Plot is a strange mistresses.
There are some who believe that there's a set number of plots, all that
we do is add decoration. When you get down to it, that's not so far off.
But then, it's the decoration that makes the story interesting. And you
can always twist and change the ending to your heart's desire. What the
following exercises deal with is how to not only detail your plot, but
how to keep it moving, alive and interesting. How not to fall into the
pitfalls of predictability and redundancy. Remember, the concept of storytelling is to get your protagonist up a tree, throw rocks at him/her, and then get him/her down.
1. For some writers,
it is helpful to make an outline of the basic plot. This can be done for
short story as well as novel length works. Outline as far as you deem will
be helpful. Some people prefer not to outline the ending, as they wish
to leave it as a surprise. Others need the ending outlined to make sure
they don't get stuck saying "now what?" Once you have the outline, follow
it. Jot down the other ideas you get, but see if you can keep to your original
plot structure. Too many tangents could bog you down and leave you lost
in the web you've woven.
2. When developing a
plot, be sure to look at your character. What kind of reactions is he/she
given to? How do you want the character to change? Answering these questions
will often show you how you need to direct the story.
3. Choose one of your
fantasies about how your life will turn out in twenty years. Now construct
a plausible plot that would bring you there. Or do this for one of your
characters.
4. Look at the intent
of your story. Is it plausible? Can the hero really find the Tree of Knowledge
in under 13 hours? If it isn't, given the limitations of the character
and situation, consider revising either the particulars or the message.
Is it inconsequential that the hero reach the Tree, so long as he gains
wisdom internally?
5. Plot doesn't have
to be the heirarchical pyramid of exposition, rising action, climax, turning
point, denoument, resolution. You can bounce back and forth in time and
space, just be sure the reader can follow. Take a piece that you're having
trouble with and start in the middle. Use interweaving and flashback to
fill in the blanks about the past.
6. Flashbacks are especially
important for short story writers. In a short story, there isn't the space
to give the twenty year history of a person before the true conflict (Les
Miserables would have real problems in short story format). Thus, flashback
is used to let the reader know the important events of before. Write a
short story where the protagonist is caught in some drastic situation (a
hold-up, stranded on a mountain top, whatever). As the story progresses
towards getting the character out of the situation and safe, flashback
to how the character first got to where they are.
7. Sometimes, a story
stops moving due to the point of view being used. You may have a great
idea for what you want to happen, but your pov character won't let you
get there. Rewrite or simply switch half way to a different point of view.
Do any new paths open up? Does the plot change?
8. If you can't seem
to end the piece, it's likely that you already have several half-endings.
Step back for a moment and decide what the story's about. If it's about
the guy getting the girl, should it end when he gets her? When she divorces
him? When they have a child together? Once you decide that, the ending
will be there. Look over what you've written. Sometimes endings drag because
the author isn't sure if everything that's necessary has been said. That's
why it's worth taking a little time away.
9. Write a short passage
detailing the events of a person's day. First, write it chronologically.
Then, go back and mix up the order of events. What comes forth?
10. Subplots are wonderful
and can add a lot to a story, but they can also be confusing. If you're
going to use a subplot or two, it's worth detailing it first. That way,
you won't leave any loose ends.
11. Conflict is what
moves a story. Plunk your character down in a tense situation. It doesn't
have to be overtly tense. She could be having lunch with her best friend.
But gradually build the tension and let the conflict evolve.
12. For a story to be
interesting to a reader, something has to change: the character, the situation,
something. If everything stagnates, there's no point in reading it. Write
a scene where a character is confronted with a decision. This decision
should be big enough to the character that it changes him or her. Make
it clear to the reader that once the character makes his/her choice, there's
no turning back.
14. Write a short story that is exactly 100 words -- no more, no less. Notice that if you're going to manage a conflict, crisis, and resolution in this short piece, you will need to introduce the conflict immediately.
15. Place a character in conflict with some aspect of nature. The character need not be fighting for survival; the danger may be as small as a mosquito. Balance the forces equally so the reader is not sure who will "win" until the climax.
16. Plot an outline (or outline a plot) for a story in which the protagonist does not get what he/she wants. Have it end happily.
13. Write a short paragraph outlining the conflict between two characters. Then write the crisis scene for this conflict, a scene in which one of the characters "changes his/her mind," that is, realizes something, understands something not understood before, moves from one emotional state to its opposite. Make sure the internal change is shown in, or triggered by, an external action.