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Archive for November, 2013

November 25, 2013

Today’s Writers’ Tips

Plot Number 11: The Metamorphosis Fiction Plot

We’ve all enjoyed stories that have a powerful transformation take place with one of the characters. But writing a Metamorphosis fiction plot takes quite a bit of pre-planning and character development. This subgenre is different from your “ordinary” transformation of the main character in an “ordinary” novel at the climax and resolution because…. Well, let’s look at the characteristics of writing an excellent unique story:

The Metamorphosis Plot

Wolfman

Dracula

Beauty and the Beast

1. The metamorphosis usually results from a curse.

2. The cure for the curse is often love.

3. The forms of love include love of parent for a child, a woman for a man (or vice versa), people for each other, or man for the love of God.

4. The metamorph is usually carried out by the antagonist (the “bad guy”) if the curse can be reversed by the antagonist performing certain acts and the protagonist can’t hurry or explain the events.

5. In the first dramatic phase, the metamorph usually can’t explain the reasons for his curse.

6. The story should begin at the point prior to the resolution of the curse (release).

7. The bad guy should act as the catalyst that propels the protagonist toward release.

8. The antagonist often starts out as the intended victim but finishes as the “chosen one.”

9. The second dramatic phase should concentrate on the nature of evolving relationships between the antagonist and the metamorph.

10. The characters generally move toward each other emotionally.

11. In the third dramatic phase, the terms of release should be fulfilled, and your protagonist should be freed from the curse. The metamorph might either revert to his original state or die.

12. The reader should discover the reasons for the curse and its root causes.

Have you got your metamorphic wheels turning? If you’ve wanted to try this subgenre, now you have the ammunition to do so. Have fun!

Next time we’ll look at fiction plot number 12: Transformation

 

All information compliments of:

Tobias, Ronald B (2011-12-15). 20 Master Plots (p. 189). F+W Media, Inc. Kindle Edition.

(I highly recommend this book for anyone interested in writing good fiction in any subgenre!)

Happy writing!

Marsha

 

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November 11, 2013

Today’s Writers’ Tips

Plot Number 9: The Underdog

Plot Number 10: Temptation

Today we’re going to look at two different plots instead of one. Because plot number 9 is so short, we’ll look at plot number 10 as well. If you got a good handle on last time’s plot number 8, RIVALRY, then you’ll have no problem with number 9, THE UNDERDOG, because they’re very similar. So, let’s get to it:

PLOT #9

THE UNDERDOG

Joan of Arc

Rocky

Cinderella

 

  1. The underdog plot is similar to the rivalry plot except that the protagonist is not matched equally against the antagonist. It looks like there’s no chance of the hero winning.
  2. The antagonist, which may be a person, place, or thing (such as a bureaucracy),  has much greater power than the protagonist.
  3. The dramatic phases are similar to the rivalry plot becaue it follows the power curves of the characters.
  4. The good news! The underdog usually (but not always) overcomes his opposition.

 

PLOT # 10

TEMPTATION

Adam and Eve

Our Lady’s Child

 

1. The temptation plot is a character plot. It examines the motives, needs, and impulses of human character.

2. This plot should depend on morality and the effects of giving in to temptation. By the end of the story, the character should have moved from a lower moral plane (in which he gives in to temptation) to a higher moral plane as a result of learning the sometimes harsh lessons of giving in to temptation.

3. The conflict should be interior and take place within the protagonist, although it has exterior results in the action. The conflict should result from the protagonist’s inner turmoil—a result of knowing what he should do and then not doing it.

4. The first dramatic phase should establish the nature of the protagonist then be followed by the antagonist (if there is one).

5. Next, the nature of the temptation is introduced, which establishes its effect on the protagonist, and shows how the protagonist struggles over his decision.

6. The protagonist then gives in to the temptation. There could be some short-term gratification.

7. The protagonist often will rationalize his decision to yield to temptation.

8. The protagonist might go through a period of denial after yielding to the temptation.

9. The second dramatic phase should reflect the effects of yielding to the temptation. Short-term benefits diminish and the negative sides emerge.

10. The protagonist should try to find a way to escape responsibility and punishment for his act.

11. The negative effects of the protagonist’s actions should reverberate with increasing intensity in the second dramatic phase.

12. The third dramatic phase should resolve the protagonist’s internal conflicts. The story ends with atonement, reconciliation, and forgiveness.

Wow, there are some complicated details to writing a TEMPTATION plot, so get your notepad ready and incorporate these points in your manuscript. You’re on your way to creating a fascinating read

Next time, we’ll look at plot # 11: Metamorphosis

All information compliments of:

Tobias, Ronald B (2011-12-15). 20 Master Plots (p. 189). F+W Media, Inc. Kindle Edition.

(I highly recommend this book for anyone interested in writing good fiction in any subgenre!”)

Happy writing!

Marsha

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