Pride, Greed, Wrath, Hatred

VIRTUE: Self-Sacrifice, Courage, Faith, Honor, Humility, Generosity, Patience, Forgiveness

So what are attributes and flaws? How do they develop?

Attributes & Flaws

Well, according to two of my favorite writer’s resources, The Positive and the Negative Trait Thesauruses by Angela Ackerman and Becca Puglisi from WritersHelpingWriters.net, all traits, whether positive, negative, or completely neutral, are the result of upbringing, genetics, physical environment and past experiences both good and bad, and serve to satisfy your character’s basic needs and wants according to this moral code.

 In these books, they describe flaws as traits that hinder a character’s development and advancement in the story, that damages relationships, and tend toward being self-serving (Ex. Jealousy or a Controlling nature). If a flaw does help advance the story, it comes at a cost. Attributes aid the character’s personal growth and achievement throughout the story, often enhancing relationships, and focusing on others rather than on oneself. Finally, there are neutral traits that don’t fit in either or category. They may not advance goals but they allow for further self-discovery. (Ex. introverted, extroverted, flirtatious). It should also be noted that an attribute can sometimes be a weakness if exploited, and that a flaw can be used to attain some achievement, but at a cost.)

Categories of Attributes

The Positive Trait Thesaurus uses four categories for their attributes. These are Moral, Achievement, Interactive, and Identity. Remember, you may have multiple Moral Attributes, but the goal is to eventually choose one Virtue that will determine your Moral Premise and Inner Journey. You may also have traits that belong in multiple categories.

• Moral Attributes: Traits related to the belief in right & wrong. Ex. kindness, honor, justice, honesty, etc. 
• What defines this person at their core, even if they deny it?

• Achievement Attributes: Aligns with Morality, but bolsters achievement and advancement. Ex. If a person sees responsibility as a Moral Imperative, then they would develop things like meticulousness, dependability, organization to support that morality. 
• What traits do they actively use to their advantage against obstacles? 
• How do they reach their goals? 
• What Methods do they use?

• Interactive Attributes: Emerge through experiences, surroundings and social interactions. Based more on personal preference than others. Most populous category in the thesaurus. A character that hates conflict might be friendly or introverted to avoid it, humor can be used to deflect serious situations. 
• How do they act in conversation? 
• How are they perceived by others (correctly or not)?

• Identity Attributes: Promote greater sense of personal identity, often results in personal expression. Ex. Creativity and quirkiness. Can also be foundational if it isn’t quite their moral imperative. Ex. Spirituality, patriotism, etc.
• How do they WANT others to see them? How do they see themselves (honest or not)?

NOTE: 

• I apply these same categories to flaws just to better understand them. The categories would be Immoral Flaws, Obstructive Flaws, Interactive Flaws, and Identity Flaws.
• Immoral Flaws: Violates the Moral Attributes
• Obstructive Flaws: Gets in the way and causes problems rather than solutions
• Interactive Flaws: Cause particular tension in social situations
• Identity Flaws: Mar the character’s sense of self or other people’s view of them, fairly or not.

Hierarchy of Flaws 

Where does this Fatal Flaw, this terrible Vice, come from? Well, it usually comes from a negative past experience called The Wound. The Wound happened before the story began, and is usually addressed during the Inner Journey. It’s something he must accept or own up to if he wants to succeed in the main plot. In the Negative Trait Thesaurus, this is expressed as a pyramid, each category stemming from the one above it. 

• The Wound: The Backstory event that made them adopt the lie and their outlook on life? What trauma caused this unbalanced state at the beginning?

• The Lie: This is the Lie that the character tells themselves, the one they must overcome. Is connected with their primary need. (See Appendix A in the Negative Thesaurus)

• Core Flaws: (Fatal Flaw, Vice) The one great Vice that continually causes failure. Must be addressed to complete the inner journey. Must be diametrically opposed to the one great Virtue they are denying. Also, includes other major flaws that usually stem from this one.

• Lesser Flaws: Stem from Core Flaws

• Behaviors, Thoughts, Actions, Quirks

 Now that you have a basic understanding of Attributes & Flaws, the next step is to use these elements in the Reverse Backstory Tool (Coming Soon) in order to build your character from the inside out. 

What systems or methods do you use to build characters? What are your favorite kinds of characters? Comment below!

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Working with realistic psychological disorders in your story? Try The Writer’s Guide to Psychology, written by Caroline Kaufman PysD., the same psychologist that wrote the foreword for the Negative Trait Thesaurus.

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How to effortlessly define your Plot in a single sentence

 (Originally taken from Caroline Norrington’s Scrivener Template)

The one sentence summary is your novel’s dramatic question in a nutshell. If you develop your story through the 'snowflake method’ it is the starting point, while I’ve actually never used it, I still believe it's one of the first things you should do as soon as you've gotten together your key concepts. It is also a useful tool for writing your synopsis, query letters, and pitching to agents. It gives you something to focus your plot development around and simply crystallizes it in a way that throwing some key concepts together does not.

There are four key ingredients your sentence summary should contain (to which I have added on):

- Your main character(s) [C]

- In a particular setting [S]

- Inciting incident/catalyst (Optional) [I]

- Has a problem / challenge (Conflict/Antagonist) [P], [A]

- And commits to an action as a result. (Visible Goals & Visceral Stakes) [Ac], [G], [Stk]

- Driving Question [DQ] (Optional)

Putting these elements together should hint at the scope of your story. The action your main character takes does not have to explain how the story resolves, but should rather focus on the kind of activity that will form the bulk of your story.  Also note that your main character is not described by name or physical appearance, but rather in terms of key characteristics. (Coming Soon! Building Better Characters: Attributes, Flaws, The Wound, and The Lie).

Examples:

• As revolution unfolds in a Dickensian city [S], a young woman with extraordinary mathematical abilities [C] must protect those she loves [P] and so becomes a spy, then a double agent [Ac].
• A philandering geologist and his wife [C] struggle to survive [Ac]  a Siberian winter night [S] when their car breaks down in the middle of nowhere [P].
• A group of teenage nerds [C] challenge themselves to lose their virginity [P] before the end of High School [S] and take awkward but hilarious steps to do so [Ac].

My One Sentence Summary: 

In the post-apocalyptic Wasteland of the Commonwealth [S], a disgraced Knight of the Brotherhood [C] discovers the daughter of a Pre-War scientist [I] who tells him of a secret vault project [P] sought after by the evil Order of the Algorithm [A], and so they must follow the clues her father left behind [Ac, G] and discover the truth behind Project Omega and the Apocalypse [G, DQ] before the Order destroys everything [Stk].

Expand into a Plot Summary 

Write Two Versions: One for your readers & One for Yourself

When writing your Plot summary, you’ll be making two versions, and you’ll likely be refining it as your story becomes more developed. 

The first will be the basic book jacket version for your readers. This is based directly off of the One Sentence Summary and doesn’t require you to have all the steps of your plot figured out, or the answers to your questions. Save that for later. 

 Remember, in this version, you are persuading the reader to buy your book. This is a sales pitch and the first thing a potential reader does is turn to the Book Jacket Blurb. If they like what they read, they will then turn to the first couple of paragraphs after that. You only have about 10 seconds to grab the reader’s attention here, just the first paragraph so you have to Hook them right away. This is why your Opening Line is the most important as it sets the entire tone of your work. Just a note, some people will actually skip past the prologue assuming they will be a boring info dump and will go straight to Chapter 1, to see if it’s worth just in case. So just make sure to sell your novel here as well if you utilize a prologue. (Coming Soon! How to effectively use a prologue: Only 10 seconds to Hook, Line, and Sinker.)

Here are a couple tips for your synopsis:

• Frame it from an emotional and thematic perspective. 
• Hit all the major points set out in your One Sentence summary. 
• Briefly describe protagonists Original World/State (Coming Soon! The Great Monomyth: The Hero’s Journey).
• Set up the Conflict, the Catalyst, Discovery of main Plot, Establish Reward & Stakes, Antagonist & Threats.

My Book Jacket Synopsis:

War.

War never changes.

More than two hundred years after the end of the world, and Jacob Burns knows this better than anyone. Once a decorated Knight of the Brotherhood, he now lives in disgrace among the scavengers of Goodneighbor. Ever since the Brotherhood had fallen, he’d been a wanted man. Wanted by Diamond City, by the Minutemen, and most of all… by his own kin who called him traitor.

But Jacob’s luck is about to turn when he unearths a young woman named Ilya Astor, frozen in time since before the Great War. He discovers her father was a high ranking scientist who had worked on a top secret project known as “Project Omega”, said to be humanity's last great hope.

But they are not the only ones searching for this great treasure. A shadow hangs over the Commonwealth as an ancient and mysterious society known only as the “Order of the Algorithm” returns. Jacob and Ilya must follow the clues left by her father and uncover the truth behind Project Omega before the insidious Order destroys all that is left in this world.

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In the full version, you would include as much as you know about your various plots at the beginning, middle, and end stages. This version I will go into in full at a later date. In it, you will describe all the answers to the major questions you pose, and end with the ending line, which I based on my moral premise (Coming Soon: The Morally Imperative Premise: More Than a Theme, Cut to the Very Heart of your Story with this One Easy Trick).

So, what does your One Sentence Summary look like? How about your Plot Summary? Leave yours in the comments below!