3. Publish your Story Archives - Page 63 of 122

Extreme Book Makeover: Widen your plot to keep your middle from sagging!

Do you feel like the tension in your story has started to sag?

That you are simply rehashing old plot problems? It can be a challenge in Act 2 to keep the reader caring, the story filled with enough tension to keep the pages turning.

I watched Saving Mr. Banks this weekend. Wanted to love it. But it had a few problems. The main character (Pamela) suffered from a fatal case of unlike ability, even with her backstory – and got redeemed too late. But that’s another topic. Bigger was the issue that, aside from Walt Disney wanting to keep a promise to his daughter (the stakes of the story), we simply stopped caring about the character, mostly due to her obsessive need to get the story right.

Thankfully, the story tension is resuscitated by the backstory, and the fear of young Pamela losing her father.

In other words, Peripheral Plotting saved the day.

If your story seems to be going in circles, or worse, dying…this trick just might give it the life it needs to hang on.

Peripheral Plotting is the technique of pulling in ancillary elements and using them to create more tension in your plot. Ideally, it will push your character along their journey, creating more sympathy for your character – and even motivation for their next choices.

How does Peripheral Plotting work?

When The Backstory IS The Story

Sometimes writing a story takes a left turn.

The normal structure just doesn’t seem to work.

You can’t seem to get any life when writing scenes in the present day.

But every time you reference the past or the backstory, wow, things happen. The story pops. You’re excited about writing.

Sometimes a story’s backstory is so large it really IS the story.

This is different than backstory drifts where the author wanders off the main stage and “reminisces” of some past event with prose.

I’m talking about when the set up of the story, the life of the characters before the story opens is so large and complicated the present day story, the on stage scenes, really exist to highlight the backstory.

At this point, your book is about fixing and healing the past and bring the characters to a new place in life.

Most of the time, backstory sprinkles a story with motivation, helps expose the wound and lie and fear.

But it’s minor.

The problem on the stage, the present day story, is what drives the scenes.

And So She Climbed A Rock

Here at MBT we talk about the protagonist’s happiest and saddest moments.

These to elements are used to shape the deeper layers of emotion between the characters. Expressly the hero and the heroine.

Often use of symbolism or metaphor can deepen the emotional layer of sharing a raw, tender moment between the stars of your story.

But wow, it’s really easy to miss these moments. To kind of skip over them and wrap it all up in prose summation.

Okay, what do I mean?

Let’s create a scenario.

Your hero is wealthy, grew up in a good family. His whole life he had nice things, a nice car, great vacations. He’s a star athlete and student.

Your heroine grew up poor, without, never had anything nice. The old beater car she purchased for $200 had to be pushed all over town by her friends because the starter didn’t work right. She never went anywhere for vacation but a night at the country fair. She’s pretty, a good student but never ever did anything out of the ordinary.