ContentsDiscovertheProvenBlueprintforCreatingStoriesThatSell!IntroductionPart1:StructuringYourStoryChapter1:TheHookTheHookQuestionHookChecklistFirstLineChecklistTheDramaticQuestionOpeningChapterChecklistCreativeExercises,Questions,andResourcesChapter2:TheFirstActForeshadowingSubplotsWhichCharactersShouldBeIntroduced?DiscoveringYourCharactersIntroducingtheStakesIntroducingtheSettingsSettingChecklistCharacters'PersonalSurroundingsCreativeExercises,Questions,andResourcesChapter3:TheFirstPlotPointTheIncitingandKeyEventsCreativeExercises,Questions,andResourcesChapter4:TheFirstHalfoftheSecondActReactionstotheFirstPlotPointReactionsThroughouttheFirstHalfTheFirstPinchPointCreativeExercises,Questions,andResourcesChapter5:TheMidpointYourStory'sCenterpieceCreativeExercises,Questions,andResourcesChapter6:TheSecondHalfoftheSecondActActionsAftertheMidpointYourProtagonist'sEvolutionTheSecondPinchPointCreativeExercises,Questions,andResourcesChapter7:TheThirdActTheThirdPlotPoint

AftertheThirdPlotPointCharacterDeathChecklistCreativeExercises,Questions,andResourcesChapter8:TheClimaxYourStory'sClimaxCreativeExercises,Questions,andResourcesChapter9:TheResolutionPlanningYourResolutionClosingLineChecklistCreativeExercises,Questions,andResourcesPart2:StructuringYourScenesChapter10:ScenesOptionsforGoalsinaSceneOptionsforConflictinaSceneOptionsforDisastersinaSceneCreativeExercises,Questions,andResourcesChapter11:SequelsOptionsforReactionsinaSequelOptionsforDilemmasinaSequelOptionsforDecisionsinaSequelCreativeExercises,Questions,andResourcesConclusionNoteFromtheAuthorAlsobyK.M.WeilandFurtherResourcesDedicationAcknowledgementsCopyright

DiscovertheProvenBlueprintforCreatingStoriesThatSell!Internationally published authorK.M.Weiland’s previous book, the award-winningStructuring Your Novel, showed writers how to create stories with strong andcompellingplotstructure.Nowit’stimetoputthoselessonstouse!Buildingupontheprinciplesyou’vealreadylearned,theStructuringYourNovelWorkbookpresentsaguidedapproachtowritingsolidfirstdrafts,identifyingandfixingplotproblems,andwritingconsistentlygoodstories.Containing hundreds of incisive questions and imagination-revving exercises, thisvaluableresourcewillshowyouhowto:

Implementastrongthree-actstructureTimeyouractsandyourplotpointsUnleashyouruniqueandpersonalvisionforyourstoryIdentifycommonstructuralweaknessesandflipthemintostunningstrengthsEliminatesaggymiddlesbydiscoveringyourstory’s“centerpiece”Andsomuchmore!

This accessible and streamlined workbook will empower you to create a powerfulstructure—andanoutstandingnovel.Startwritingyourbestbooktoday!

Jointhediscussion:#StructuringYourNovel

INTRODUCTIONONETHINGIalwaysstress towriters is the importanceofwritingsubjectsyou’repassionate about.Most of the time, this advice is aimed at novelists, but it appliesequally when I’m writing non-fiction how-to books like Structuring Your Novel:EssentialKeysforWritinganOutstandingStory,onwhichthisworkbookisbased.Infact,whenitcomestostructure,“passionate”maybetoosmallawordtodescribemyfeelings.

Theconceptofstorystructurehasledmetosomeofthegreatestdiscoveriesandepiphanies in my journey as a writer. Even today, I can’t begin to describe howexcitedIcontinuetobebythewholeidea.

Onceyouunderstandthecommonelementsinallgoodstories,aveilliftsfromyour eyes. You’ve always seen the stories; you’ve even understood them to someextent.Butsuddenlyyou’reviewingstoryfromawholenewdimension.It’slikeanX-raymachine.Whereonceyouonlysawthesurfaceskinandhair,nowyougettoseethestoryskeleton.

Likemost authors, I’vedonemyshareofbattlingwith recalcitrant firstdrafts.Evenwithasolidoutline,somestoriesjustdidn’twanttocooperate,andIwouldspillmy quart of blood and pound of flesh,workingmy heart out tomake them better.Manyofusthinkthat’stheonlyway.

Butitdoesn’thavetobe.WhyStructureWillMakeYourWritingBetterandEasierToooften,writers get hungupon the idea thatwriting is supposed to be this airy-fairy, instinctive feeling that flows out of us. We mess with that, and, pfft, forgetartistic genius.Like somanywriters, I spentmy early years in the craft strugglingalong, pounding out my brains against my keyboard, writing stories that almostworked,butthatjustweren’tquitethere.

Back then, I liked tocomparewriting todiggingmyselfoutofahole. Ididn’tknowwhatwasinthehole.Ididn’tevenknowwhatthenextshovelfulwassupposedtolooklike.Ijustkeptdigging,trustingIwouldeventuallyreachthebottom,whereitwouldallmakesense.

Thisishowmanyofuswrite.Weknowthere’sachecklistof“storymust-haves”necessarytomakethestorywork.Aslongaswe’veincorporatedastronghookinthebeginning,characterswithpronouncedarcs,andrisingsuspense,thenwe’resupposedtobeabletoreachtheendofthestory(thebottomofthehole)whereeverythingwillsuddenlyfallintoplace.

But you’ve probablywritten at least one story that didn’t work out quite thatway.Youdideverything right (as far asyouknew), andyet the story stillbombed.Andyouhadno ideawhy. Talk about frustrating.You checked all the “must-have”

elements off your list just like youwere supposed to. But somethingwent wrong.Thoseelementsjustdidn’thangtogetherthewaytheyweresupposedto.

Thatiswherestructurecomesintoplay.The first time I heard structure explained to me, point by point, a light bulb

practicallyexplodedinmyhead.Iwasreadytogetupandjumponthebedandturnsomersaultsandkissthecat.It,quiteliterally,changedmylife.

Inmy bookStructuring YourNovel, I have broken the basic principles of thethree-act structure into a fundamentally simple approach. Piece by piece, the bookexamineseachimportantelementinyourstory:theHook,theFirstAct,theFirstPlotPoint,theFirstHalfoftheSecondAct,theMidpoint,theSecondHalfoftheSecondAct, theThirdPlotPoint, theThirdAct, theClimax,andtheResolution.Morethanthat, it also discusses the smaller building blocks of the story—particularly theintricaciesofscenestructure.HowtoUseThisWorkbookInthisworkbook,youwilldiscoveralloftheseprinciples,viastep-by-stepguidesforcraftingeachimportantstructuralelementandspecificquestionsfornarrowingyourfocus.Ifyou’reanoutliner,youcanusethisworkbooktohelpyouplanastructurallysoundstorybeforeyoueverbeginyourfirstdraft(themethodsdiscussedhereworkhandinhandwiththoseIteachinOutliningYourNovelandtheOutliningYourNovelWorkbook). You can also use this workbook to analyze an already completedmanuscript,confirmitsstructuralstrengths,andidentifyitsweaknesses.

Eachchapteroffersanintroductiontotheconceptsdiscussedintheexercises,aswellasexamplesfrompopularbooksandmovies.Ihavealsoincludedapage-numberguide to help you locate the associated chapters in Structuring Your Novel. Irecommend you start by reading that book—just as youwould a textbook—beforeembarkingontheworkbook.Youwillunderstandtheprinciplesandtheirapplicabilitybetterincontext.

Eachchapteroftheworkbookbuildsuponthenext,inaseriesofstepsthatwillhelpyoumovefromyourstory’sbigpicturetothesmallerdetailsandbackagain.Themorethoroughyouare inrespondingtoeachquestionandfillingineachblank, themorepreparedyouwill be towrite or revise your novel.But don’t hesitate to skiparound.Someof the sections (such as those on foreshadowing) can’t be completeduntilyou’vefinishedalltheothersteps.

Iwas determined to offer theworkbook as an e-book aswell as a paperback,sinceIknewitwouldendupbeingamuchmorecost-efficientoptionthanthehardcopy.However,itisabitofadifferenttakeonaworkbook,sinceyouwon’tbeabletowrite inyour answers asyouwouldotherwise.You’ll need tograbanotebookandwriteyouranswerstothequestionsandexercisesthere(whichmakestheworkbooktotallyreusable!).

Since this is a bit of an experiment, if you purchase the e-book version and

decide it’s not working for you, for whatever reason, please feel free to request arefund.Amazonandmostother sellerswill providea full refund if youmakeyourrequestwithinsevendaysofpurchase.Ifyou’vemissedthatwindow,emailmeandI’ll be happy to refund your full purchase price myself. My goal is to make theworkbookasaccessibleandusefulaspossible.Ifthee-bookformatisn’tworkingforyou,thenit’snotdoingitsjob!

Throughoutthebook,you’llfindgraphicsillustratingvariouspoints.Toviewtheimagesoutsideoftheconstraintsofyoure-reader,visitmysite.Youcanfindallthegraphicsinthisbook(andmore!)here.

Thebeautyofstorystructureisthatit’sridiculouslysimple.Onceyouvisualizeyourstoryasmadeupoftheseprecisebuildingblocks,youwillsuddenlybeabletounderstandwhatmakesstorieswork.Youwon’tfeelblindanymore.Youwillbeabletoapproachyourstoryfromaplaceofknowledgeandempowerment.

Fromnowon,yougettobethemasterofyourstory,insteadofitsslave.

PART1

STRUCTURINGYOURSTORY

CHAPTER1THEHOOK

WhereDoesItBelong?

1%ofthewayintoyourstory.OURDISCUSSIONOFstorystructureverynaturallybeginsat thebeginning—andeverygoodstorybeginswithahook.Ifyoufailtohookreadersintoyourstoryfromtheveryfirstchapter,theywon’tswimindeepenoughtoexperiencetherestofyourrousingadventure,nomatterhowamazingitis.

Thehookcomesinmanyforms,butstrippedtothelowestcommondenominator,it’s nothingmore or less than a question. If you can pique your readers’ curiosity,you’vegot’em.Simpleasthat.

Thebeginningofeverystoryshouldpresentcharacter,setting,andconflict.But,in themselves, none of these represents a hook. You’ve created a hook only whenyou’ve convinced readers to ask the general question, “What’s going to happen?”becauseyou’vefirstconvincedthemtoaskaveryspecificquestion.

TheHookQuestionYOUR OPENING QUESTION might be explicit: perhaps the protagonist iswonderingsomething,whichwill,inturn,makereaderswonderthesamething.Butmoreoften,thequestionwillbeimplicit.

Theimportantthingtorememberaboutpresentingthisopeningquestionisthatitcannotbevague.Readershavetounderstandenoughaboutthesituationtomentallyformaspecificquestion.Whattheheckisgoingonhere?doesnotqualifyasagoodopeningquestion.

It’snotnecessaryforthequestiontoremainunansweredallthewaytotheendofthestory.It’sperfectlyallrighttoanswerthequestionintheverynextparagraph,aslong as you introduce another question, and another and another, to give readers areasontokeepturningthosepagesinsearchofanswers.Exercise:Respond to the following questions to help you identify and refine yourstory’shook.Question#1:Whatspecificquestionwillhookreadersinyourbeginning?Examples:

What scary reptilianmonster killed theworker? (Jurassic Park byMichaelCrichton)

Howdoesacityhunt?(MortalEnginesbyPhilipReeve)

Whoistheonechildwhowillnevergrowup?(PeterPanbyJ.M.Barrie)

Question#2:Howmightyouwritethisquestionexplicitly?Examples:

“Wherenow?Whonow?Whennow?”(TheUnnamablebySamuelBeckett)

“Now that I’ve found the way to fly, which direction should I go into thenight?”(MatchedbyAllyCondie)

“ThisisreallyEarth?”(AngelsattheTablebyDebbieMacomber)

Question#3:Howmightyouwritethisquestionimplicitly?

Examples:“Iamaninvisibleman.”ImplicitQuestion:Howisthatpossible—andwhy?

(InvisibleManbyRalphEllison)

“Through the fence, between the curling flower spaces, I could see themhitting.”ImplicitQuestion:Whoishittingwhat—andwhy?(TheSoundandtheFurybyWilliamFaulkner)

“TherewasaboycalledEustaceClarenceScrubb,andhealmostdeservedit.”ImplicitQuestion:Howcouldanyonepossiblydeservethatname?(TheVoyageoftheDawnTreaderbyC.S.Lewis)

Reference:StructuringYourNovel,chapter1,pages9-10.

HookChecklistBEGINNINGSARETHEsalespitchforyourentirestory.Doesn’tmatterhowslam-bangyourfinishis,doesn’tmatterhowfreshyourdialogueis,doesn’tmatterifyourcharactersaresorealtheytapdancetheirwayoffthepages.Ifyourbeginningdoesn’tfulfill all its requirements, readers won’t get far enough to discover your story’shiddenmerits.Exercise:Although no surefire pattern exists for the perfect opening, most goodbeginnings sharecommon traits.Answer the followingquestions tohelpyoucheckoffthenecessarycomponentsinyourhook.Question#1:Whatmomentisthetruebeginningofyourstory?

Question#1.1Atwhatmomentinthestorycouldyoudeleteeverythingpriortoitwithoutconfusingreaders?Question#2:Whatcharacter(s)doesyouropeningsceneintroduce?

Question#2.1Haveyouintroducedhimbyname?Question#2.2Ifnot,whynot?

Question #2.3: Can you identify one way to introduce the essence of his

personalityorstoryrolethroughactionandonewaytointroduceitthroughdialogue?Question#3:Inyouropeningscene,whatdoesyourprotagonistwant?

Question#3.1:Whatispreventinghimfromachievinghisgoal?Question #4:What can your characters do in this scene that will keep them inmotion?Question#5:Wheredoesyouropeningscenetakeplace?

Question#5.1Howcanyouofferat leastasenseof thesetting in theopeningline?Question#6:Whattonedoesyouropeningcreate?

OptimismPessimism

DefeatFearHopeSadnessJoyCynicismIdealismAngerAweDisappointmentRemorseContemptAggressionOther

Question#7:Whatspecificwordsorimageshaveyouusedtoachievethiseffect?Reference:StructuringYourNovel,chapter1,pages10-18.

FirstLineChecklistTHEOPENINGLINEofyourbookisyourfirst(and,ifyoudon’ttakeadvantageofit,last)opportunitytograbyourreaders’attentionandgivethemareasontoreadyourstory. That’s a gargantuan job for a single sentence. What makes good first lineswork?Whataboutthemmakesuswanttoreadon?Exercise#1:Writeyouropeningline,thenusethefollowingchecklisttopolishyouropeningline.Question#1:Doesyouropeninglineintroduceyourprotagonist?Question#2:Doesyouropeninglineraiseaquestion?Question#3:Doesyouropeninglineintroduceatleastasenseofthesetting?Question#4:Doesyouropeninglinesetthetoneforyourstory.Exercise#2:Ifnecessary,reviseyouropeninglineaccordingly.Reference:StructuringYourNovel,chapter1,pages12-15.

TheDramaticQuestionYOURDRAMATICQUESTIONmightbeaplotquestionora themequestion—orboth.Butinorderfortheendingtoresonate,thedramaticquestionmustbepresentedinthefirstscene.Itwillalwaysbeayes-or-noquestionalongthelinesof“Will thegoodguywin?”or“Willtheherolearnhislesson?”

Keep in mind that when you choose to answer your story’s main dramaticquestionisalsoimportant.Themomentyouanswerthisquestion,yourstoryisgoingto be effectively over. Answer it too soon, and what’s left of your plot and yourcharacter’sarcwilldieaslowandboringdeath.Exercise#1:Sumupyourstory’sgenericdramaticquestion.Examples:

Willtheheroinefindtruelove?

Willtheantiheroberedeemed?

Willthebadguyssufferjustice?

Exercise#2:Refineyourstory’sdramaticquestionbyfillinginspecificdetails.Examples:

WillMargiestopherself-destructive lifestyleofdrugsand liquorbeforesheloseshersoulmateTomforever?

WillmercenaryMikelearntofightforacausemoreworthythanjustmoneyandpower?

Will theMafiabetakendownbytheintrepidundercoverworkofFBIagentNeal?

ForeshadowingExercise:HowcanyouforeshadowyourFirstPlotPointinyourfirstchapter?Reference:StructuringYourNovel,chapter2,pages30-31.

OpeningChapterChecklistIFTHEMOSTimportantthinganauthorcanpresentinthebeginningofanysceneisaquestion thatwillhookreaders intoneeding toknowtheanswer, thesecondmostimportantthingismakingcertainthatquestionisn’tthewrongone.

Youwant readers asking concrete questions.Who stole the Statue of Liberty?HowisWestleygoingtoescapethePitofDespair?WhydidCinderellaorderglassslippersasizetoolarge?Youdon’twantthemaskingthedreadedfour-wordquestion:What’sgoingonhere?Or,worse,theend-of-the-linethree-letterquestion:Huh?Exercise:Bewaryofcreatingfalsesuspense—thekindofsuspensethathasreadersfloundering tounderstand thebasicsof your scene—rather than forging aheadwithdefinite andpressingquestions.Supply the followinganswersnow, soyour readerswon’thaveto.Question#1:Haveyouintroducedyourcharactersbyname?Question#2:Howcanyouindicateyourcharacters’generalages?Question #3:What important physical characteristics need to be shared to helpreadersformavisualimageofthecharacterswhoarepresentintheopeningscene?Question#4:Whatdefiningfactsaboutyourcharacterscanyousupplyrightaway?

Question#4.1:Occupations?

Question#4.2:Prominentpersonalitytraits?

Question#4.3:Definingactions?

Question#4.4:Other?

Question#5:Ifmorethanonecharacterispresent,whatistheirrelationship?

Question#5.1:Howcanyoudemonstratethistoreaders?Question#6:Whatsettingdetailscanyouprovideearlyontohelpreadersvisualizeyourcharacters’surroundings?Question#7:Duringwhatseasondoesyourstoryopen?Question#8:Onwhatdatedoesyourstoryopen?

Question#9:Onwhatdayoftheweekdoesyourstoryopen?Question#10:Ifanyofthespecificsaboutthetimeofdayatwhichyourstoryopensareimportant,howcanyousharethesedetailswithreaders?Question#11:Howcanyouintroduceyourcharacter’sgoalinthefirstparagraph?Question#12:By the endof the first chapter,whywill readers care enough aboutyourstorytoreadon?Reference:StructuringYourNovel,chapter3,pages36-38.

CreativeExercise:Think of some information readerswill need to learn to understand the story. Thiscould be technical information or character backstory. Now write an argumentbetweentwocharactersinwhichyouuseconflicttosharethisinformation.SomethingtoThinkAbout:1.Isyourhookinherenttotheplot?2.Doesyourhook involveaction (charactersphysicallymovingand/orengaging inconflict)?3.Ifnot,howdoesyourhooksetuptheaction?4.Doesyourhookwastetimebeforegettingtotheplot?5.Howdoesyourhookpulldoubleor tripleduty in introducingcharacter, conflict,andplot(andperhapsevensettingandtheme)?Resources:

“InMediasRes:HowtoDoItandHowNotto,”K.M.Weiland“Character: The Most Important Part of Your Story’s Beginning,” K.M.

Weiland“HowtoWriteaFirstChapterThatRocks,”SuzannahWindsorFreeman“8WaystoWritea5-StarChapterOne,”ElizabethSims“IntroducingYourCharacters,”LindaYezak

CHAPTER2THEFIRSTACT

WhereDoesItBelong?

Fromthe1%marktothe25%markinyourstory.ONCEYOU’VEHOOKED readers, yournext task is toput your early chapters toworkintroducingyourcharacters,settings,andstakes.Thefirst20-25%ofthebookcomprisesyoursetup.Atfirstglance,thiscanseemlikeatremendouschunkofstorytodevotetointroductions.Butifyouexpectreaderstostickwithyouthroughoutthestory,youfirsthavetogivethemareasontocare.Thisimportantstretchiswhereyouaccomplish just that. Mere curiosity can only carry readers so far. Once you’vehooked that sense of curiosity, you then have to deepen the pull by creating anemotionalconnectionbetweenthemandyourcharacters.

These “introductions” include far more than just the actual moment ofintroducing the characters and settings or explaining the stakes. In themselves, thepresentationsofthecharactersprobablywon’ttakemorethanafewscenes.Aftertheintroductioniswhenyourtaskofdeepeningthecharactersandestablishingthestakesreallybegins.

ForeshadowingTHE FIRST QUARTER of the book is the place to compile all the necessarycomponentsofyourstory.AntonChekhov’sfamouscommentthat“ifinthefirstactyouhavehungapistolonthewall,theninthefollowingoneitshouldbefired”isjustasimportantinreverse:ifyou’regoingtohaveacharacterfireagunlaterinthebook,thatgunshouldbeintroducedintheFirstAct.Thestoryyoucreateinthefollowingactscanonlybeassembledfromthepartsyou’veshownreadersinthisFirstAct.

Foreshadowingcomesintwovarieties:heavyandlight.Heavyforeshadowingplantsasolidclueofwhat’stocomelateron.Thiskindof

foreshadowingneedstohappenearlyinthebook.YourFirstMajorPlotPointneedstobeforeshadowedinyourfirstchapter.Optimally,yourClimaxwillalsogetadabofforeshadowingearlyon.All theothermajorplotpointsneed tobeforeshadowedinthefirsthalfofthebook—andpreferablythefirstquarter.Examples:

In thefirstchapter,Ender’sbrutal,do-whatever-it-takesmentality infightingofftheschoolbullyforeshadowshisreactionstofurtherbulliesattheFirstPlotPoint and Third Plot Point—and his final battlewith the Formic aliens in theClimax.(Ender’sGamebyOrsonScottCard)

Theopeninglinestating,“Marleywasdead,tobeginwith.Thereisnodoubtwhateveraboutthat….Thismustbedistinctlyunderstood,ornothingwonderfulcancomeofthestoryIamgoingtorelate,”foreshadowsMarley’sghostlyreturnattheFirstPlotPoint.(AChristmasCarolbyCharlesDickens)

Light foreshadowing is where you remind readers of the previous heavyforeshadowing. It happens just prior to the foreshadowed event itself. Thisforeshadowing will almost always be applied with a much lighter touch. A littletensionorforebodingoraglimpseofasymbolicmotifmaybeallyouneedtopokeyourreaderswideawakeandwarnthemthatthesomethingbigthey’vebeenwaitingforisabouttohappen.Examples:

Ender’s clashwith the bullyBonzo at theThirdPlot Point is foreshadowedthrough tone, pacing, and the inevitable progression of Bonzo’s attitudethroughoutthestory.

Just before Marley’s appearance, Scrooge sees Marley’s face in the doorknocker.

Asolidunderstandingofstorystructurewillhelpyouplanittoitsfulladvantage

whetheryouplanyourforeshadowingaheadoftime,allowittoemergeorganicallyasyouwrite,orreturntoreinforceitduringrevisions.Exercise: In one column, list all important characters, settings, activities, props, orevents that will occur later in the story. In a second column, write ideas forforeshadowing these elements in the First Act. As you continue to fill out yourstructure,returntothislisttonoteelementsthatshouldorcanbeforeshadowedinthefirstdraft.Examples:

ForeshadowingExercise:HowcanyouforeshadowtheClimaxintheFirstAct?Reference:StructuringYourNovel,chapter4,page50.

SubplotsASUBPLOTISathematicallyrelatedexplorationofaminorpartoftheprotagonist’spersonalityorarelatedaspectoftheme.It’sa“miniature”plotthatfeaturesasidelinestory.Assuch,subplotsarevitalforprovidingbothcontrastwithintheplot(theygivereaders a “break” from the main plot) and for introducing character depth viasituationsthatwouldbeoff-limitsinthemainpartoftheplot.Mostsubplotswillneedtobeintroducedwithinthefirsthalfofthebook,sotheycancomeintofullflowerintheSecondAct.Exercise:Considerwhat subplots youwill introduce in the first half of your book.Writeapossiblesubplotforeachofthefollowingcategories.RomanticSubplotExample:

HoratioHornblower’s“accidental”marriage.(HornblowerandtheHotspurbyC.SForester)

CareerSubplotExample:

EvaWard’sassistanceattheteahouse.(RoseGardenbySusannaKearsley)

FamilySubplotExample:

LydiaandKittyBennet’sexploitswiththemilitia.(Pride&PrejudicebyJaneAusten)

BestFriendSubplotExample:

HarryOsborn’svendetta.(Spider-Man2directedbySamRaimi)

MinorCharacterArcSubplotExample:

Scrat’s pursuit of the acorn. (Ice Age directed by Chris Wedge and CarlosSaldanha)

Reference:StructuringYourNovel,chapter8,pages106-109.

WhichCharactersShouldBeIntroduced?EVERY STORYWILL spread out the arrival of its important cast members in adifferentway.Usually,yourprominentactorsshouldallbeonstagebythe timethebell rings at the end of the FirstAct.You can find exceptions inwhich prominentcharacters don’t arrive until late in the story (Aslan in C.S. Lewis’sThe Lion, theWitch,and theWardrobe,Cynthia inElizabethGaskell’sWivesandDaughters),buttheselatearrivalsmustalwaysbewellplanned.Anarbitrarynewcharacterisneveragoodidea.Exercise#1:Identifyallofyourprominentcharacters.Question#1:Whoisyourprotagonist?

Question#1.1:Howoldishe?Question#1.2:Whatishisoccupation?

Question#1.3:Whatishisprominentpersonalstrength?

Question#1.4:Whatishisprominentpersonalweakness?

Question#1.5:Whatishisprimarygoalinthestory?

Question#1.6:Howwillyouintroducehim?

Question#2:Whoisyourantagonist?

Question#2.1:Howoldishe?Question#2.2:Whatishisoccupation?

Question#2.3:Whatishisprominentpersonalstrength?

Question#2.4:Whatishisprominentpersonalweakness?

Question#2.5:Whatishisprimarygoalinthestory?

Question#2.6:Whatishisconnectiontotheprotagonist?

Question#2.7:Howwillyouintroducehim?

Question#3:Whoisyourprotagonist’sloveinterest?Question#3.1:Howoldishe?Question#3.2:Whatishisoccupation?

Question#3.3:Whatishisprominentpersonalstrength?

Question#3.4:Whatishisprominentpersonalweakness?

Question#3.5:Whatishisprimarygoalinthestory?

Question#3.6:Whatishisconnectiontotheprotagonist?

Question#3.7:Howwillyouintroducehim?

Question#4:Whoisyourprotagonist’ssidekick?

Question#4.1:Howoldishe?Question#4.2:Whatishisoccupation?

Question#4.3:Whatishisprominentpersonalstrength?

Question#4.4:Whatishisprominentpersonalweakness?

Question#4.5:Whatishisprimarygoalinthestory?

Question#4.6:Whatishisconnectiontotheprotagonist?

Question#4.7:Howwillyouintroducehim?

Question#5:Whoisyourprotagonist’smentor?

Question#5.1:Howoldishe?Question#5.2:Whatishisoccupation?

Question#5.3:Whatishisprominentpersonalstrength?

Question#5.4:Whatishisprominentpersonalweakness?

Question#5.5:Whatishisprimarygoalinthestory?

Question#5.6:Whatishisconnectiontotheprotagonist?

Question#5.7:Howwillyouintroducehim?

Exercise#2:Answertheabovequestionsforallremainingimportantcharacters.Exercise #3:List all character names, nicknames, code names, etc., alphabetically.Areyouoverusinganyoneletter?Reference:StructuringYourNovel,chapter4,pages54-57.

DiscoveringYourCharactersSOMETIMESYOUGETluckywhenafabulouscharacterappearsinyourstory,fullyformed.Othertimes,yourcharactersarelessthancooperativeandyouhavetoworkatmakingthemlikableandinteresting.You’renotgoingtofindanabsoluteformulaforwritinggreatcharacters.Butyoucanbreakdownthegreatcharactersofliteratureandfilmtofigureoutwhatmakesthemtick.Exercise:Write a list of your favorite characters.Considerwhy you like them andwritedownthetraitsyouresonatewith.Trytoconfinethetraitstoone-wordtagsbothtosimplifytheexerciseandtokeepitasgeneric(andwidelyapplicable)aspossible.Examples:

CoraMunro:Tough,Brave,Loyal,Open-Minded.(TheLastoftheMohicansdirectedbyMichaelMann)ElizabethBennet:Witty,Outgoing,Opinionated,Loyal.(Pride&Prejudiceby

JaneAusten)Danielle de Barbarac: Optimistic, Spunky, Passionate, Idealistic, Ethical.

(EverAfterdirectedbyAndyTennant)SueBarton:Kind,Brave,Unprejudiced,Generous,Unflappable.(OpenRange

directedbyKevinCostner)

Exercise#2:Answerthefollowingquestionsaboutyourprotagonist.Question#1:How is your protagonist different at the beginning of the story fromhowhewillbeattheend?Question#2:What“before”scenecanyou include in theFirstAct to illustrate thepersonality, problems, fears, and/or weaknesses your protagonist exhibits in thebeginning?Reference:StructuringYourNovel,chapter4,pages51-54.

IntroducingtheStakesASYOURCHARACTERSwalkontothestageintheFirstAct,theyshouldbringthestakesrightalongwiththem.Whattheycareabout—andtheantagonisticforcesthatthreaten what they care about—must be shown (or, at the very least, hinted at) inordertoproperlyforeshadowthedeepeningconflicts.

Laterinthestory,you’regoingtohavetothinkoftheworstpossiblethingthatcouldhappentoyourcharacter—andthenmakeitworse.Whateverthat“worst”thingendsupbeing,youneed toset itup in theFirstAct. Ifyourcharacter’sdaughter isgoingtobekidnapped,theFirstActistheplacetoshowreadershowmuchshemeanstohim.Youcan’tupthestakeslateronwithoutsomethingfirstbeingatstake.Exercise #1: Answer the following questions to discover and plant your story’sstakes.Question#1:Whatdoesyourprotagonistcareaboutmostintheworld?

Question #1.1:How can you illustrate (show) your protagonist’s devotion towhathevalues?Question#2:Howwilltheantagonisticforcethreatenwhathevalues?

Question#2.1:IntheFirstAct,howcanyouillustratetheantagonist’sthreatto(orpotentialtothreaten)whatyourprotagonistvalues?Exercise#2:Writealistofthetenworstthingsthatcouldhappentoyourprotagonist.Examples:

Hisescapetunnelisdiscovered.(TheGreatEscapedirectedbyJohnSturges)

He discovers he will die unloved and unmourned. (A Christmas Carol byCharlesDickens)

Shewatchesas theAustralianPOWwhohasaidedher iscrucified.(ATownLikeAlicebyNevilShute)

Exercise#3:Answerthefollowingquestionsaboutyourabovelist.Question#1:Whichofthese“worstthings”isthemostinterestingforyourstory?Question#2:Howdoesitalignwithwhatyourcharactercaresaboutmost?

Reference:StructuringYourNovel,chapter5,pages63-66.

IntroducingtheSettingsSETTING SHOULDNEVER be an arbitrary choice.When you begin your story,always consider what type of settings the plot will require, then try to create thestrongestreadingexperiencewithasfewextraneoussettingsaspossible.Consolidatedsettingswillgivebothyouand the readers less tokeep trackofandwillallowyoumoreopportunitiesfordeepeningthesettingsyoudohave.They’llalsoallowyoutocreate thematic resonanceby returning to thematkeymoments, thusbringing theirpresenceinthestoryfullcircle.Exercise:Answerthefollowingquestionsaboutyourstory’ssettings.Question#1:Whatonesettingdefinesyourstory?Examples:

Prison.(RitaHayworthandtheShawshankRedemptionbyStephenKing)

Rome.(GladiatordirectedbyRidleyScott)

Agalaxyfar,faraway.(StarWarsdirectedbyGeorgeLucas)

Question#2:What“normalworld”doesyourstoryopenin?Examples:

Sleepy, rural Meryton in Hampshire, England. (Pride & Prejudice by JaneAusten)

SchoolonEarth.(Ender’sGamebyOrsonScottCard)

Oldlady’sattic.(RatatouilledirectedbyBradBird)

Question#2.1:Howdoesthenormalworlddemonstratewhatyourcharactercares

about(andthuswhat’satstakeforhim)?Question #2.2:How does the normal world contrast the situation in which the

characterfindshimselfintheSecondAct?Question#3:Howcanyouusesimilarorcontrastingsettingstoframethebeginningandendofyourstory?

Examples:

TheDarlings’house.(PeterPanbyJ.M.Barrie)

TheMartins’plantation.(ThePatriotdirectedbyRolandEmmerich)

District12.(TheHungerGamesbySuzanneCollins)

Reference:StructuringYourNovel,chapter5,pages66-74.

SettingChecklistALL STORIES POSSESS two kinds of setting: the concrete and the throwaway.Concretesettingsaredictatedbyscenesthatmusttakeplaceinaspecificlocale.Examples:

ThesceneinwhichElizabethBennetandFitzwilliamDarcyarereunited,afterElizabeth’s refusal of his first proposal, had to take place on the sumptuousgroundsofDarcy’sPemberleyestate.(Pride&PrejudicebyJaneAusten)Tobehistoricallyaccurate, specificAmericanRevolutionbattleshad to take

placeinSouthCarolina.(ThePatriotdirectedbyRolandEmmerich)

Throwawaysettings,bycontrast,arenotconfinedbytheneedsofthescene.Examples:

Darcy’sfirstproposal, inadrawingroom,couldhave takenplaceanywhere.(Pride&Prejudice)Themilitia’sbasecouldhavebeensetanywhere.(ThePatriot)

Whenever youwrite a scenewith a throwaway setting, stop and think. Could youbring a new level to your scene by adding an interesting or unexpected setting?Changingthesettingmightbeallthat’sneededtoadddepthtoyourscene,heightenthetension,andevenleadtounanticipatedstoryangles.Exercise:Answerthefollowingquestionsabouteachofyourstory’ssettings.Asyoucontinuetofilloutyourstructure,returntothissectiontoaddeverynewsettingyoucomeupwith.Question#1:Whatisthesetting?Question#2:Writeabriefdescriptionofthesetting.Question#3:Inwhichofthefollowingpartsofthestoryis thissettingintroduced?Act1,Act2a,Act2b,orAct3?

Question#3.1:If introducedinthefirsthalf,howcanyoureusethissettinginthesecondhalf?

Question#3.2: If introduced in the secondhalf, howcanyou foreshadow this

settinginthefirsthalf?Question#4:Isthisaconcretesettingorathrowawaysetting?

Question #4.1: For throwaway settings: Can you combine with an existingconcretesetting?

Question#4.2:Ifnot,canyoulistfivewaystomakethissettingasinterestingaspossible?Reference:StructuringYourNovel,chapter5,pages68-69.

Characters’PersonalSurroundingsIF YOUR STORY allows, stage at least one scene in your character’s personalsurroundings—theearlierthebetter.Sketchthesettingbrieflywhenthecharacterfirstentersit,thenscatterimportantdetailsthroughoutthescene.Isyourcharactersloppyorneat?Richorpoor?Canreadersidentifyhisinterestsorhobbiesfromtheitemshehasondisplay?Arethereanycluestohisbackstoryorhisdreamsforthefuture?Exercise:Answer the following questions about how your protagonist’s personalsetting(house,bedroom,office,car,etc.)revealsaspectsofhispersonality.Question#1:Whatisthesetting?

Question#1.1:Whatdoesthissettingrevealaboutthischaracter?Question#1.2:Howcanyoufeaturethissettinginyourstory?

Exercise#2:Answer theabovequestionsforeachof thefollowingcharacters—andanyotherswhoareimportanttoyourstory.AntagonistLoveInterestSidekickMentorReference:StructuringYourNovel,chapter5,pages70-71.

CreativeExercise:Listfiveofthemostimportantmomentsinyourstory.Nexttoeachmoment,notethesetting.Then,inathirdcolumn,writedownyourcharacter’sprimaryemotionineachscene.Howdoesthesettingreinforcethatemotion?SomethingtoThinkAbout:1.Wasyourhook intriguingenough toallowyou to thenslowdowntheactionandthoughtfullyintroduceanddeepenyourcharacters?2. During the First Act, have you developed the salient personality points,motivations,andbeliefsofyourprominentcharacters?3.Haveyoufleshedoutthepertinentpointsofyoursetting,soyoudon’thavetoslowdownintheSecondActtoexplainthings?4.WillreadershavedevelopedabondwiththecharactersbytheendoftheFirstAct?5.Has your First Act made clear what the characters stand to lose in the comingconflict?6. Iseveryscene in theFirstActadomino thatknocks into thenextdomino/scene,buildinginexorablytotheFirstPlotPoint?Resources:

“8½CharacterArchetypesYouShouldBeWriting,”K.M.Weiland

“AreYouUtilizingUglySettings?,”K.M.Weiland

“Are You Revealing Your Story’s Stakes at the Ideal Moment?,” K.M.Weiland

“Screenplays,theThree-ActStructureandWhyYouWouldbeMadtoIgnoreIt,”EdoardoNolfo

“Defending Jacob: Interviewwith thriller authorWilliamLanday,”DorothyThompson

CHAPTER3THEFIRSTPLOTPOINT

WhereDoesItBelong?

25%ofthewayintoyourstory.STORIESAREAseriesofscenes.Someofthosescenesareexpected.Someofthemareevenpurposefully repetitious for thesakeofemphasis.Butsomesceneschangeeverything. These game changers are the plot points. They introduce significantelementsandeventsthatalterthesubsequentcourseofthestory.Yourstorycanhaveanynumberofplotpoints,somerelativelyminor,someshockinglyhuge.Plotpointsarewhatkeepyourstorymovingforward.Theymixthingsup,keeptheconflictfresh,andpropelyourcharacterfarawayfromanypossibilityofstagnancy.

TheFirst Plot Point (which occurs around the 25%mark in your story) is themomentwhen the setupends andeverythingchanges foryour character.This is anevent thateither incorporatesor isdirectlyfollowedbythecharacter’sreacting inastrongandirrevocableway.TheFirstPlotPointmarkstheendoftheFirstAct,andthecharacter’sreactiontoitmarksthebeginningoftheSecond.Inasense,theFirstPlotPointistheClimaxoftheFirstAct.

TheIncitingandKeyEventsTHE FIRST QUARTER of your story is going to hinge upon two important andirreversiblemoments:theIncitingEventandtheKeyEvent—bothofwhichdirectlyinfluence(and/orsometimesare)theFirstPlotPoint.TheIncitingEventsetstheplotinmotion,whiletheKeyEventdrawstheprotagonistintotheplot.

TheIncitingEventisthemomentwhenthestory“officially”begins.ButtheKeyEventiswhenthecharacterbecomesengagedbytheIncitingEvent.Examples:

IncitingEvent:BrigidhiresSpade’spartner.KeyEvent:Spade’spartner iskilledandSpadeissuspected.(TheMalteseFalconbyDashiellHammett)

Inciting Event: An unconscious Bourne is fished out of the ocean. KeyEvent:Someonetriestokillhim.(TheBourneIdentitybyRobertLudlum)

IncitingEvent: Marilla andMatthew decide to adopt an orphan boy.KeyEvent:Theycommit tokeeping theorphan,even thoughshe’sagirl. (AnneofGreenGablesbyL.M.Montgomery)

TheIncitingEventandtheKeyEventcanbothtakeplaceanywherewithintheFirstAct,butit’softensmarttoplacetheIncitingEventhalfwaythroughtheFirstActandplace the Key Event at the First Plot Point, since this is the moment where thecharacterhas tomove irrevocablyaway from theNormalWorldyou’veestablishedforhim in theFirstAct.Remember that the IncitingEventwill alwaysprecede theKeyEvent.Exercise:AnswerthefollowingquestionsaboutyourIncitingandKeyEvents.Question#1:Whateventsetsyourplotinmotion?(ThisisyourIncitingEvent.)Question#2:What event involves your protagonist in the plot? (This isYourKeyEvent.)Question #3:Whatmajor event changes your story’s focus at the end of the FirstAct? (This is yourFirstPlotPoint.Note:This answermaybe the same as that foryourKeyEventabove.)

Question#3.1: In response to this event,what life-alteringdecisiondoesyourcharactermakethathecan’tturnbackfrom?

Examples:

JaneEyredecidestoacceptapositionasgovernessatThornfield.(JaneEyrebyCharlotteBrontë)

George Bailey decides to take his father’s place as head of the Building&Loan.(It’saWonderfulLifedirectedbyFrankCapra)

Question#4:Atwhatpointdoesyourcharacterleavehis“normalworld”?

Question#4.1:Whatnewworlddoesheenter?

Question #4.2: If he remains in the same setting, how does it change aroundhim?Examples:

LukeSkywalkerleavesTatooine.(StarWars:ANewHopedirectedbyGeorgeLucas)

Booenters themonsterworld, changing it toaplaceofchaosandparanoia.(Monsters,Inc.directedbyPeteDocter)

SubplotExercise:Identifyhowthefirstplotpointwillaffecteachofyoursubplots.ForeshadowingExercise:Answer the followingquestions. (Ifyoudon’t rememberwhat “heavy” and “light” foreshadowing are, refer to theForeshadowing section inChapter2.)Question#1:HowandwhereinearlierchaptershaveyouheavilyforeshadowedyourFirstPlotPoint?Question#2:HowhaveyoulightlyforeshadowedtheFirstPlotPointrightbeforeitoccurred?Reference:StructuringYourNovel,chapter6,pages81-86.

CreativeExercise:Thinkaboutsomeofyourfavoritestories.CanyouspottheFirstPlotPoints?WritealistofhowtheFirstPlotPoints in thesestoriesshake thecharacters’normalworldsandforcethemtoreact.SomethingtoThinkAbout:1.DoesyourFirstPlotPointoccuraroundthe25%mark?2.How is your First Plot Point an event that changes everything and becomes apersonalturningpointforthemaincharacter?3.DoesyourFirstPlotPointchangethestorysoirrevocablythateventhecharacter’ssurroundings (either the physical setting or the cast of supporting characters) arealtered?4. In what way does your protagonist react to your First Plot Point strongly andirretrievably?5.DoyourIncitingandKeyEventstakeplacewithinthefirstquarterofthebook?6.DoesyourKeyEventfollowtheIncitingEvent?7.HowdoesyourKeyEventpullthemaincharacterintotheplot?Resources:

“PlotPointsandtheIncitingIncident,”JimHull

“MaximizeYourStory’sIncitingEvent,”K.M.Weiland

“HowtoTellifYourStoryBeginsTooSoon,”K.M.Weiland

“TheMomentThatMakesorBreaksYourStory,”LarryBrooks

“SomethingtoGetIncitingAbout,”JaniceHardy

CHAPTER4THEFIRSTHALFOFTHESECONDACT

WhereDoesItBelong?

Fromthe25%marktothe50%markinyourstory.THESECONDACTisthelargestpartofyourstory,comprisingroughly50%.Youcansimplifyitbybreakingitdownintothreesegments:theFirstHalf,theMidpoint,andtheSecondHalf.

Every segment of a story offers its own challenges, but perhaps none leaveswritersmorebewildered than theSecondAct.At leastbeginningsandendingsgiveyouachecklistofthingstoaccomplish.Themiddleofthestory,ontheotherhand,isayawningblank.Youmayfeellikeyou’reentirelyonyourownasyoutrytomoveyourcharacterstowardwheretheyneedtobefortheendingtowork.Fortunately,ifyou pay attention to solid story structure, you’ll find themiddle of the story has achecklistallitsown.

ReactionstotheFirstPlotPointTHE FIRSTHALF of the Second Act is where your characters find the time andspacetoreacttotheFirstPlotPoint.TheFirstPlotPointisdefinitivebecauseitforcesthe character into irreversible reaction. That reaction, which will lead to anotherreactionandanotherandanother,launchesyourSecondAct.Exercise:TobuildtheFirstHalfoftheSecondAct,startbylistingyourprotagonist’sreactionstotheFirstPlotPoint.Question#1:Whatisyourprotagonist’sreactiontotheneworalteredsettingintheSecondAct?Question#2:WhatishisreactiontothethwartingofhisstorygoalintheFirstPlotPoint?Question#3:WhatishisneworalteredgoalintheaftermathoftheFirstPlotPoint?Question#4:Howisyourprotagonistnowreactingtopressurefromtheantagonist?Question#5:Howistheprotagonistcurrentlyatadisadvantageintheconflictwiththeantagonist?Question#6:Inwhatwaysdoestheantagonistcurrentlycontroltheconflict?Reference:StructuringYourNovel,chapter7,pages89-94.

ReactionsThroughouttheFirstHalfFORTHENEXTquarter of the book, until theMidpoint, your protagonistwill betaking action, but all his actions are a response (in one form or another) towhat’shappenedtohim.He’stryingtoregainhisbalance,tryingtofigureoutwherehislifeissupposedtogonext.

The First Half of the Second Act will begin immediately after the First PlotPoint.Yourcharacterwillreact totheeventsof theplotpoint insuchawaythathecannevergobacktothewaythingswere.Theantagonisticforceresponds,andagainthe character is forced to react. The cycle repeats itself asmany times andwith asmanyvariationsasnecessaryuntilthestoryreachestheMidpoint.Exercise: Answer the following questions about your protagonist’s actionsthroughouttheFirstHalfoftheSecondAct.Question#1:Howdoestheprotagonistbegintoprepare(knowinglyorunknowingly)tobetterequiphimselffortheconflict?Question#2:Withwhatpreviouslyintroducedand/orforeshadowedcharactersdoestheprotagonistdeepenhisrelationships?Question #3: What complications arise from the protagonist’s incompleteunderstandingoftheconflict?Question#4:Whatnewinformationwilltheprotagonistlearn?

Question#4.1:Whatsecretswillheuncover?Question#5:Howisheontherighttrack?Question#6:Howisheonthewrongtrack?SubplotExercise:Answerthefollowingquestionsaboutyoursubplots.Question#1:HowwilleachsubplotprogressintheFirstHalfoftheSecondAct?Question#2:Inwhatwayisyourprotagonist(orthe“lead”characterinyoursubplot)inreactionmodeatthisstageinthesubplot?

TheFirstPinchPoint

WhereDoesItBelong?Atthe37%mark.

HALFWAYTHROUGHTHEFirstHalfoftheSecondAct(aroundthe3/8thmark),your characterwill run afoul of theFirst PinchPoint.This is a scene inwhich theantagonistisgivenachancetoflexhismusclesandimpressreaders(andprobablytheprotagonistaswell)withhisscarymight.Thismomentservesprimarilyasasetuptothe protagonist’s change of tactics in the Midpoint by reminding readers of theantagonist’spower.ButitalsoraisesthestakesandforeshadowstheClimax.Itsfocuswillalwaysbethatofthecentralconflict,ratherthanasubplot.Exercise:Answerthefollowingquestionsaboutyourstory’sFirstPinchPoint.Question#1:Whathappens at the3/8thmark to emphasize the antagonist’s powerandcontrol?Examples:

Elizabethre-encountersDarcyathisaunt’sestate.(Pride&PrejudicebyJaneAusten)

Highprince Dalinar is investigated by his nemesis as part of a would-beassassinationoftheking.(TheWayofKingsbyBrandonSanderson)

The Emperor tells Darth Vader to focus on Luke Skywalker as their newenemy.(TheEmpireStrikesBackdirectedbyIrvinKershner)

Question#2:Howdoesthiseventaffectthecentralconflict?Question #3: Is the protagonist present for this scene (or is it told from theantagonist’spointofview)?Question#4:Is theantagonistpresentfor thisscene(or ishispresenceonly feltbytheprotagonist)?Question #5:How does this event help the protagonist better understand the truenatureoftheconflict?Question#6:Howdoesthiseventbegintoevolvetheprotagonistoutofhisreactive

mindset?Reference:StructuringYourNovel,chapter7,pages91-92.

CreativeExercise:WritealistoffivedifferentwaysinwhichyourprotagonistcouldrespondtotheFirstPlotPoint.HowwouldthesedifferentreactionsalterthecourseoftheFirstHalfoftheSecondAct—andyourentirestory?SomethingtoThinkAbout:1.DoyourcharactersreactpromptlyandstronglytotheeventsoftheFirstPlotPoint?2.IntheSecondHalfoftheSecondAct,howdoesyourprotagonistdealwitha)themainantagonisticforceandb)theworldingeneral?3.Howareyourprotagonist’sreactionsvariedthroughout thissecondquarterof thestory?4.How do your protagonist’s reactions in this section move the plot forward anddeepentheweaveofscenes,subplots,andthemes?5.What skills or items necessary for the final battle in the Third Act does yourprotagonistgaininthissection?6.AttheFirstPinchPoint,howisyourprotagonistpressuredbytheantagonist?Resources:

“ActionandReaction:TheBuildingBlocksofStoryStructure,”K.M.Weiland

“Visceral Reactions: Emotional Pay Dirt or Fast Track to Melodrama?”AngelaAckerman

“ActionandReaction:ThePistonsPoweringYourStory,”K.M.Weiland

“HowStoryStructurePrevents‘SaggyMiddle’Syndrome,”K.M.Weiland

CHAPTER5THEMIDPOINT

WhereDoesItBelong?

50%ofthewayintoyourstory.HALFWAYTHROUGHTHESecondAct,somethingmarveloushappens.Thereyouare,mindingyourownbusiness,toilingalongintheseeminglyendlessdesertoftheSecond Act, when—whap! bang! shazam!—everything changes all over again.Legendary director Sam Peckinpah talked about how he always looked for a“centerpiece” onwhich to “hang” his story. That centerpiece is your secondmajorplotpoint,theMidpoint,whichdividesyourSecondAct.

TheMidpointiswhatkeepsyourSecondActfromdragging.It’swhatcapsthereactionsinthefirsthalfofthebookandsetsupthechainofactionsthatwillleadthecharactersintotheThirdAct.Inmanyways,theMidpointisasecondIncitingEvent.LikethefirstIncitingEvent,itdirectlyinfluencestheplot.Itchangestheparadigmofthestory,anditrequiresadefinitiveandstory-alteringresponsefromthecharacters.Thelargestdifferenceisthatthecharacter’sresponseisnolongerjustareaction.Thisiswhere he begins to take charge of the story and act out against the antagonisticforce.

YourStory’sCenterpieceYOUCANENVISIONtheMidpointasaturninyourstory’srowofdominoes.Whenthe lineof reactions from theFirstHalfof theSecondAct finallywhacks into thatdomino at the turn, it begins a whole new line of falling dominoes. This is a bigmomentinthestory,amajorscene.Ithastobethelogicaloutcomeofthepreviousscenes, but it should alsobedramaticallynewanddifferent fromanything that hascomebefore.Exercise:Answerthefollowingquestionsaboutyourstory’sMidpoint.Question#1:Whatmajoreventoccursinthemiddleofyourstory?Examples:

Thecaptureofthemaincharacters.(FuriesofCalderonbyJimButcher)

Abattle.(TheMagnificentSevendirectedbyJohnSturges)

Thedeathofanimportantcharacter.(DragonSeedbyPearlS.Buck)

Question #2: In thinking of this event as your story’s “centerpiece,” how can youmakeitappropriatelyexciting,colorful,anddramatic?Question #3: How does this event change your protagonist’s perception of theantagonist?Question #4: How does this event change your protagonist’s perception of theconflict?Question#5:Howdoesthiseventchangeyourprotagonist’sperceptionofhimself?Question#6:Howdoes this event andyourprotagonist’s personal revelations shifthimoutofareactivephaseintoanactiveonebyallowinghimtotakemorecontroloftheconflict?SubplotExercise:Answerthefollowingquestionsaboutyoursubplots.Question#1:HowwilltheMidpointbringyourprotagonist(orthe“lead”characterinyoursubplot)toanewunderstandingaboutyoursubplot(s)?Question #2: Will this new understanding be a direct or indirect result of the

revelationsintheMidpoint?How?Foreshadowing Exercise: Answer the following questions about yourforeshadowing.Question#1:HowandwhereinearlierchaptershaveyouheavilyforeshadowedyourMidpoint?Question #2: How have you lightly foreshadowed the Midpoint right before itoccurred?Reference:StructuringYourNovel,chapter7,pages94-99.

CreativeExercise:Thinkaboutsomeofyourfavoritestories.CanyouspottheMidpoint?Writealistofhow the Midpoint in these stories brings the characters to a revelation aboutthemselvesandtheconflict.SomethingtoThinkAbout:1.DoesyourMidpointlandnearthehalfwaypointinyourstory?2.InwhatwayisyourMidpointnewandfreshincomparisontothepreviousscenes?3.IswhathappensatyourMidpointanaturaloutflowofthepreviousscenes?4.IstheMidpointapersonalcatalystforthemaincharacter?5.HowdoestheMidpointforceyourcharactertochangehismodusoperandiandtakemorecontroloftheconflict?Resources:

“TheMirrorMoment:AMethodforBothPlottersandPantsers,”JamesScottBell

“AMatterofTiming:PositioningYourMajorPlotPointsWithinYourStory,”K.M.Weiland

“WhatArePlotPoints?”K.M.Weiland

“10WaysPlotStructureInfluencesCharacterArc,”K.M.Weiland

“BeatingtheSloggy,Saggy,SoggyMiddle,”HeatherWebb

CHAPTER6THESECONDHALFOFTHESECONDACT

WhereDoesItBelong?

Fromthe50%marktothe75%markinyourstory.THESECONDHALFof theSecondAct iswhereyourplot reallybeginspopping.YourmaincharactercapsthedramaticeventattheMidpointwithhisdecisiontostopreactingandstartacting.Almostalways,thisisbornofapersonalrevelation,evenifthe character can’t yet quite put it into concrete terms. As of the Midpoint, he’sbecoming someone new. He’s realizing his full power and stretching his wings todiscoverwhathecandowiththatpower.Hiscripplinginnerproblemsarestillgettingintheway,but,attheveryleast,he’srealizinghehastodosomethingeitheraboutorinspiteofthem.

BecausetheSecondHalfoftheSecondActwillleadrightintotheslugfestoftheThirdAct, this is your last chance toget all yourplayingpieces intoposition.Youhave to setup the lineofdominoes thatwillknock into theThirdPlotPoint at the75%mark,andyoudo thatbycreatinga seriesofactions from themaincharacter.Althoughhe’snotlikelytobeincontrolofthesituation,he’satleastmovingforwardand calling a few shots of his own, instead of taking it and taking it from theantagonisticforce.

ActionsAftertheMidpointTHE SECOND HALF of the Second Act begins with a strong action from theprotagonist.HerisesfromthedramaandtraumaoftheMidpointandgritshisteeth.Herespondswithanactionthatfightsback.

TheseriesofactionsintheSecondHalfoftheSecondActmirrorstheseriesofreactionsintheFirstHalf.Inasense,ofcourse,thecharacterisstillreacting(ifyoupeertoocloselyatthelinebetweenactionandreaction,itcanblurveryquickly).Buttheemphasisisonhisowninnerpurposenow,ratherthanhisneedtoraisehisshieldsandduckhishead.He’snotyetincontrolofhisdestiny,butatleastnowhe’stryingtodosomethingabouthislackofcontrol.Exercise#1:Answerthefollowingquestionsaboutyourprotagonist’sreactiontotheMidpoint.Question#1:Howisyourprotagonist’sresolvetoconquertheconflictstrengthenedaftertheMidpoint?Examples:

Intensifyingtheattacksonthenobles.(MistbornbyBrandonSanderson)

Searching for the truthabout thedagger. (PrinceofPersiadirectedbyMike

Newell)

Reunitingthemilitia.(ThePatriotdirectedbyRolandEmmerich)

Question#2:Whatdecisiondoestheprotagonistmakeasaresult?Question#3:Whatstrongactiondoeshetaketoenterthesecondhalfofthebook?Question#4:Howhastheprotagonist’semphasisshiftedfromdefensetooffense?Exercise #2: List all the actions you think your protagonist might take after theMidpointandthroughouttherestoftheSecondAct.Exercise#3:Answer the followingquestions about the actionsyou’ve listed in thepreviousexercise.Question#1:Howwilltheantagonistreacttotheprotagonist’srenewedattack?

Question#2:Whatpartial or apparent victorywill your protagonist achieveby theendoftheSecondAct?

Question#2.1:Asaresultofthisseemingvictory,howwillthecharacter’sstorygoalappeartobewithinhisreach?Reference:StructuringYourNovel,chapter8,pages103-112.

YourProtagonist’sEvolutionSOMESTORIESPURPOSEFULLYleave theircharactersunchangedinachangingworldtounderlineapoint.Butinmoststories,thefiresthroughwhichweforceourcharactersshouldcausethemtolearnhardtruthsandgrowfromreactiontoactioninperhapspainful,butdefinitelynecessaryways.

Yourcharacter’sarcofpersonalgrowthiswhatdrivesyourstory.Asyouenterthesecondhalfofthebook,beonguardagainstyourcharacter’sreactingtosimilarsituationsinthesamewayoverandoveragain.Ifheis,thenyou’veallowedhimtoslideintostagnation.Exercise:Checkyourselfbyansweringthefollowingquestions.Question#1:Howwillyourprotagonistputintoactionthelessonshehaslearnedinthestory’sfirsthalf?Question#2:Whatnewinformationwillhelearninthesecondhalf?

Question#2.1:Whatsecretswillheuncover?Question#3:Howisheontherighttrackatthispointinthestory?

Question#3.1:Howdoesthisdifferfromyouranswersinthefirsthalf?Question#4:Howisheonthewrongtrackatthispointinthestory?

Question#4.1:Howdoesthisdifferfromyouranswersinthefirsthalf?SubplotExercise:Answerthefollowingquestionsaboutyoursubplot(s).Question#1:Howwillyoursubplot(s)progress in theSecondHalfof theSecondsAct?Question#2:Inwhatwayisyourprotagonist(orthe“lead”characterinyoursubplot)shiftingintoanactiveroleinthissubplot?

TheSecondPinchPoint

WhereDoesItBelong?Atthe62%mark.

HALFWAYTHROUGHTHESecondHalfoftheSecondAct(roundaboutthe5/8thmark) we find the Second Pinch Point. Like the First Pinch Point, this sceneshowcasestheantagonist,eitherpersonallyorinsomemanifestationthatemphasizeshispowerandhispotentialabilitytodefeattheprotagonist.Thispointservesmostofthe same purposes as the First Pinch Point, including ramping up the stakes andforeshadowingthefinalbattlebetweentheprotagonistandtheantagonist.Exercise:ToidentifyyourSecondPinchPoint,answerthefollowingquestions.Question#1:Whathappenstoemphasizetheantagonist’spowerandcontrol?Examples:

Jane’s“dream”oftheghostwhoentersherbedroomandrendsherbridalveil.(JaneEyrebyCharlotteBrontë)

DarthVader’shiringthebountyhunters.(TheEmpireStrikesBackdirectedbyIrvinKershner)

Therevelation that themoonqueen ispreparing to invadeEarth. (CinderbyMarissaMeyer)

Question#2:Howdoesthiseventaffectthecentralconflict?Question #3: Is the protagonist present for this scene (or is it told from theantagonist’sPOV)?Question#4:Is theantagonistpresentfor thisscene(orishispresenceonlyfeltbytheprotagonist)?Question#5:Howdoesthiseventemphasizetheantagonist’spowerandhisabilitytodefeattheprotagonist?Question#6:Howdoesthiseventforeshadowthefinalbattle?Question#7:Howdoesthiseventspurtheprotagonistevenfurtheroutofhisreactive

mindset?Question#8:Howdoesthiseventraisethestakesfortheprotagonist?Reference:StructuringYourNovel,chapter8,page106.

CreativeExercise:It’snotenoughtotellreadersyourcharacterisbecomingmoreempowered.Thinkofthree actions your character can take that will contrast his misconception-basedreactionsinthefirsthalfofthebook.SomethingtoThinkAbout:1.What series of actions will the main character take in the Second Half of theSecondAct?2.Howdoesovercominghisignoranceabouttheconflict,theantagonist,andhimselfallowhimtotakeamoreactiveroleincontrollingtheconflict?3.HowdoesyourSecondPinchPoint reaffirmtheantagonist’spresenceandpowerwithinthestory?4.What revelationswill your character discover in the SecondHalf of the SecondAct?5.Whichofyourprotagonist’sproblemswillberesolvedinthissection?6.Whichmajorproblems—bothinnerandouter—willremaintobesolvedduringtheThirdAct?7.HowmighttheproblemsthataresolvedintheSecondHalfoftheSecondActservetoexacerbateorbringclearerfocustothetrueunderlyingconflicts?Resources:

“3WaystoAddRepetitionThatPleasesReaders,”ElizabethSpannCraig

“TwoSurefireSymptomsofaStaticCharacter,”K.M.Weiland

“It’sWhatYourCharactersDoThatDefinesThem,”K.M.Weiland

“HowtheAntagonistAffectsCharacterArc,”K.M.Weiland

“SecondActProblems,”StevenPressfield

CHAPTER7THETHIRDPLOTPOINT

WhereDoesItBelong?

Fromthe75%marktothe100%markinyourstory.THETHIRDACToccupiesthefinalquarterofthebook,beginningaroundorslightlybeforethe75%markandcontinuinguntiltheend.Thisisarelativelysmallportionofthestory,particularlywhenyouthinkaboutall thatmustbeaccomplishedwithinit.OneofthereasonstheThirdActwillpickupthepacecomparedtothepreviousactsis thesimplenecessityofcrammingineverythingthatneedstobeaddressedbeforethebookrunsoutoftimeandspace.

All the charactersmust be assembled. Subplotsmust be satisfactorily tied off.Foreshadowingmust be fulfilled.Both the hero and the antagonist (if there is one)musthavetimetoputintoplaythefinalaspectsoftheirplans.Theheromustfacehisinnerdemonsandcompletehischaracterarcinconcertwiththefinalconflictwiththeantagonisticforce.Andtheneverythingmustbecappedwithasatisfyingdenouement.

That’salottoaccomplishinamere25%ofthebook,sothere’snotimetowaste.IntheThirdAct,youcanseeoneoftheprimarybenefitsofstructure:forthestorytowork, all the pieces in the First and Second Acts must be in place to lay thefoundationforthefinale.

TheThirdPlotPointTHETHIRDACTwillbeginwithanother life-changingplotpoint.Thisplotpoint,more than any of those that preceded it, will set the protagonist’s feet on the pathtowardthefinalconflictintheClimax.Fromhereonin,yourclatteringdominoeswillforma straight line asyourprotagonist hurtles towardhis inevitable clashwith theantagonisticforce.TheThirdActasawholeisfullofbigandimportantscenes,sobycomparisonitsopeningplotpointisoftenlessdefinedthantheplotpointsthatmarkedtheFirstandSecondActs.However,itsthrustmustbejustasadamant.

Thiswillleadrightintoyourcharacter’slowpoint.Thethinghewantsmostintheworldwill be almostwithin his grasp—only to be dashed away, smashing himdownevenlowerthanbefore.TheClimaxwillbetheperiodinwhichherisesfromtheashes,readytodobattlefromaplaceofinnerwholeness.TheThirdPlotPointistheplacefromwhichhemustrise.Exercise: IdentifyandstrengthenyourThirdPlotPointbyanswering the followingquestions.Question#1:Whateventshatterstheprotagonist’sseemingmomentofvictory?Examples:

Ra’sAlGhulannounceshis intentions todestroyGotham, thenburnsBruceWayne’s mansion and leaves him for dead. (Batman Begins directed byChristopherNolan)

Mattiediscovers themurdererTomChaneyand is subsequentlycapturedbyNedPepper’sgangofoutlaws.(TrueGritbyCharlesPortis)

Lucy learns that her impulsive romantic interlude in Italy has beenimmortalizedinMissLavish’snovel.(ARoomWithaViewbyE.M.Forster)

Question#2:How does the Third Plot Point crush your character in amoment ofdefeat?Question#3:Howdoestheprotagonist’spersonalweaknesscausethismoment?Question#4:Whatdoesyourprotagonistquestionabouthisoverallgoal?Question#5:Whatdoesyourprotagonistquestionabouthimself,hisabilities,andhismotivationsuptothispoint?

Question#6:Whatpersonalrevelationsdoeshehave?Question#7:Whatpersonaldecisionsdoeshemakeinreactiontothoserevelations?Question#8:Whatpromptshimtoriseagainandreengageintheconflict?Question#9:Howistheprotagonistdifferentafterthis“death/rebirth”phase?SubplotExercise:Answerthefollowingquestionsaboutyoursubplot(s).Question #1: Howwill the Third Plot Point bring your protagonist (or the “lead”characterinyoursubplot)toanewunderstandingaboutyoursubplot?Question #2: Will this new understanding be a direct or indirect result of therevelationsintheThirdPlotPoint?Foreshadowing Exercise: Answer the following questions about yourforeshadowing.Question#1:HowandwhereinearlierchaptershaveyouheavilyforeshadowedyourThirdPlotPoint?Question#2:HowhaveyoulightlyforeshadowedtheThirdPlotPointrightbeforeitoccurred?Reference:StructuringYourNovel,chapter9,pages116-122.

AftertheThirdPlotPointCHARACTERANDCHANGE.That’swhatstoryisallabout.Wetakeapersonandweforcehimontoajourneythatwillchangehimforever,usuallyforthebetter.IntheFirstAct,hestartsoutinaless-than-fulfilled,probablypersonallystuntedplace.Hehascertainbeliefsthatareholdinghimbackfromwhatheneeds,fromthethingthatwillcausehimtochangeintothisbetter,moreenlightened,moreempoweredperson.

Personaltransformationsarealwaysattheheartofstrongcharacterarcs.Withoutone,yourcharacterwillremainstatic,theplotwillfallflat,andreaderswillbelefttowonder,Whydidanyofthatmatter?Exercise:Tosolidifyyourcharacter’sarc,askyourselfthefollowingquestions.Question #1: How is your protagonist different now from how he was in thebeginningofthestory?Examples:

InsteadoftryingtoeliminateormanipulateBuzz,Woodywelcomeshimasapartnerandfriend.(ToyStorydirectedbyJohnLasseter)

Instead of putting wealth ahead of everything else, Scrooge buys food andgiftsforothers.(AChristmasCarolbyCharlesDickens)

Insteadofbowing to thewillofothers inorder tobe loved,Janeclaimsherindependence.(JaneEyrebyCharlotteBrontë)

Question #2:What scene can you include in the ThirdAct to illustrate how yourprotagonist’spersonality,problems,fears,and/orweaknesseshaveevolved?Question#3:WhatnewandstrengthenedactiondoestheprotagonisttakeagainsttheantagonisticforceaftertheThirdPlotPoint?Question #4: How does he assemble all the skills, tools, and allies he gainedthroughoutthestory,inpreparationfortheClimax?Question #5:Which of these playing pieces will need to be present in the finalshowdown?

Question#5.1:Howwillyougetthemthere?

SubplotExercise:Determinewhich(ifany)ofyoursubplotsyoucantieoffbeforetheClimax—andhow.Reference:StructuringYourNovel,chapter9,pages117-119.

CharacterDeathChecklistBECAUSETHETHIRDPlotPointisasymbolicrepresentationofyourprotagonist’sspiritual death and rebirth, this plot point often features either literal or figurativedeath.Exercise:Ifoneofyourcharactersdieshere(oratanyothermomentinyourstory),askyourselfthefollowingquestions.Question#1:Whyisthedeathnecessary?Question#1.1:Howdoesthedeathaffecttheothercharacters?

Question#1.2:Howdoesthedeathadvancetheplot?

Question #1.3:Whatwould happen to the story and the other characters if this

characterdidn’tdie?Question#2:Willthedeathshockreaders?Question#2.2:Will the shock prevent the purpose of the death from resonating

withreaders?Question#2.3:Canyoumitigatetheshockbyforeshadowingthedeath?

Question#2.4:Canyouforeshadowthedeathexplicitlywithareferencetothe

possibilityofthecharacter’sdying?

Question #2.5: Can you foreshadow the death implicitly through tone or ageneralsenseofforeboding?Question#3:Doyouwantyourstorytohaveasadending?Question#4:Ifyouansweredtheabovequestionwitha“no,”askyourself:

Question#4.1:Ifthedeathoccursearlyinthestory(ThirdPlotPointorearlier),howwilltheremainingcharacters’actionsintheClimaxmakethedeathmatter?

Question #4.2: If the death occurs late in the story (Climax or after), whataffirmingorempoweringnotecanyoufindtoshinealightthroughthegrief?Reference:StructuringYourNovel,chapter12,pages153-157.

CreativeExercise:Thinkaboutsomeofyourfavoritestories.CanyouspottheThirdPlotPoint?WritealistofhowtheThirdPlotPoint in thesestoriesbrings thecharacters toarevelationaboutthemselvesandtheconflict.SomethingtoThinkAbout:1.DoesyourThirdActbeginaroundthe75%mark?2.HowisyourThirdPlotPointanupheavalofthegainsyourprotagonistthoughthehadmadeuptonow?3.Fromitsopeningplotpointonward,doesyourThirdActpickupspeedandrefusetoslowdown?4. Is your Third Act thoughtful enough in its first moments to allow all the extrapiecestobeeithertiedoffandsetoutofthewayorassembledfortheshowdown?Resources:

“5ElementsofStoryStructure,”J.E.Fishman

“TheAll-ImportantLinkBetweenTheme andCharacterProgression,”K.M.Weiland

“What’s the Most Important Moment in Your Character’s Arc?,” K.M.Weiland

“HowtoSuccessfullyKillaCharacter:TheChecklist,”K.M.Weiland

“CreatingCharactersThatMakeReadersCry,”JodyHedlund

CHAPTER8:THECLIMAX

WhereDoesItBelong?

Fromthe90%marktothe98%markinyourstory.INSOMESTORIES,theClimaxwillinvolveadrawn-outphysicalbattle.Inothers,theClimaxmightbenothingmore thanasimpleadmission thatchangeseverythingfor the protagonist. Almost always, it is a moment of revelation for the maincharacter.Dependingon theneedsof the story, theprotagonistwill come to a life-changing epiphany directly before, during, or after the Climax. He will then actdefinitivelyuponthatrevelation,cappingthechangeinhischaracterarcandendingtheprimaryconflict,eitherphysicallyorspiritually,orboth.

TheClimaxoccursattheendoftheThirdActandcomprisesapproximatelythelast10%of thebook.Moreoften thannot, theClimacticMomentat theendof theClimaxwillbethepenultimatescene,justbeforethedenouement.SincetheClimaxsayseverythingthere is tobesaid,with theexceptionofa littleemotionalmoppingup,there’snoneedforthestorytocontinuelongafteritscompletion.

YourStory’sClimaxTHEFOUNDATIONOF your slam-bang finale has to be built into the story—theplotandthecharacters—thatprecededit.TheClimaxiswhereyouhavetopulloutyourbigguns.Thisneeds tobea seriesof scenes thatwows readers.Digdeep foryourmostextraordinaryand imaginative ideas. Insteadof justafistfight,whynotafistfight on top of amoving train? Instead of just a declaration of love,why not adeclarationinthemiddleofapresidentialinauguration?Exercise#1:Answerthefollowingquestionstorefineyourstory’sClimax.Question#1:Whatformwillthefinalconfrontationbetweentheprotagonistandtheantagonisticforcetake?Examples:

Navalbattle.(MasterandCommanderbyPatrickO’Brian)

Horserace.(TheRieversbyWilliamFaulkner)

Filibuster.(Mr.SmithGoestoWashingtondirectedbyFrankCapra)

Question#2:WherewillyourClimaxtakeplace?

Question #2.1: How does this setting symbolically emphasize the centralconflictandthetheme?

Question #2.2: How does this setting physically or emotionally make theconfrontationwiththeantagonistmoredifficult?Question #3:How will the protagonist’s new resolve and understanding of truthsabouthimselfandtheworldbechallengedonemoretime?

Question#3.1:Howwilltheprotagonistrespondtothischallenge?Question#4:Willtheprotagonistdefeattheantagonisticforce—orbedefeated?

Question#4.1:Howisthevictory,byeitherside,achieved?

Question#5:Whatonemomenthavereadersbeenwaitingforsincethebeginningofthestory?

Examples:

Thekissbetweentheromanticleads.(North&SouthbyElizabethGaskell)

TheWhiteWitch’s death. (The Lion, theWitch, and theWardrobe by C.S.Lewis)

Thereturnofthehero’smemory.(RandomHarvestbyJamesHilton)

Question#5.1:Howcanyoudeliverthismoment?

Foreshadowing Exercise: Answer the following questions about yourforeshadowing.Question#1:HowandwhereinearlierchaptershaveyouheavilyforeshadowedyourClimaxandClimacticMoment?Question#2:HowhaveyoulightlyforeshadowedtheClimaxandClimacticMomentrightbeforetheyoccurred?Question#3:Nowthatyouknowhowyourclimacticbattlewillplayout,howandwherecanyouforeshadowtheformofthefinalconfrontationearlierinthestory?Question#4:HowandwherecanyouforeshadowtheClimax’ssetting?Exercise #2: List five things readers will expect from your Climax by the timethey’vereadthisfar.Exercise#3:AnswerthefollowingquestionsaboutyourClimax.Question#1:Whichofthethingsonyourlistfromthepreviousexercisedoyouhavetofulfillforthestorytomakesenseortosatisfythereader?Question#2:HowcanyouintroducecomplicationsinyourClimaxthatreaderswon’texpect?Question#3:WillyourstoryincludeafauxClimax?Ifso,whatwillitbe?Examples:

WoodyandBuzzmustfirstdefeatSid,thenthethreatofbeingleftbehindbythemovingvan.(ToyStorydirectedbyJohnLasseter)

GeorgeBaileymustdefeatfirsthisownwishtobeunborn,thentheremainingdiscrepancies inhisbusinessaccounts. (It’saWonderfulLifedirectedbyFrankCapra)

Question#3.1:What lessonswill theprotagonist learn in thefauxClimaxthat

willpreparehimforthetrueClimax?

Question#3.2:Does your character havemore than one antagonistic force todefeat?Reference:StructuringYourNovel,chapter10,pages125-133.

CreativeExercise:Brainstorm fivepossible endings for your story.Maybe inoneversion thebadguywins. Or the hero wins but doesn’t get the girl. What do each of these alternateendingsofferthatyouroriginalendingdoesn’t?SomethingtoThinkAbout:1.DoesyourClimaxbeginaroundthe90%markandendonlyasceneortwoawayfromthelastpage?2.IsyourClimaxmorethanjustonescene—isitasequenceofscenesthatbuildsuptotheimportantClimacticMoment?3.Howdoes yourClimaxdecisively end the primary conflictwith the antagonisticforce?4.HowisyourClimaxthedirectresultoftheprotagonist’spersonalrevelationabouthischaracterarc?5.Doesyourstoryhavesomany layersofconflict that it requiresa“faux”ClimaxleadinguptotheClimaxproper?Resources:

“HaveYouInvitedEnoughCharacterstoYourClimax?”K.M.Weiland

“HowtoStructureaWhammyofaClimax,”K.M.Weiland

“AreYourBadGuysDyingintheRightOrder?”K.M.Weiland

“TheInevitableEndingYouKnowIsComing,”C.S.Lakin

“SpecialScenes:Climax,”DarcyPattinson

CHAPTER9THERESOLUTION

WhereDoesItBelong?

Fromthe98%marktothe100%markinyourstory.THERESOLUTIONWILLbegindirectlyaftertheClimaxandcontinueuntilthelastpage.Afterall theemotional stressof theClimax, readerswantamoment to relax.Theywanttoseethecharacterrising,dustingoffhispants,andmovingonwithlife.They want to catch a glimpse of how the ordeals of the previous three acts havechanged your character; they want a preview of the new life he will live in theaftermathof theconflict.And, ifyou’vedoneyour jobright, they’llwant thisextrascenefornoother reason than tospend justa littlemore timewith thesecharactersthey’vegrown to love.As itsname suggests, theResolution iswhere everything isresolved.

Resolutions can vary in length, but shorter is generally better. Your story isalreadyessentiallyover.Youdon’twanttotryreaders’patiencebywastingtheirtime,andyoudefinitelydon’twanttostunttheirsenseofthestorybytyingoffeverylooseendtooperfectly.ThelengthofyourResolutionwilldependonacoupleoffactors,themost important being the number of remaining loose ends.Optimally, youwillhave used the scenes leading up to your Climax to resolve as many subplots aspossible,whichwillfreeupyourResolutiontotakecareofonlytheessentials.

PlanningYourResolutionCREATING THE PERFECT ending isn’t easy, but you can boil it down to oneessentialobjective:leavereaderswithafeelingofsatisfaction.Howdoyoudothat?Ifyoucangivereadersasenseofcontinuingmotioninyourcharacters’lives—asenseofprogressionevenafterallthebigplotissueshavebeenresolved—youwillbeablebothtocreateafeelingofrealismandtoengageyourreaders’imaginationsinfillinginthe“restofthestory.”

TheResolutionisnotjusttheendingofthisstory,butalsothebeginningofthestorythecharacterswillliveinafterreadershaveclosedthebackcover.Itperformsits two greatest duties in capping the current story, while still promising that thecharacters’liveswillcontinue.Exercise:CraftyourResolutionbyansweringthefollowingquestions.Question #1: How much time passes between your Climactic Moment and theResolution?Howmanyhours,days,months,years?Question#2:Whatisyourprotagonist’sreactiontotheeventsoftheClimax?Question#3:Whichofthefollowingfeelingsdoyouwanttoleavereaderswithwhentheyclosethebook?

Optimism

Pessimism

Defeat

Fear

Hope

Sadness

Joy

Cynicism

Idealism

Anger

Awe

Disappointment

Remorse

Contempt

Aggression

Other

Question#3.1:Howcanyouachievethistoneinyourfinalscene?

Question #3.2:What final characteristic moment, featuring your protagonist,

willhelpestablishthistone?Question#4:Whichofthefollowinglooseendsremaintobetiedoff—andhowwillyoutiethemoff?

RomanticSubplot

CareerSubplot

FamilySubplot

BestFriendSubplot

MinorCharacterArcSubplot

Other

Question#5:Howcanyoubringeachofthefollowingimportantcharactersonstage(oratleastrefertothem)onemoretime?

Antagonist

LoveInterest

Sidekick

Mentor

OtherImportantCharacters

Question#6:Whatisyourprotagonist’snewgoalforhislifeafterthestory?Question#7:HowcanyourResolutionmakeuseofsettings that reflectorcontrastthoseinyouropeningchapters?Examples:

TheDarlings’house.(PeterPanbyJ.M.Barrie)

TheMartins’plantation.(ThePatriotdirectedbyRolandEmmerich)

District12.(TheHungerGamesbySuzanneCollins)

Reference:StructuringYourNovel,chapter11,pages137-164.

ClosingLineChecklistLIKE FIRST LINES, last lines aren’t all that memorable in themselves. Theirmemorabilityisn’tnearlyasimportantasisthefeelingwithwhichtheyleavereaders.What is it about great closing lines that makes stories resonate with us? How doclosinglineshelpembedstoriesinourmindssowewillcarrythemwithuslongafterwe’veclosedthebackcovers?Exercise:Yourclosinglinewilldependgreatlyonthestorythatprecedesit:itstone,pacing,andthemoodyouwanttostrikewithitsending.Usethefollowingquestionstogetthemostoutofyourclosingline.Question#1:Howdoesyourclosinglineofferasenseoffinalitytothestory?Question#2:Howdoesyourclosinglinealsoofferasensethatyourcharacters’liveswillcontinueafterthestory?Question#3:Howdoesyourclosinglinereinforcethetheme?Question#4:Dothelinesleadinguptoyourclosinglineslowthepacewithlongersentences?Question#5:Isyourclosinglineitselfapunchysentencethatactsasafinalperiodattheendofyourstory?Reference:StructuringYourNovel,chapter11,pages141-144.

CreativeExercise:Whatbooksormovieshave leftyouwitha sustained feelingof satisfaction?Studytheir Resolution scenes and take note of the elements that evoked your emotionalresponse.CanyoureplicatethesetechniquesinyourownResolution?SomethingtoThinkAbout:1.DoesyourResolutiontakeplacedirectlyaftertheClimax?Isitthelastscene(s)inthebook?2.Howhaveyoutiedoffalltheprominentlooseends?3.Howhaveyouavoidedmakingyourendingtooperfect?4.DoesyourResolutionofferreadersasenseofcontinuationbyhintingat thelivesthecharacterswillleadafterreadershaveclosedthebackcover?5.Does your Resolution give readers a concrete example of how the character’sjourneyhaschangedhim?6.WhatemotionalnotedoesyourResolutionstrike?Doesitresonatewiththetoneofthe book as a whole (funny, romantic, melancholy, etc.)? Will it leave readerssatisfied?Resources:

“ElementsofaGoodEnding,”JoeMoore

“The CharacteristicMoment Belongs at the End of Your Book Too,”K.M.Weiland

“AretheLooseEndsinYourStoryTooLoose?”K.M.Weiland

“How Properly Structured Beginnings and Endings Hold Your BookTogether,”K.M.Weiland

“It’stheEndoftheBookasWeKnowIt,”KristaPhillips

PART2

STRUCTURINGYOURSCENES

CHAPTER10SCENES

EVERYSCENEWITHINyourstoryhastwohalves:thescene(inwhichcharactersareacting)andthesequel(inwhichcharactersarereacting).Thesetwomightylittlepistonspowertheentiretyofyourstory.Wecanfurtherbreakthesetwohalvesdowninto threestepsapiece (we’ll takea lookat the threepartsof thesequel in thenextchapter).Brokendownintothreepieces,thescenelookslikethis:

The Goal: Every scene begins with your character wanting something. Thescene goal will always be a reflection or a result of the overall story goal. Yourcharacterwantstodefeattheeviloverlordorwinthefairmaiden’shand.Togetthere,hewillhavetoenactaseriesofsmallergoals.Thesegoalswillformtheimpetusforevery scene. Identify your character’s goal early in each scene to give its narrativefocusanddynamism.

TheConflict:Ifyourcharacterwereallowedtotraipserightthroughyourstory,accomplishinghiseverygoal,yourplotwouldbeoveralmostasquicklyasitbegan.Thisiswhereconflictcomesintoplay.Sceneconflicttakestheformofanythingthatpreventsyourcharacterfromachievinghisscenegoal.Thismightbeafistfight,oritmightbeaflattire.Conflictisthemeatofyourscene.Afteryou’vesetupthegoal,themajorityofyourscenewillfocusonwhateveritisthat’skeepingyourcharacterfromgettingwhathewants.

The Outcome (or Disaster): Your scene will end with a decided outcome.Eitheryourcharacterovercomestheconflicttogetwhathewants,or,morelikely,hefailseitherpartlyorwholly—andthesceneendsindisaster.Everyscenemustpushyourcharactersidewaysinsteadofallowinghimtoadvanceuninhibitedinastraightlinetohismaingoal.

OptionsforGoalsinaSceneTHEPOSSIBILITIESFORscenegoalsareendlessandveryspecific toyour story.Your character can want anything in any given scene. But within that universe ofoptions,youmustnarrowdownthedesiresexpressedinyourscenetothosethatwilldrivetheplot.WantingtobuypinkcarnationsforMother’sDayisaworthygoal,butifyourcharacter’smotherisanonexistentplayerinyourstoryofanuclearwar,it’snotgoingtobelonginyourstory—andcertainlynotasascenegoal.

Scenegoalsarethedominoesinyourstory’splot.Eachgoalisastepforwardinyourstory.Onegoal leads toaresult thatpromptsanewgoalandonandon.Theyknockintoeachother,onedominoafteranother.If theydon’t—ifonegoalisoutofplace in the overall story—the line of dominoeswill stop and the storywill falter,perhapsfatally.Exercise#1:Refineyourscenegoalsbyaskingthefollowingquestions.Question #1:Which of the following does your protagonist want in this scene?Specifywhatitis.

Somethingconcrete(anobject,aperson,etc.).

Somethingincorporeal(admiration,information,etc.).

Escapefromsomethingphysical(imprisonment,pain,etc.).

Escapefromsomethingmental(worry,suspicion,fear,etc.).

Escapefromsomethingemotional(grief,depression,etc.).

Other.

Question#2:Whichofthefollowingmethodsdoesyourprotagonistusetoattempttogainwhathewantsinthisscene?Specifyhow.

Seeksinformation.

Hidesinformation.

Hidesself.

Hidessomeoneelse.

Confrontsorattackssomeoneelse.

Repairsordestroysphysicalobjects.

Other.

Question#3:Ifapplicable,askyourselfwhatgoalyourantagonisthas in thisscenethatcauseshim tooppose theprotagonist’sgoal.Whichof the followingdoesyourantagonistwantinthisscene?Specifywhatitis.

Somethingconcrete(anobject,aperson,etc.).

Somethingincorporeal(admiration,information,etc.).

Escapefromsomethingphysical(imprisonment,pain,etc.).

Escapefromsomethingmental(worry,suspicion,fear,etc.).

Escapefromsomethingemotional(grief,depression,etc.).

Other.

Question#4:Whichofthefollowingmethodsdoesyourantagonistusetoattempttogainwhathewantsinthisscene?Specifyhowhetriestogetit.

Seeksinformation.

Hidesinformation.

Hidesself.

Hidessomeoneelse.

Confrontsorattackssomeoneelse.

Repairsordestroysphysicalobjects.

Other.

Exercise #2:Once you’ve identified your scene’s goal, stop and ask yourself thefollowingquestions:Question#1:Howdoestheprotagonist’sgoalmakesensewithintheoverallplot?Question#2:Howisthegoalinherenttotheoverallplot?Question #3: How will the goal’s complication/resolution lead to a newgoal/conflict/disaster?Question#4: If the goal ismental or emotional (e.g., be happy today),what is itsphysicalmanifestation(e.g.,smileateveryone)?Question#5:Howdoes the success or failure of the goal directly affect the scenenarrator?Reference:StructuringYourNovel,chapter15,pages193-200.

OptionsforConflictinaSceneCONFLICTISWHATstoryisallabout.Withoutit,thecharacterwouldachievehisgoalinminutes,allthelooseendswouldbetiedoff,andthestorywouldbehappilyeverover.Conflictkeepsyourstorymovingforward.Whenthecharacter’sinitialgoalis stymiedbyconflict, it causeshim to reactwithanewgoal,which is stymiedbyfurther conflict, which causes him to againmodify his goal—and on and on, untilfinallyhereachesthegoalandthestoryends.Exercise#1:Don’tbeafraidofsockingittoyourcharacters.Withoutconflictanditsassociatedsuffering,charactershavenoreasontoexist.Usethefollowingquestionstoanalyzeyourscenestoensureeachoneerectsobstaclesbetweenyourcharacterandhisgoal.Question#1:Whichofthefollowingobstaclescomesbetweenyourprotagonistandwhathewantsinthisscene?Specifywhatitis.

Directopposition (anothercharacter,weather,etc.,which interfereswithandpreventstheprotagonistfromachievinghisgoal).

Inneropposition(thecharacterlearnssomethingthatchangeshismindabouthisgoal).

Circumstantialdifficulties(noflourtobakeacake,nopartnerstodancewith,etc.).

Activeconflict(argument,fistfight,etc.).

Passiveconflict(beingignored,beingkeptinthedark,beingavoided,etc.).

Other.

Question#2:Howdoesthisscene’sobstaclemanifest?Specifyhow.

Physicalaltercation.

Verbalaltercation.

Physicalobstacle(weather,roadblock,personalinjury,etc.).

Mentalobstacle(fear,amnesia,etc.).

Physicallack(noflourtobakeacake).

Mentallack(noinformation).

Passiveaggression(intentionalorunintentional).

Indirect interference (long-distance or unintentional opposition by anothercharacter).

Other.

Exercise#2:Onceyou’veidentifiedyourscene’sconflict,askyourselfthefollowingquestions.Question#1:Whydoestheoppositiontothecharacter’sgoalmattertohim?Question#2:Howdoestheconflictevolveorganicallyfromthegoal?Question#3:Whyistheopposition’smotivationlogicalwithintheoverallstory?Question#4:Howdoestheconflictleadtoalogicaloutcome(resolutionordisaster)forthescene?Question #5: How does the conflict directly interfere with or threaten theprotagonist’sgoal?Reference:StructuringYourNovel,chapter16,pages203-213.

OptionsforDisastersinaSceneTHEFINALPARTinthethree-partstructureofyoursceneistheoutcome.Thefirsttwo parts of the scene (the goal and the conflict) asked a specific question; theoutcomewillanswerthatquestion.

At the end of every single scene, search for away to thwart your character’shopes.Thisdoesnot,however,meanheshouldnevergaingroundtowardachievinghisgoal.Hecanachievepartofhisgoalwhilestillexperiencingsetbacks.

Sometimes, inordertoadvancetheplot,yourdisastersaregoingtohavetobeincomplete.Thepartialobstructionofgoalandthehollowvictoryaretwoexamples.These“Yes,but!”disastersoccurwhenyourcharactergetsaqualifiedoreven total“yes” in answer to the scene question. He fulfills his scene goal, but there areunforeseencomplications.

Thepointistokeepthepressureonandneverletup.Thescenedisasterpushesthe character sideways, away from achieving his main goal, while pushing himunwittingly toward the thing he really needs (the final confrontation with theantagonisticforce).Exercise#1:Answerthefollowingquestionsaboutyourscenedisaster.Question#1:Which of the following “disasters” ends your scene?Specify exactlywhatitis.

Direct obstruction of the goal (e.g., the character wants info the antagonistrefusestosupply).

Indirectobstructionofthegoal(e.g.,thecharacterissidetracked).

Partial obstruction of the goal (e.g., the character gets only part ofwhat heneeds).

Hollowvictory (e.g., the character getswhat hewants, only to discover it’smoredestructivethanhelpful).

Other.

Question#2:Howdoesthisscene’sdisasterspecificallymanifest?

Death.

Physicalinjury.

Emotionalinjury.

Discoveryofcomplicatinginformation.

Personalmistake.

Threattopersonalsafety.

Dangertosomeoneelse.

Other.

Exercise#2:Onceyou’veidentifiedyourscene’sdisaster,stopandaskyourselfthefollowingquestions.Question #1:How does your disaster answer the scene question, as posed by thescenegoal?Question#2:Howisyourdisaster integral to thescene(i.e., is thedisasteradirectculminationofthesceneconflict)?Question#3:Isyourdisasterdisastrousenough?Question#4:Doesyourdisasteravoidmelodrama?Question#5:Ifyourcharacterpartiallyortotallyreacheshisscenegoal,what“yes,but!”disasteriswaitingtoslowhimdown?Question#6:Whatnewgoalwillyourdisasterpromptfromthecharacter?Reference:StructuringYourNovel,chapter17,pages217-222.

CreativeExercise:What’s theweather inyourmost importantscenes?Doesit reinforceorcontrast thetoneandthematicunderpinningsofthescenes’events?Couldyoubolsteranyofthesescenesbyalteringtheweather?SomethingtoThinkAbout:1.Whatemotionormindsetdoestheprotagonisthaveatthebeginningofthescene?2.Whatemotionormindsetdoeshehaveattheendofthescene?3.Howhasthecharacter’semotionevolvedoverthecourseofthescene?4.Whatistheprimaryemotioninthisscene?5.Dotheprimaryemotionsvaryfromscenetoscenetoavoidrepetitionandtogainthematicdepth?Resources:

“DoesYourCharacterLackPurpose?”K.M.Weiland

“MakeEverySceneMatter,”K.M.Weiland

“Scenes:TheBuildingBlocksofYourStory,”JustineSchofield

“EpisodicStorytelling?Here’sWhy,”K.M.Weiland

“UseTrianglestoHelpYourReadersGetthePoint,”ShananHaislip

CHAPTER11:SEQUELS

ALTHOUGHTHESEQUELpossessesthreebasicandunavoidableparts,justlikethescene,itismuchmoreflexibleinexecution.Thethreepartsmaytakeplacewithinasinglesentence—orbestretchedoutovermanychapters.Sometimesoneortheotherof thepartsmaybe implied; sometimes theymayappear tobe intermixedwith thepiecesofthescene.Thesethreepartsare:

TheReaction:Thisiswherethecharacterreactstowhat’sjusthappenedinthedisasterattheendofthepreviousscene.Thisisanextremelyimportantsection.Notonly does it allow a little “downtime” in between action set pieces, it also bolstersreaders’suspensionofdisbeliefbyprovingthatyourcharacterisathinking,reactinghumanbeing.Scenedisastersonlymatter in thecontextof thecharacter’s thoughtsandfeelingsaboutthem.

TheDilemma:Onceyou’verecordedyourcharacter’sinitialemotionalreactionto the disaster, you have to allow his intellect to take over. The disaster will havepresented him with a new dilemma. How will he move forward after this recentsetback and its complications? The dilemma is where your character puts on histhinkingcapandfiguresouthisnextmove.Thismightbealengthysectioninwhichhe pondersmany options, or itmight be just a quick sentence if the answer to hisdilemmaisobvious.

TheDecision:Thesequel(andthesceneasawhole)endswhenyourcharactercaps his dilemma with a decision. He figures out what he has to do to continuemovingforward towardhisoverallstorygoal.Thisbrings thesceneasawholefullcircleandleadsrightuptothebrandnewgoalthatwillstartoffthenextscene.

Onceyouunderstand thesix factorsneeded tocreate solid scenesandsequels,youwillhavethebuildingblocksyouneedtoassembleyourstoryfromthegroundup.Putonesolidsceneuponanother—andbeforeyouknowit,you’llhaveanentirestory.

OptionsforReactionsinaSequelAS SOON AS your previous scene’s disaster hits, your character is going toexperience an immediate and instinctive emotional reaction. Authors who lack acompleteunderstandingof thescene/sequel structuresometimesworry their sequelswon’tcontainenoughactionorconflicttokeepreaders’attention.Butthisisfarfromthecase.Readersloveaction(whateveritsmanifestation),andauthorscan’tcreateastorywithoutit.Butwithoutcharacterreactions,allthatjuicyactionwilllackcontextand,asaresult,meaning.Exercise: Answer the following questions to identify and elaborate upon yourcharacter’sreactioninthesequel.Question#1:Withwhichofthefollowingemotionsdoesyourprotagonistrespondtothedisasterinthepreviousscene?Specifyhow.

Elation.

Fury.

Anger.

Confusion.

Despair.

Panic.

Shame.

Regret.

Shock.

Other.

Question#2:Which of the followingwill you use to convey the above emotionalreactiontoyourreader?Specifyhow.

Description.

Internalnarrative/monologue.

Dramatization.

Tone.

Question#3:Howdoesyourcharacter’sreactioncorrelatetotheprecedingdisaster?Question #4:Why does the character’s reaction make sense in context with theprecedingdisaster?Question#5:Whyisthecharacter’sreactionlogicalforhispersonality?Question#6:Howmuchtime,inthestory,willyouneedtoappropriatelyportraythereaction?Question #7: Can you illustrate the reaction more powerfully through narrative,description,action,ordialogue?Question #8:How can you clarify the character’s reaction to the disaster withoutunnecessarilyrehashinginformationreadersarealreadyfamiliarwith?Reference:StructuringYourNovel,chapter19,pages233-238.

OptionsforDilemmasinaSequelTHEDILEMMAIScomposedofthreedifferentphases:

Review:Theprotagonistwilllookbackonthedisasterandconsiderthemisstepsthatallowedittohappen.Thisphaseisoftenintertwinedwiththeprecedingreactionsection.Itslengthwilllargelydependonitsproximitytothedisasterandthepaceyouwishtoset.

Analyze: Now that your character has progressed past his initial emotionalreaction,hewillhavetostartconsideringthespecificsofhisproblem.Thedilemmawillalwayspresentaquestion,thegistofwhichis,“HowdoIgetoutofthismess?”

Plan:Onceyourcharacterhassufficientlyanalyzedtheproblem,hewillmoveinto the planning phase—which will then segue right into the next section of thesequel:thedecision(whichwe’lldiscussinthenextsegment).Exercise:Planyourscene’sdilemmausingthefollowingquestions.Question#1:Howwill your protagonistwork through each phase of the dilemmastage?

Question#1.1:Isitactuallynecessarytoreviewthedisasterinordertoremindreaderswhathappened?Ifso,howwillyourcharacterreviewit?

Question#1.2:Howwillyourcharacteranalyzethedilemma?

Question #1.3: How can you state your protagonist’s problem as a specificquestion?

Examples:Howwillhegetoutofthissnakepit?

HowwillshegetJoeytoforgiveherforlyingtohim?

Howcanhefindmoneytobuygroceries?

Question#1.4:What planwill your protagonist come upwith tomitigate the

effectsofthedisasterandmoveforward?Question#2:Howmuchdepthwillyouneedtogointoinordertoproperlyfleshoutyoursequeldilemma?Willyou:

Indicate the dilemma implicitly (e.g., by allowing the reader to presume thedilemmabasedonthepreviousdisaster).

Indicatethedilemmaexplicitlybysummarizing/tellingit(e.g.,“Martihadtofigureouthowtogetsomegroceriesbeforetheyallstarved”).

Indicate the dilemma explicitly by dramatizing/showing it (e.g., Marti’sstomachgrowls).

Question #3: How is the dilemma influenced by the disaster at the end of thepreviousscene?Question#4:Howhaveyoumadesurethedilemmaiscleartoreaders?Question #5:Why does the amount of time you spend on the dilemmamatch itsimportancewithintheplot?Question#6: If you’ve chosen to include a review section of the preceding scene,howdoesitavoidrepetition?Reference:StructuringYourNovel,chapter20,pages241-245.

OptionsforDecisionsinaSequelPERHAPS THE MOST instinctive of all the scene/sequel building blocks is thedecision.Thisthirdandfinalpieceofthesequelgrowsoutofthecharacter’sdilemmaandleadsrightintothenextscene’sgoal.Thedecisionisthelittlecattleprodonyourstory’sbacksidethatkeepsitmovingforward.Conceivably,yourcharactercouldsitaroundcontemplatinghisdilemmas for the restofhis life.Butgood stories requireforwardmotion,andtheonlywayoutofadilemmaistomakeadecision—whetherit’srightorwrong.

Asalways,thekeytoagooddecisionismakingsureit isadirectresultofthepreviousdilemma.Arandom,unrelateddecisionmaywellkeeptheplotmoving,butnotinthestraightlineyourreaderswant.Ifyourcharacter’sdilemmaisaboutwhattomakefordinner,hisdecisionneedstobetomakefiletmignonandlyonnaisepotatoes—nottorundowntothehospitalanddonateblood.Exercise:Answerthefollowingquestionsaboutyoursequel’sdecision.Question#1:Whatactionwillyourcharacterdecidetotake?Question#2:Howisyourdecisionanorganicresultofyourdilemma?Question#3:Howwillyourdecisionleadintoastronggoal?Question#4: Ifyourdilemma is a long-termproblem,howhaveyounarrowed thedecisiondowntothefirstlogicalstepinsolvingthatproblem?Question#5:Whatnewcomplicationswillarisefromyourcharacter’sdecision?Question#6: If your character decidesnot to take action, how is this non-action alogicalandimportantstepthatadvancestheconflict?Question#7:Isyourcharacter’sdecisionimportantenoughtoexplicitlystateitinthesequel?Question#8:Ifyou’vestatedthedecisionoutright,howhaveyoukeptitfrombeingrepetitiousinlightofeitherthepreviousdilemmaorthefollowinggoal?Reference:StructuringYourNovel,chapter21,pages249-254.

CreativeExercise:Withwhatemotiondoesyourcharacterreacttoarecentdisaster?Writeanalternativesequel inwhichheresponds to thedisasterwithexactly theoppositeemotion.Howdoesthestorychangeforthebetterorworse?SomethingtoThinkAbout:1.What emotion or mindset does your protagonist have at the beginning of thesequel?2.Howdoesthisemotionevolveoverthecourseofthesequel?3.What prominent emotion ormindset does the protagonist have at the end of thesequel?4.Whatprimaryemotiondefinesthissequel?5.How does this primary emotion vary from that in other sequels throughout thestory?Resources:

“HowtoUseForeshadowingtoJazzUpSlowScenes,”K.M.Weiland

“HowtoCuttheFillerandTightenYourBook,”LauraCarlson

“WarningSigns!YourCharacterIsActingOutofCharacter,”K.M.Weiland

“5WaysYou’rePreventingReadersFromSuspendingTheirDisbelief,”K.M.Weiland

“WritingthePerfectScene,”RandyIngermanson

CONCLUSION

LETMETELLyouthestoryofthreenovels.

One Iwrote before I had any notion of story structure.One Iwroteas I wasdiscoveringstructure.AndoneIwroteyearslater.

Thefirsttwobooksshareasimilarfate,andthatfatecanprettymuchbesummedupwithoneword:revision.Lotsandlotsofrevision.Ilovedthesestories.Ipouredmyheartandsoulintothem.Buttheydidn’tlovemeback.Theywerelikewildbirds,cagedonthepage,butfightingbackateveryturn.

My subconscious story sense (mygut instinct) toldme loudly and clearly thatsomethingmajorwaswrongwithbothof thesestories.SoI’d tweakthisandtweakthat. But I just couldn’t get them to work. I didn’t yet possess enough consciousknowledgeof story structure tobe able tounderstandwhere the storiesweregoingwrong.

SoI’dtweak,edit,andrewriteyetagain.The resultwasexhausting.Whilewriting the firstof thesebooks, Ibecameso

overwhelmed I foundmyselfwondering ifwritingwould ever again be fun.Whilewritingthesecondbook,IcametoapointwhenIfinallyhadtoadmitthestorywasn’tworkingandIdidn’tknowhowtofixit.ItbecametheonlynovelIeverquitonaftercompletingtheentiredraft.

ButinbetweenthatrockyeducationperiodofBookTwoandthatmarvelousnewunderstandingofstorystructureinBookThree,somethingchanged.

ThatthirdbookwasoneofthebestwritingexperiencesI’veeverhad.Itwasthefastestoutline, fastest first draft, and fastest revisionprocess I’ve ever experienced.Partly, that was probably due to the story itself. Every book, after all, is its ownunique journey.But,mostly, thatwas due to the fact that, for the first time ever, Iactuallyunderstoodhowtopiecetogetherastorythatworked.

And,justlikethat,writingwasfunagain.Boyhowdy,wasitfunagain.Structureshouldneverbeabouttryingtoforceourstoriesintoabox.Structureis

aboutcreatinga framework to supportour ideas—and then lettingour imaginationsflyfree.

Ihopeyoufindthisworkbookandthestructuralprinciplesitpresentstobethekeytoyourbeststoriesyet.Grabapen,startwriting,andunlockthepossibilities!

K.M.WeilandNovember2014

Note From theAuthor:Thanks somuch for reading! I hope you’ve enjoyed ourexploration of story structure and have closed this workbook prepared to write anincredible story. Did you know reviews sell books? If the Structuring Your NovelWorkbook was helpful to you, would you consider rating and reviewing it onAmazon.com?Thankyouandhappywriting!Wantmorewritingtips?Joinmymailinglisttoreceivemymonthlye-letter,fullofwritingtips,answeredquestions,creativityjump-starters,inspirationalquotes,updatesabout new books and workshops—and my free e-book Crafting UnforgettableCharacters.

Jointhediscussion:#StructuringYourNovelAbouttheAuthor:K.M.Weiland lives inmake-believeworlds, talks to imaginaryfriends,andsurvivesprimarilyonchocolatetrufflesandespresso.SheistheIPPYandNIEAAward-winningandinternationallypublishedauthoroftheAmazonbestsellersOutliningYourNovelandStructuringYourNovel,andJaneEyre:TheWriter’sDigestAnnotatedClassic, aswell as thewesternAManCalledOutlaw, themedieval epicBeholdtheDawn,andtheportalfantasyDreamlander.Whenshe’snotmakingthingsup, she’s busy mentoring other authors through her award-winning blog HelpingWritersBecomeAuthors.ShemakesherhomeinwesternNebraska.Visitheronherwebsitekmweiland.com,Facebook,orTwitter toparticipate inherWritingQuestionoftheDay(#WQOTD).Youcanemailheratkm.weiland@ymail.com.

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CreateyourownpersonalizedoutliningprocessBrainstormpremiseandplotideasDiscoveryourcharactersChooseandcreatetherightsettingOrganizeyourscenesAndsomuchmore!

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FurtherResources

ThePositiveTraitThesaurus:AWriter’sGuidetoCharacterAttributesbyAngelaAckerman&BeccaPuglisi

Brimmingwithideastohelpauthorsdevelopone-of-a-kind,dynamiccharactersthroughalargeselectionofpositiveattributesthatwillhelpthemovercomeany

obstacle.

http://amzn.to/1wD8Hik

WriteYourNovelFromtheMiddle:ANewApproachforPlotters,PantsersandEveryoneinBetween

byJamesScottBell

Atrulyoriginalconceptaboutthemostimportantmomentinyournovel,the“mirrormoment,”andhowitcanbeusedtocreateunforgettablefiction.

http://amzn.to/X3o4Vp

DedicatedtomybelovedSavior,whouseslifetoteachmeaboutstoryandstoriestoteachmeaboutlife.

AndtoBeccaPuglisi,whoisoneofthekindest,mostgenerous,andall-aroundloveliestpeoplewithwhomI’vebeenprivilegedtosharethewritingroad.

AcknowledgementsI LOVEWRITING the acknowledgments page, because itmeans sitting down andthinking about all the lovely and selfless people who have spent time and energyhelpingmewiththesometimesmonumentaltaskofcreatingabook.Intheproductionof everybook, there are alwaysahandfulofvery specificpeoplewhohadadirectinfluence upon the project. For this book, those people include (in no particularorder):

Myfriendsandbetareaders,whoastonishmewiththeirgenerosityeverytimeIaskforyetanotherfavor:

BradenRussell—whoalwaysmakesmethinkand,evenbetter,laugh.SteveMathisen—whoisjustaboutassweetashisPoohavatar.Lorna G. Poston—whom I know I can always depend on for honesty and

encouragement.Marie-GayeBarton—whoseenthusiasmisamazing.IalsohavetoextendahugethankyoutoJimBerning,whogetsallthecreditfor

comingupwiththeworkbookideainthefirstplace.Andfinally,thanks,asalwaystomyfamilyfortheirsupportandencouragement

—andespeciallytomy#1fan,sister,andassistantAmy.

StructuringYourNovelWorkbook:Hands-OnHelpforBuildingStrongandSuccessfulStoriesCopyright©2014K.M.WeilandCoverdesignbyDamonza.GraphicsinChapters1,2,6,9,10byTheCodeville.GraphicinChapter3byPutriDesign.GraphicinChapter7byArun1234.All rights reserved. No part of this publication may be reproduced, stored in aretrievalsystem,ortransmittedinanyformorbyanymeanselectronic,mechanical,photocopying, recording, or otherwise without the prior written permission of thepublisherandcopyrightowner.PublishedbyPenForASwordPublishing.ISBN:978-0-9857804-6-3