Overview of Larry Brooks’s Story Structure

12 October 2009 Jordan 15 Comments

This entry is part 16 of 24 in the series The plot thickens (Mwahahaha)

This is the most recent plotting method I’ve come across. Simply called “Story Structure,” this method gives great advice for partitioning your story as well as the major events and turning points. I used it in my most recent WIP (which I reached the end of late Saturday night 😀 ), and it was really helpful to pace myself (though I ended up short on word count, I know I’ll add more in revisions).

Larry Brooks, author of many, many scripts, four published novels, and the blog StoryFix, published this in a blog series. It’s very much worth it to read the Story Structure full series, but I’ll give a quick overview here.

The structure is in four parts with three turning points separating them (plus two “pinch points”). Each part of the story should be about one quarter of the story.

Part one is the Set-up. In this part of the story, we meet the characters and are introduced to the story question. (If you’re reading this and thinking “Oh, the Ordinary World,” you’re not alone.) Here we also establish what’s at stake, but most of all, we’re working up to the turning point at the end of this part: Plot Point 1 (what we commonly call the Inciting Incident).

Brooks says that First Plot Point is the most important moment in your story. Located 20-25% of the way into your story, it’s

the moment when the story’s primary conflict makes its initial center-stage appearance. It may be the first full frontal view of it, or it may be the escalation and shifting of something already present.

This is a huge turning point—where the whole world gets turned on its head. (If you like, you can say this is where we formally pose the story question.)

PP1 bridges into Part 2—the Response. The hero/heroine responds to the first plot point. This response can be a refusal, shock, denial, etc., etc. That doesn’t mean they have to do nothing—they have to do something, and something more than sitting and stewing—but their reactions are going to be . . . well, reactive. The hero(ine) isn’t ready to go on the offensive to save the day quite yet—they’re still trying to preserve the status quo.

In the middle of this part (about 3/8s of the way through your story), comes Pinch Point 1. Brooks defines a pinch point as “an example, or a reminder, of the nature and implications of the antagonistic force, that is not filtered by the hero’s experience. We see it for ourselves in a direct form.” So it’s something bad that we get to see happen, showing us how bad the bad guy is, raising the stakes.

At the end of the Response comes the Mid-Point. As the name suggests, this is halfway through the story. And here, the hero and/or the reader receives some new bit of information. It’s pretty important, though—this is the kind of revelation that changes how we view the story world, changing the context for all the scenes that come after it.

Then we swing into Part Three, the Attack. Now our hero(ine) is ready to go on the offensive. He’s not going to operate on the bad guy’s terms anymore—he’s taking matters into his own hands, and he’s going after the bad guy. This is the proactive hero’s playing field now.

In the middle of this part (5/8s of the way through the story), comes Pinch Point 2, which is just like PP1—a show of how bad the bad guy is.

Part Three ends with a lull before the Second Plot Point, our last new information in the story. This last revelation is often the key to solving the mystery or fixing the problem—it’s the last piece of info the hero needs to make his world right. This comes 75% of the way into the story.

And now we’re ready for Part Four, the Resolution. Our hero steps up and takes the lead for the final chases, the last showdowns. Here we get to see how much of a hero he really is—he passes his final tests, proves he’s changed and finally, saves the day.

Simple, right? Uh, kind of. Since examples always help me, we’re going to have a guest post this week talking about how this author is applying this structure to her story. And of course, I need to give credit to the person that pointed out Larry Brooks’s story structure to me, Jaime Theler.

What do you think? Can you see this in place in your writing, or in other works? What advantages do you see to this method?

Photo credits: structure—Christopher Holland; gasp—Becka Spence; attack—D. B. King

Technique

Story structure in action

13 October 2009 8 Comments

This entry is part 17 of 24 in the series The plot thickens (Mwahahaha)

by C. Michelle Jefferies

We’ve been talking about Story Structure according to Larry Brooks’ formula. There are many single elements that, combined, make a solid structure. These include: concept, theme, the four parts of story (introduction, reactive stage, proactive stage, and the resolution), and the five points in the story that move the plot along (plot point #1, pinch point #1, mid-point, pinch point #2, all is lost moment, and plot point #2).

What I have been asked to do today is illustrate how I have used all of these individual points to make a story with a solid structure in my own work. My next post will deal with how the Hero’s Journey can be used to augment the character arc.

The first thing we need to address is Concept, as in “what is the story about?” In two words, my story concept is about second chances. Theme, on the other hand, is more detailed. My theme is: pursuing their dreams and finding happiness by making up one’s mind and taking action.

Once we have concept and theme we can concentrate on the parts and points in the story. To give you an example that flows well, I will be using both the parts and points in the order they are supposed to be in, rather than addressing them separately.

Part one: Introduction—we see the main character, who is at a fancy restaurant waiting for her date. She is dressed to the nines, expecting this to be the dinner when he proposes. Instead of proposing, he tells her it’s over—that there’s another girl. She goes home devastated and publicly humiliated. We see her life in the after effects of that action. We introduce theme and set things in action by “calling the MC to action”, or reaction on her part. However, that isn’t the first plot point. Although the event is important, it comes too soon, and doesn’t deal directly with the main plotline of the book.

Next, we experience plot point #1the MC is at work and her friend who just happens to be a guy talks her into going out with his brother. This is where the MC can either accept or decline. However, she will accept the “blind date” because the story doesn’t move forward if she chooses not to. Plot point #1 brings us to the second part of the book.

Part two: Reactive stage—this is where the MC is going to be reacting to the first plot point and in my case the introduction of the theme. The MC is feeling confused. She thought for sure that the ex was “the one” and is feeling less than pretty and very imperfect—all reactions to the theme. She has a good time with the brother and that leaves her feeling confused too, wondering if her feelings for the ex weren’t true and whether she knows what she is thinking at all.

Pinch point #1 is where the reader is reminded of the plot and the opposing forces. The MC sees the ex with the new girl. It hurts more then she thought it would. Her first line of defense is her guy friend. He comforts her and makes her feel better.

The Mid-point is when things change. This point is often a place where the writer reveals information to the reader that opens up whole new possibilities. Sometimes the reader knows something that the MC doesn’t even know. My MC finds that she has feelings for both of the brothers. The guy friend finds that he has feelings for the MC too and hates that he has introduced her to his brother. By his “code,” he should back off and let the older brother have his chance with her. This “reaction” of both the MC and the guy leads us to part three.

Part three: Proactive stage—now the MC has moved from reacting to plot point #1 to being proactive and starting to do things to remedy the situation. My MC is watching both guys carefully and assessing her feeling for each of them. She makes opportunities to talk with the friend while still dating the brother.

Pinch point #2—Another crisis point in the story, edging up the pace and arc. The MC sees her friend with another girl and her jealousy flares.

Often times at this point, Brooks suggests that there is a “lull moment” where the characters think all is lost and there is no hope. This would be the MC going home eating a pint of ice cream and crying while watching some sappy love movies.

Plot point #2 comes at about [3/4s or] 4/5s of the way through the book. This is the huge crisis moment, the event that changes everything. After this point in time, no new characters or information may be allowed into the story. The MC is at Thanksgiving with the brother and has had a heated moment with the friend, who she thought wasn’t interested. The spark is still there and it is stronger. The brother proposes and she has to make a decision—to live a relatively happy life with a good guy, or take a chance with the friend and truly love someone. She says no and runs. The friend follows her at the brother’s request, oblivious to the attraction between them.

Part four, resolution—plot point #2 brings us massive change in the MC’s life. Now that everything has changed for my MC, she makes decisions that bring about resolution. She confesses her feelings and they finally kiss. They live happily ever after, or at least until the book ends.

What do you think? Does seeing the points of the story illustrated make the application a little clearer? How would you apply the structure to a romance?

About the author
C. Michelle Jefferies practically grew up in a library. When she was ten, she realized she wanted to write stories like the science fiction books she loved to read. A mother of six, she put her writing on the back burner while she focused on raising her young children. When her children were old enough for her to spend a few hours on the computer, without them burning the house down, she returned to writing and hasn’t stopped since. She blogs at My life in a laptop.

Photo credits: house frame—Robin Frousheger; concrete house—Concrete Forms

Technique

The Hero’s Journey with Story Structure

15 October 2009 8 Comments

This entry is part 18 of 24 in the series The plot thickens (Mwahahaha)

by C. Michelle Jefferies

Brooks’ Story Structure is, in my opinion, the best prescribed formula for how to place a story together. However, I originally used The Hero’s Journey (hereafter referred to as HJ) to plot out my current WIP. A lot of what is also called “The Mythic Structure”, within the HJ, makes sense as a template as to where to place each item the story needs. One thing I disliked about HJ was the common opinion that you could move items around to your liking, therefore maybe putting certain things in the wrong place.

I have found, however, that HJ is a good characterization tool for creating a proper arc. It can also add understanding to Brooks’ Structure if applied properly. Used together I find that I have a more, well-rounded picture of the story.

What we recognize as Concept and Theme in Structure, is the Story Question in the HJ. The question I asked is: Can the MC survive being dumped by the man she thought was her life, and move on? A secondary plot question is: Which guy is right for my MC? These questions begin the thought process of how my character is going to grow in this story—the beginning of that character arc.

The Ordinary World in HJ is the equivalent of Part one: Introduction in Structure. We see the main character, who is at a fancy restaurant, unknowingly waiting for her date to dump her. As character arc, we are finding out what her ordinary world is: what she is thinking, what she is wearing, whether she likes the restaurant and how excited she is about getting married. This is the place for us to start identifying with the MC and establish emotions and rapport with her. Because, when that devastating information comes, we want our reader to be emotionally invested in the MC, enough that they don’t put the book down.

We introduce theme and set things in action by ‘calling the MC to action’, or reaction on her part. The Call to Action in HJ is not plot point #1. Although the event is important, the MC or Heroine, refuses to act. The Call is the boyfriend dumping her in public, which leads us to the Refusal of the Call. My MC goes home and cries, thinking her world is over. She locks herself in her room with a half gallon of ice cream. These actions are giving us more depth into the characters’ personality.

At this point in time we also have what is called Meeting with the Mentor. Sometimes the mentor is the one delivering the call. Sometimes it is the person the MC goes to for advice and help. My MC doesn’t have a “mentor.” She has her friend, who just happens to be a guy, who she goes to for advice and safe friendship after the disastrous date. The relationship between the MC and the mentor is another way that we develop character. How they relate reveals a lot about the MC.

Next, we experience what HJ calls Crossing the First Threshold or plot point #1. The MC is at work, and her friend talks her into going out with his brother. By accepting the date with her friend’s brother, she has accepted that the ex is a jerk and she needs to move on, thus figuratively putting the ice cream securely in the freezer. She moves from what we saw as her ordinary world into the new reality. This area is often a point where our MC struggles to become better and braver, and to take that step into the post-First Threshold world.

Now we enter Part two: reaction, the Tests, Enemies, and Allies stage of the book. This is where the MC adjusts to her new reality—post ex. She begins down a road of new possibilities. Characters, enemies, and trials are introduced during this part. This is where in the “tree” theory after you put your character in the tree, (Crossing the Threshold), you begin to throw small rocks at her. The MC reacts to what her life has dealt her.

As we Approach the Innermost Cave which is Structure’s Mid-point the plot begins to get serious and the “rocks” get a lot bigger. This point is often a place where the writer reveals information to the reader that opens up whole new possibilities. Sometimes the reader knows something that the MC doesn’t even know. My MC finds that she has feelings for both of the brothers. The guy friend finds that he has feelings for the MC too and hates that he has introduced her to his brother. By his “code,” he should back off and let the older brother have his chance with her.

This “reaction” from both the friend and the MC leads us to Part three, proactive stage. This is a time of trials for the MC. She finds out who her real friends are and what she is made of, the previous trials proving her mettle.

As we near The Ordeal, we can have either the “lull moment” where the characters think all is lost and there is no hope, or a “I’ve finally succeeded and this is the end, only to find out it isn’t” moment. My MC has an all is lost moment, and feels that she will never know who is right for her, and she will be single her whole life. This point in the story is a place where we again feel sympathy for the MC and deepens our concern for what happens to her.

The Ordeal or Plot point #2 comes at about [3/4s or] 4/5s way through the book. This is the huge crisis moment, the event that changes everything. After this point in time, no new characters or information may be allowed into the story. The MC is at Thanksgiving with the brother and has had a heated moment with the friend who she thought wasn’t interested. The spark is still there and it has grown stronger. The brother proposes and she has to make a decision—to live a relatively happy life with a good guy, or take a chance with the friend and truly love someone. She says no and runs. The friend follows her at the brother’s request, oblivious to the attraction between them. This is the refining fire for our MC, the culmination of all previous actions. This is where the reader is cheering for the MC to succeed.

Her decision is the Reward. She has proven herself, and has demonstrated to everyone that she has grown and is stronger for it. We are still cheering for her and her success.

What Structure calls Part four, resolution, HJ calls Return With Elixir. The Ordeal brings us massive change in the MC’s life. Now that everything has changed for my MC, she makes decisions that bring about resolution. She confesses her feelings and they finally kiss. They live happily ever after, or at least until the book ends. This is where the MC moves into the new ordinary world and we see not only the comparison to the old world but we see the Story Question answered. We tie up all the loose ends for the reader as well.

What do you think? How would you line up the Hero’s Journey and Story Structure?

Photo credits: path—Kat Gloor; path through structure (bridge)—Jo Ann Deasy

Technique

Setting up the story question

16 October 2009 Jordan 16 Comments

This entry is part 19 of 24 in the series The plot thickens (Mwahahaha)

We discussed the Story Question at the beginning of our series on plotting. The more we’ve discussed plotting, however, the more I realize I have more to say on this topic.

The first time we talked about it, we defined the story question like this (well, we’re using different emphasis this time):

The story question is the basic concept of the story. It’s asked (or hinted at) at the beginning of the story, and answered by the end. It’s the controlling, overarching action of the story.

So how do we hint at the story question at the beginning, especially if we don’t plan to formally ask it until the Call to Adventure, or Plot Point #1?

In all the plotting paradigms we’ve looked at, there’s a period at the beginning of the story where we get to see the character’s world: the Ordinary World, the Setup. Note that the three act, the five act and Brooks’s story structures all place the transition from this world at the 1/4 point, where we’re introduced to the BIG conflict.

But how can we introduce the story question in the beginning if we can’t actually “ask” it for some 25,000 words?

As we show the Ordinary World, we have to show something is wrong there—something is missing. Something is lacking—something that the conclusion of our story will bring to him or her.

If it’s a romance, we need to see in the beginning that the hero and heroine are lacking something—they’re alone. If it’s a mystery, we need to see a lack of justice (which an unsolved murder portrays nicely). Perhaps our main character is naive (or jaded), and the end of the story will bring knowledge or wisdom (or crack his hard exterior).

That doesn’t mean, however, that our characters have to spend the first quarter of the book whining about how lonely they are, and it doesn’t mean we have to wait until the 1/4 point to introduce them (conversely, we aren’t obligated to have them meet, sparks flying, on page 1, line 1).

We have to have conflict in the Ordinary World. If you’ll recall, in The Incredibles, this conflict related directly to the main plot—each member of the family was having a hard time, challenged by the Ordinary World. When we ask the story question (well, at each of the turning points), the stakes are raised for each member of the family.

This conflict in the Ordinary World should relate to the main plot. Imagine if we spend 25,000 words worrying about whether Pa’s crop will come in, and at the 1/4 turning point, we ask if Angelica can find true love. Can you imagine readers’ whiplash—and disappointment (or even outrage) that they just wasted X amount of time reading about something that has nothing to do with the story? That all those characters we cared about don’t matter anymore?

Even if we ask if Angelica can find Pa’s murderer, was the treatise on chopping cotton really necessary? Only if someone killed him for his crop, and even then, the first section might need to be adjusted a little to focus on the story question and not the agricultural practices of white sharecroppers in the 1930s.

What do you think? How have you set up your conflict before asking the story question?

Photo credits: question—Svilen Mushkatov

Technique

The End

19 October 2009 Jordan 2 Comments

This entry is part 20 of 24 in the series The plot thickens (Mwahahaha)

Well, that wraps up our series on plotting. It’s been fun, hasn’t it? We’ve learned about the three act structure, the snowflake method, the Hero’s Journey and Larry Brooks’s story structure. We’ve seen them applied to fellow writers’ works.

We started off talking about the need for plotting—and of course, there are still going to be some of us that don’t believe in plotting. The arguments are the same (and I used to make them myself)—plotting kills our creative drive. Plotting is boring. Plotting is stifling.

And no, there’s no plotting method out there that will manufacture ideas for us, but there are lots that help us imagine the types of ideas that will move our stories forward. And yes, the joy of writing is in creating and discovering the twists and turns—but knowing what landmarks we’re shooting for can make sure we don’t end up going in circles, or remodeling a Winchester Mystery story, where two thirds of it will have to be jettisoned before we could ever hope to create a livable structure.

Plotting doesn’t have to mean you write out a scene-by-scene outline. When I plotted my most recent MS (using Story Structure), I had the beginning, five landmarks, a twist and the end in mind, plus a freewrite brainstorm of backstory/ideas/plot (about 3 pages). Right now, a lot of the transitions need work, but I never felt lost, never got stuck because I wasn’t sure where I was going and finished the first draft in about 55 days. I know it has a solid backbone, even if some of the stuff in between is a little flabby—and that’s not bad shape to be in after the first draft (not to mention eight weeks, and I took a couple weeks off in there, too).

When we plot, we have to do what works for us. So many of the writers we had guest posts from over the last few weeks mentioned how they customized that plotting method to meet their needs.

If you’ve never plotted before, or if you’ve never successfully plotted before, why not give it a try?

What do you think? What’s keeping you from plotting? Or are there any other plotting methods you like?

Technique

Free PDF guide for the Plot Thickens

29 October 2009 Jordan 3 Comments

This entry is part 21 of 24 in the series The plot thickens (Mwahahaha)

Our blog series on plotting was well-timed to get us prepared for NaNo (even though I’m not participating).

Ready to review our whirlwind tour through the hows and whys of plotting, as well as several different methods? Good news—the free PDF of The Plot Thickens is ready!

I know several readers are doing NaNo, but many aren’t. Any votes on what we should look at next?

Technique

Blake Snyder’s Save the Cat plotting method

8 August 2012 Jordan 5 Comments

This entry is part 22 of 24 in the series The plot thickens (Mwahahaha)

Planning out a novel? Be sure to join my newsletter for a FREE plotting/revision roadmap, and check out the full series on plotting novels in a free PDF!

Our series on plotting is a perennial favorite on the blog, so we’re expanding on that series with a few guest posts! Ali introduced me to Save The Cat! and I really loved using it on my most recent manuscript, so she’s here this week to explain the basics of his plotting method.

By Ali Cross
Used with permission from this post

A couple weeks ago I posted some pictures of my office, including a pic of my new “beat board”.

Several of you asked me to explain what this is and how I use it. I’m borrowing heavily from a post I did pre-NaNo 2011, so some of you will have heard this before. But for those of you who are new to the wonder of Beat Boards, strap in and let’s go!

I am completely gaga over the screenwriting book, Save The Cat. If you haven’t read it yet, I completely, 100%, highly recommend it. In the meantime, here are the highlights as they apply to me and how I write a novel.

Using the document below I fill in a sentence or two that addresses that “beat” or plot point (I’ve also included a question that helps me in this task). You can go here to get a fantastic beat-by-beat breakdown of where these beats should land in your manuscript, depending on the anticipated length of your novel.

THE BLAKE SNYDER BEAT
If you’d like more information, there’s lots to learn on Blake Snyder’s website

PROJECT TITLE:
GENRE:
DATE:

1.Opening Image: Set the scene. Who is/are your main character(s) and what is their world like before your story begins?

2.Theme Stated: What will your character’s arc be? What is the moral of your story? Usually the theme is stated by a supporting character. What is the moral of your story?

3.Set-up: Pretty self-explanatory, right? This is where all the pieces are put into play. Who are the main players and where is your story set?

4.Catalyst: Again, you know this one. A chain of events that set things into motion. What happens to change your main character’s world?

5.Debate: This is where your MC has to make some decisions about what he’s going to do. What choices does your main character have to make?

6.Break in to Two: The transition from static MC to MC on the move. What new adventure is your character on?

7.B Story: This is where you move into the second act of your story, or, the dreaded middle section. (duh duh duhhhh) It’s usually the B story, or the love story, or the big action/adventure story of your book. What is the new relationship in your main character’s life?

8.Fun and Games: Pretty much more of all the love, the action or … whatever! (Yeah, you can tell I love mid-sections!) What kind of trouble does the main character get into?

9.Midpoint: This is like a mini act-break. It’s the corner you turn toward the second half of your book, like your MC is standing on a cliff and needs to decide: fight or flight? What happens to make the character think everything is awesome or everything is awful?

10.Bad Guys Close In: Your MC hasn’t jumped, but the bad guys are almost there and …. maybe there’s still time to jump! What stands between your characters and what they want?

11.All is Lost: It looks like the Bad Guys are going to win. Sad. 🙁 What happens to make your character think they’re not going to get what they want?

12. Dark Night of the Soul: Your MC has to decide if he’s just going to give in, or if there’s still some fight left in him. Why does your character consider giving up?

13.Break into Three: Another all-important corner. This is where the MC makes his DECISION. And we being our movement forward with purpose. What does the character do to make a last ditch effort to get what they want?

14.Finale: Wrap up the B story, wrap up the A story. What does your main character do to turn things around?

15. Final Image: Usually a mirror image of the opening scene. This shows us how the MC’s life has changed, how the theme played out and how all the questions you posed are answered. What is your character and their world like now that their adventure is over?

Yes these are overly simplistic, but you get the point. Answer these questions, get these “beats” straight in your head and ta da! You now have all the building blocks necessary to get to work on your manuscript.

Next time: how to use the the beat board . . .

What do you think? Have you read Save the Cat? Come join in the discussion!

About the author

Ali Cross is the sensei of the writer’s dojo where she holds a black belt in awesome. She lives in Utah with her kickin’ husband, two sparring sons, one ninja cat, two sumo dogs and four zen turtles.

She’s the author the young adult urban fantasy series Desolation, and a member of the Author’s Incognito Executive Committee.
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Technique

Plotting a novel with a beat board

10 August 2012 Jordan 1 Comment

This entry is part 23 of 24 in the series The plot thickens (Mwahahaha)

By Ali Cross
Used with permission from this post

I use a corkboard, (but you can use a wall, or whatever) and a stack of index cards (or sticky notes). My crit group just gave me a new package of index cards–they know me so well! Thanks guys!

Don’t freak out over the size or color of your cards. Just use whatever. You can use colored pens if you want (I usually only use colored pens if I’m beating out a story with multiple points of view–each main character gets their own color.)

Now, using a couple strips of masking tape, divide your corkboard (or whatever) into four even sections (three strips of tape.) This denotes Act I, Act II part one, Act II part two, Act III.

It should look like this:

ACT I

ACT II part one

ACT II part two

ACT III

Now, get out your beat sheet and your index cards.

On your first card, jot down your notes for the Opening Image. Tack it/tape it/whatever right at the beginning of your Act I section.

Your next card is #6 on the Beat Sheet; the Break into Two card. Place it at the very end of the Act I section.

Next, #7, B Story, at the beginning of the Act II, part one, followed by #9, Midpoint, at the end of that section.

#10, Bad Guys Close In, goes at the beginning of the second Act II, followed by #13, Break Into Three.

Your last section starts with #14, Finale, and finishes with #15, Closing Image.

Now, fill out your cards for the remaining beats and tack them to your board where they belong. You’ve probably got some scenes in your head, so jot them down on a card and figure out where they belong. Your beat sheet should give you a pretty clear idea where it goes on the storyboard. Go ahead and stick your cards up there.

Action scenes, or beats that involve multiple scenes to play out, get stuck to the board in cascading groups. You can see what I mean in the photo of my board:

It’s easy to see where the holes are, but I’m not worried. In fact, I’m kind of happy about it. This outline keeps me in line by pinning down the beginning, middle and end, but allows me the freedom to work out all that fun middle stuff.

If I get an idea for a scene I can write some notes on it and add it where it belongs. That way, I’ll know exactly where to add that scene once I catch up to it. And when I’m sitting there, all out of Mike ‘n Ikes, my mouth hanging open as my gears try to get the writing going, I can look at the board and know what I’m supposed to work on next.

Whew! That was a lot of info! If you have any questions, feel free to ask them in the comments and I’ll do my best to answer in there.

She’s the author the young adult urban fantasy series Desolation, and a member of the Author’s Incognito Executive Committee.
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Jordan McCollum

Archives

Overview of Larry Brooks’s Story Structure

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Story structure in action

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The Hero’s Journey with Story Structure

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Setting up the story question

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The End

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Free PDF guide for the Plot Thickens

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Blake Snyder’s Save the Cat plotting method

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Plotting a novel with a beat board

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