Category: Story Structure

Control Your Characters

11/11/2019

When Characters Try to Take Over The Story

Every writer has the experience of characters acting and speaking in unexpected ways. With the most detailed story outline, once you begin writing a scene, characters do something that you hadn’t planned in your outline.

When the protagonist or the antagonist speaks pithy words or acts in a surprising way, you are on the way to enriching your story and deepening your character. But sometimes a supporting character will grab the baton and try to run with the story.

Like a stage actor stepping in front of the lead to gain the upstage position, while you are writing, a character takes the center stage away from your sleuth.

Then your story gets derailed.

How to Put A Character Back on Track

You question your story, your character choice, and wonder how to get control of your character.

You don’t have to go back and rewrite the first part of your novel.

You don’t need to switch character roles to give the character a more prominent place.

You do need to notice the character’s scene grab and consider your next action.

Examine the scene and its place in your story. The beginning, middle, and end of the scene need to move the current story forward. Does the character’s unexpected action fulfil the scene requirements?
Double-check the character’s context in relation to the story—a suspect, a sidekick, a love interest. Does the action or dialogue fit their story role?
Is there another place in the story where the unexpected character action would be a better fit? Can you break up the action into smaller bits, keeping the most important and tossing the others?
Is the character telling you an important part of the story, you had not considered? Will the character’s action change what follows? Will you need to change villains, making a suspect the killer, and retiring your previous choice of a villain?
Do you love the character, but the action doesn’t fit the story? Take a deep breath. William Faulkner said, “In writing, you must kill all your darlings.” Cut the action. If you like the character, save them for a bigger role in another story.

Balance Intuition and Rationale

Take action before you write more. Your intuition created your character’s action. If what the character does overpowers the scene, trim the action to keep balance in your scene. Add another action for your main character to give your protagonist the main thrust in the scene. Then continue on with your story.

Your story is the guideline to making every scene work. And it is the reason all your characters are there. They are the agents that move your story. Let them do and say what comes into your head as you write. Just make sure they are acting within the story construct.

Whether you are a pantser or make detailed outlines, expect your characters to do the unexpected. Then fashion those actions to fit within your story.

Photo by Zach Lucero on Unsplash

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Mystery Novel Four-Act Structure Demystified

15/7/2019

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big tents with poles, tent poles for your story

Build Your Story Around the Main Events

Between a full scene-by-scene, chapter-by-chapter outline and writing with no structure is a middle ground. When you understand the four-act structure, you give yourself the freedom to create your story around the main events in each act.

It’s easy for beginning writers to get lost in three acts — beginning, middle, and end. The four-act structure and the main events of each act give you a framework like tent poles you use to drape the fabric of your story.

When you know the structure, it’s easy to keep the main events in your head as you write. Each event is a destination and at each destination, the story changes.

Change builds tension. Tension keeps readers turning pages.

You have your detective and the murder and possibly the villain. Now it’s time to think story.

Act One - Setup and Complicate

The beginning is about bringing your reader into the story. In a mystery, you introduce them to your sleuth and, usually, the murder.

One of the best ways to introduce your sleuth is to show him solving a problem. Tell your readers, your sleuth can do what she’ll need to do to find the murderer. Illustrate at least one of your sleuth’s strengths you’ve created in your character background. If you know how he will catch the villain, mirror that talent in the beginning.

You introduce your reader to your sleuth and their everyday world by showing how he acts when faced with a problem. You are going to throwing a lot of problems her way, so highlight her skills at the beginning.

Once your reader knows your sleuth and sees them in action. Something happens that triggers your story.

The Inciting Incident
Once your reader has a taste of your sleuth, bring them into the main problem of the story. Move your sleuth out of their everyday world into a new challenge. In this scene, present your sleuth with a challenge he didn’t see coming.

Something happens that pulls your sleuth toward the main mystery. It could be a new neighbor, an old lover, a vehicle breakdown, or anything you want to imagine. Although you sleuth (and your reader) doesn’t know it yet, this small disturbance in her regular life is heading her toward the big mystery.

Once you introduce this event and show your sleuth’s reaction(s), it’s time to get to meet the mystery head on.

The First Plot Point
Now you introduce the dramatic event that must be answered in the climax of your story. In a mystery, the sleuth is brought on or volunteers to find the killer.

How this event unfolds will depend on the type of mystery you write. A cozy heroine may take on the search or a cop may be up next on the rota. Either way, your sleuth protagonist enters the mystery and takes on the challenge of solving the puzzle.

Act Two - Conflict and Rising Action in Discovery

Now your sleuth must poke and probe to learn about the victim and the murder. He examines physical evidence and discovers a list of possible suspects. In this section of your mystery, your sleuth gets to know the victim’s world—what the victim did, who was in the victim’s world, why the victim was where they were when they were murdered.

This is the place where you introduce any subplots. The sidekick has a problem. Your sleuth meets a love interest. Outside forces put pressure on your sleuth. More juicy complications.

Pinch Point
Along the way, things don’t go smoothly. A piece of evidence is lostor your sleuth misinterprets (for now) the significance. As he meets suspects, they have their own personal reasons for resisting and not fully cooperating. Challenge your sleuth at the pinch point. Whatever he thinks is the right approach doesn’t work.

Your sleuth is nowhere near discovering who the killer is. During this discovery phase, throw in as many complications as you can. Make each complication more challenging than the last. More complications mean more tension and more tension keeps readers guessing and turning pages.

The Midpoint
The midpoint comes between Act Two and Act Three. The story pivots. Your sleuth may discover that she’s been going down the wrong path and has to rethink everything. He may be so discouraged he thinks about giving up.

Act Three - Crisis

After the midpoint, your sleuth looks for a new approach to solving the puzzle and it doesn’t go well. Your sleuth must reexamine everything he learned in Act Two.

Add complications and twists to the subplot(s) here.

Pinch Point
The second pinch point shows your sleuth that the new direction he chose after the midpoint will not get her the results she wants. The undiscovered villain may set a trap that confuses your sleuth. Your sleuth realizes he’s in over his head.

Now your sleuth must gather forces. She may find new support, discover new evidence, and somehow get closer to discovering the murderer. Your sleuth examines all the old evidence with new information and a fresh approach. He’s looking for the evidence or suspect statement he overlooked before.

Now on a new discovery path, your sleuth feels she’s closer to the killer.

Plot Point
The killer antagonise uses a smokescreen and everything the sleuth thought he knew leads nowhere. Your sleuth needs to clear his vision of the victim’s world and take a new approach.

Act Four - Climax and Wrap Up

Your detective is captured or blocked from finding the killer. The victim’s world becomes more of a mystery. She’s just not seeing anything the right way. If she’s trapped/captured, there’s no way out.

Rising Conflict
But then, your sleuth sees a way out. After the escape from the trap or block, he starts rethinking and gets a glimpse of who the killer might be. But, there’s still something that isn’t clear. He gets ready to confront the killer, but there’s one last defeat, and it’s the biggest of all.

Your detective knows the killer is dodging but can’t get to that final confrontation. For the moment, the killer survives any accusation.

Your detective finally finds the killer. But the killer has a surprise for the detective. Your detective may have made a false assumption or misread the killer’s intent. The killer pulls out one last trump card, one the detective didn’t expect. Whether it’s a battle of wits or hand to hand fighting, the killer plays that one last card.

In Act Four, you pull out all the stops. The confrontations and reversals are the most challenging in your mystery. The villain has the upper hand. Except…

Your detective finally realizes how to confront the villain and challenges him face to face. At this point, your sleuth reveals the murderer. In addition, your sleuth shines the spotlight on her special skill(s) that led her to this final confrontation and revelation.

In the midst of all this rising action, bring each subplot to conclusion, because once your sleuth reveals the killer, you’ve finished your unwritten agreement with your reader to solve the puzzle.

Revelation and Wrap Up
Once your sleuth has revealed the villain, wrap up your mystery. When the killer is revealed, bring your story to a quick conclusion.

The Framework

The four-act structure gives you the freedom to write without a commitment to each scene while keeping in mind the important steps of your story.

Some writers find it helpful to sketch out the major story points.

Inciting incident
First plot point
Pinch point
Midpoint
Pinch point
Climax

After they note these major story points, all the chapters in between flow toward the next story point. As they write, they have a goal in mind: to get to the next story point.

Other writers keep those major story points in their head and just write.

It’s up to you how you want to put together your story structure. Beginning writers find that having the major story points in mind keeps them from writing themselves into a corner or going off track.
Image by JamesDeMers
from Pixabay

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Control Your Characters

When Characters Try to Take Over The Story

How to Put A Character Back on Track

Balance Intuition and Rationale

Mystery Novel Four-Act Structure Demystified

Build Your Story Around the Main Events

Act One - Setup and Complicate

Act Two - Conflict and Rising Action in Discovery

Act Three - Crisis

Act Four - Climax and Wrap Up

The Framework

Zara Altair, Author

Archives

Categories

Stay in Touch!

Fan News

Amazon

Email

​

Control Your Characters

When Characters Try to Take Over The Story

How to Put A Character Back on Track

Balance Intuition and Rationale

Mystery Novel Four-Act Structure Demystified

Build Your Story Around the Main Events ​

​Act One - Setup and Complicate

Act Two - Conflict and Rising Action in Discovery

Act Three - Crisis

Act Four - Climax and Wrap Up

The Framework

Zara Altair, Author

Archives

Categories

Stay in Touch!

Fan News

Amazon

Email

Build Your Story Around the Main Events

Act One - Setup and Complicate