On the Writing Fiction Right blog, I often receive questions within the comments from writers, and sometimes I receive emails from newer authors asking questions. This question—What is the difference between a plot and a subplot—came to me a short time ago, and though I responded to the questioner, I decided others might enjoy an explanation.
Plot is the full flow of your story---what happens from the beginning to the end. The plot provides the main characters, their goals and motivation and their conflicts—the obstacles that keep them from reaching their goal. The plot is where you’ll find the story’s theme or main idea.
Sub-plot is a secondary plot (or side story) that is unfolding in your story. The subplot adds complications and puts obstacles in the way of the main character and therefore becomes a story conflict. Sometimes a subplot will mirror the struggle of a main character, and though the character has wisdom for her friend's issue, she can’t relate it to her own until something happens to help her see that she has the same problem and now has the answer.
Below are some examples:
Family saga - Plot deals with a mother-daughter relationship and the struggles they have to resolve their problems. Sub-plot would be the daughter's husband's business is going under adding stress to her life and their relationship.
Romance - Plot deals with hero and heroine falling in love as they meet conflicts and issues that keep them from admitting the love they feel or that keep them from accepting the love that's within reach. The sub-plot might be the heroine's former fiancé shows up in her life again trying to rekindle their old relationship.
Suspense - Plot deal with a detective who is struggling to solve a crime that keeps alluding him. The bad guy is getting more dangerous and pressure is on the detective. Subplot - The detective's wife is tired of his long hours and dangerous job. She wants out of the marriage.
As you can see, a subplot is another significant situation in the story that causes conflict, creating deeper tension and thus emotion while the main character tries to resolve these personal issues while striving to reach the goal that’s important to them.
Subplots helps a book's pacing by adding deeper conflicts, but too many subplots can complicate a story unless the book is the length that can handle them. Shorter novels of from 50,000 to 65,000 word count can handle one subplot well. Stories of 80,000 word count is open to perhaps two subplots. So judge wisely. When a novel is too burdened with subplots, the reader can lose the original story. Use wisdom and select the most powerful subplots that will make a difference to the characters and that is affects the original goal of a main character.
Wednesday, June 29, 2011
Wednesday, June 22, 2011
Your Plot Drags? Fix It.
Authors don’t always realize their plot drags until they step back and take a fresh look. It’s always good to give your story a rest for a week or two, if you have time to spare, and then read with new eyes. The brilliant words can dull with time and that means authors need to dissect the plot, the language and techniques to bring the story to life and make it shine again .
In December of 2007, I discussed four technique problems that affect the quality of a novel: POV, pacing, dialogue and passive writing (show don’t tell). Here are a few more elements that deal with faltering plots to add to that list:
• Descriptions: Bringing a scene to life takes balance. Too much description can bog a novel, but too little loses some of the ways in which your reader can envision your story. Describing each pebble on the path is a bit too much, but describing how a path meanders into the woods weighted with tree limbs, their fingers reaching for the sun can add to your novel. First the language is vivid. Next it can set the tone. Using the phrase “fingers reaching for the sun” can add a sense of foreboding to a suspense novel as can the word weighted. It can also reflect the characters personal burdens, his despair and heavy-heartedness. Use description effectively by making it do more work for you.
• Language and Grammar: Although grammar and punctuation are important elements, especially in narration, remember that even narration comes from a POV character. We are looking at the scene through a character’s eyes. Keep the vocabulary, sentence structure, and tone reflecting the POV character. Use the career lingo and regional vocabulary to make the language real for a specific character. Don’t forget we often speak in partial sentences. We don’t always respond to a question with an answer. Sometimes we restate part of the question: “Hit by a car?” or we respond to requests with: “You want me to what?” Listen to conversations and make your dialogue real. Short sentences add excitement or urgency. Longer ones are more thought-provoking or romantic. Plots bog when dialogue becomes chitchat or when the language is stilted.
• Slow Action Scenes: Though you are trying to make an action scene exciting, learn when to present move by move detail and when to tighten your descriptions. As I said that short sentences in dialogue add excitement, the same happens with description. Joe saw it coming. The chair hurled past. He ducked his head and hit the floor. These three sentences create an image of excitement and action. The same idea can lessen the excitement with too much description. Joe watched the man enter the room, his eyes nailing Joe to the spot. With a quick move, the stranger grasped the chair, raised it over his head and flung it toward him. As he watched it sweep past, Joe ducked and threw himself on the floor behind the sofa. See the difference? Sometimes the readers feels more emotion from fewer words that create more tension and excitement.
• Missing Information: Authors are required to do research for most every book, and often gather far more details and ideas than they can use. Sometimes in trying to be discriminating by choosing only what seems the most important details or facts, the author ends up with the feeling that something is missing. Before adding more information, have a second party read that scene or chapters where the problem seems to occur and decide what will fill in the blanks. If the missing pieces are historical, do more research or try for a reasonable guess, and you can always add a line in your letter to the reader—that you’ve taken an author’s prerogative to make historical changes or additions. If the knowledge on any other topic is not readily available,(for example whether or not a certain code can be deciphered by a computer program and how long it would take), you can use your imagination. If you watch TV, you’ll see many police shows use tests and equipment that stretch the truth. Again it’s screenwriter’s prerogative. If you acknowledge the deception, readers will be less likely to write long scathing letters to tell you how stupid you are.
• Giving Your Book A Classic Plot: When your plot seems to be unraveling, think of other novels you’ve read even childhood tales and fairy tales. Notice the classic story structure and review your novel to make sure you’ve provided good motivation, a strong personal goal that makes a difference in the life of the main character, and a series of growing conflicts with powerful opposition. Opposition can be a person, a group, a belief or a deep-seeded fear. Then make sure you provide a satisfying ending that gives a reader pleasure. If you do this, you can stop worrying. If you’ve missed one of these important story elements, revise your plot to make it more dynamic.
These additional solutions can help your novel to be saleable and a great read.
In December of 2007, I discussed four technique problems that affect the quality of a novel: POV, pacing, dialogue and passive writing (show don’t tell). Here are a few more elements that deal with faltering plots to add to that list:
• Descriptions: Bringing a scene to life takes balance. Too much description can bog a novel, but too little loses some of the ways in which your reader can envision your story. Describing each pebble on the path is a bit too much, but describing how a path meanders into the woods weighted with tree limbs, their fingers reaching for the sun can add to your novel. First the language is vivid. Next it can set the tone. Using the phrase “fingers reaching for the sun” can add a sense of foreboding to a suspense novel as can the word weighted. It can also reflect the characters personal burdens, his despair and heavy-heartedness. Use description effectively by making it do more work for you.
• Language and Grammar: Although grammar and punctuation are important elements, especially in narration, remember that even narration comes from a POV character. We are looking at the scene through a character’s eyes. Keep the vocabulary, sentence structure, and tone reflecting the POV character. Use the career lingo and regional vocabulary to make the language real for a specific character. Don’t forget we often speak in partial sentences. We don’t always respond to a question with an answer. Sometimes we restate part of the question: “Hit by a car?” or we respond to requests with: “You want me to what?” Listen to conversations and make your dialogue real. Short sentences add excitement or urgency. Longer ones are more thought-provoking or romantic. Plots bog when dialogue becomes chitchat or when the language is stilted.
• Slow Action Scenes: Though you are trying to make an action scene exciting, learn when to present move by move detail and when to tighten your descriptions. As I said that short sentences in dialogue add excitement, the same happens with description. Joe saw it coming. The chair hurled past. He ducked his head and hit the floor. These three sentences create an image of excitement and action. The same idea can lessen the excitement with too much description. Joe watched the man enter the room, his eyes nailing Joe to the spot. With a quick move, the stranger grasped the chair, raised it over his head and flung it toward him. As he watched it sweep past, Joe ducked and threw himself on the floor behind the sofa. See the difference? Sometimes the readers feels more emotion from fewer words that create more tension and excitement.
• Missing Information: Authors are required to do research for most every book, and often gather far more details and ideas than they can use. Sometimes in trying to be discriminating by choosing only what seems the most important details or facts, the author ends up with the feeling that something is missing. Before adding more information, have a second party read that scene or chapters where the problem seems to occur and decide what will fill in the blanks. If the missing pieces are historical, do more research or try for a reasonable guess, and you can always add a line in your letter to the reader—that you’ve taken an author’s prerogative to make historical changes or additions. If the knowledge on any other topic is not readily available,(for example whether or not a certain code can be deciphered by a computer program and how long it would take), you can use your imagination. If you watch TV, you’ll see many police shows use tests and equipment that stretch the truth. Again it’s screenwriter’s prerogative. If you acknowledge the deception, readers will be less likely to write long scathing letters to tell you how stupid you are.
• Giving Your Book A Classic Plot: When your plot seems to be unraveling, think of other novels you’ve read even childhood tales and fairy tales. Notice the classic story structure and review your novel to make sure you’ve provided good motivation, a strong personal goal that makes a difference in the life of the main character, and a series of growing conflicts with powerful opposition. Opposition can be a person, a group, a belief or a deep-seeded fear. Then make sure you provide a satisfying ending that gives a reader pleasure. If you do this, you can stop worrying. If you’ve missed one of these important story elements, revise your plot to make it more dynamic.
These additional solutions can help your novel to be saleable and a great read.
Tuesday, June 7, 2011
SEVEN QUESTIONS TO ASK A PROSPECTIVE AGENT
When I have a friend who writes a good article, I ask permission to share it with you. Many of you are considering or seeking agents, and Jim Watson's article is excellent to help you make wise decisions. Jim comes from Christian publishing experience, but these tips are good for secular work as well. Each of the questions he proposes will safeguard you in making a wise decision about obtaining an agent.
SEVEN QUESTIONS TO ASK A PROSPECTIVE AGENT
James N. Watkins
Finding an agent is difficult. Finding a GOOD agent is even harder. In the general market, legitimate agents are members of the Association of Author’s Representatives. However, in the Christian market, there is no such accrediting agency. Unfortunately, this has led to several cases of unethical and incompetent behavior in Christian agenting.
So, it's important to get the answers to these questions—in writing—before signing with an agent:
1. DO YOU HAVE EXPERIENCE IN PUBLISHING AS A PUBLISHED AUTHOR, EDITOR, OR SOME OTHER PUBLISHING-RELATED RESPONSIBILITY? HOW LONG HAVE YOU BEEN AN AGENT?
You want someone who knows the business. And equally important, someone who is KNOWN in the business. Their Web site should include those qualifications.
2. DO YOU CHARGE ANY FEES OTHER THAN A PERCENTAGE OF SALES?
Agents used to charge incidental fees for postage and overnight deliveries, but with virtually all transaction made online, these are obsolete charges. If the agent charges reading or editing fees of ANY kind, do NOT consider them. A legitimate agent receives compensation only from a percentage of their client's sales.
3. DO YOU SUBSCRIBE TO BEST FINANCIAL PRACTICES?
Do you maintain accurate financial accounts for clients so there is no commingling of clients' and agent's funds? Do you deposit funds received on behalf of clients promptly upon receipt and pay authors within ten days of receipt? Are books open for client's or his/her representative to examine at any time? If there is any hesitancy, do not consider them.
4. DO YOU RECOMMEND REJECTED CLIENTS TO SPECIFIC EDITING SERVICES OR SELF-PUBLISHING VENUES?
The correct answer is NO. Many agents are simply fronts for these kinds of services.
5. DO YOU HAVE ANY OUTSTANDING OR UNRESOLVED COMPLAINTS WITH THE BETTER BUSINESS BUREAU OR OTHER CONSUMER RIGHTS ORGANIZATIONS?
6. HAVE MANY BOOKS DID YOU CONTRACT WITH PUBLISHERS DURING THE LAST TWELVE MONTHS? WITH WHAT PUBLISHERS?
Their Web site should include this information.
7. WILL YOU PROVIDE A LIST OF CLIENTS? MAY I CONTACT THEM FOR A RECOMMENDATION?
Again, if there is any hesitancy, RUN!
Of course, a smooth scammer will tell you anything you want to hear. So, make sure you check them out thoroughly with:
The Better Business Bureau
Preditors & Editors (An online watchdog group)
Writer Beware (Another watchdog)
Anyone you know in the publishing world: editors, authors
Like schemes in so-called "Christian" self-publishing (see http://www.jameswatkins.com/selfpublishing.htm ), there are plenty of posers and piranhas in "Christian" agenting, so writer beware!
(c) James N. Watkins from from my writers' resource page at www.jameswatkins.com/writing
SEVEN QUESTIONS TO ASK A PROSPECTIVE AGENT
James N. Watkins
Finding an agent is difficult. Finding a GOOD agent is even harder. In the general market, legitimate agents are members of the Association of Author’s Representatives. However, in the Christian market, there is no such accrediting agency. Unfortunately, this has led to several cases of unethical and incompetent behavior in Christian agenting.
So, it's important to get the answers to these questions—in writing—before signing with an agent:
1. DO YOU HAVE EXPERIENCE IN PUBLISHING AS A PUBLISHED AUTHOR, EDITOR, OR SOME OTHER PUBLISHING-RELATED RESPONSIBILITY? HOW LONG HAVE YOU BEEN AN AGENT?
You want someone who knows the business. And equally important, someone who is KNOWN in the business. Their Web site should include those qualifications.
2. DO YOU CHARGE ANY FEES OTHER THAN A PERCENTAGE OF SALES?
Agents used to charge incidental fees for postage and overnight deliveries, but with virtually all transaction made online, these are obsolete charges. If the agent charges reading or editing fees of ANY kind, do NOT consider them. A legitimate agent receives compensation only from a percentage of their client's sales.
3. DO YOU SUBSCRIBE TO BEST FINANCIAL PRACTICES?
Do you maintain accurate financial accounts for clients so there is no commingling of clients' and agent's funds? Do you deposit funds received on behalf of clients promptly upon receipt and pay authors within ten days of receipt? Are books open for client's or his/her representative to examine at any time? If there is any hesitancy, do not consider them.
4. DO YOU RECOMMEND REJECTED CLIENTS TO SPECIFIC EDITING SERVICES OR SELF-PUBLISHING VENUES?
The correct answer is NO. Many agents are simply fronts for these kinds of services.
5. DO YOU HAVE ANY OUTSTANDING OR UNRESOLVED COMPLAINTS WITH THE BETTER BUSINESS BUREAU OR OTHER CONSUMER RIGHTS ORGANIZATIONS?
6. HAVE MANY BOOKS DID YOU CONTRACT WITH PUBLISHERS DURING THE LAST TWELVE MONTHS? WITH WHAT PUBLISHERS?
Their Web site should include this information.
7. WILL YOU PROVIDE A LIST OF CLIENTS? MAY I CONTACT THEM FOR A RECOMMENDATION?
Again, if there is any hesitancy, RUN!
Of course, a smooth scammer will tell you anything you want to hear. So, make sure you check them out thoroughly with:
The Better Business Bureau
Preditors & Editors (An online watchdog group)
Writer Beware (Another watchdog)
Anyone you know in the publishing world: editors, authors
Like schemes in so-called "Christian" self-publishing (see http://www.jameswatkins.com/selfpublishing.htm ), there are plenty of posers and piranhas in "Christian" agenting, so writer beware!
(c) James N. Watkins from from my writers' resource page at www.jameswatkins.com/writing
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