Writers must understand structure if they hope to be successful. Yes, it might take five years to finish the first novel, but if we land a three book deal, we don’t have 15 years to turn in our books. Also, in the new paradigm of publishing, writers who produce more content have greater odds of making money at this writing thing.
Understanding structure helps us become faster, cleaner, better writers. Structure is essential to all stories, from screenplays to novels to epic space operas.
Plotters tend to do better with structure, but even pantsers (those writers who write by the seat of their pants) NEED to understand structure or revisions will be HELL. Structure is one of those boring topics like finance or taxes. It isn’t nearly as glamorous as creating characters or reading about ways to unleash our creative energy.
I’ve run my 20 page Death Star Critique contest for a few years now, and I will say that the #1 problem I spot is that the writer clearly doesn’t grasp structure fundamentals. Yes, I can generally spot that in less than five pages 😉 . Strangely, readers can too, only they may not be able to articulate why a book failed to hook them. Structure helps stories make sense on an intuitive level.
Structure is probably one of the most overlooked topics, and yet it is the most critical. Why? Because structure is for the reader. The farther an author deviates from structure, the less likely the story will connect to a reader. Agents know this and editors know this and, since they are in the business of selling books to readers, structure becomes vital.
Story that connects to reader = lots of books sold
Story that deviates so far from structure that readers get confused or bored = slush pile
Oh and I can hear the moaning and great gnashing of teeth. Trust me, I hear ya.
Structure can be tough to wrap your mind around and, to be blunt, most pre-published writers don’t understand it. They rely on wordsmithery and hope they can bluff past people like me with their glorious prose. Yeah, no. Prose isn’t plot. We have to understand plot. That’s why I am going to make this upcoming series simple easy and best of all FUN.
Learning narrative structure ranks right up there with…memorizing the Periodic Table. Remember those days? Ah, high school chemistry. The funny thing about chemistry is that if you didn’t grasp the Periodic Table, then you simply would never do well in chemistry. Everything beyond Chapter One hinged on this fundamental step—understanding the Periodic Table.
Location, location, location.
See, the elements were a lot like the groups at high school. They all had their own parts of the “lunch room.” Metals on one part of the table, then the non-metals. Metals liked to date non-metals. They called themselves “The Ionics” thinking it sounded cool.
Metals never dated other metals, but non-metals did date other non-metals. They were called “The Covalents.” And then you had the neutral gases. The nerds of the Periodic Table. No one hung out with them. Ever. Okay, other nerds, but that was it. Period.
All silliness aside, if you didn’t understand what element would likely hang out where and in what company, the rest of chemistry might as well have been Sanskrit….like it was for me the first three times I failed it.
Novel structure can be very similar. All parts serve an important function. Normal World has a clear purpose, just like all the other components of the narrative structure. Today we are going to go back to basics, before we ever worry about things like Aristotelian structure, turning points, rising action, and darkest moments.
Often, structure is the stuff most new writers don’t understand, but I am going to save you a ton of rewrite and disappointment. Again, prose is not a novel. Just because we can write lovely vignettes doesn’t mean we have the necessary skills to write an 80-100,000 word novel.
That’s like saying, I can build a birdhouse, ergo I can build a real house. Um…no. Different scale, different skills. Are a lot of the components the same? Sure! But a novel needs a totally different framework of support, lest it collapse….structure.
There are too many talented writers out there writing by the seat of their pants, believing that skills that can create a great short story are the same for a novel. No, no, no, no. When we lack a basic understanding of structure we have set ourselves up for a lot of wasted writing.
Ah, but understand the basics? And the potential variations are mind-boggling even if they are bound by rules, just like chemistry. Carbon chains can be charcoal, but they also can be butterflies and barracudas and bull dogs. Today we are going to just have a basic introduction and we will delve deeper in the coming posts.
Now before you guys get the vapors and think I am boxing you into some rigid format that will ruin your creativity, nothing could be farther from the truth.
Plot is about elements, those things that go into the mix of making a good story even better.
Structure is about timing—where in the mix those elements go.
When you read a novel that isn’t quite grabbing you, the reason is probably structure. Even though it may have good characters, snappy dialogue, and intriguing settings, the story isn’t unfolding in the optimum fashion. ~James Scott Bell from Plot and Structure.
Structure has to do with the foundation and the building blocks, the carbon chains that are internal and never seen, but will hold and define what eventually will manifest on the outside—banana or butterfly? Paranormal Romance? Or OMGWTH?
Structure holds stories together and helps them make sense and flow in such a way so as to maximize the emotional impact by the end of the tale.
We are going to first put the novel under the electron microscope.
***Though, I will say this holds true for all variations of story, just the novel tends to be the BUGGER due to length, so we will talk about that here.
The most fundamental basics of a novel are cause and effect. That is super basic. An entire novel can be broken down into cause-effect-cause-effect-cause-effect (Yes, even literary works). Cause and effect are like nucleus and electrons. They exist in relation to each other and need each other. All effects must have a cause and all causes eventually must have an effect (or a good explanation).
I know that in life random things happen and good people die for no reason. Yeah, well fiction ain’t life. So if a character drops dead from a massive heart attack, that “seed” needed to be planted ahead of time. Villains don’t just have their heart explode because we need them to die so we can end our book. We’ll talk more about that later.
Now, all these little causes and effects clump together to form the next two building blocks we will discuss—the scene & the sequel (per Jack Bickham’s Scene & Structure). Many times these will clump together to form your “chapters” but all in good time.
Cause and effect are like the carbon and the hydrogen. They bind together to form carbon chains. Carbon chains are what make up all living organisms. Like Leggos put together differently, but always using the same fundamental ingredients.
Carbon chains make up flowers and lettuce and fireflies and all things living, just like scenes and sequels form together in different ways to make up mysteries and romances, and thrillers and all things literary.
Structure’s two main components, as I said earlier, are the scene and the sequel.
The scene is a fundamental building block of fiction. It is physical. Something tangible is happening. The scene has three parts (again per Jack Bickham’s Scene & Structure, which I recommend every writer buy).
- Statement of the goal
- Introduction and development of conflict
- Failure of the character to reach his goal, a tactical disaster
Goal –> Conflict –> Disaster
The sequel is the other fundamental building block and is the emotional thread. The sequel often begins at the end of a scene when the viewpoint character has to process the unanticipated but logical disaster that happened at the end of your scene.
Emotion–> Thought–> Decision–> Action
Link scenes and sequels together and flesh over a narrative structure and you will have a novel that readers will enjoy.
Oh but Kristen you are hedging me in to this formulaic writing and I want to be creative.
Understanding structure is not formulaic writing. It is writing that makes sense on a fundamental level. On some intuitive level all readers expect some variation of this structure. Deviate too far and risk losing the reader by either boring her or confusing her.
Can we get creative with pizza? Sure. Can we be more than Domino’s or Papa John’s? Of course. There are countless variations of pizza, from something that resembles a frozen hockey puck to gourmet varieties with fancy toppings like sundried tomatoes or feta cheese.
But, on some primal level a patron will know what to expect when you “sell” them a pizza. They will know that a fried quail leg served on filo dough with a raspberry glaze is NOT a pizza.
Patrons have certain expectations when you offer them a “pizza.” Pizza has rules. So do novels. Chemistry and biology have rules, so do novels. We can push the boundaries, but we must appreciate the rules…so that we can break them.
I look forward to helping you guys become stronger at your craft. What are some of your biggest problems, hurdles or misunderstandings about plot? Do any of you have tricks for plotting you would like to share? Resources? Where do you most commonly get stuck?
I love hearing from you!
To prove it and show my love, for the month of MAY, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).
Will announce the Dojo Diva winner on next DD post.
For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook.