[ copyright ] Write Great Fiction: Plot & Structure© 2004 by James Scott Bell. Manufactured in the United States of America. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Published by Writer’s Digest Books, an imprint of F+W Publications, Inc., 4700 East Galbraith Road, Cincinnati, OH 45236. (800) 289-0963. First edition. Visit our Web site at www.writersdigest.com for information on more resources for writers. To receive a free weekly e-mail newsletter delivering tips and updates about writing and about Writer’s Digest products, register directly at our Web site at http://newsletters.fwpublications.com. 10 09 08 9 8 7 Library of Congress Cataloging-in-Publication Data Bell, James Scott. Write great fiction: plot & structure: techniques and exercises for crafting a plot that grips readers from start to finish / by James Scott Bell. p. cm. Includes index. ISBN-13: 978-1-58297-294-7 (alk. paper) ISBN-13: 978-1-58297-684-6 (EPUB) ISBN-10: 1-58297-294-X (alk. paper) 1. Plots (drama, novel, etc.). 2. Fiction—Authorship. I. Title PN3378.B45 2004 2004053032 808.3'94—dc22 CIP Edited by Kelly Nickell Designed by Stanard Design Partners Cover by Nick Gliebe/Design Matters Cover illustration © Getty Images Interior illustrations © Getty Images Production coordinated by Robin Richie and Logan Cummins [ about the author ] James Scott Bell is the best-selling author of Breach ofPromise,Deadlock, A Greater Glory,and several other thrillers.He is a winner ofthe Christy Award for Excellence in inspirational fiction,and is currently a fiction columnist for Writer’sDigestmagazine.A former trial lawyer,Jim now writes and speaks full time.His Web site is www.jamesscottbell.com. [ dedication ] Tomywife,Cindy,who is my inspiration,editor-in-chief,and best friend. Thanks for helping make my dreams come true. And to my children,Nate and Allegra,who make me proud. [acknowledgments ] I must thank all ofthe generous and thoughtful writers who have given us, in books and articles,their collective wisdom on the art offiction.When I finally figured out that the craft was something that could be taught,I dove into a massive reading program and found a body ofadvice that gave me hope I could someday learn to write. While I can’t possibly thank all ofthose who have helped me,I want to givecredit to at least the following books that I continue to turn to: Bickham,Jack,Writing and Selling Your Novel Bishop,Leonard,Dareto be a Great Writer Block,Lawrence,Writing the Novel Browne,Renni & King,Dave,Self-Editing for Fiction Writers Bradbury,Ray,Zen in the Art ofWriting Cleaver,Jerry,Immediate Fiction Conrad,Barnaby,Complete Guide to Writing Fiction Egri,Lajos,The Art ofCreative Writing Frey,James N.,How to Write a Damn Good Novel I & II Hall,Oakley,The Art & Craft ofNovel Writing Kernen,Robert,Building Better Plots King,Stephen,On Writing Koontz,Dean,How to Write Best-Selling Fiction Maass,Donald,Writing the Breakout Novel Morrell,David,Lessons From a Lifetime ofWriting Stein,Sol,Stein on Writing Swain,Dwight,Techniques ofthe Selling Writer Whitney,Phyllis,Guide to Fiction Writing Thanks also to some writer friends who looked at early portions of this work:Angela Hunt,Randall Ingermanson,and Janelle Schneider.And special thanks to my editor on this project,Kelly Nickell,and to all the folks I work with at Writer’sDigestmagazine,who knowthat writing can be taught and prove it every day. table of * contents * introduction: Putting the Big Lie to Sleep...................................................1 chapter one: What’s a Plot, Anyway?...........................................................6 chapter two: Structure:What Holds Your Plot Together..........................22 chapter three: How to Explode With Plot Ideas.......................................35 chapter four: Beginning Strong.................................................................56 chapter five: Middles...................................................................................79 chapter six: Endings....................................................................................99 chapter seven: Scenes................................................................................113 chapter eight:Complex Plots....................................................................130 chapter nine:The Character Arc in Plot....................................................141 chapter ten: Plotting Systems....................................................................152 chapter eleven: Revising Your Plot..........................................................172 chapter twelve:Plot Patterns....................................................................180 chapter thirteen: Common Plot Problems and Cures..........................194 chapter fourteen:Tips and Tools for Plot and Structure......................206 appendix a:Checklist:Critical Points.........................................................223 appendix b:Creating Your Own Back Cover Copy....................................229 index..............................................................................................................232 * introduction * [ putting the big lie to sleep ] I wasted ten years ofprime writing life because ofthe Big Lie. In my twenties,I gave up the dream ofbecoming a writer because I had been told that writing could not be taught.Writers are born,people said.You either have what it takes or you don’t,and ifyou don’t you’ll never get it. My first writing efforts didn’t have it.I thought I was doomed.Outside ofmy high school English teacher,Mrs.Marjorie Bruce,I didn’t get any encouragement at all. In college,I took a writing course taught by Raymond Carver.I looked at the stuffhe wrote;I looked at my stuff. It wasn’t the same. Because writing can’t be taught. I started to believe it.I figured I didn’t have it and never would. So I did other stuff.Like go to law school.Like join a law firm.Like give up my dream. But the itch to write would not go away. At age thirty-four,I read an interview with a lawyer who’d had a novel published.And what he said hit me in my lengthy briefs.He said he’d had an accident and was almost killed.In the hospital,given a second chance at life, in t r he decided the one thing he wanted was to be a writer.And he would write o d u and write,even ifhe never got published because that was what he wanted. c t io Well,I wanted it,too. n But the Big Lie was still there,hovering around my brain,mocking me. 1 Especially when I began to study the craft ofwriting. I went out and bought my first book on fiction writing.It was Lawrence Block’s Writing the Novel.I also bought Syd Field’s book on screenwriting because anyone living in Los Angeles who has opposable thumbs is required to write a screenplay. And I discovered the most incredible thing.The Big Lie was a lie.A person couldlearn how to write because I was learning. how i became a happy plotter While in the throes ofthe Big Lie,the most frustrating thing to me was Plot. Because what I wrote didn’t have it. I would read short stories and novels,and wonder how the writers did it. How did they get all this great story material? The Big Lie said they had it in their heads,naturally,and it just flowed out on the page as they went along. I tried it.I tried to let plot flow.But what came out on the page was dreadful.No plot! No story! Zip! But when I began to learn about the craft,I saw that plotting had elements I could learn.And I found out about structure:when plot elements were put in a certain order,a stronger story resulted. I can still remember the day it came together for me.It was an epiphany.All ofa sudden,something clicked in my head.The pieces started to fit.The Jell-O hardened. About a year later,I had a screenplay optioned.Then another. Then I wrote a novel.It was published. Then I got a five-book fiction contract.I wrote those books,and they were published,too. Suddenly,I took a deep breath and looked behind me.Somehow,some way,I had learned how to write after all. The Big Lie was exposed. I was so ticked offabout the Big Lie that I started teaching others what e I’d learned about the craft ofwriting.I wanted new writers to know that r u t they weren’t doomed to stay where they were.They could learn craft,as I c u r did.I never taught fancy theory,just nuts and bolts.Things that worked for t s & me,that new writers could understand and use right now. t lo And then a funny thing happened.Some ofmy students started selling p theirbooks. 2 I still find this the most satisfying part ofthe whole deal. And this is what I hope you will learn.Let’s replace the Big Lie with the Truth.The Truth is that craft can be taught and that you,with diligence and practice and patience,can improve your writing.This is one book that’s going to be as practical on that score as I can make it. what it takes to learn plot My high school basketball coach was a strict disciplinarian.Ifit had been up to me,I would have spent my practice time shooting jump shots.But Coach made us do fundamental drills—dribbling,passing,cutting,setting picks. And,ofcourse,the dreaded wind sprints when we messed up. We all hated the drudgery,but come game time,we knew we were bet- ter players for it.And all ofhis teams overachieved. Ifyou want to break through with this thing called craft,you’ll need to be your own disciplinarian.Here are some things you can do to become your own plotting coach.Tweak them to fit your preferences,but use them. You’ll like the results. Otherwise,I may have to make you do wind sprints. [ 1 ] Get motivated.I remember the exact date I decided I was going to be a writer.I jotted this in my journal:“Today I resolve to take writing seriously,to keep going and never stop,to learn everything I can and make it as a writer.” Remember,this was after I was steeped in the Big Lie.So what I wrote was a declaration ofindependence ofsorts. Why don’t you do the same? Write a statement ofpurpose,one that gets you excited,and print it.Put it on your wall where you can see it every day. The next thing I did was buy a black coffee mug with Writerwritten in gold across it.I would look at that cup every day to remind me ofmy commitment.In fact,on days when the writing drags,I’ll look at it again. It gives me a fresh jolt ofenthusiasm. Come up with your own item ofvisual motivation.It might be inspirational words taped to your computer,a photograph ofan in t r admired writer (on my wall I have a shot ofStephen King,feet up on o d u his writing desk and dog under his chair,revising a manuscript),or c t your own rendering ofyour first novel’s cover (be lavish in the critical ion praise on the back!). 3 I was also motivated early on by going to bookstores and browsing in the bestseller section.I’d look at the authors’pictures and bios,I’d read their openings (and think I can do this!),and I’d imagine what my face would look like on the back ofa dust jacket (nicely retouched,ofcourse). Then—and this is crucial—I’d race back to my office and start writing. Find some ritual that gets your juices flowing,and don’t waste it. Turn it into words on the page. [ 2 ] Try stuff.Just reading a book on plotting is not going to make you a better writer.You have to try out what you learn,see ifyou get it,and try some more.You test the principles in the fire ofthe blank page. As you read this book,take time to digest and then apply what you learn about plot and structure to your own writing. I love books on writing.I have shelves full ofthem.I’ve read every one with a yellow highlighter.Then I’ve reread almost all ofthem with a red,felt-tip pen,marking things I missed the first time. Then I’ve gone through most ofthem a third time,writing out new insights on a yellow legal pad. Then I’ve taken my notes and typed them up. What I’m doing is digesting the material as deeply as I possibly can. I want it to be part ofme.I want it there when I write my next novel. So please be on the lookout for new techniques in the craft offiction writing,and try them out yourself.This is how you learn and grow. [ 3 ] Stay loose.Writing is never any good when it is done in the grip of anxiety.A tense brain freezes creativity.Ifyou try to make writing too much ofa military exercise,ifyou go at it with a clenched jaw and fevered brow,you’ll be working against yourself.The guidelines in this book will give you material to work with and techniques that can help you.Your job is to write,as Brenda Ueland puts it,“freely and rollickingly.” [ 4 ] “First get it written, then get it right.”I can’t remember who said them,but these are words ofwisdom.Don’t spend too much time worrying and fretting and tinkering with your first draft.The guidelines e in this book will help you not only in the planning ofyour plot and the r u t writing ofit,but most ofall when you get to the revision stage.Your job c u tr with that first draft is to pour yourselfonto the page.In Zen in the Art s & ofWriting: Essays on Creativity,Ray Bradbury says,“Let the world burn t lo through you.Throw the prism light,white hot,on paper.” p [ 5 ] Set a quota.Writing is how you learn to write.Writing daily,as a 4 discipline,is the best way to learn. Most successful fiction writers make a word goal and stick to it.A time goal can easily be squandered as you sit and agonize over sentences or paragraphs.Sure you were at your writing desk for three hours,but what did you produce? Write a certain number ofwords instead.