Notes from a Plot Party Virgin

I was a Plot Party Virgin, up until last weekend when I attended my very first plotting event sponsored by the Bucks County Romance Writers. Truthfully, I’d never heard of plot parties before, and didn’t have a clue what to expect. All I knew was that it would take 6 hours, that I needed a stack of stickees and a brand new book idea, and that at the end of it I should have an entire novel plotted out. Yeah, it sounds almost too good to be true.

In my last post, The Plot Sickens, I shared how my writer’s crit group, The Rebel Writers, struggles with plotting issues, and included some special resources we’ve been using to help our novels develop and flow.  We’d all been wrestling with plotting issues — all had the GREAT IDEA that petered out, the agonizing middle that tortured us, the unknown ending that baffled us.  And I was personally struggling with finding and fleshing out my next novel idea.

According to my online research, plot parties seem to be fairly common among romance writer’s groups. The BCRW group does a party every year, and many members told me they always come out of it with a completely plotted novel.  Sounds excellent. But since this was a romance group and I’m a mainstream author, would I end up with some bodice ripper plot I’d never set out to write in the first place? And what is it they say about “design by committee?” Isn’t that how a camel was created?

So last Saturday I showed up with some trepidation, my stickees, and my idea. A fairly vague idea at that, involving three sisters, some wonderful Italian recipes, and an unpredictable grandmother who stirs up everyone’s love lives.

There are many ways to run a plot party.  Sometimes the group comes to the party with a previously-issued list of questions about their ideas that they’ve already filled in.  Sometimes the group receives a special list of questions that they work through filling in as the party progresses. Our party, the stickee party, was thought up and led by Judi McCoy, who is author of numerous titles, including her series of Dogwalker Mysteries.  In a starred review, Publisher’s Weekly dubbed them “delightful,” and said her books were filled “with humor, quirky characters, and delicious hints of romance.”  We were in good hands.

First she had a few ground rules for us.  We sit in groups with no more than 4 people. We don’t sit with a crit partner we’ve worked with before, since we want the suggestions and ideas to be fresh. If an idea is proposed to an author and that author says, “My character wouldn’t do that,” then they give that idea away and someone else can use it in their own work, otherwise, all ideas belong to the person the group is currently helping to plot.

When we were all seated in our groupings of 4, we chose one person to be the first “plotee” (eventually everyone would get a chance), and one person with good handwriting to be the scribe. The scribe would put the ideas down on stickees, and then face those post-its down on the table, stacking them. When done, the theory was that the plotee would have a stack of notes containing all scenes from her newly plotted novel. And the writer could, of course, rearrange these scenes with ease later, simply by rearranging the stickees if needed.

I, as a virgin, was of course selected to be the first plotee in my group.  I had to give the basic plot line as I knew it, what sort of book it was to be (mainstream, literary, for a particular publishing line, etc.), basics about the hero, basics about the heroine.  And from then on, the group’s job was to ask questions, especially “why?”

I’m happy to say that for me, it totally worked. Seriously. My group (which only had 3 people), posed some interesting questions, which opened my mind to some wonderful twists and turns.  Even when they proposed something that would not work in my plot, it was helpful, because I was clarifying exactly what WAS to be in the plot.  An hour and a half into it, we were done. My modest quarter inch stack of filled-in stickees does not have scene by scene notes, but the framework is there, and I’m ready to roll. Ye-hah!

By now, frankly, we were a little burned out!  Here’s were plot party members tuck in to an impressive spread of food, vital to any successful event. And we all eat a little more than we probably should…Hey, we were working hard!

Then back to work we went. I think the stickee format was especially helpful for me, because I had a strong feel for the sort of book I wanted to do.  My other two group members were in a different position. Kate had written 10 pages of her new novel idea, a paranormal with boundless possibilities. As we worked with her, we asked her many questions, but she was unsure of the answers, so we didn’t actually plot out her novel. She did wind up with a huge stack of things to think of and consider, though.  When it came to Becky’s turn, she didn’t really have a novel idea to start with. So we spent our time asking about what sort of stories interested her most, and her life experiences, and she felt encouraged and that she would start exploring some of the ideas that we’d discussed.

So, in the end, not everyone came away with a fully plotted book, but we all left with work to do, and a feeling that this was a day well spent.  I encourage anyone to pull one of these events together.  You’ll be energized, you’ll get excited bouncing ideas around, and just maybe you’ll leave with your own stack of stickees that will set you on the path to writing your next great novel.

Special thanks to Judi McCoy, to Becky and Kate in my group, and to the BCRW for hosting the plot party.  Gotta go. I’ve got a new novel to write!

The Plot Sickens

Plot. Ugh! We writers need it to make our great ideas flow. Readers crave it…it’s what makes them turn pages, what creates tension, what makes them CARE about a book. But here’s a dirty little secret: many writers have a love-hate relationship with plotting. Mostly hate, really.

The Rebel Writers are (left to right) Damian McNicholl, Russ Allen, C.G. Bauer, Jeanne Denault, John Wirebach, David Jarret and Marie Lamba

I belong to an amazing novel critique group called The Rebel Writers.  (If you want to learn more about this group and our unique methods of critiquing long manuscripts, you can check out my article Plotting a Novel Group in Writer’s Digest Magazine by clicking here.) This month, our meeting was devoted to discussing plot. Our personal struggles with it, how it tends to bite us in the ass mid-way through our novels, how uncomfortable we are with artificially manufacturing it, and what the hell we can do to make sure our novels are tightly written starting right at the first draft. We came up with some interesting thoughts that I’d like to share…

All 6 of us were on hand for this meeting, offering a variety of perspectives. I’m a young adult author; Damian McNicholl is author of the critically acclaimed literary novel A Son Called Gabriel; C.G. (Chris) Bauer is author of the stunning debut horror novel Scars on the Face of God; Jeanne Denault is author of an amazing memoir about raising a son with Aspergers titled Sucking up Yellow Jackets – soon to be published by the UK publisher O Books; David Jarret writes historical novels and hysterical short stories, John Wirebach writes gritty crime and mystery novels, and Russ Allen writes literary novels.

C.G. Bauer's debut horror novel is "hotter than the flames of hell," says horror master Scott Nicholson

One thing we all acknowledged: we are uncomfortable with following plotting formulas and using step-by-step advice to plot novels. Here’s the thing: writing is an art. At least we writers hope so.  Art should flow, should be organic and original. Should be something new and exciting and enlightening.  We authors want to get to that spot of artistic originality in our completed works with every single bit of fiction that we create.

So imagine how a bunch of artists (put your nose in the air when you say that word) feel when they consider planning out their work of art on 3×5 cards or with post-its. When they think about following formulas in designing their novels… It feels so, so…artificial.

And herein lies the problem. Novels ARE artificial. And, as cheesy as it sounds, writers are manipulators. We use technique to create suspense, tricks to make cliff-hangers, melodrama to induce tears…if we are doing it well, then no one will even notice we are pulling the strings. And we need to be aware of these plotting techniques and embrace them on some level, don’t we?

So we Rebel Writers decided to take our noses out of the air and look around.  Pulp fiction writers use formulas. Soap opera writers use formulas. Many romance authors use formulas. So do television script writers. So do film writers. So, in fact, do many novelists. Maybe its time we face the facts: we can learn something from these folks!

Damian McNicholl's celebrated novel was a Book Sense Pick of the Year

Okay, so once we packed away our collective artistic snobbery, the info sharing really began to flow.  It was like a confessional of sorts, with each of us sharing our own secret plotting cheats.

Russ introduced us to a text called Story Structure Architect by Victoria Lynn Schmidt, Ph.D., which outlines just over 50 plots, and argues that every story ever told was one of these plots.  We Rebels quickly found our own novels’ plots in the listings.  Humbling. Forget originality, right? All we have to do is pick one of these plots, and write a story…

We discussed our discomfort with this, but soon admitted that, yeah, it would be convenient to know the sort of story we were writing before we embarked on months to years worth of actually writing it and uncovering our direction. And we all reassured ourselves that whatever we wrote would be distinct if we were true to our own voice and our own view of the world.  That’s the clincher, isn’t it?

Many of us swore by Donald Maass’ Writing the Breakout Novel Workbook, which has exercises that ensure your novel has a sound structure, a strong subplot, tension on every page, etc. etc. etc.  John pointed out how focused movie script writers are in plotting, and how most scripts have a climactic moment on a certain page according to an understood formula. He recommended we look at books about treatments, including a book I have on my own shelf: Writing Treatments that Sell by Kenneth Atchity and Chi-Li Wong. Another favorite of the group is The Writer’s Journey by Christopher Vogler. It follows myth and archetypes culled by folklorist Joseph Campbell in his incredible The Power of Myth, and applies the hero’s journey to plotting and structure. It’s phenomenal, and I used parts of this while plotting my newest young adult novel, Drawn. Jeanne shared how she used index cards to decipher the plot of one of her murder mysteries and to reorganize the plotting to fix a problem in its pacing.

I know, right about now you’re thinking: So if everyone has been secretly using all of these plot theories, what’s the big deal? What did the Rebel Writers actually learn here?  Well, every one of us have used these tools AFTER we wrote our novels. First we spent forever writing our monster works, then we sat down with our drafts and thought, hm, the middle is really slow, or huh, the ending just doesn’t do it, and we spent forever dissecting our works and fixing them by applying all of these plotting theories.

Jeanne Denault's stunning memoir about Aspergers

But wouldn’t it be nice to start out with a better sense of the structure and plot at the start? Wouldn’t that cut down on the length of time it would take to write a novel? Imagine how wonderful it would be to be able to create two novels a year vs. one every two years. And wouldn’t we enjoy our writing more if we didn’t have to agonize over our edits, going over the plotting and structure again and again and again? Wouldn’t our final work benefit?

We are all nodding now.  But still scepticism rears its ugly head. Can you really sit down and plan out a novel, plotting its structure, its twists, its climax and conclusion, and still come out with a work of art?  I’m about to find out. See, I’m also a member of the Bucks County Romance Writers, and will soon attend my very first plot party with them. They ask that each member bring a brand new novel idea not worked on yet, a pen, and a stack of stickees. At the end of the 6 (!) hour event, each person is supposed to leave with a completely plotted out novel, and all we’ll have to do is simply write it. Easy, right?

Can this possibly work? Can I come up with something fresh and original, yet plotted, with only stickee notes, my imagination and some strong plotting traditions? Can I then save time writing my novel, with my first draft being close to a final draft? Will I end up writing more novels and being more productive because of this? God, I hope so. Stay tuned…

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