The Newsletter Stand

Action Adventure - 12/10/08

"We keep moving forward, opening new doors, and doing new things, because we're curious and curiosity keeps leading us down new paths." Walt Disney

How Did I Get Here?

Plot, a.k.a. storyline, is the plan you have for your work. The scheme, or main story(as opposed to subplots). Everyday, you plot. Plot your route to work --maneuvering through heavy traffic. You plot your workday, schedule meetings, how you might walk by the new QT in the office. How will you get from Point A(your desk) to Point B(the water cooler) at the precise time said QT should be there?

All of this is done in a logical manner, one that you understand.

As action/adventure writers, we are lucky in a sense. We can throw logic out the window; watch it land in a pit of snakes, to be swooped up by a sidekick hanging onto a rope ladder connected to the company helicopter flown by a rookie pilot. However, we still want our readers to follow our actions.

But what makes a good plot? In simple terms, the plot is a sequence of events arranged by the author.
While plot possibilities are endless; your main character has to eat, sleep, and leap over tall buildings in a single bound. He (or she) has to execute his actions in a way readers accept. And, in doing so, he must adhere to a few “things”. These “things”, also known as elements help to ensure reader buy-in.

In order for readers to accept the plot they need the following things:

First, readers like background information, or the “set-up”. They need to know enough background to understand the story. Why is Dorothy wearing the ruby slippers? Where is she going and why does she have a lion, scarecrow and tin man following her.

Second, they need to know the main character’s goal, want, need, etc.

Third, they want to see an obstacle, you know, a hurdle, a wrinkle. Some type of barrier. It’s much more fun to read how Mario had to fight off fire-breathing dragons, a swarm of bees, and buzzards who drop bombs on him during his quest to save the princess and the planet as we know it. After all, who wants to read the following? Mario wakes up one day, gets a call from his friend. Learns the princess is in trouble, sets out to save her and does so.

Fourth, readers need a climax. The point in the story where it seems the protagonist is sure to fail, is in the greatest danger, will surely crumble to dust…

Then, finally, readers want a resolution. Preferably one where the main character wins the girl, saves the world, gets to eat chocolate the rest of his life without worry of weight gain. Oh wait, that’s MY goal.

Getting your readers to accept your storyline is easy, just make sure your elements are present and you’ll create stories with exciting plots that keep your readers turning the pages for more.

Until next time,

Alison's Find  (ASR) The music box won't play at first, but Alison keeps trying... (Beyond Centauri) #1413458 by Ben Langhinrichs

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Flight of the Dragonfly Chapter 1  (13+) A great evil has taken hold of a once peaceful forest, as a young mage will soon find out. #1500975 by Humble G

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Screaming Kettles  (13+) Some will do anything just to belong. Flash Fiction. #1308032 by RadioShea

What Readers Are Saying
{on a previous Comedy Newsletter}

April Sunday
This topic is exactly what lightens any read. When my writing began seriously way back in 1999, my focus contained one promise. ADD HUMOUR, wherever possible. Even inside serious how-tos, the wit helps retain memory. Much the same as laughter makes the world go 'round.

Mark :
Humor, in it's more subtle moods is (to me) all about enhancing or directing the perceived mood of a moment or scene. Great demonstration of a minute, yet important aspect of humor!


Rixfarmgirl :
I enjoyed this newsletter and your Grisham referneces. I only like aobut three of Grisham's books and Painted House is one of them. I wish I could learn suttle humor. I'm afraid I usually whack everyone over the head by over doing. You've inspired me to go back and work on Taxis. Thanks. RIx