In the last two posts, we went over a lot of prep work. We talked about creating a hook, world-building, creating detailed character profiles complete with physical descriptions, motivations, and flaws. We also touched on the importance of cataloguing all this information so that we can use some of it for bonus content in case our readers become super-fans and want just a little more insight into your world.
In the last two posts, we went over a lot of prep work. We talked about creating a hook, world-building, creating detailed character profiles complete with physical descriptions, motivations, and flaws. We also touched on the importance of cataloguing all this information so that we can use some of it for bonus content in case our readers become superfans and want just a little more insight into your world.
Now that we’re ready to start digging into the story, we’re going to need to identify exactly what structure we want build our outline on. There are literally dozens of beat-sheets out there. You can choose to follow them to a tee or you can use them as a vague guideline. Either way, you’ll want to pick one that fits your idea best.
For example, you might not want to use a “Hero’s Journey” beat-sheet if your book is a Contemporary Romance about a model falling in love with her photographer. I guess you can, if you really want to, but I’d go a different direction with that. I’m going to talk about four different beat sheets that I use, but if you just give it a google, you can find lots more.
I’ll start with the Hero’s Journey since we’ve already talked about that a little bit. If you haven’t heard of the hero’s journey before I’ll give you a brief overview. Joseph Campbell wrote a book called The Hero With A Thousand Faces which talks in depth about how he believed story-telling came to be. It started out as a way for our primitive ancestors to warn each other about danger.
Because of that, the human brain has evolved with a natural need to lean in and listen when someone is telling an interesting story. What makes a story interesting you might ask? According to Campbell, we all crave very specific story elements. When a story executes a delivery filling that craving, we get a deep sense of satisfaction.
We like closing a book and letting out a heavy sigh with the sensation that we were not only entertained, but that we learned something valuable from the story, or if it didn’t open our minds to new horizons, at least it reinforced a belief we already held dearly.
There are always subtle ways to change the story and give it a new face, as Campbell's book implies, but almost every great adventure story can be distilled down into these steps.
1. The Ordinary World
1. The Call to Adventure
2. Refusal of the Call
3. Meeting the Mentor
4. Crossing the First Threshold
5. Tests, Allies, & Enemies
6. Innermost Cave
7. Ordeal
8. Reward
9. The Road Back
10. Resurrection
11. Return With The Elixer
If you look at just about any classic or modern adventure, you’ll be able to find each of these elements in one form or another. From Star Wars to Lord of the Rings, Treasure Island to Toy Story, great storytellers seem to instinctively know what fulfills our deep-seated emotional needs. It’s what Campbell refers to as the Mono-myth, the idea that every story is the same one told in a variety of different ways. Each time it’s wrapped up with a new package and a fresh twist, but underneath it’s all the same.
As much respect as I have for Campbell’s work, that doesn’t mean that his word is law. The human race is now undergoing a rebirth. Our generation is witnessing a creative Renaissance wherein long established traditions are being questioned, and this means some really exciting things for fiction.
Professional Dungeon Master, brilliant Artist, and renowned storyteller, Satine Phoenix turns the mono-myth inside out and upside down, in her book “The Action Heroine’s Journey”. The last I heard, the book was undergoing a second edition to include, non-binary and gender-fluid heroines. But truly, her belief uplifts all who chose to embrace it.
She challenges step three of the Hero’s Journey, saying that not all hero’s need a mentor. Taking inspiration from her own life experiences, she has proven that sometimes the mentor character is found within ourselves. Check her work out here at https://www.burningquill.com/
Some people aren’t protected or given guidance when they’re small and vulnerable. Some people are oppressed and victimized by those who they trust most. Taking that into consideration, we can use fiction to inspire others to empower themselves. If we weave these kinds of beliefs into our stories, we have an opportunity to send a powerful message. Storytelling is and should always be an outlet to speak our own personal truth.
Moving onto another tried and true structure that readers can’t get enough of, take a look at Blake Snyder’s Save the Cat formula. It breaks down something like this…
Opening Image – 0% to 1%
Theme Stated – 5%
Setup – 1% to 10%
Catalyst – 10%
Debate – 10% to 20%
Break Into Two – 20%
B Story – 22%
Fun and Games – 20% to 50%
Midpoint – 50%
Bad Guys Close In – 50% to 75%
All is Lost – 75%
Dark Night of the Soul – 75% to 80%
Break Into Three – 80%
Finale – 80% to 99%
Final Image – 99% to 100%
If anyone wants to learn more about these elements, there is a ton of information out there. Just pick up Blake Snyder's book and he explains each element at length. You can also google him, there are tons of bloggers who go into a lot more detail than I decided to do.
In addition to what we’ve already talked about, there are beat-sheets specifically tailored to romance novels. There are dozens of incarnations, but the one that seems to work best for me is this…
1. Meet-Cute
2. No Way 1
3. Adhesion
4. No Way 2
5. Inkling
6. Deepening Desire
7. Maybe This Time
8. Midpoint Love
9. Inkling of Doubt
10. Deepening Doubt
11. Retreat-Retreat
12. Shields Up
13. Break Up
14. Dark Night of the Soul
15. Grand Gesture
The names of the beats are fairly self-explanatory, but if you have questions or are interested in learning how to effectively execute any of these, please feel free to email me at ravensmusepublishing@gmail.com and I’d be happy to go into more detail.
Now that I’ve preached from my soap box about why I love structure so much, I think I should point out that you don’t actually have to conform to a traditional structure. Some people write purely as a kind of wish-fulfillment, letting their imaginations wander without setting up clear stakes, and that’s okay… IF it’s done really well. I'll say it louder... IT ONLY WORKS IF YOU DO IT REALLY REALLY WELL.
A good example is LIT-rpg Fantasy writer J.R. Davis. In his first novel The Hunters Paralogue: Deus Ex Deathtrap the main character doesn’t have clear stakes or even a real destination. He simply meets friends and enemies and has adventures in an almost episodic kind of chapter progression. You’re welcome to check his book out by clicking the link The Hunters Paralogue: Deus Ex Deathtrap.
I feel like I should add that not very many authors are great at executing this strategy. It’s a ballsy move and you need to be ready if no one picks up what you’re putting down. Too many indie authors write stories with no real plot and then get all uppity when no one has the attention span to read their work.
If you’re going to forego traditional structure, you need to have two things going for you, a captivating and lovable cast of characters, and one hell of an opening chapter. J. R. Davis delivered on both of those fronts.
Next week, I’m going to go over a few tips on how to write a kickass opening, down to chapter 1, scene 1, page 1, and line 1. If you found this article helpful or even a little entertaining, please like and share it with your writerly friends.
If you’re interested in learning more, and possibly winning some cool stuff, consider subscribing to my newsletter at ravensmusepublishing.com Some prizes include signed paperbacks by Fantasy Author Rick Gualtieri, free e-books, free cover designs for your book from getcovers.com, coaching sessions, and more.
Until next time, keep those pages turning and those keys clacking!
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