by Crystal Caudill | Dec 28, 2021 | Writing Craft
As I’m still trying to read through my book for the challenge, I’m going to post another answer to one of the questions a local 8th grader posed to me during her “Ask an Expert” project. As a reader, I thought you might find it fascinating, and if a writer, I thought it might be helpful. So here’s this month’s question:
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How do you decide how to form the book? Notes, pre-made plans, etc?Â
In the writing world, we have two classifications (technically three) of writers. Plotters, pantsers, and what I like to call plansters.
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Plotters are the people who plan out every event that is going to happen in their book before they write it. They look at the structure of story, and determine what needs to happen when. Some do high-level plotting and just look at major turning points in the story. Others go down to the nitty-gritty of what will happen in every scene of the book.
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Pantsers are those who sit down and write without anything more than a general idea in their head. They see where the story takes them, which can mean lots of revisions and edits as they get rid of rabbit trails or dead ends from the book. These writers tend to have a natural feel of story, and I really recommend new writers don’t just sit down and write. Try to think through the story and plot things out so that you can learn to understand the important elements of Story and when they happen. I spent two or three years studying story structure and plotting things out before I discovered that plotting wasn’t how my brain worked.
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Plansters is a category name of my own making . We are the rogue black sheep of the writing world. We want to be plotters, but our characters just won’t allow us. I’ve discovered I cannot plan out an entire book even on a high level without my characters taking over, laughing in my face, and taking the story in a different direction than I expected. What I have discovered is I can do a high-level plan of where I need my characters to be in the next 1/4 to 1/3 of the story.
For right now, I’m shooting for my hero to join the board of a house of refuge where possible counterfeiting may be taking place so he can investigate the institution. However, I only have general ideas of what is going to happen to get him there or the order of those general ideas. So as a Planster, I am working toward that goal, but often sit down with no idea of what is going to happen in the scene I am writing until it ends up in words in front of me. This makes for slower writing, but I enjoy it.Â
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All writers do brainstorm though. Before I sit down to write or plan, I’ll think through: What are the possibilities of this chapter? What are the promises to the reader that I need to fulfill? Are there clues I need to drop? What problems need to happen? What is expected in this chapter? What would be unexpected? I don’t always do it, but when stumped, I’ll write down every single idea that comes to my head, whether ridiculous or not and push until I have no other ideas. Then I look back at my list for anything that might be unexpected and would push my story forward in a fun and exciting way. I also do a lot of brainstorming with other writers. They help to push me to think of things in ways I never would have before. They help my stories to become better.
One thing to note is NO writer is the same. Every writer is going to develop their own methods and comfort zones for developing Story. It might even change with every story they write. If you are a new writer, spend some time studying writing craft and trying to plot out the various parts of your story. If you want to know more about story structure, I have a few posts on that on my Writing Resources Page under Story Structure.
Now, I’m off to let my characters look at my plan, laugh at me, and then go their own direction while I follow behind trying to make sense of their actions. At least every day writing is an adventure!
What questions do you have about writing and the writing process? Maybe your question will end up as a post. 🙂
by Crystal Caudill | Aug 17, 2016 | Writing Craft
In my search for the perfect story structure and plotting, I have read many books and continue to do so. However, so far, Michael Hauge’s 6 Stage Story Structure has been my favorite. I love his linear, clear-cut structure.
Mr. Hauge’s structure is centered around script writing and is very formulaic. Although the percentages are more a reference to script writing, they can be loosely used for novel writing.
Stage 1 Â – Setup or “Everyday Life” Â Â (0%-10%)
Outer Journey
- Introduce your hero in their everyday world
- Create identification with 2 or more of the following:Â
- sympathy
- put them in jeopardy
- make them likable
- make the hero funny
- make them powerful
Inner Journey
- The hero exists completely in their identity.
- Their identity may be centered on what they do, their religion, or how they want others to see them.
- Their identity is what protects their core essence. (People pleaser vs “I am fine the way I am.”)
Turning Point 1 – Presented with an Opportunity (10% marker)
Outer JourneyÂ
- Creates in the hero a desire to move into a new situation, something new
- This is not the desire for the true endpoint.
Inner Journey
- Hero gets a glimpse of what it would be like to live in their essence
- They refuse the call to change
Stage 2 – New Situation  (10% – 25%)
Outer Journey
- The adjustment
- What are the new rules?
- How can I get along?
- Usually, hero believes it will be easy.
Inner Journey
- Hero gets a glimpse of what it would be like to live in their essence.
- Reject living in their essence.
Turning Point 2 – Change of Plans (25% marker)
Outer Journey
- The visible end goal is established.
- The character realizes, “No, I have to do this.”
Inner Journey
- A foot in who their initial identity is and a foot in who they really are – their essence.Â
- They struggle back and forth with who they are and what they were.
Stage 3 – Progress  (25% – 50%)
Outer Journey
- The plan seems to be working.
- There must be conflict, but the obstacles are avoided, overcome, delayed, or by-passed.
Inner Journey
- They are still straddling the fence of their essence and identity.Â
Turning Point 3 – The Point of No Return (50%)
Outer Journey
- When the hero is closer to the goal than the start,
and they have become so committed they burn their bridges, making it impossible to turn back.
- The hero’s life as he knew it is over.
Inner Journey
- Their identity is stripped away.
- They realize their essence and begin pursuing it.
Stage 4 – Complications and Higher Stakes (50% – 75%)
Outer Journey
- It is more difficult to accomplish the goal, but also more important to accomplish.
- They have more to lose.
Inner Journey
- They continue pursuing who they really are.
Turning Point 4 – The Major Setback (75%)
Outer Journey
- The reader has the sense that all is lost.
- The plan they had is out the window but they can’t turn back.
- They must make one last push or die while trying.
Inner journey
- The hero has fully committed to living in their essence but now the outside world starts coming in and frightening them.Â
- The hero retreats back into their identity. They run away from who they are.
Stage 5 -The Last Push (75% to ?)
Outer Journey
- Do it or die while trying.
- Everything is put on the line.
Inner Journey
- They realize they don’t like who they were anymore. They have had a taste of who they truly are and they have to go after it.
- They have to find their destiny, even if it means risking everything to get what they want.
Turning Point 5 – Climax (% Depends)
Outer Journey
- All the problems are resolved.
- The hero can fail, succeed, or change their mind.
- The length of the climax depends on how many problems you have to resolve.
Inner Journey
- The moment they fully realize who they are.
Stage 6 – The Aftermath
Outer Journey
- Responding the climax emotionally.
- The wedding, reconciliation, etc.
Inner Journey
- The hero is going to live their new life as they truly are.
Interested in examples and learning more about either Mr. Hauge’s structure or the hero’s journey? I highly recommend buying the audible recording of his and Chris Vogular’s presentations. It is worth every penny. I have listened to it half a dozen times already and plan on listening again as I drive to Nashville for the ACFW Conference next week.
Michael Hauge’s website also does a great job showing examples.
Tell me what you think about this plotting format? Does it make sense to you? Are there any movies or books you can identify with this plot structure?
