{"id":10270,"date":"2014-03-20T16:00:39","date_gmt":"2014-03-20T23:00:39","guid":{"rendered":"http:\/\/writersfunzone.com\/blog\/?p=10270"},"modified":"2014-03-20T16:50:09","modified_gmt":"2014-03-20T23:50:09","slug":"10-keys-plot-structure-kay-keppler","status":"publish","type":"post","link":"https:\/\/writersfunzone.com\/blog\/2014\/03\/20\/10-keys-plot-structure-kay-keppler\/","title":{"rendered":"10 Keys to Plot Structure by Kay Keppler"},"content":{"rendered":"
\"\"<\/a>

Zero Gravity Outcasts by Kay Keppler<\/p><\/div>\n

Let\u2019s welcome back Kay Keppler for another month with Writer\u2019s Fun Zone! In today\u2019s article, Kay discusses 10 keys to plot structure. Enjoy!<\/p>\n

***<\/p>\n

10 Keys to Plot Structure <\/b><\/h3>\n

When writers talk about plot and character, they often reference movies or TV shows. That\u2019s because film provides a visual \u2014 an extra dimension that helps viewers understand the story.<\/p>\n

Screenwriters have a lot less space than novelists to tell their stories (120 pages!), so they have to get right to it. Michael Hauge is a film doctor who crystalizes plot structure into key 10 elements that will help any writer, screen or otherwise. These are:<\/p>\n

    \n
  1. \n

    The first and best rule above all rules<\/b><\/h3>\n

    What\u2019s happening now must be more interesting than what just happened. <\/i>The whole point of structure \u2014 of your entire story \u2014 is to elicit emotion in your reader. If your story is increasingly compelling as you move forward, you succeeded.<\/li>\n<\/ol>\n

      \n
    1. \n

      The goal is everything
      \n<\/b><\/h3>\n

      Your story\u2019s structure depends on its events and turning points, which spring from your hero\u2019s goal<\/strong> \u2014 a clear, visible objective that she\u2019s desperate to achieve. Ask yourself, \u201cWhat does my hero want to achieve by the end of the story? Will readers root for her to reach that finish line?\u201d <\/i>Then apply scene questions: \u201cWhat does my hero want in this scene? How do her actions in this scene move her closer to that overall desire?\u201d <\/i>If your honest answer is \u201cI don\u2019t know\u201d or \u201cThey don\u2019t,\u201d then your story, not just your structure, is comatose, if not dead.<\/li>\n

    2. \n

      More, bigger, faster, badder
      \n<\/b><\/h3>\n

      Structure is built on desire, but the emotion you elicit grows out of conflict. <\/i>The more obstacles your hero must overcome, and the more impossible it seems that he\u2019ll succeed, the more captivated your reader will be. The conflict must build: <\/i>each successive problem, opponent, hurdle, weakness, fear, and setback must be greater than the one that preceded it.<\/li>\n

    3. \n

      It\u2019s an echo<\/b><\/h3>\n

      In each successive scene, something must happen that hasn\u2019t happened before: a new situation for the hero, a new secret to reveal, a new ally to join, a new enemy to confront. If you repeat actions and dialogue, you\u2019re going nowhere fast \u2014 unless you\u2019re creating an echo<\/i>, or purposely repeating a situation or line of dialogue to illustrate the changes in your hero since the last event or speech (think of Groundhog Day<\/i>). \u00a0\u00a0<\/span><\/li>\n<\/ol>\n

        \n
      1. \n

        Before and after<\/b><\/h3>\n

        Think of three stages \u2014 not three acts that have events, but three life stages for your protagonist. In the beginning, show your hero in his everyday life. Maybe he\u2019s stuck in some way \u2014 settling, or resigned, for example. Even in an action thriller, the opening shows a hero who has yet to face his greatest physical challenge. The middle is the journey \u2014 the hero\u2019s pursuit of his goal and the conflicts and challenges he faces. The end is the hero transformed, living a different life, more mature and self-aware than he was at the beginning.\u00a0<\/span><\/li>\n<\/ol>\n

          \n
        1. \n

          The opportunity<\/b><\/h3>\n

          Early on, something must happen to your hero that hasn\u2019t happened before. This opportunity creates her desire and moves her into action.<\/li>\n

        2. \n

          Focus and determination<\/b><\/h3>\n

          Whatever goal drives your hero, she shouldn\u2019t pursue that goal immediately. She should figure out what\u2019s going on or where she fits in until her desire comes into focus.<\/li>\n

        3. \n

          Lines and arcs<\/b><\/h3>\n

          Structure applies to both the outer journey of achievement and the inner journey of transformation. So as the hero faces increasingly difficult obstacles to reaching his goal, he must also gradually <\/i>find greater courage to overcome whatever wounds and fears have kept him from finding fulfillment. At each scene, along with those questions in #2, ask yourself, \u201cHow does my hero change in this scene? How are his emotional fears revealed and tested?\u201d <\/i>And ultimately, \u201cWhat does my protagonist have the courage to do at the end of the story that he didn\u2019t have the courage to do at the beginning?\u201d <\/i>The answer to these questions is your hero\u2019s character arc.<\/li>\n

        4. \n

          Secrets and lies<\/b><\/h3>\n

          Telling your reader something that some of the characters in the story don\u2019t know adds anticipation, a powerful structural tool for eliciting emotion. When we know who and where the killer is before the hero does, when we know the romantic comedy protagonist is pretending to be someone she\u2019s not, when we know the planet is about to be destroyed before the inhabitants do \u2014 these keep us guessing what will happen when the truth comes out and that conflict must be confronted.<\/li>\n

        5. \n

          Turn fantasy into reality<\/b><\/h3>\n

          Your job as a storyteller is not simply to take readers to incredible places, but to make them believe they are real. <\/i>You can throw an everyday hero into an extraordinary situation, but she must then overcome whatever conflicts she faces in ways that an everyday person could. If she calls on some added talent to save the day, reveal that talent (or ally or weapon or knowledge or magic wand) early in the story, long before it\u2019s needed. If she has superpowers, show how she got them, and make them limited in some way so she\u2019s vulnerable.You can look at plot structure in many ways, and these 10 elements don\u2019t begin to cover them all. But if you can incorporate all 10 into your novel, you\u2019re well on your way to an effective structure.<\/li>\n<\/ol>\n

          ***<\/strong><\/p>\n

          ABOUT THE AUTHOR<\/h3>\n

          \"\"<\/a>Kay Keppler\u00a0(www.kaykeppler.com<\/a>) is an author (Zero Gravity Outcasts<\/a><\/em>,\u00a0Betting on Hope<\/a>,\u00a0Gargoyle: Three Enchanting Romance Novellas<\/a><\/em>) and editor of fiction and nonfiction (Angel\u2019s Kiss<\/a>, Outsource It!<\/em>) who lives in northern California. Contact her here or at\u00a0kaykeppler@yahoo.com<\/a>\u00a0to ask questions, suggest topics, or if you prefer, complain.<\/p>\n

           <\/p>\n

          \u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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