By PJ Parrish

A couple weeks ago, I posted about a writer who was having problems taming her backstory beast. Click here to review. She was really struggling because she was beginning to realize she actually had TWO main plots but one was disguising itself as backstory.

It got me thinking about simple story structure. Which is never really simple.

Simple explanation: Story structure (also known as narrative structure or plot structure) is a way of ordering all of the events in your book. Every story has a beginning, middle and end.

Not so simple part: There are myriad ways you can present your events in a story. And that’s what got my writer friend in trouble. She was having a really hard time figuring out how to structure her story. I suspect many of you out there have fought the same battle.

I often think of plot structure as architecture. There are countless ways to build a house. You can have a simple ranch. This is your basic whodunit, thriller or romance with a solid linear plot. You go in the door and progress easily through the rooms. It might be a small ranch house; it might be a grand one. But it is always built to lead you through with logic, harmony and balance. Call it fictional feng shui.

You can have a three-story filigreed French colonial. Twisting subplots, big cast of characters, high intrigue, multiple points of view, complex time-shifting narrative, unreliable narrators, multiple suspects. (James Ellroy’s LA Confidental comes to mind) See photo below!

Then there are the butt-ugly houses. Maybe they started out as a basic ranch but the writer lost control and start just tacking on action scenes, distracting subplots, and dumb secondary characters, hoping this would dazzle readers and hide the sad fact that the writer didn’t really know what the hell they are trying to say to begin with. (See this mess below)

Or sometimes, writers can’t figure out what KIND of book they’re writing. They deperately mix sub-genres (am I writing a a cozy or hardbioled? Should I give my hero a girlfriend? Maybe he needs a dog who helps him solve cases!) and they end up with something like this:

And then there are the tri-level builders. This is where I see writers mostly fail. You remember these houses from the 50s and 60s. You go in the door but you can’t decide whether to go up, down or sideways. Is that the basement or the rec room? And where the hell is the john? This, I think, is what happened to my writer. She had two main plots, a couple subplots and she just couldn’t figure out the best way to get in the door. 

I love ranch houses. They are simple, linear, and you can’t fall down the stairs or get lost in them. For all you scholarly crime dogs out there, this basic ranch house plot structure has a fancy name —  The Fichtean Curve. John Gardner usually gets credit for this in his 1983 book The Art of Fiction. But this sturdy structure has been basis for countless novels, especially commercial fiction.

Let’s break down the architecture. (I’m going to rely on Jaws as my example, because it’s a basic thriller plot that all of you know.)

Step 1: Rising Action

The story starts with some kind of inciting incident. What our own James calls a break in the norm. A murder, an abduction, a crisis of some kind that gets the narrative ball rolling. In Jaws, in the opening scene, a skinnydipping girl is devoured by a shark on Amity Island.

The main character has to WANT something. (to solve the case, save the child, catch the serial killer. And the WANT relates, in the best fiction, to some inner conflict for the hero. In Jaws, Chief Brody needs to figure out how to catch the serial killer shark.

The plot progresses through a series of crises wherein the protag faces set-backs that raise the stakes and things become more personal to the protag. In Jaws, Brody faces myriad obstacles, including the dumb mayor, free-lancing yahoos in skiffs, his own fear of water, and eventually the Ahab-ian shark-hunter Quint. Quint also represents one of the most effective tension-creating devices in rising action — a riff in the team.

Step 2: the Climax

Rinsing action is the bulk of your structure, but the climax is the apex. It could be a final battle or confrontation, a big reveal or giant plot twist. In Jaws, of course, the climax builds as the Orca slowly gets destroyed, Quint gets eaten, Hooper is lost, and Brody becomes isolated on the sinking mast, praying his last bullet will hit its target. Which it does in spectacular fashion.

Step 3: Falling Action

Also called the denouement. The bad guy is vanquished. The child is saved. The case is solved. We get to take a well-earned breath. Any plot loose ends are wrapped up. (Although not all stories have an extended falling action. Jaws’s denouement is brief.) But beyond tying things up, the purpose of falling action is also to give you the writer an opportunity to emphasize the theme of your story, and stress how the hero has been impacted.  It’s not how the detective works the case. It’s how the case works on the detective.

One last point, because I’ve gone long here today. There are many other ways to structure your story. And depending on how firm your grasp is on your craft, you might be comfortable with more complex architecture. We can talk about that another day.  But when it doubt, bet it all on the ranch.

I’ve been an outdoorsman all my life, and camping has always been an integral part of those experiences. I’ve slept on the ground with nothing but a blanket over me and an ocean of stars stretching from horizon to horizon. I was sick that frosty night in South Dakota, and full of fever, which limited movement to only my eyeballs. Everything else hurt. Propped up against a fallen log, I could do nothing but watch the Milky Way.

I think it healed me in a way no drugs could have touched.

I’ve slept in the back of a pickup truck, wrapped in a sleeping bag, and in a canvas tent so hot the July humidity drove me out onto a concrete picnic table that felt better than any five star hotel bed. One night beside a gurgling stream, I retreated to save my life, chased there by a million mosquitoes determined so suck every drop of blood from my body. As the sun settled below the pine treetops, I peeked out the door flap and realized it wasn’t as dark as I thought. The yellow nylon was so thick with those little winged vampires, the sunset in reality was a living horde of insects.

As the years passed, we owned pop-up trailers, small campers, Class C campers, bumper pull campers, and 36-foot fifty-wheel that was larger than my first apartment. They’ve all been a learning experience, and the memories we’ve shared in those shelters still come up in pleasant recollections.

The Bride and I have pulled off into national forest campgrounds and spent both hot and cold nights in the back of our conversion van. We’ve cooked over hardwood fires, charcoal, small pump-up backpacking stoves, Coleman stoves, and even over the heat of a homemade stove made from a tin can.

It’s been so cold, that our water froze in the tent with us, so humid the breeze from a passing hummingbird felt good, and so hot we couldn’t rest. There was one sultry night in East Texas where we lay in pools of sweat, laughing at the symphony of tiny frogs that sang until an agreed-upon moment when they paused for a buffalo-size bullfrog to croke one deep bass note, and then the music continued.

So why are you telling us all this on a writer’s blog?

Because writing is much the same. You’ve found what you like doing, and that’s creating worlds that either don’t exist, or are based on a character you developed from firing synapses.

Many writers search for that magic formula to help them get words on paper and create the Great American Novel. It’s the same as what I described above, experiments and experiences that finally solidify into your own personal recipe. We all have, or had, our idea of what a writer’s life might be like, and it usually isn’t what we’ve seen on television or in the movies.

On Thursday night, the Bride and I attended a wine tasting fundraiser for my old alma mater, and I was introduced to a former Texas senator who has donated a gamebird research facility to determine while bobwhite quail numbers have dropped to alarming numbers in the past thirty or forty years. They’re working hard to bring them back to our state, and as I discussed my recent visit to the Lyon Center for Gamebird Research, he asked about being an author.

“Do you get up and write every morning?”

How many times have we heard that? “I try to write at least five pages every day. It sometimes comes early, at noon, or whenever I can find the right time to sit down and work.”

I didn’t tell him it was because I found what works for me, and what I enjoy.

A few months ago I had a long talk with a fellow bestselling author who hit the market like dynamite with her first novel. As our conversation meandered down unfamiliar trails or the same old paths authors follow when they get together, we discussed how far our manuscripts progressed in a single day. She was awed by my output, see above, and shook her head.

“I do good to write a single paragraph in a day. Sometimes I lock up on a single word and it takes forever to find the right one.”

Fine, then. That’s her working day, but like the camping discussion above (see, here’s that page a day thing), everyone is different. The only truth is that we all aspects of this world in different ways, and in terms of writing, we all have different goals. Just be inspired.

I’ve written newspaper columns on a yellow legal pad in front of a tent as lightning moved across the valley below. My best day of writing so far was one day in a 36’ fifth-wheel as rain thundered on the roof and it was impossible to go outside. It’s not where or how I produced my books, it’s the fact that I found a comfort zone somewhere that spoke to me.

There are hundreds of books on how to be a successful author out there. Read them if you want, but find the process speaks to you and follow that unexplored road, just the way the Bride and I experimented with camping, be it good or bad.

Find your comfortable place and get that first draft finished. At least put down page a day, but even that’s not for everyone. Then agonize over the post production, if you want or need to, in a figurative four-star hotel somewhere.

Quit talking about it, and over-thinking the process, and write.