Recently I started to map out the key scenes for my next novel using a three-act framework. I used a software program that’s designed for screenwriters called Control Writer. It uses a horizontal map of the key elements of a three-act structure to put scene cards under each caption in a natural time order pattern as follows:
- Opening scene
- Inciting incident
- Movement to resolution
- Plot Point One
- Act 2: tier 1
- Act 2: tier 2
- Plot Point 2
- End Scene.
The software is flexible and can be adapted easily to accommodate an eight sequence approach by introducing new captions at 6A and 8A for two additional sequences in the Second Act. Or you can adapt it to any framework you like using your own captions. Anyone of course can do the same thing manually using cards and cork board, or by using the same captions in Scrivener’s cork board, which is my next step in my story development. But before I get there I want to experiment and play with the story structure until I know it works, and for me this is the quickest way.
The point I am making is not that a writer needs to clever software to design a story. The same thing can be done with cards on a table, floor or cork board. The important thing is to see the story pattern visually and think non-sequentially. If you have a great idea for the mid-point write the card and place it under the mid-point. If you have alternative ideas for an ending place the cards under Climax. You can choose which one later when you have more of the story filled in.
But I’m a pantser I hear you scream–planning is a left-brain activity, and creative writing is a right-brain activity. What happened to listening to the character and where they want to go? Didn’t Ray Bradbury say a writer should follow along behind the main character and see where he/she takes them?
Many great writers like Ray Bradbury and Stephen King are natural story tellers and don’t use outlines. But that doesn’t necessary mean they don’t work on the story, prepare notes, or have a good idea where they are heading before they start writing. If you’re happy pantsing and your stories work, then fine. All writers should use the tools that work for them. But if you’re not finishing your stories, or are unhappy with them, you might like to try this type of visual planning. You might be surprised by how it spurs your imagination on.
But knowing there is a three-act structure with two main turning points at the end of Acts one and two and a mid-point doesn’t help you write a story?
True. But all stories have a natural pattern: a catalyst leads to a quest, which leads to complications, a series of crises, a climax, and denouement. The three-act structure sets out the main tent poles for this pattern and if you incorporate the eight sequences, the pattern comes to life. The sequence structure I use for my genre is as follows:
Still not convinced? Maybe you write a different genre and this structure is too much like an action-based story. Then adapt it to the eight or so sequences that reflect the natural phases of your story. All stories follow a natural pattern irrespective of genre: catalyst, complications, crisis, climax, and denouement. Great writers find it ingrained in their DNA. The rest of us need to work at it.
Do you still need to write an outline? That’s up to you. A series of scene cards with one or two sentences on maybe enough of an outline for some. For others they may well wish to flush out more detail synopsis either before they start writing or before writing each scene. I find that there is a certain amount of work on plot and character that has to be done before the story finally forms in your head. But the only rule you need to follow is that there are no rules. It’s up to you, the writer, to determine what works for you. After completing three novels I’m just beginning to find out what best works for me.
So what works best for you? Let me know what you think.
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