Category Archives: structure

What Writers Can Learn From The Fugitive

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by James Scott Bell
@jamesscottbell

The Fugitive (1993) is one of my all-time favorite thrillers, both to watch and to teach. So many great lessons can be drawn from it. I’ll share a few with you today.

Based on the hit TV show from the 1960s, it’s the story of respected surgeon Dr. Richard Kimble (Harrison Ford), who comes home one night to find his wife dying at the hands (or rather, hand) of a one-armed man. Kimble fights with him, but the man gets away. Kimble tries to save his wife, to no avail. He is convicted of first-degree murder and sentenced to death. He escapes. A crack team led by Deputy U.S. Marshal Sam Gerard (Tommy Lee Jones) sets out to track him down.

The story question: Can Kimble keep ahead of the law long enough to prove his innocence by finding the one-armed man?

Structure

At a little over two hours, the movie is a terrific study in the power of structure. The film would not be nearly as engaging if it did not hit the right signposts at the right time.

Thus, we get the opening disturbance in the very first shot: a TV reporter stands outside the Kimble home, where the police are investigating the death of Kimble’s wife. Kimble is taken to the police station and questioned by two detectives. He thinks it’s as a grieving husband, but soon it dawns on him that they consider him the chief suspect.

Yeah, I’d be disturbed, too.

Lesson: Start your story by striking a match, not by laying out the wood. (h/t John le Carré.) You have plenty of time for backstory later. Readers will happily wait for fill-in material if they’re caught up in immediate trouble.

On we go through Act 1: Kimble is convicted, sentenced, put on a prison bus. A couple of convicts stage an uprising, the driver is shot, a guard is stabbed, the bus tumbles off the road and onto railroad tracks…just as a train comes right for it!

This is one great action sequence. The convicts and one guard get the heck out of the bus. But Kimble stays behind to help the wounded guard, gets him out a window, and jumps one second before the train hits the bus. That would be enough for most writers, but not for screenwriters Jeb Stuart and David Twohy. Half the derailed train breaks off and comes right at the fleeing Kimble! He barely avoids being crushed.

Lesson: When you have a great action sequence, or suspenseful scene, stretch the tension as far as you can. Ask: What else could go wrong? What could make things worse?

At the crash site, while local law enforcement is botching things, Deputy U.S. Marshal Sam Gerard arrives with his crack team. He figures out what’s going on, orders roadblocks, and announces, “Your fugitive’s name is Dr. Richard Kimble. Go get him.”

Boom! We are ¼ of the way into the film, and the Doorway of No Return has just slammed shut. Kimble cannot go back to his ordinary life. He must face the “dark forest” (almost literally) at the heart of myth. Survive or be killed.

Lesson: In a novel, my view is that the Doorway should happen no later than the 1/5 mark. Otherwise, things start to drag.

Solid structure is a beautiful thing. Far from being a hindrance, it is the most powerful way to share the story in your head and heart with an audience. See: “Story and Structure in Love.”

The Mirror Moment

Act 2, of course, is a series of rising action, mostly of Kimble barely keeping escaping his pursuers. At the exact halfway point, where we would expect to find it, is the Mirror Moment.

(If this term is unfamiliar to you, I’ve written a book about it. But lest you think I’m only interested in money (I am interested in it, just not only interested in it) you can check out a couple of TKZ posts here and here.)

As I explain in my book, there are two types of mirror moments: 1. The character looks at himself and asks questions like, “Who am I? What have I become? Am I going to stay this way?” It’s an internal gaze. 2. The character looks at his situation and thinks, “I’m probably going to die. There’s no way I can survive this.” This is an external look.

The second kind is what we have in The Fugitive. In the middle of the film Kimble has rented a basement room from a Polish woman. He’s using it as a base of operations to sneak into Cook County hospital. He wants to access the records of the prosthetics wing to get a list of patients with artificial arms.

In the mirror scene, Kimble is awaked from slumber by the sound of police swarming the house. Kimble looks for a way to escape, but there is none. He’s done for!

Only it turns out the cops are there to nab the Polish woman’s drug-dealing son.

As the police lead him away, Kimble has a small breakdown. He’s thinking, “I can’t possibly win against these odds. I’m as good as dead.”

Lesson: No matter how you write, via outline, winging it, or something in between, take some time early in the process to brainstorm possible mirror moments, of both varieties. Push yourself past the familiar. Inevitably, one of them will feel just right. It will become your guiding light for the entire novel.

To get us into Act 3, we need a Second Doorway. This is either a setback or crisis, or major clue/discovery. It should happen by the ¾ mark, and in The Fugitive it does. I won’t give the spoiler here, but suffice to say it’s the major clue implicating the villain. Now the Final Battle becomes inevitable.

Pet the Dog

This is such a great way to increase the audience bond with the hero. It’s a scene or sequence in Act 2 where the hero takes time to help someone more vulnerable than he, even at the cost of making his situation worse. The Fugitive has one of the best examples you’ll ever see.

Kimble is disguised as a hospital custodian. He’s accessed the prosthetics records he needed. As he’s leaving he walks along the trauma floor. All sorts of triage patients being tended to. He notices a little boy groaning on a gurney. A doctor orders a nurse to check on the boy. The nurse gives him a cursory look. Kimble is aghast. He knows there’s something wrong here.

The doctor reappears and asks Kimble to help out by taking the boy to an observation room. Kimble wheels him away, checking out the X-ray as he goes. He asks the lad a few questions about where it hurts, then changes the orders and gets the boy to an operating room for immediate attention.

That’s a success, but in a thriller any success should be followed by some worse trouble.

Turns out the doctor saw Kimble look at the film, and confronts him as he’s walking out. She rips off his fake ID and calls for security. More trouble! (This sequence has a favorite little moment. As Kimble is rushing down the stairs to get away, he brushes past someone coming up. He looks back and says, “Excuse me.” Kimble is so fundamentally decent he apologizes even as he’s running for his life!)

Lesson: Create a character the hero can help, even in the midst of all his troubles (e.g., Rue in The Hunger Games). The deepening bond this creates with the reader is so worth it.

Character

The Fugitive features a protagonist and antagonist who are both sympathetic. Kimble, of course, is a devoted husband wrongly convicted of murder. Sam Gerard is a great lawman who doggedly pursues justice.

Lesson: You don’t need a traditional villain to carry your thriller. In The Fugitive, it’s two good men with agendas in direct conflict. The true villain reveal is at the end.

Dialogue

Many of the great lines in the movie were actually improvised. The most famous is from the spillway scene. Kimble has a gun on Gerard. Kimble says, “I didn’t kill my wife!” And Gerard says, “I don’t care!” Tommy Lee Jones came up with that.

Another perfect line not in the script is just after the train derailment. Another prisoner, Copeland, a stone-cold killer, helps Kimble to his feet. He says to Kimble, “Now you listen. I don’t give a damn which way you go. Just don’t follow me. You got that?”

As he’s pulling away Kimble says, “Hey Copeland.” Copeland turns around. Kimble says, “Be good.” Another mark of his decency, like when he said, “Excuse me.”

Love it! You can get a bestselling book on the subject, but the gist is simple:

Lesson: Great dialogue is the fastest way to improve any manuscript.

Over to you for discussion. And as a bonus for reading all the way to the end of this lengthy post, let me mention that Romeo’s Way, the novel that won the International Thriller Writers Award, is FREE, today only. Grab it here.

A Neat Trick For the Act Two Slog

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by James Scott Bell
@jamesscottbell

Stephen J. Cannell

The late Stephen J. Cannell was a hugely successful TV writer and developer. Among his hit shows were The Rockford Files, The A-Team, and 21 Jump Street. Later, Cannell became a bestselling novelist, writing stand-alone thrillers and a series featuring LAPD Detective Shane Scully.

Cannell held the Three-Act structure to be foundational. He wrote:

What is the Three-Act structure? Often, when I ask a writer this question I am told that it is a beginning, middle and an end. This is not the answer. A lunch line has a beginning, middle and an end. The Three-Act structure is critical to good dramatic writing, and each act has specific story moves. Every great movie, book or play that has stood the test of time has a solid Three-Act structure. (Elizabethan Dramas were five act plays, but still had a strictly prescribed structure.) The only place where this is not the case is in a one-act play, where “slice of life” writing is the rule.

Since we are not writing novels about having lunch, what do we need from each Act? It’s not complicated.

Act One = Getting the reader bonded with a Lead. Cannell put it succinctly: “Act One is a preparation act for the viewer or reader. They are asking who is the hero. Do I like this person? Is this guy a heavy? Do I care about the relationships? What is the problem for the hero? Is the problem gripping?”

Act Two = Conflict gets progressively more difficult. Here Cannell suggests that a bit of backstory suddenly revealed can be used to create complications. E.g., the baby the woman thought was her own when she left the hospital in Act One was actually switched by a nurse. He also reminds us that both protagonist and antagonist must be in motion, making moves to try to gain the advantage, not “standing around.” At the end of Act Two, things are looking dark for the Lead.

Act Three = An ending can be upbeat or downbeat, but it needs to clearly resolve the story problem.

As we all know, that long Act Two can frequently become a slog. There are many possible reasons why this happens, which we don’t have time to go into here (I will modestly suggest that Plotman, superhero of the writers’ world, has the answers). Cannell suggests one way to get you going again:

Once we get past the complication and are into Act Two, we sometimes get stuck. “What do I do now?” “Where does this protagonist go from here?” The plotting in Act Two often starts to get linear (a writer’s expression meaning the character is following a string, knocking on doors, just getting information). This is the dullest kind of material. We get frustrated and want to quit.

Here’s a great trick: When you get to this place, go around and become the antagonist. You probably haven’t been paying much attention to him or her. Now you get in the antagonist’s head and you’re looking back at the story to date from that point of view.

“Wait a minute… Rockford went to my nightclub and asked my bartender where I lived. Who is this guy Rockford? Did anybody get his address? His license plate? I’m gonna find out where he lives! Let’s go over to his trailer and search the place.” Under his mattress maybe the heavy finds his gun (in Rockford’s case, it was usually hidden in his Oreo cookie jar). His P.I. license is on the wall. Now the heavy knows he’s being investigated by a P.I. Okay, let’s use his gun to kill our next victim. Rockford gets arrested, charged with murder. End of Act Two.

See how easy it works? The destruction of the hero’s plan. Now he’s going to the gas chamber.

Boom! (Of course in Act Three Rockford gets out of it. This is a series, after all!)

I call Cannell’s trick the “shadow story.” The shadow story is what goes on “off screen” (or “off page” if you will). I like to make shadow story notes to myself throughout he writing (I use Scrivener for this, but you can also use the Comment function in Word). Just pause every now and then and ask what the main characters not in your current scene are doing and planning. What are their motives? Secrets? Desires?

Your shadow story will give you more than enough plot material to get you through that long middle portion of your novel.

Discuss!

Mythic Structure: Refusal of the Call to Adventure

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by James Scott Bell
@jamesscottbell

From The Writer’s Journey by Christopher Vogler (click to enlarge)

You know me. I love popping the hood on story and looking at all the moving parts. Mainly because I want to build the best story engine I can, but also to teach it. Which means getting greasy and messing around. Today, I want to examine a beat from mythic structure—Refusal of the Call to Adventure. I haven’t given this a lot of thought in the past, but recently I’ve noticed it more and more in classic movies and decided to give it some study.

The Hero’s Journey begins in an ordinary world with the hero receiving a Call to Adventure—by way of invitation, yearning, temptation, or message. But the hero initially refuses. Only later will he be thrust over the Threshold (what I call The Doorway of No Return) into the “special world.”

So what’s the point of this beat? As my friend and teaching colleague Chris Vogler explains in his essential guide The Writer’s Journey:  

The halt on the road before the journey serves an important dramatic function of signaling the audience that the adventure is risky. It’s not a frivolous undertaking but a danger-filled, high-stakes gamble in which the hero might lose fortune or life.

In other words, it gives the reader the sense that death—physical, professional, or psychological—is truly on the line once the hero enters Act 2.

For example, Luke Skywalker sees the hologram from Princess Lea pleading for help from Obi-Wan Kenobi. Luke wonders if that could mean “old Ben Kenobi.” A bit later Luke finds Ben and sure enough he is Obi-Wan. Ben views Lea’s entire message, pleading with him to come help in the fight against the Empire. Ben then calls on Luke to join the adventure, but Luke refuses:

BEN
You must learn the ways of the Force
if you’re to come with me to Alderaan.

LUKE
Alderaan? I’m not going to Alderaan.
I’ve got to go home. It’s late, I’m
in for it as it is.

BEN
I need your help, Luke. She needs
your help. I’m getting too old for
this sort of thing.

LUKE
I can’t get involved! I’ve got work
to do! It’s not that I like the
Empire. I hate it! But there’s nothing
I can do about it right now. It’s
such a long way from here.

BEN
That’s your uncle talking.

LUKE
Oh, God, my uncle. How am I
ever going to explain this?

BEN
Learn about the Force, Luke.

LUKE
Look, I can take you as far as
Anchorhead. You can get a transport
there to Mos Eisley or wherever you’re
going.

BEN
You must do what you feel is right,
of course.

Another example: In The Wizard of Oz Dorothy is called to adventure by her yearning to find a place where there is no trouble. So she runs away as a first step. But then she meets Professor Marvel. He figures out what’s going on and uses an emotional ploy to get Dorothy to refuse the call. He looks at his crystal ball and pretends to see an old woman in a polka dot dress. “Why she’s crying. Someone has hurt her. Someone has just about broken her heart.” That gets to Dorothy, and she returns to the farm. [In mythic terms, Professor Marvel is a character known as The Mentor, who often appears in Act 1 as the conscience of the Hero.]

In both these examples the refusal of the call is related to duty. Specifically, familial duty.

Another form of duty is professional. In my favorite movie of all time, Shane (1953), the mysterious gunfighter fleeing his past takes a job working for homesteader Joe Starrett. Starrett instructs Shane to avoid trouble in town where the cattle men hang out in the saloon. The first time Shane shows up he’s tagged and shamed by one of the cowboys. It’s a call to fight back. But Shane refuses the call because of his pledged duty to his benefactor. For this he is labeled a coward by the other homesteaders. Knowing he has to overcome this for the benefit of the community, he later answers the call by giving his tormentor a thumping. He is then set upon by the entire gang—until Joe joins the fight and helps Shane beat them all up. That puts them both across the Threshold and in the crosshairs of death.

Still another form of refusal comes from self-doubt or fear. A famous example is Rocky. Pug fighter Rocky Balboa is given an incredible call to adventure—the chance to fight the heavyweight champion of the world!

Rocky immediately says, “No.” When asked why, he explains, “I’m really a ham-and-egger. This guy is the best. It wouldn’t be such a good fight.” In this way the stakes are set at the highest level before Rocky takes on the challenge.

I had an email conversation with Chris about all this, and he added another form of refusal (reprinted by permission):

Here’s another major category that can trigger refusal of the call: Bitter Experience. This is why hard-boiled detectives often turn down the case at first. They intuitively know that the investigation will lead them into dangerous places where they came close to death or somebody they cared about was killed. You also find this in comedies like the Hope-Crosby road movies where they are both wary of getting roped into the other’s schemes which have proved so dangerous in the past. In a romance, broken-hearted people are reluctant to open up to love again.

The prime example of Bitter Experience is Casablanca. Rick Blaine had his heart shattered when the woman he loved, Ilsa Lund, abandoned him in Paris just before the Nazi occupation. He has set up shop in Casablanca to forget her. His café is allowed to operate because he takes no sides in the war. His Call to Adventure comes when Ugarte, the scheming rat who murdered German couriers to obtain the valuable Letters of Transit, begs Rick to hide him from the police. Rick refuses with the classic line, “I stick my neck out for nobody.”

Overcoming the Refusal

So the hero has refused to answer the call. Something, then, has to happen to push the hero over the Threshold (through the Doorway).

In Star Wars Luke’s aunt and uncle are killed by Imperial stormtroopers. Thus, the familial duty is removed and Luke has reason and opportunity to join the Rebellion.

Or the hero herself can be removed from the duty. Dorothy is literally taken up and away from Kansas and deposited in Oz.

In Casablanca (Bitter Experience) Ilsa shows up at Rick’s café with her husband, the freedom fighter Victor Laszlo. In this way Rick is forced over the Threshold because his ordinary world has been changed to a special world (not his choice!) for now he must deal with his conflicted emotions and decide whether to help Isla and Victor or remain aloof.

A refusal out of fear or self-doubt must be overcome with a strong emotional jolt. In Finding Nemo, Marlin, Nemo’s father, is afraid of the open ocean because of a past traumatic event—a barracuda attack that killed his wife, Cora, and most of their eggs. He is therefore overprotective of his surviving son, Nemo. Nemo keeps calling his father to adventure—exploring the sea, finding a sea turtle, etc. But Marlin refuses. He is full of fear and self-doubt about his ability to protect his son.

So what emotional jolt forces him into the dark world of the open ocean? Nemo is captured by scuba divers! Marlin has no choice, he must find Nemo! There is familial duty once again—perhaps the strongest of all emotions—only this time it’s the stimulus to cross the Threshold. If we didn’t have the refusal as a way of understanding the source of Marlin’s fears, the subsequent journey would not have as much depth.

The Refusal of the Call is useful tool for story construction. Because it happens early—somewhere in Act 1—you can pants it or plan it. Once you have it, though, it will tell you a lot about your main character and provide fodder for backstory material.

Some questions to ask:

  • What reason does my Lead have to resist the call to adventure? Is there duty involved? Family ties? Or is it more a matter of fear, self-doubt, or bitter experience?
  • What were the pre-story circumstances that gave rise to this refusal? Was there a traumatic event that haunts my Lead in the present? Was my Lead’s heart broken?
  • What event is strong enough to overcome the Lead’s refusal? How can you increase the emotional level of this event?

Let the journey begin.

Resonance and The Reader’s Journey

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Resonance and The Reader’s Journey

Why Does Good Story Structure Resonate?

by Steve Hooley

 

 

We discuss the importance of story structure frequently on this blog site. It is often said that good structure will keep the reader engaged and will allow the story to “resonate” with the reader. But how often do we discuss why the structure resonates? And is there anything to be learned for our writing from the answer to the “why” question?

Recently this question hit me and made me start looking for answers. I was watching the news about the Surfside Condo collapse in Miami-Dade County, specifically the ceremony that took place at the end of the rescue efforts and the beginning of the recovery phase. It struck me, at first, that this was a necessary step to prevent victim’s families from being upset that the rescue efforts were ending. But as I watched, I began to realize that people need ceremony.

  • To memorialize significant events
  • To aid in transitioning to the next stage in life
  • To reflect on the past
  • To plan for the future

Then the idea hit me that this is similar to story structure. Readers need structure, with all the signposts, pillars, and doorways along the way.

  • For the story to resonate
  • For the reader to be captured by the story
  • For the reader to identify with the main character
  • For the story arc to feel right

But that still didn’t answer the question: Why does the story structure resonate?

I began looking for answers in the psychological research literature. There are plenty of studies that show the benefits of routine and structure in making life more meaningful and more productive. We all know that. There are studies that shine light on the techniques (and hormones) that increase tension and empathy. But still, what is the connection between structure and resonance?

Let’s first look at resonance. It is defined as “the quality in a sound of being deep, full, and reverberating.” And from Physics: “the reinforcement or prolongation of sound by reflection from a surface or by synchronous vibration of a neighboring object.” For example, in a stringed instrument, the walls of the instrument pick up the vibration of the string, multiplying and enriching the sound.

Thus, we are looking at a story touching something within the reader that is captured and begins to vibrate along with the story, magnifying and enriching the story. In other words, what is it within the reader that he/she identifies with the structure, that is similar in some way, and reverberates and resonates?

I offer the following theory for discussion. Agree, disagree, or give us your theory:

 Story structure resonates with readers because it causes the reader to subconsciously identify their own life’s milestones, ceremonies, and arc, with the story structure (either as their life has been lived out, or as they wish it had been, or could be in the future). In other words, the reader hangs their life on the story structure (subconsciously), and hopes for a better outcome.

Here are some quotes from Christopher Vogler, The Writer’s Journey, about “the Hero’s Journey” (story structure based on patterns of mythology and the work of Joseph Campbell, The Hero with a Thousand Faces):

The Writer’s Journey, Christopher Vogler:

Preface, Second Edition:

p. xiii

“I came to believe that the Hero’s Journey is nothing less than a handbook for life, a complete instruction manual in the art of being human.”

p. xiv

“The Hero’s Journey is a pattern that seems to extend in many dimensions, describing more than one reality. It accurately describes, among other things, … the passage of a soul through life.”

“In the description of the Hero’s Journey they might have picked up some insight about their own lives, some useful metaphor or way of looking at things, some language or principle that defines their problem and suggests a way out of it.”

“…the pleasurable shock of recognition as the patterns resonate with what they’ve seen in stories and in their own lives.”

“…shared attitude about myths—that they are not abstract theories or the quaint beliefs of ancient peoples, but practical models for understanding how to live.”

p. xv

“Joseph Campbell’s great accomplishment was to articulate clearly something that had been there all along—the life principles embedded in the structure of stories.”

Introduction, second edition

p. xxvii

“Good stories make you feel you’ve been through a satisfying, complete experience. You’ve cried or laughed or both. You finish the story feeling you’ve learned something about life or about yourself.”

p. xxix

“The Hero’s Journey, I discovered, is more than just a description of the hidden patterns of mythology. It is a useful guide to life…”

p. xxxii

“The Hero’s Journey has served storytellers and their listeners since the very first stories were told, and it shows no signs of wearing out. Let’s begin the Writer’s Journey together to explore these ideas. I hope you find them useful as magic keys to the world of story and the labyrinth of life.”

And from Lisa Cron, Wired for Story

Chapter 9, What Can Go Wrong, Must Go Wrong – And Then Some

Cognitive Secret: The brain uses stories to simulate how we might navigate difficult situations in the future.

Story Secret: A story’s job is to put the protagonist through tests that, even in her wildest dreams, she doesn’t think she can pass.

p. 167-168

“What is the benefit, survival-wise, that led to the neural rush of enjoyment a good story unleashes, effectively disconnecting us from the otherwise incessant Sturm and Drang of daily life? The answer is clear: it lets us sit back and vicariously experience someone else suffering the slings and arrows of outrageous fortune, the better to learn how to dodge those darts should they ever be aimed at us.”

And here are some ideas for life events and corresponding structure milestones:

  • Birth                                                                     Opening Disturbance
  • Graduation                                                           Doorway of No Return #1
  • Midlife crisis                                                         The Mirror Moment
  • Retirement                                                           Doorway of No Return #2
  • Recovery from life-threatening illness                  Final Battle
  • Determination to make end-of-life meaningful     Transformation

Please give us other ideas for life events and corresponding milestones. Could these be built into story structure?

 And here are the questions:

  1. Do you agree with the proposed theory?
  2. Or, what theory do you have for structure and resonance?
  3. What life events would you correlate with other milestones?
  4. If this theory is correct, what can we build into our story structure milestones to better grab the reader and make him/her feel the resonance?
  5. Do you have any unique milestones that you build into your stories’ structure to grab the readers and make them feel like they have been through “a satisfying, complete experience?”

Further Reflections on the Mirror Moment

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by James Scott Bell
@jamesscottbell

I enjoy getting emails and tweets from writers regarding the “mirror moment,” which is the subject of my book, Write Your Novel From the Middle. Recently I received two that I thought would make good fodder for a post (we at TKZ are always looking for good fodder).

The first email was a great question from someone who asked about the mirror moment in a long series. She used Sue Grafton’s alphabet series as an example. Should each book have a mirror moment? How can a series character go through so many changes?

I wrote back reminding her that there are two kinds of mirror moments. The first kind is about identity. It asks questions like, “Who am I? Why am I this way? What must I become?” It’s Rick in Casablanca.

The second kind is about death. It is the realization, “I’m probably going to die. The opposition is too great. How can I possibly survive?” That’s Dr. Richard Kimble in The Fugitive.

So I suggested that in any Kinsey Millhone mystery (and in mystery series in general), there could always be a realization in the middle that this case, this puzzle, this villain is the most perplexing or dangerous of their career. It looks like they could “die” (professionally) this time.

But that is not to say the character in any given book in a series cannot have a personal crisis of identity, too. Exhibit A would be the Harry Bosch books by Michael Connelly.

C is for confession: I have not read all of the alphabet books by Sue Grafton. I think I may have stopped around F. But the question intrigued me, so I went to the library and picked one of the later books at random—Q is For Quarry. I sat down and, as is my practice when mirror hunting, turned to the physical center of the book and just started looking around. Was there anything relating to identity? Or anything indicating this was the biggest challenge of her career?

Lo and behold, I found that it was about identity. Kinsey, who lost both her parents in a car accident when she was very young, has had a hole in her identity ever since. In this scene from the middle of the book, she is looking at a photograph of her mother. You don’t even have to know the details of the plot to know that this is the language of an identity-type of mirror moment:

I placed the frame on my desk, sitting back in my swivel chair with my feet propped up. Several things occurred to me that I hadn’t thought of before. I was now twice my mother’s age the day the photograph was taken. Within four months of that date, my parents would be married, and by the time she was my age, she’d have a daughter three years old. By then my parents would have had only another two years to live. It occurred to me that if my mother had survived, she’d be seventy. I tried to imagine what it would be like to have a mother in my life—the phone calls, the visits and shopping trips, holiday rituals so alien to me. I’d been resistant to the Kinseys, feeling not only adamant but hostile to the idea of continued contact. Now I wondered why the offer of simple comfort felt like such a threat. Wasn’t it possible that I could establish a connection with my mother through her two surviving sisters? Surely, Maura and Susanna shared many of her traits—gestures and phrases, values and attitudes ingrained in them since birth. While my mother was gone, couldn’t I experience some small fragment of her love through my cousins and aunts? It didn’t seem too much to ask, although I still wasn’t clear what price I might be expected to pay.

I locked the office early, leaving the photo of my mother in the center of my desk. Driving home, I couldn’t resist touching on the issue, much in the same way the tongue seeks the socket from which a tooth has just been pulled. The compulsion resulted in the same shudder-producing blend of satisfaction and repugnance.

Thus, any book in a long-running series can include subplot elements that relate to the hero’s identity and transformation.

Shortly after this I got an email from my friend, writer Rich Bullock. He told me he’d been watching Star Wars: The Last Jedi, and in the chapter titled “The Mirror Cave” Rey is being tempted by the dark side (what a shock) and challenged by Kylo Ren on her true identity. Rich told me it was smack dab in the middle.

So I checked out the DVD from the library, chucked in the player, and went to the scene. Rey has fallen into this mirror cave, and is hoping it will give her a clue about who she truly is. Kylo Ren is somewhere else, but able to communicate with her:

KYLO REN: Let the past die. Kill it if you have to. That’s the only way to become what you were meant to be.

REY: No! No!

REY (VOICE OVER): I should have felt trapped or panicked. But I didn’t. This didn’t go on forever, I knew it was leading somewhere. And that, at the end, it would show me what I came to see.

REY: Let me see them. My parents … please.

She touches the mirror. Two shadowy figures approach from the other side of the glass. But when the frost clears, Rey is looking at … herself!

I took a look at the DVD timeline:

Hmm, we’re 1:16 into a 2:32 movie. I’m no math whiz, but I believe you can’t get any more middle than that!

The mirror moment works every time.

(For more on this, see my post “Revisiting the Mirror Moment”.)

That’s it for today, kids. I’m on the road most of the day, but will try to check in later. Talk amongst yourselves, esp. those of you writing series characters. How do you handle any inner transformation?

Learning From the Movies: The King’s Speech

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by James Scott Bell
@jamesscottbell

Colin Firth and Geoffrey Rush in The King’s Speech

Imagine a hungry young screenwriter getting invited to a pitch session on a studio lot.

“What’ve you got for me, kid?” the producer says.

“Okay,” the screenwriter says, “we have this guy, see, he’s a king, see, and he’s got to make a speech. Only the guy stutters.”

“What’s the rest of it?”

“The rest of what?”

“The movie!”

“That’s it. That’s the movie! And at the end, see, he makes the speech.”

“Security!”

And yet The King’s Speech (2010) won Oscars for Best Picture, Actor, Director, and Screenwriter. How did they pull that off?

Through the power of character bonding and the magic of story structure. You can do just about anything with your novel so long as you have a reader intensely and emotionally invested in your Lead and put him through the beats of a well-crafted tale.

Let’s talk about emotional investment first. In Plot & Structure I discuss various ways a writer can join reader and character in the bonds of holy storytelling. One of the strongest bonding agents is hardship—at the beginning we are introduced to a character who faces a physical or emotional challenge.

In The King’s Speech, the hardship is both physical and psychological. Prince Albert, the Duke of York (Colin Firth) has a severe stammer which not only prevents him from delivering a simple speech; it also keeps him locked in a prison of self-doubt.

As the movie opens we see Albert nervously stepping up to a microphone to speak to a crowd. His stuttering talk bombs. People look embarrassed and disappointed. Prince Albert’s hardship has caused him massive public humiliation.

We’ve all been embarrassed, though not on so grand a scale. So we have immediate sympathy.

But that’s not all. There’s another powerful bonding agent I call the Care Package. This is a relationship in place before the story begins, showing that the Lead is not merely self interested. If we see someone who cares about someone else, it gives us hope for his ultimate redemption.

Early in Act 1 there is a lovely scene that gets me every time. Prince Albert, all done up in a tux, comes to say good-night to his two daughters. They want a story! “Can’t I be a penguin instead?” he asks. Clearly, he doubts even his ability to tell his children a simple bedtime tale. But they insist!

And so, out of love and fatherly duty, he makes the attempt. He tells a story about two princesses whose papa was changed by a witch into a penguin. This made him sad, for a penguin does not have arms to embrace his children. Not only that, the witch banished him to the South Pole. It’s obvious he is talking, metaphorically, about himself. The story ends with a restored father hugging his daughters. We can’t help but wonder if Albert will be healed, too. By now we hope so, because we are firmly invested in him.

The Duchess (Helena Bonham Carter) arranges a meeting for Albert with an eccentric speech therapist named Lionel Logue (Geoffrey Rush). Here we get another structural beat: The Argument Against Transformation. Unconvinced Lionel can help him, Albert is about to leave when Lionel asks him to try something. He puts headphones on the prince and plays classical music while having the prince read the famous soliloquy from Hamlet. After a minute or so Albert rips off the headphones and shouts, “Hopeless!” Then: “Thank you, Doctor. I don’t…feel this is for me.”

This sets up the arc of transformation that pays off at the end. (In Casablanca, Rick argues against his ultimate transformation by saying, “I stick my neck out for nobody.” At the end, of course, he does that very thing.)

The First Doorway of No Return

In a movie we need to get into the death stakes of Act 2 by the 25% mark (for novels, I advise 20% at the latest). That happens when the Lead is forced—either physically or emotionally—through a doorway that slams shut behind him (meaning he can never go back to his ordinary world). In The Wizard of Oz and Gone With the Wind, it’s physical (a tornado and the start of the Civil War, respectively). In Casablanca, it’s emotional (the arrival of Rick’s lost love, Ilsa).

In The King’s Speech, Albert is emotionally thrust through the doorway by his domineering father, King George V. Sitting his son down in front of microphones he says, “With your older brother shirking his duties, you’re going to have to do a lot more of this.”

Albert tries, but can’t get started. “Do it!” the king demands.

Later, in emotional torment over what he must be—and firmly believes he can never be—Albert puts on the recording Lionel made. And to his astonishment he’s read the soliloquy perfectly. Now he must place his trust in Lionel or “die” inside by letting down his entire country.

Mirror Moment

In the dead center of great stories the Lead is forced to look at himself, as if in a mirror (usually metaphorical, but it’s amazing how often there’s a physical mirror involved). Sometimes this is caused by another character forcing the issue.

That’s what happens in the middle of The King’s Speech. Albert is terrified at the prospect of being king (which will happen soon, for his brother is going to marry a divorcee). Lionel knows this fear is what’s holding Albert back as a speaker, a royal, and a person.

Lionel: I’m trying to get you to realize you needn’t be governed by fear.

Albert: I’ve had enough of this.

Lionel: What are you so afraid of?

Albert: Your poisonous words!

Lionel: Why did you come to me? You’re not some middle-class banker who wants elocution lessons so you can chitchat.

Albert: Don’t attempt to instruct me on my duties! I am the son of a … king.

And the brother of a king.

Albert: You’re the disappointing son of a brewer. A jumped-up jackeroo from the outback. You’re a nobody!

That last line is a knife through Lionel’s heart. In Casablanca, the same thing happens when Rick basically calls Ilsa a whore. Both Rick and Albert must now “look at themselves” and wonder, “Is this who I have become? Is this who I will always be?” (In film, these thoughts are rendered visually; in a novel, you can also use interior monologue.)

The Second Doorway

To get into Act 3, where the final battle takes place, we need another doorway. It’s going to be a clue or discovery, or a major crisis or setback—something that makes the ending possible and/or inevitable.

In The King’s Speech it’s a major crisis: Hitler invades Poland. A state of war exists. And Albert has just been crowned King George VI! Now it is his duty to address his kingdom, and in such a way as to inspire iron resolve for what is coming.

No pressure.

The Q Factor

Just before the climax, the Lead takes inspiration from an emotional jolt, giving him the courage to fight. I call this The Q Factor (named after the Bond character who sets up in Act 1 the gadgets Bond will need to escape in Act 3). In story structure, it’s an emotional connection that pays off by providing the last bit of courage the Lead needs. In Star Wars, for example, Luke hears the voice of his beloved mentor, Obi-Wan Kenobe, reminding him to “use The Force.”

In The King’s Speech, just as Albert steps to the microphone, Lionel tells him, “Say it to me, as a friend.” Not simply a teacher, a friend! That trust which began in Act 1 now enables the victory as Albert delivers an inspirational speech. The movie ends by proving the transformation: Albert—King George VI—steps out on the balcony with his wife and daughters and confidently waves to the adoring crowd.

Character bonding, the right structural beats (and great acting!)—that’s how a movie about a man who stutters became a huge, award-winning hit. (I discuss the fourteen super structure beats in my book of the same name. End of commercial!)

You can think about these beats before you write; you will develop a solid outline that way. Or you can think about them during revision as you try to figure out why your editor or beta readers aren’t as enthusiastic about your story as you are.

Either way, they are here to help. Because, after all, story and structure absolutely love each other!

Using the Argument Against Transformation to Strengthen Your Story

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by James Scott Bell
@jamesscottbell

Today’s post is for structure fans. If you’re a dedicated pantser for whom any thought of form and function causes you to break out in hives, you have my permission to go play Candy Crush, for we are about to take a deep dive into the skeletal framework of storytelling.

This post was prompted by an email from a reader of Super Structure and Write Your Novel From the Middle. The gist of the email is below, reproduced with the sender’s permission:

I’m planning a book that is plot-driven rather than character-driven, so as I look at developing my “Mirror Moment,” I know it’s going to be more about digging deep and finding the strength to face physical and/or psychological death (like in The Fugitive), rather than a specific need to change. I wondered how the twin plot points of “Argument Against Transformation” and “Transformation” worked in that case (since there isn’t an actual transformation)? Are those beats skipped in a plot-driven story?

This is a very intelligent question, and told me immediately that my correspondent has a real grasp of structure and what it’s supposed to accomplish.

He rightly points out there are two kinds of arcs for a main character: 1) he becomes a better version of himself; or 2) he remains the same person fundamentally, but grows stronger through the ordeal. (Note: both of these arcs can be reversed, resulting in tragedy).

In books or movies of the first kind, such as Casablanca, you’ll often find a compelling beat, which I call “the argument against transformation.” It’s a setup move which defines the MC’s journey and pays off nicely at the end, with actual transformation.

Thus Rick, at the end of Casablanca, has transformed from a loner who has withdrawn from the community into a self-sacrificing member of the war effort. Remember at the  airport, when he’s explaining to Ilsa why they can’t go off together? “I’ve got a job to do, too. Where I’m going, you can’t follow. What I’ve got to do you can’t be any part of.”

And two minutes later Rick proves his transformation by shooting Major Strasser right in front of Louis, the French police captain.

Early in Act 1, we have Rick’s argument against such a transformation. That is, he states something that is the opposite of what he will come to believe—and be—at the end. He says it two times, in fact: “I stick my neck out for nobody.”

Another example: At the end of The Wizard of Oz, Dorothy has learned, “There’s no place like home.” But early in Act I, she argues against that notion. She tells Toto there’s got to be a place they can go where there’s no trouble, a place you can’t get to by a boat or a train. A place “behind the moon … beyond the rain …” (cue music).

That’s the first kind of transformation. But my correspondent was asking about the second kind, where the character does not change inside. Here’s what I wrote in response:

In the kind of story you describe, there is a transformation—from weaker to stronger. The hero is forced to survive in the dark world, and must become more resilient. So at the end he is not fundamentally a different person, but is a stronger, more resourceful version of himself.

In thinking about your question, it seems to me that the “argument against transformation” in a “getting stronger” story corresponds to what my friend Chris Vogler labels “Refusal of the Call” (in his book The Writer’s Journey). One example Chris uses is Rocky. When Rocky Balboa is first offered the chance to fight Apollo Creed, he says no. “Well, it’s just that, you see, uh…I fight in clubs, you know. I’m a ham-and-egger. This guy… he’s the best, and, uh, it wouldn’t be such a good fight. But thank you very much, you know.”

Implicit in that refusal is his belief that he’s not strong enough.

The transformation beat comes at the conclusion of the final battle, usually in the form of some visual that shows the stronger self. In Rocky, he’s got Adrian in his arms and adulation from the fans.

In The Fugitive, the argument against transformation is shown cinematically. After Sam Gerard (Tommy Lee Jones) arrives on the scene of the train derailment, we cut to Kimble running through the woods, his face etched with fear. In a book, you could put in Kimble’s inner thoughts about it. I know an operating chamber, not the streets! How am I going to survive?

The Mirror Moment is what holds these two ends of the spectrum together, which is why it is perfectly situated in the middle of a book. The protagonist has a moment when he’s forced to look at his situation, as if in a mirror (sometimes there’s an actual mirror in the scene!). He either thinks, Who am I? What have I become? Will I stay this way? (Casablanca); or, There is no possible way I can survive this…I’m probably going to die! (The Fugitive).

Now, if you pantsers have made it this far without your heads exploding, I congratulate you, and offer this word of comfort: you don’t have to think about structure before you start a project, or while you’re writing it. Go ahead, be as wild and free as you like!

But when the time comes (and it always does) when you need to revise and figure out why something isn’t working—and what you can do to make it work—structure will be there to help you figure it out.

Because story and structure are in love, and there’s no argument against that!

***

Gilstrap Watch: John reports that the surgery “went great.” He feels, naturally, like he “took a beating,” but expects to be “fine in a week or two.” Huzzah! (For those who don’t know what this is about, see John’s post from last Wednesday.)

Eventually, You Have to Bring Order to the Story Stuff

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by James Scott Bell
@jamesscottbell

Last week my lovely wife and I were in New York for ThrillerFest, and as usual found time to enjoy some of the city. We did the Strand bookstore (where I scored an autographed Mickey Spillane from a spinner of used paperbacks), then walked up Park Avenue to my favorite building in all of New York: Grand Central Station, the beaux-arts beauty of midtown.

Why do I love it? Start with the clock tower sculpture, because it captures the robust spirit of classic New York, back a hundred years ago when the city was the unapologetic colossus of commerce. That’s why you have the three Greek gods above the clock. Mercury, god of merchants, dominates the piece, with Hercules (representing strength) and Minerva (representing the arts and professions) on either side. I love coming out of the subway stop, looking up and seeing this magnificence.

Inside Grand Central, the main concourse always seems larger than I remember. You can’t help thinking of Cary Grant at the ticket window in North by Northwest, or any of a number of movies from the 30s and 40s featuring New Yorkers getting on trains. There’s a dining concourse below, with our favorite oyster bar. Cindy and I shared a dozen, along with a nice chardonnay.

And we attended the International Thriller Writers Awards banquet, where I was honored to receive the award for Best E-Book Original (for Romeo’s Way). (And thank you for all the kind comments that have already been posted here at TKZ.) It was a delight for Cindy and I to share a table with the amazing Joanna Penn and her husband, Jonathan (Joanna, writing as J. F. Penn, was a Best E-Book Original finalist for her novel Destroyer of Worlds.)

The coolest thing about ThrillerFest is all the off-the-cuff conversation with fellow writers, usually at the hotel bar following the day’s proceedings. That, in fact, is where I caught up with brother John Gilstrap and one of our longtime TKZ commenters, Basil Sands. We were soon joined by weapons expert Chris Grall, and it wasn’t long before John and Chris were instructing us on the best way to cut people to ribbons with a sharp knife … and exactly what a body does when hit by a blast from a shotgun.

Also got to chat with TKZ emeritus Boyd Morrison and current blogmate Mark Alpert.

Reed Farrel Coleman (photo by Adam Martin)

Another guy I always like to see at these conventions is Reed Farrel Coleman. Reed was an ITW Award finalist for his novel Where It Hurts. At the Awards “after party” I had a chance to ask him about his writing method, as I’d read in interviews that he describes himself as a pure “pantser.”

I started by asking what his novel was about, and Reed gave me the backstory of his lead character, Gus Murphy. How he was a cop with a family, but now is divorced and off the force, working a low-end job, drowning in grief due of the death of his son. “That’s where the book starts,” Reed said.

“So you start with a character and a set-up, and then start writing?” I asked.

Reed nodded, then added that he goes “over and over” the first fifty pages until he feels they are just right. Then he moves on.

“How many drafts to you do?”

“One,” he said, with a definite twinkle in his eye. Then he quickly added that he revises and revises as he goes along, so in effect he’s doing multiple “drafts” by the time it’s all wrapped up.

I wrote Reed a follow-up email. “My thought is that as you are making your way through after those first fifty pages, your brain is starting to come up with future scenes. IOW, the ‘outline’ is taking shape organically, in your imagination, and you start to write toward those scenes.”

Reed answered, “Yes, unconsciously, at least, knowing those early pages cold lets my mind work on an outline for the rest of the book. I don’t think of it that way, but it’s a fair assessment of what’s going on.”

And Reed, of course, understands beginning, middle, and end. He knows what has to happen for a character to pass through the “Doorway of No Return” and into the confrontation of Act 2. When I teach, I tell students the main character better be through that doorway, at the latest, by the 20% mark, or the book will start to drag.

Guess what happens at the 20% mark of Where It Hurts? Yep:

When I heard the sirens, I went back around to the front of the house and waited. But I was through waiting to make up my mind. I was in now, with both feet.

And just to amuse myself, I went looking to see if Reed, by way of his storytelling DNA, had included a mirror moment. You bet he did, and right in the middle where it belongs:

Was this, I wondered, what it was like coming out of a coma? Is that what Krissy, Annie, and I were doing? Were we coming around at last? Had enough time elapsed? Had we all finished acting out? Had we finally proved to ourselves and one another that no amount of pain or grief or self-flagellation or magical thinking or deals with God or guilt or fury would restore to us what we had lost? Was it okay to live again?

My goal as a writing instructor is to “pop the hood” on what writers have technically accomplished (even if they don’t realize how they did it), take it apart, and explain how any writer can assemble similar parts for a similar effect.

Reed’s method is one way to go about things. (See? I come in peace, my pantsing brothers and sisters!) By churning over those first fifty pages, Reed is firming up the foundation for his entire novel. By rewriting his previous day’s work, he’s letting his mind suggest scene possibilities that build upon that foundation. “Plotters” do the same thing, only the churning comes before the writing as they prepare a map, strategy and tactics.

The important thing is that the writer, sooner or later, brings order to the story stuff. That’s what structure is all about. It’s getting things lined up so the readers can best relate to the tale you want to tell them. Even more, the story you want to move them. Without order, no matter how “hot” or “creative” you feel about what you write, most readers are going to be frustrated or, worse, annoyed.

My advice: try to avoid that.

I love New York, but it’s always great to get back to L.A., where I am currently in the process of bringing order to my next Mike Romeo thriller.

What about you? Where are you in the “ordering” process? 

Ten Penalties All Writers Must Avoid

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by James Scott Bell
@jamesscottbell

Screen Shot 2016-02-04 at 10.56.26 AM

Forgive my second sports-related post in a row, but come on! It’s Super Bowl Sunday! Across America––and indeed the world––fans will gather around big screens in homes and bars to watch the most exciting spectacle of the viewing year: funny commercials!

Oh yes, and a football game.

This one has drama. On the one side we have the Denver Broncos and their quarterback Peyton Manning. Manning is without question one of the greatest QBs of all time, a lock first-ballot Hall of Famer. But injuries and Father Time have taken their toll. Thus, this will likely be Manning’s final game and his last chance to win one more Super Bowl ring.

On the other side is the new kid, the immensely talented Cam Newton. This guy is huge––6’5”, 260, with a cannon of an arm and legs that can go. He led his Carolina Panthers to an amazing 17-1 season. And now he makes his Super Bowl debut.

I will be with friends noshing sausages, pulled pork, chili, and items from the other essential food groups–the salted nut group, the nacho group, and of course the chocolate-covered anything group.

I hope the game is a good one. I’d love to see it go down to the final minutes. I’ll also be very happy if a kicker does not miss a last-second field goal and thus suffer from nightmares the rest of his life.

And let us hope the game is not marred by a lot of penalties! Hate to see those yellow flags all over the field.

It occurred to me there are some penalty flags that are thrown on writers. So in the interest of helping you write your best, here are some violations you must avoid lest you lose yardage (which, for writers, is measured in pages) and, much more important, readers.

  1. False start

Are you warming up your engines at the beginning of your novel? Do you spend too much time with exposition and backstory? Do you go several pages without a disturbance? Are you giving us “Happy People in Happy Land”? That’s a false start. Penalty: five pages.

  1. Illegal use of the adverbs

Are you using too many adverbs to prop up weak verbs? Worse, are you using adverbs to prop up dialogue? Are you writing things like:

“Get out of here, you louse!” Sheila yelled angrily.

Or

“I’m gonna cut your heart out and feed it to the family dog,” he said threateningly.

If you do, you’ll be penalized, and it’s a big one: fifteen pages.

  1. Passage interference

Also known as the illegal flashback. This is where you stop a narrative in its tracks to give us a long look backward at some scene from the past. Unless there is a dang good reason for this, you will get a yellow flag and docked ten pages.

  1. Encroachment

Also known as author intrusion, this is when you try to sneak in some exposition that does not sound natural to the voice of the character (this penalty is explained more fully in the book VOICE: The Secret Power of Great Writing).

The skilled referee usually finds this in dialogue. The author wants to slip information to the reader through the characters’ words, but they are words the character would never use. Such as:

“Listen, Martha, you’re my lovely wife of twenty-eight years, and I wouldn’t be the head of surgery at Johns Hopkins without you. Especially after suffering that head injury in college when I foolishly went out for the rugby team. But dammit, you can’t dwell on your past as a stripper in a Nevada roadhouse when you were known as Cling Peaches. Please try to relax, like your sister Mary, who is two years younger than you, so we can go enjoy dinner in our hometown of Denver, Colorado.”

Encroachment is an automatic five pages, and loss of down.

  1. Delay of plot

Have you pushed your protagonist through the Doorway of No Return by the 20% mark of your novel? No? Then here’s a hard truth: it’s starting to drag. It doesn’t matter how quirky your characters. They have overstayed their welcome if they are not, by this time, into the struggle of Act II. Penalty: ten pages.

  1. Ineligible character downfield

Do you introduce a major character after the midpoint? Near the end, do you have a minor character show up out of nowhere to solve a plot problem? If you do, you need to go back to the first half and plant these characters. Five pages.

  1. Roughing the villain

League rules are protecting the antagonist more than ever. What do I mean by that? Simply this: if you have an antagonist who is evil, you must give him his due. You can’t just make him pure evil or insane. Boring! Every villain feels justified, and you the author must “make his case” in the book. Far from excusing his evil, this deepens the emotional currents in the reader and, ironically, makes the evil all the more scary. Fifteen page penalty for this one, plus the league may order you go to some rehab, like right here.

  1. Intentional sounding

Have you fallen in love with your sentences? There’s a reason the axiom “kill your darlings” exists. I should explain that this doesn’t mean cut every sentence you like. You’re allowed to delight in your own good writing. But you have to make sure it works for your story, and is true to character and context. Ten pages if, in the judgment of the officials, your pretty prose is more showing off than storytelling.

  1. Illegal motion

Does your story feel unfocused during that long struggle through Act II? Are there scenes that meander? Have you lost narrative vitality? While this penalty is only five pages, enough of these violations will keep you backed up on your own goal line. One place to look for help is the “mirror moment.” This tells you what your novel is really all about so you can write scenes with organic unity and powerful forward drive.

  1. Unauthorlike conduct

Do you head out to social media without a plan and a brand? Do you fly off the handle when you tweet? Do you slip into unethical sockpuppetry in order to slam your perceived competition? This penalty is severe: you might get thrown out of the game. Worse, the league office may suspend you indefinitely.

A good football team knows how to move the ball. A great football team knows how to correct weaknesses. A championship football team does all that, and avoids the penalties that kill scoring drives.

May you write like a champion.

And enjoy the game! I know I will, even though I am completely impartial.

***(COUGH)GoPeyton(COUGH)***

Has your writing been penalty free lately?

Story and Structure in Love

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James Scott Bell
@jamesscottbell

Back in November, TKZ commenter Dale Ivan Smith talked about a major challenge he faced.
Here’s the key paragraph:
 
The big challenge … is not taking forever on the pre-writing and outlining. How do you impose deadlines on yourself for outlining and still create a solid, damn good novel outline? My fear of drafting a bad story has to a big extent been replaced with the fear of outlining a bad one 😉
 
I answered him, in part, this way:
 
Dale, you’ve asked a great question. I think it really comes down to fear. 
 
There’s an easier and better way to find story, IMO: it’s to play BEFORE you write. Play on the monkey bars built of structural signposts. You actually can be more creative this way because you’re not drafting. Thus, it’s much faster, too. 
 
You can also play in the actual writing. But you’ll be playing a game that readers can make sense of. 
 
It’s the best of both worlds. Freedom AND focus, and a lot less frustration. The people who’ve been writing to me about Write Your Novel From the Middle have been having epiphanies on this. Which is cool. I’ll have more to say on writing this way in the months ahead. 
 
This “best of both worlds” combines the playfulness and creativity of the pantser with the beautiful form of the plotter, all with that most important person in mind—the reader! 
 
If you want to sell books and not just feel good about your writing, you need more than pure freedom and more than mere outlining. 
 
You need a guide, a map, a blueprint, but one that is flexible and freeing, not cold and ruthless. 
 
Which is why I’ve written a new book called Super Structure: The Key to Unleashing the Power of Story.
Story LOVES structure, because structure translates story into a form that enables reader connection…and those are the stories that sell.
 
And don’t let’s confuse structure with outlining, which causes pantsers to break out in the cold sweats. This is a common error. Any writer of any temperament can utilize structure principles, even if your approach is the seat-of-the-pants variety. To be aware of structure is not the same thing as writing a 40 page, single-spaced outline. Which is a perfectly legit thing to do. Just ask James Patterson. Or many fine writers of the past. 
 
But outlining is not a requirement. Which is one reason I wrote this book. It’s for any type of writer because it stresses the idea of “signpost scenes.” There are fourteen signposts scenes, or beats, in Super Structure. It’s culled from the best and most popular novels and screenplays of the past, as well as my own research and development of writing principles over the last 25 years. 
 
The material in this book greatly expands upon the chapter on structure in Write Your Novel From the Middle. Super Structure can be considered a companion to that book, but it also stands alone in its treatment of the elements of a solid and pleasing plot. 
 
Recently, the longtime literary editor for Playboy, Alice K. Turner, went to her final review at age 75. Her obituary in the New York Times talked about how she championed literary fiction for 20 years there, bringing a measure of respectability, ahem, between the folds. And she truly did, publishing some of the best writers of our time and discovering new talent.
 
I love what she said about her preference for a solid, well-structured plot: “If you’re good enough, like Picasso, you can put noses and breasts wherever you like. But first you have to know where they belong.” 
 
Super Structure will tell you where story elements belong. Then you are free to do what you like, experiment all you want.
 
But when your story isn’t working, and you don’t know why, Super Structure will be there to help you find out! It is very friendly that way. Say hello to it today.