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A plot structure for your novel: fill in the blanks for 34 Events
I worked out a plot structure while I was analyzing some novels. My analysis was partly done to understand how the book was put together and partly to work out a template for writing the book.
I started my analysis on Neil Gaiman's Anansi Boys
From this I developed a rough plot structure and then I overlayed this with the structure of a symphony. Why? I have no idea, that is just how my mind works.
Next I double checked the structure according to the hero's journey described by Christopher Vogler in The Writers Journey: Mythic Structure for Writers, 3rd Edition
This resulted in a structure which I call the 34 Events which functions as a fill in the blank structure for a novel. Though I cannot claim any original invention here, I merely combined ideas, I think I have ended up with a very elegant and simple structure.
You can use this plot structure to write a novel merely taking the descriptions under each Event and changing it into a scene. Writing scenes of approximately 3000 words will give you a novel of 102 000 words. Some scenes will tend to be longer and others shorter so this is an average. Except for the prologue and epilogue you can repeat the whole structure for a secondary character. If you are for instance writing a romance you can work out two parallel structures and weave them into each other.
The basic premise is that the story is told from the point of view of a hero/heroine with select scenes from the villain's perspective. I give an indication of which scenes can be doubled up if you want to write your novel from more than one main point of view.
You can also use the plot structure as a diagnostic tool. Take a troublesome novel and fit the scenes you have written into the structure. The figure out what are the purpose of the scenes that do not fit the structure and write scenes to fill the gaps.
Just an important note: I call the different sections in the plot structure Events for a reason. An event is when something happens. There is change, conflict and drama. If you are writing descriptions it does not count. Things need to happen in every event.
34 Events - A fill in the blank novel plot structure
1. Prologue
The prologue sets the stage for the story. Use it to give n overall view of the story world and to give the catalyst for the story. This scene can be outside the chronological structure of the story and needs to foreshadow the conflict. Whatever is set up here needs to be tied up in the event 34, the Epilogue.
This scene is not essential to the story and unless you can write an intriguing intro rather leave it and start with Event 2
2. Principal Subject - Meeting the main character
We meet the main character (MC) of the story. Introduce the main character in action, that is doing something in his or her ordinary world. Show the character in a positive light and give the reason to like the character. You can foreshadow the coming conflict if you want to.
3. Bridge Passage - Counterpoint
In the first counterpoint we meet either the main character's adversary or the mentor. If it is a romance we will meet the male hero here. Other than that this scene is to a large extent a duplication of the previous scene. We see the character doing something in their normal world, though a villain be building a planet destruction death ray. Normal is relative to the character in the story world. Do not describe daily routine.
4. Second Subject - Theme Stated
We are back to the main character. In this next scene the character encounters an obstacle in the normal world. They deal successfully or unsuccessfully with this obstacle and through that reveal a specific flaw in their character. This flaw is what the story is about and is what is going to bite them in the ass later on.
The main character is unaware of this flaw and it is stated in a side remark by a secondary character.
5. Closing Section - Catalyst
In the catalyst something happens which disrupts the normal world of the main character. This scene can be written from any perspective, the main character, adversary/villian or even omniscient if the catalyst is a global disaster. Whatever happens needs to change the world of the main character so that he/she cannot comfortably go back to reality and ignore the problem.
Failing a driver's license is not a catalyst. Failing a driver's license because you drove over an old lady is.
6. Development - Main Character = Things that need fixing
In the this development scene we see the main character trying to deal with the problem like they normally would. The character trait that was revealed in Event 4 becomes the reason why the character cannot solve the problem successfully. They are still not aware of the full extent of the problem but the problem is unpacked and they become aware of some aspects that needs fixing.
7. Principal Subject - Call to adventure
The main character comes to the conclusion or is told that what has worked before will not work now and a different approach must be found. Finding this different solution will be hard and the main character may fail.
8. Bridge Passage - Counterpoint
In this counterpoint we will see the villain or adversary setting up a situation that will almost doom the main character to failure. If it is a love story the hero will reveal that there is one type of woman he cannot stand. At this point we will know that the heroine is that type of woman and it is not something she can change about herself.
9. Second Subject - Refusal of the call
The main character will first refuse the call. There are three types of refusal. The character may plainly ignore the call and act as if nobody has spoken. The character may also run away like Jona, or the character can come up with their own solution. Either way the scene ends with a cliff hanger. Will what they decide to do make the problem go away?
10. Closing Section - Debate
We know that whatever the main character did in the previous scene will not solve the problem because that will make this the last scene of the book. So here we find out it does not work. The main character debates the issues in this scene. Debate can be in a dialogue where the character argues the point or it can be in physical actions that wavers back and forth. Throughout this scene the attitude of the main character changes and he/she decides to answer the call.
The 'yes' moment does not have to be shown in this scene or the following. It is implicit in the story.
11. Coda - Crossing the threshold
The main character steps over the threshold and enters another world. The heroine joins an online dating service. The young man volunteers as a soldier. The hobbit sets out with the ring.
12. First Section - Tests, Trials, Enemies, Allies - Meeting the Mentor/Love Story
After taking up the call the main character does not just march over and do what needs to be done. He/she needs to go through a stage of preparation. Somebody arrives to impart knowledge to the main character or if this is not a love story, this is where the love story happens. The love story can also be a story of friendship between the main character and a mentor or sidekick.
These Events (12 to 18) can be divided into lessons that needs to be learned.
If you have a sub plot you will introduce it from here.
13. Second Section - Tests, Trials, Enemies, Allies - Mentor/Love Story
A continuation on the second but from a different perspective. In this scene the mentor can lament that there is no hope for the pupil. It gives an outside view of the main character's lessons.
14. First Section - Tests, Trials, Enemies, Allies - Mentor/Love Story
Back to the viewpoint of the main character, maybe a success, maybe another failure. Whatever they are learning they are not getting it yet.
15. Third Section - Tests, Trials, Enemies, Allies - Mentor/Love Story
A long view of the training phase. Possibly the villain senses that an adversary is preparing or the hero gets a whiff that something is different in the heroine. Whatever is senses is discarded though, the learning curve is just to steep.
16. First Section - Tests, Trials, Enemies, Allies - Mentor/Love Story
A variation or repeat on Event 14. You do it again. The main character still does not get it.
17. Second Section - Tests, Trials, Enemies, Allies - Mentor/Love Story
Variation or repeat of Event 13. You do it again. The main character still does not get it and is possibly feeling hopeless at this point.
18. First Section - Tests, Trials, Enemies, Allies - Mentor/Love Story = Triumph of Trials (Midpoint)
By Jove, she got it! The main character is successful. There is triumph, there is hope, but remember this is not real yet.
19. Theme - Approach/Bad guys close in
Now that the main character is prepared the main goal can be attempted. Or time has run out and the bad guys are getting close.
This scene must be scene as the first turn in a coil that will wind tighter and tighter in the next three scenes. Each repeat will heighten the tension, increase the danger and create the drama.
20. First Variation - Approach/Bad guys close in
Things are getting worse.
21. Second Variation - Approach/Bad guys close in
...and worse
22. Third Variation - Approach/Bad guys close in
...and really, really bad ending in a huge cliff hanger.
23. Coda - Pause before Ordeal
Somehow, before the big fight or huge ordeal the main character gets a chance to meditate. This may be by choice or forced. A forced pause is when you can't attack know because there is innocent bystanders walking by. A chosen pause is when the heroine puts on the sexy dress and do the make-up before the big date.
24. Principal Subject - Ordeal
The big fight or huge thing the story has been leading up to. The battle, the confrontation or the throw yourself at it death defying act of heroism.
25. Bridge Passage - Counterpoint
The adversary also has a perspective on the conflict. What we see in this perspective is the blind spot everybody has been missing up to this point. And because of this the main character will fail, regardless of all the training and preparation.
26. Second Subject - Anticlimax/All is Lost
The main character fails and is captured, beaten to death, sent home without first base, gets no supper and is left all alone.
27. Closing Section - Sacrifice
Lo and behold and opportunity opens up. The main character can still make it, but only if something very important is sacrificed. The heroine cuts her golden locks, the hero throws away the magic sword.
In reality we know that what the hero sacrifices is a crutch that prevents them from fixing that one character flaw that has been bugging them since the beginning.
But they can still fail, in fact it is likely that they will.
28. Development - Death
Somebody or something dies. Either the hero or the villain. In a love story the heroine will marry somebody else. The soldier will take a fatal bullet to the chest. The villain dropped into a vat of acid.
29. Principal Subject - Road Back
The main character and whatever is left of the companions pick up the pieces and start the journey back home.
30. Bridge Passage - Counterpoint
But something is wrong. Something is not right yet. Something is left undone.
31. Second Subject - Resurrection
Somebody or something comes back from the dead. The heroine doesn't say yes. The bullet hit the cigar case. The horridly scared villain grabs a foot.
32. Closing Section – Triumph and Reward (Seizing the Sword)
The final victory. Whatever needed to be done needs to be done once and for all. There is no more doubt that it is now done.
33. Coda - Return with the Elixer / Final Image
Everybody kiss and make up. We shake hands. We talk about the future again. We know life will go back to normal.
34. Epilogue
The prologue is tied neatly in a knot and we find the main character back in the normal world a changed man. And maybe the normal world is not so normal anymore?
Here we may see a glimpse of the villain who may not be dead after all or we see the new shoot of grass struggling through the barren ground.
There may be a lapse of time between the end of the story and the epilogue. The epilogue closes the book. They lived happily ever after.
Some last thoughts: This is a very rough introduction to the plot structure. I will be looking at a couple of examples (books and films) and how they follow this structure in future articles. But for now you get an idea of the plot structure and how you can plot your novel from it.
