Plotting, yeah that'd be nice. By the time I have enough of an idea of what's going on to even think about a plot outline, my characters pick me up by the shirt collar and shout, "Now here's the deal..." Then they take off like a cruise missile to the climax and have the whole thing wrapped up by page 10, leaving me sitting there sobbing into my hands, saying, "but it was supposed to be a novel!"
I have learned the three act structure a bit different : Are they the same? Act 1. Setup: Exposition, Inciting Incident, Plot Point One Act 2. Confrontation: Rising Action, Midpoint, Plot Point Two Act 3. Resolution: Pre-Climax, Climax, Denouement
I've been remiss in my duty as a long time fan, in that until you asked, I've not ever left a comment. Thank you for excellent lessons. I'll treat myself to your latest book as a way to demonstrate support, and because it will help me on my writing journey. Win win.
Next video suggestion - Could you do a video on the "Dramatic Question." It's the backbone of a story, yet it has never been discussed on this channel. You have wonderful insights into storytelling, and I would be interested in your perspective...and it's nice to see you again. We missed you!
Thanks. I'm currently working my way around helpingwritersbecomeauthors and I'm loving it. That smile at the beginning took my breath away. I should know by now but you get me every time. 😄
Thank you KM. I once read somewhere that we should consider the tree plot points as the three meals breakfast lunch and dinner and the two pinch points as snacks between between breakfast and lunch and between lunch and dinner. I nice way to remember.
Love your new videos :) My question is about the Key Event ... and something I forgot lol... it's like "Key Event" in that it's extra (The normal ones being Hook, Plot Turn 1, Pinch 1, Midpoint, Pinch 2, Plot Turn 2, Resolution.) I have trouble with the definition of and way they interplay with the nearby plot-points.
Terrific video, Katie. I think plot is the hardest thing a writer has to do. David Mamet compares it to working with an unclean substance. Poor structure seems to be the number one reason agents give for passing on a manuscript. They might say the manuscript "needs work" but it relates back to structure. Most of us can write an interesting character or voice and describe things all day, but plot is tough, so I get a lot of value from these videos. IMO, the best structure in a novel ever is _The Silence of the Lambs_ by Thomas Harris. The movie breaks it down faithfully.
I've been following you for many years now. I'm also a Star Trek fan. In watching and analyzing the most recent season of Star Trek Picard, it was fascinating to see how the season (which was essentially divided into three stories--4 episodes, 4 episodes, then 2 episodes---but also told one large story) adhered to the story-structure that you teach. It was also interesting to see how occasionally one plot-point would pull double duty, functioning one way within the smaller story, and another in the season-wide story. (For example, the Midpoint of the first story was also the First Plot Point of the season-at-large.)
What should actually happen at the midpoint? I know it means the story changes direction and it can be by learning some new information, but I don't really understand what actually has to happen in the story itself, and whether it means the character either loses something or wins something. I would appreciate you explaining this if you have chance. Thank you.
I've always enjoyed following a structure while writing and after reading a bunch of books on structure (including yours) I'm more likely to notice key plot points in the books I read. I'm told that literary fiction often abandons classic structure but I can't think of a novel I've read where the basic elements of structure don't exist. Can you point to a story that abandons classical structure and you still consider a good/great literary work?
I’ve written my inciting incident, two plot points, midpoint, and climax, and I feel confident in these key moments. However, I’m struggling with how to connect these points smoothly and cohesively. It might seem like a basic question, but how do you effectively bridge these moments to create a seamless flow?
One of the best ways is to focus on scene structure, making sure each scene's goal and outcome are building seamlessly into one another. I talk about that in my book Structuring Your Novel, as well as here: www.helpingwritersbecomeauthors.com/how-to-structure-scenes/
Plotting, yeah that'd be nice. By the time I have enough of an idea of what's going on to even think about a plot outline, my characters pick me up by the shirt collar and shout, "Now here's the deal..." Then they take off like a cruise missile to the climax and have the whole thing wrapped up by page 10, leaving me sitting there sobbing into my hands, saying, "but it was supposed to be a novel!"
I'm also a pantser. The key I've found is to write as if there's no structure, and to revise knowing it does.
Great tidbits and wisdom as always. Thank you K.M. 😊
I have learned the three act structure a bit different : Are they the same?
Act 1. Setup: Exposition, Inciting Incident, Plot Point One
Act 2. Confrontation: Rising Action, Midpoint, Plot Point Two
Act 3. Resolution: Pre-Climax, Climax, Denouement
I've been remiss in my duty as a long time fan, in that until you asked, I've not ever left a comment. Thank you for excellent lessons. I'll treat myself to your latest book as a way to demonstrate support, and because it will help me on my writing journey. Win win.
Next video suggestion - Could you do a video on the "Dramatic Question." It's the backbone of a story, yet it has never been discussed on this channel. You have wonderful insights into storytelling, and I would be interested in your perspective...and it's nice to see you again. We missed you!
Thanks. I'm currently working my way around helpingwritersbecomeauthors and I'm loving it. That smile at the beginning took my breath away. I should know by now but you get me every time. 😄
Thank you KM. I once read somewhere that we should consider the tree plot points as the three meals breakfast lunch and dinner and the two pinch points as snacks between between breakfast and lunch and between lunch and dinner.
I nice way to remember.
Thus far, best defintions I've found for these points.
Thanks so much for the clarification! The difference between the two never fully made sense before I saw your video.
Thank you for the reply, so kind of you
I so enjoy your insight. Thank you!
Love your explanation. Thank you.
Love your new videos :) My question is about the Key Event ... and something I forgot lol... it's like "Key Event" in that it's extra (The normal ones being Hook, Plot Turn 1, Pinch 1, Midpoint, Pinch 2, Plot Turn 2, Resolution.) I have trouble with the definition of and way they interplay with the nearby plot-points.
Terrific video, Katie. I think plot is the hardest thing a writer has to do. David Mamet compares it to working with an unclean substance. Poor structure seems to be the number one reason agents give for passing on a manuscript. They might say the manuscript "needs work" but it relates back to structure. Most of us can write an interesting character or voice and describe things all day, but plot is tough, so I get a lot of value from these videos.
IMO, the best structure in a novel ever is _The Silence of the Lambs_ by Thomas Harris. The movie breaks it down faithfully.
Thank you for taking the time with very helpful information. Continued success!
oh. you are so pretty! I love your work, your books! thanks a lot from a fan.
Great stuff, K.M., as always. I follow you here, and your splendid podcast.
I like it!
Excellent
I've been following you for many years now. I'm also a Star Trek fan. In watching and analyzing the most recent season of Star Trek Picard, it was fascinating to see how the season (which was essentially divided into three stories--4 episodes, 4 episodes, then 2 episodes---but also told one large story) adhered to the story-structure that you teach. It was also interesting to see how occasionally one plot-point would pull double duty, functioning one way within the smaller story, and another in the season-wide story. (For example, the Midpoint of the first story was also the First Plot Point of the season-at-large.)
What should actually happen at the midpoint? I know it means the story changes direction and it can be by learning some new information, but I don't really understand what actually has to happen in the story itself, and whether it means the character either loses something or wins something. I would appreciate you explaining this if you have chance. Thank you.
I've always enjoyed following a structure while writing and after reading a bunch of books on structure (including yours) I'm more likely to notice key plot points in the books I read. I'm told that literary fiction often abandons classic structure but I can't think of a novel I've read where the basic elements of structure don't exist. Can you point to a story that abandons classical structure and you still consider a good/great literary work?
How do subplots fully play a role in stories, and how do we make it so that readers can tell it is a subplot.
Cool
Graceful KM... always in love with you❤
I’ve written my inciting incident, two plot points, midpoint, and climax, and I feel confident in these key moments. However, I’m struggling with how to connect these points smoothly and cohesively. It might seem like a basic question, but how do you effectively bridge these moments to create a seamless flow?
One of the best ways is to focus on scene structure, making sure each scene's goal and outcome are building seamlessly into one another. I talk about that in my book Structuring Your Novel, as well as here: www.helpingwritersbecomeauthors.com/how-to-structure-scenes/
Dang. I flunked math.
The sound of your ring, or whatever piece of jewellery it may be, hitting the table every time you gesture is very distracting.
You always have good advice. I appreciated hearing about the difference between plot point and pinch point.