Showing posts with label plot points. Show all posts
Showing posts with label plot points. Show all posts

Wednesday, November 14, 2012

The Question Is...

By Mandy Houk

As a creative writing teacher and frequent conference and workshop attendee, I’ve seen my share of character interviews. You know the ones I’m talking about:

“What is your favorite tv show?”
“Are you an only child?”
“What was your most embarrassing moment?”
“Do you floss?”

I don’t mean to be flippant--I actually enjoy character interviews. I use them with my classes, and I use them with my own characters. I don’t necessarily answer each and every question, but I do use the questions that I find helpful and intriguing.

Sometimes the questions trigger ideas for new plot points, or even new characters that lead to huge complications (aka: story). “Recall your scariest childhood memory” resulted in the creation of a horrible playground bully that impacted the lives of not just my main character, but two other major characters, as well. (Side note: in my scary childhood memory, kumquats played a major role. Since it’s difficult to sell kumquats as frightening, in my story they morphed into rocks and unripe pine cones. Behold the power of fiction.)

Sometimes the answers to character interview questions are just fun. They allow me to see my character a little more clearly, even if the details don’t make it into the manuscript. “What’s your biggest pet peeve?” or “Are you ticklish?”

There’s something about knowing the useless details about a character that makes them feel more like a real, tangible individual, at least in my mind. How many useless details do you know about your best friend? Your spouse? Your mom? Details foster familiarity, and familiarity is never a bad thing to foster between an author and a character.

When I’m aiming to get to the heart of things, though, I have two go-to questions, each with natural follow-ups. These questions allow me to see to the core of my characters, and to determine exactly what type of torture to put them through so that their natures are revealed, or their hearts are changed.

1. What is your greatest fear?
            a. What, if anything, would cause you to willingly face that fear?
            b. If there’s no answer to “a”, why not?

2. What is your deepest desire?
            a. Is there anyone/anything for whom/which you’d sacrifice that desire?
            b. If there’s no answer to “a”, why not?

My protagonist’s answers to these questions changed everything for him and for my book. Normally, he’s rock-steady, which makes him infinitely lovable, just not exactly scintillating. But these questions revealed his triggers (hint: he didn’t need to answer ‘b’ on either one), which helped me identify exactly what had to happen in my book to force him to do something bold, something dangerous.

In a completely different way, my antagonist pretty much laughed at both of the ‘a’ questions. And his answers to ‘b’ helped me define exactly how he would react to all the actions of my protagonist and other characters.

In short, I went from a story concept with characters that I felt I knew, and knew I loved, to an actual story, with conflict and tension and believable (I hope) resolution. Not bad for a couple of questions, right?

Try these questions out for yourself and see what happens. And, as with any interview questions, tweak them to your liking.


About the Writer:  Mandy Brown Houk is a freelance writer and editor, and she teaches at a small private high school in Old Colorado City. She's written for several magazines and anthologies, and has completed two novels--only one of which is worthy of the light of day. Mandy's work is represented by Sally LaVenture at Warner Literary Group. Her web site is www.mandybrownhouk.com.

Monday, November 12, 2012

Story Tips #2 - Three Act Structure

By Jax Hunter

Welcome to the second installment of Story Tips From the Big Screen.  This monthly column (to be posted the second Monday of each month) explores screen writing techniques that will help fiction writers tell a better story. 

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Did I wear you all out last month?  I hope not.  This month, I promise to be a bit more reasonable. 

Screenwriters learn early on that most screenplays are based on three act structure, a paradigm that goes back to Aristotle’s Poetics, written in 350 B.C.

The simplest restatement of three act structure is: Beginning, Middle and End.

There’s a saying found in many screenwriting sources that is variously credited to many different people.  “In Act I, you get your hero up a tree.  In Act II, you throw rocks at him.  In Act III, you get him out of the tree.”  We’ll look in greater detail at these three steps.  The rule of thumb in screenwriting, though, is that Act I is 25% of your play, Act II is 50%, and Act III is 25%.

Up a Tree:  
Act I gets your reader involved with your story, with your characters.  You use this section to introduce your characters, the setting, the goal and the obstacle.  Halfway through Act I, your protagonist will face or take on a problem.  Act I ends with the first plot point.

Plot points are defined by Syd Field (Screenwriting Workbook) as “an incident, episode, or event that ‘hooks’ into the action and spins it around into another direction.  It can be anything: a shot, a speech, a scene, a sequence, an action, anything that moves the story forward.”  It’s the first plot twist, the first real complication.   In the movie Braveheart, it’s the moment that Murron, our hero’s wife, is murdered.  Now the obstacle/problem becomes personal -  it is invested with real emotion.

Throw Rocks:
Act II heightens the emotional commitment to the story, both for the characters and for the reader.  In Act II,  you complicate everything.  This section has a pattern of rising action, each complication getting more threatening to the protagonist.  Along the way, our hero has more and more to lose.

Act II ends with the hero apparently defeated.  This is the black moment.  All is lost.

C’mon down, hero: 
In Act III we start from the darkest point - where all is lost and the hero makes a last ditch effort to get to his goal.  This is the final push to the climax.  The showdown.  Finally, the resolution brings a satisfactory end to the reader, even if it doesn’t bring the same to our hero.  In romances, the hero and heroine end up together.  In mystery and suspense, the good guy figures out who the bad guy is and, ultimately, defeats him.

Stuart Voytilla, in his book Myth and the Movies (closely related to Vogler’s Writer’s Journey) suggests that Acts I and III occur in the hero’s Ordinary World while Act II takes place in the Special World.
Dramatica Software’s manual describes the acts as journeys.  Act I takes the hero from the starting point, City A, to City B; Act II from City B to City C; Act III from City C to the destination, City D.


These are the basics of three act structure.  If I’m aiming toward a 300 page book, then I know that the first 75 pages will be Act I, pages 76 - 225 for Act II, and another 75 for the crisis and resolution.  Once I have these structural definitions, it’s easier to see how many scenes I’ll need along the way. 

Of course, this is just a model.  It’s a tool to use, not a recipe that you have to follow exactly.  I’ll leave you with one more restatement from Syd Field.  He speaks of the three acts as: Setup, Confrontation and Resolution.

Next month we’ll look at the two minute movie.  Until then, BICHOK (Butt in Chair, Hands on Keyboard.)

Cheers, Jax   (www.jaxmhunter@gmail.com)


(This series first ran in the Rocky Mountain Fiction Writers newsletter in 2004.)


About the Author: Jax Hunter is a published romance writer and freelance copywriter. She wears many hats including EMT, CPR instructor, and Grammy. She is currently working on a contemporary romance series set in ranching country Colorado and a historical romance set in 1775 Massachusetts. She lives in Colorado Springs, belongs to PPW, RMFW and is a member of the Professional Writer's Alliance.