Here's lesson two!


Lesson Two

Remember to begin you story at the point where the character's life
has or very quickly experiences a big problem that has stopped their
everyday lives.

That's not to say you're not supposed to know the
backstory, you do. The trick is to trickle it in throughout the story
and in places where it makes sense and will have the most impact. This is
very important. If you don't then sections can read like data dump.

Backstory immediately kills the forward pace of the story, which is
why you need to ask yourself does it really need to be in there. If
the answer is yes, then make sure your transitions are clear. Do this
quickly as you can. Like a flashback, too much of this stops the
action in the story. One way to do this is to have the hero and heroine talking. Or have one
of them talking to a major secondary character.

Backstory is not something you need to be heavy-handed with. If
background must be given, do it later (not at the beginning). this will give the
reader the chance to be pulled the reader in the action of the story.

Don't forget stories begin in media res, in the middle of things.
Long passages describing the town, the location or pages of
internalization jerks the story to a stop.
Yes, you need internalization just not pages and pages of it.

To catch the attention of an editor you at the most a few paragraphs.
Having long detailed description of the beginning of the story about the
hero/heroine's childhood, pets, home etc. won't get you past the
first reader at a publishing house.
Always ask yourself, does this piece of information really need to be here? Does it move the story
forward or reveal something important about the character?

What is Plot?

This is one of the best explanations of plot I've found. Ronald B.
Tobias in 20 Master Plots has this definition— "Plot is story that
has a pattern of action and reaction." But Tobias continues, "Plot is
a chain of cause-and-effect relationships that constantly create a
pattern of unified action and behavior. Plot involves the reader in
the game of `Why?'"

The reader remembers the events, learns the characters and their
relationships between each other all while trying to figure out the
ending of the story.

Here is the definition of story. Story is only curiosity about what
will happen. A relating of events, that is distant from the reader.
In plot, the reader is engaged in asking why, while story only
arouses curiosity.

The Pollyanna Williamson definition: Plot is when a character takes
action to resolve the story problem.

Plot and character are inseparable.

Plot is the function of character, and character is the function of
plot. They are bound together, like a Celtic knot work; you can't see
where it begins or ends.

To plot we also need a logical connection (action/reaction) as to why
a character makes one choice as opposed to another. Just because
there is a logical connection doesn't mean it has to be obvious. This
is what is meant by good writing in that is appears to be casual.

Here's an example: "Uncle always kept his old military
pistol in the desk. Aunt hated it, but she could never get him to
lock it up properly." By mentioning this you'd better have something going on later about
that pistol in the desk.

Another example: (An old one, but it works!)
If you introduce a shotgun in your story, you don't have to keep
shoving it at the reader. If you place the shotgun in the story, the
reader knows it is there for a reason in the plot.
Introduce the item so the reader sees notices and goes on. The reader should
remember seeing the object earlier when the appropriate time arrives.
Remember if you've introduced it, something should occur with it..

Plot gives purpose and structure to a novel.
Unified purpose and action is the core of plot. This happens because
that happened-cause and effect. The unified purpose is what helps
create the whole story: beginning, middle and end. This purpose or
goal gives the character motivation and will also bring conflict.

Tobias goes on to say in 20 Master Plots, "When you ask yourself,
what does my character want? You've begun the journey of plot. Plot
is action, it moves, its dynamic. It is also organized. When you stop
and think about it, when you begin plotting a story there evolves an
organization of character and the events to develop a complete story.

In Bickham's The 38 Most Common Fiction Mistakes, page 23 explains it
this way:
Something has changed.
Your character is threatened.
He/she vows to struggle.
He/she selects a goal and starts taking action toward it.

It sounds simple, but so many of us have trouble getting it right.

To keep the plot moving forward and the character in action DO NOT
give your character what they want right away or the story is over.
By not giving them what they desire, you create tension and conflict.
The characters must earn their happily-ever-after. The explanations
of why a character decides something in the act of trying to reach
their goal should fall in line with the type of character you've

Look at your favorite authors, how do they handle this? If it helps,
write down the techniques he/she used. By studying technique and
understanding it, you can apply it to your manuscript.

When you reach the end of your story that contains the climax and
epilogue, be sure the ending ties up all the questions that have been
raised in the story.

Just a note here, but the story question is concerned with the
external conflict.

A well crafted plot and characters readers care about
will have them turning the pages as fast as they can.