A Beginner's Guide to Plot Planning
So you have your story idea. You‘ve nailed it down, and now you‘ve maybe started writing some scenes and you feel things slowly start to come together. Or maybe you‘re waiting til your plot is more concrete before you start writing. Either way, you‘ve come this far and you agree, that knowing where your plot is going is important for your story development, and state of mind.
Before I delve into the two methods I know for plot planning, I want to give you a word of advice from my own experience. When I started my WIP, I didn’t really plan in the traditional sense. I used my notebook to write down and sort out my ideas (which I shared in my previous post), while also letting the plot roll over in my mind. I never sat down and planned every point of my book in scrupulous detail and I don’t think it is necessary to write a book.
George R.R. Martin describes two types of writers — the writers that are architects and those that are gardeners.
I’m definitely more of a gardener, but I do use the scaffold of a plot structure to help me when I feel lost with the direction of my story, or I feel like I need a bit of structure to help. The point is, I don’t plan every step and I don’t think you need to either. Choose what helps you from the structures below and have a go yourself of working through them to see if they work for you. Part of being a writer is learning what works for you and what doesn’t.
The Hero’s Journey
For my WIP, this structure has helped the most. Essentially, your hero starts the journey with a call to adventure, then throughout the journey there are various people, enchanted and non enchanted, to help your hero progress. This structure is really good to help you figure out specifics while also pushing you through to the next stage, so you don’t really get caught with a story that’s too slow paced. This structure was identified by Joseph Campbell and it’s the same structure all fairytale/mythology stories follow.
The Ordinary World — The hero is introduced in their ordinary life. This is where crucial details about the hero are introduced, so that they may be woven into the adventure.
Call to Adventure — The hero experiences a ‘call to adventure’ usually by someone older and wiser than them, to fulfil a life changing duty/obligation. It can also be a circumstance that forces the hero to resolve the situation to balance and harmony. This call is a disruption to the hero’s normal routine / world.
Refusal of the Call — The fears and doubts about the impending journey set in and the hero may wish to deny the call to adventure, or agree and later wish to back out. The problems the hero faces may be too much to bear, and the road ahead daunting.
Meeting the Mentor — The hero needs a guide in order to accept the call to adventure. The mentor usually gives the hero something of use, like an object, or some wisdom. This dispels the hero’s doubt so he is able to journey onwards.
Crossing the Threshold — The hero is now ready to cross from the known, ordinary world into the unknown, sometimes enchanted world. They may go willingly or be pushed to cross, but either way this is a crucial junction in the story where the hero shows his commitment to the journey ahead.
Tests, Allies & Enemies — Once in the special world, the hero is put to the test. Here, the hero must forge allies on their quest, be tested by trials to help develop their strength and skills, then finally, confront and battle their enemies. This is the point in the story where the hero may also acquire a side-kick, or companion for this level of the journey.
The Approach to the Inmost Cave — This is the moment that leads up to the climax of the story. The calm before the storm. Nerves run high and now, the hero may experience a romance. It‘s the point in the story where counter threats from the enemy may be apparent, or where the hero‘s inner world is imbued with turmoil.
The Ordeal — This is the climax of the novel. The point where the hero must face their darkest fear. It‘s a life or death scenario where ultimately, the hero is reborn because of it.
The Reward — After battling the darkest parts of themselves, the hero now gains the reward he seeks. This can be something of the inner world, like wisdom or knowledge of some kind, or it can be external, like a sword, elixir, or the like that will help him when he returns to the ordinary world.
The Road Back — After the journey has come to a head, the hero must now turn back to the ordinary world. They are forever and irrevocably changed for the experience so now they must adjust to their new life in the ordinary world.
The Resurrection — On the way back to the ordinary world, the final dramatic event occurs. The hero may truly struggle to overcome their shadow, but once they do, they become reborn completely. Allies may come to help but ultimately, the hero must overcome the battle themselves. This can be an internal or external battle.
Return with the Elixir — The hero returns to the ordinary world with the ultimate reward for their journey. It can be something physical, or non-physical, but ultimately, it is something that can be shared with others.
Freytag‘s Triangle
The other plot device I know of is called Freytag‘s triangle. This is more the plot structure most people will be familiar with. It‘s similar to the bell curve structure, but creates more drama and tension.
The Exposition — The protagonist‘s world is established. It‘s here that we see what comprises their world, who they‘re friends and family are, and other characters that will be important to the story.
The Inciting Incident — The protagonist is called on their adventure for the story with one moment that changes the trajectory of their life. It‘s kind of life a fork in the road where ultimately they choose (or are forced to choose) the adventure.
Rising Action — Through a series of complications, the protagonist is tested. Here is where the villain of the story may be established. There is one central problem that the character is trying to solve or overcome.
Climax — The point of no return has been reached. The previous tension has reached its highest boiling point. The antagonist may fulfil their goal. This is also the midpoint reversal; where all hope seems to be lost.
Falling Action — The complications of the climax must be dealt with. This sequence of action leads to the protagonist finally solving their initial problem.
Resolution — The protagonist has come to the end of their journey. They have finally solved the central problem and are now changed from the experience.
The Denouncement — At the end of the story, the effects of the previous complications are reflected in the protagonist. This is also called ‘the feast scene‘ where the rewards of the story are reflected in the character‘s world. Their journey is tied up, ready for the next one to begin (or not).
As you can see both of these structures work really well in different ways. It really depends on what you want to emphasise in your story. Whether you want your MC to experience the rigours and rebirth of a hero‘s journey, or the dramatic plot twists of an enticing story.
Let me know what structure you‘re using for your WIP and how it helps you with your writing process.
