Any book can be fixed – it just needs and Extreme Book Makeover.

Over the past month we’ve been diagnosing common problems of a boring plot and how to fix them. We touched on Story Stakes – and the importance of understanding what your character has to lose. We talked about the Story Question – the fuel for the inner journey. And we discussed the difference between High Concept and Low Concept plots.

But those are all big picture issues with plot. Once you solve those, an author must understand the key elements of the Three Act plot to keep the momentum going in the story. Briefly, Act One is the ignition – it sets up the character(s)’ wants, goals and fears, then sets them on a journey into Act Two. Act Two contains the external plot twists and turns that cause the internal character change necessary for your character to confront his/her demons in Act Three. Act Three begins with the Black Moment Event, which causes the Epiphany, and the Hurrah – and hopefully happy – ending.

Understanding what bogs down plot in each of these Acts can help you diagnose and fix your plot, tightening up as you go. Moreover, when you start with a strong PUSH in Act One, and your character is propelled by a high-stakes PULL in Act Three, it establishes powerful ignition through Act Two.

In fact, every great story utilizes the Push-Pull Rhythm, both in Plotting and in Scene construction. We’ll touch on Scene Construction later, but let’s take a look at the power of a Push-Pull Plot.

Ever read a story where you don’t understand – or agree – with the main character’s journey? A tell-tale symptom of this is simply a lack of interest in the story. If your reader doesn’t understand – or agree – with the character’s goal, they won’t go on the journey with them. (Which means, they won’t keep reading!)

This is solved by creating a Push-Pull Plot.

A Push-Pull Plot employs a physical or emotional PUSH from behind, and a physical or emotional PULL ahead to propel your character on his journey.

Last night, our family watched The Patriot. Despite the long ACT One, the character has a powerful PUSH-PULL to ignite his journey.

Benjamin Martin has already fought a war – he doesn’t want to fight another one, especially now that he is the only parent of his seven children. He poignantly points out that, as a father, he doesn’t have the “luxury” of opinions. So how does this man go from farmer to ferocious warrior?

Some might say it’s the inciting incident – the horrible event where his son Thomas is murdered. But this alone isn’t enough to propel him on the entire journey. He needs the Push-Pull.

Let’s trace the progression. First, we see Benjamin Martin’s home world – peace-loving farmer trying to raise his children (and make great chairs).

Then, his son Gabriel enlists…and three years later, shows up on his doorstep, wounded. Martin patches him up, and is even willing to let him be taken away and hung by the red-coats until his other son – Thomas – is gunned down. Thomas dies in Martin’s arms, and in that moment, with his house burning around him, he knows he must protect his family.

The PUSH to action is the physical burning of his house and the emotional need for justice for his son. The PULL is the emotional need to save his family, and especially Gabriel.

But that Push-Pull only propels him into the next action. He needs a greater Push-Pull to push him into the journey. The Push-Pull that launches Martin into Act Two occurs at the plantation of his sister-in-law where he confronts the activities of the day.

His sister-in-law meets him on the porch, and says, “You’ve done nothing for which you should be ashamed.”

“I’ve done nothing.” Martin says, “And for that, I am ashamed…”

Here, we have the emotional push…that he can’t return to his past actions because of his shame.

Later, as Gabriel heads back to war, Martin watches him go and remarks, “I’m losing my family.”

This is his last comment before we see him saddling up his horse to follow Gabriel. This is the PULL that propels him into action – the sense that he must keep Gabriel alive, his family safe. This is both an emotional, and physical pull.

The Push-Pull is embodied in the Great Debate. The Great Debate is an essential scene in your Act One plot that gives your character an opportunity to weigh the costs and rewards of the journey. (generated by the Push-Pull). It is only after the Great Debate that your character then launches out into the Quest (and Act Two).

Many stories skip the Great Debate scene, and it weakens the plot because the reader hasn’t quite caught up. They don’t believe in the journey. The Great Debate doesn’t have to be long – it might even occur after the Quest has started, but it still gives your character a moment to decide whether to go forward or turn back, and gives the reader as sense that the character has considered the cost, and has made the right decision.

Most of all, it keeps the reader from putting the book down in frustration.

If your plot seems weak, try this. In Act One, after the Inciting Incident, does your character have a Great Debate? If not, ask yourself: What is the Push-Pull of the journey? If there isn’t one, you’ll need to revisit the Story Stakes.

Next week we’ll talk about creating an immediate connection with the character through the use of Character Identification.

Go – write something brilliant!

PS – Need more help?  Check out our Extreme Book Makeover series!