Today’s Writers Tip: Fiction Plots: The Underdog & Temptation

Today’s Writers’ Tips

Plot Number 9: The Underdog

Plot Number 10: Temptation

Because plot number 9 is so short, we’ll look at plot number 10 as well. If you got a good handle on plot number 8, RIVALRY, then you’ll have no problem with number 9. 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.
11. 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

P.S.: WRITERS, DOWNLOAD THE REGISTRATION FORM FOR THE

MONTROSE CHRISTIAN WRITERS CONFERENCE AT https://bit.ly/2HGlNYQ

 

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Today’s Writer’s Tip: Fiction Plot Number Eight – RIVALRY!

Today’s Writers’ Tips

Plot Number 8: The Rivalry Fiction Plot

Rivalry? Now that’s an interesting concept, especially when considering fiction plots. Rivalry…in other words COMPETITION between two characters.

I suppose the most classic example of this kind of plot would be found in the greatest book ever written: the Bible, with the conflict between God and Satan. So, let’s have a look at the characteristics that make a really good rivalry fiction story:

PLOT #8

RIVALRY

(Photo compliments of Wikipedia)

The Bible (God vs. Satan)

Paradise Lost

Moby Dick

Ben Hur

1. The source of the conflict in the story should come as a result of an irresistible force meeting an immovable object.
2. The nature of the rivalry should be the struggle for power between the protagonist and the antagonist.
3. The adversaries can be equally matched.
4. Although their strengths needn’t match exactly, one rival should have compensating strengths to match (or almost match) the other.
5. The story should begin at the point of initial conflict, introducing the status quo before the conflict begins.
6. Start the action, (the catalyst scene), by having the antagonist instigate against the will of the protagonist.
7. The struggle between the rivals should be a struggle on the characters’ power curves. One is usually inversely proportional to the other: As the antagonist rises on the power curve, the protagonist falls.
8. The antagonist should gain superiority over the protagonist in the first dramatic phase. The protagonist usually suffers the actions of the antagonist and so is usually at a disadvantage.
9. The sides are usually clarified by the moral issues involved.
10. The second dramatic phase reverses the protagonist’s descent on the power curve through a reversal of fortune.
11. The antagonist is often aware of the protagonist’s empowerment.
12. The protagonist often reaches a point of parity on the power curve before a challenge is possible.
13. The third dramatic phase deals with the final confrontation between the rivals.
14. At the resolution, the protagonist restores order for himself and his world.

Wow! If you ask me, this is a basket full of important characteristics you need to incorporate into your rivalry plot. But if you read some classics and see how the authors of those works handled this subgenre, I’m sure you’ll be able to crank out your own rivalry fiction plot that could become a best seller!

Next time, we’ll look at plot # 9: The Underdog

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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Amish wife Louellen Friesen questions her husband’s loyalty,

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Today’s Writers’ Tip: Fiction Plot Seven – The Riddle or Mystery

Today’s Writers’ Tips

THE RIDDLE or MYSTERY Fiction Plot

PLOT # 7

Continuing our study of fiction plots, we’ll look at plot number 7 today: riddle or mystery. If you’re a mystery writer, and a successful published one, I’m sure you have mastered the “tricks of the trade.” Writing a riddle or mystery has certain characteristics different from “regular” writing. So, let’s have a look at the important points needed in a good mystery:

THE RIDDLE OR MYSTERY

The Maltese Falcon

The Lady or the Tiger

The Man Who Knew Too Much

Murder, She Wrote

1. The core of your riddle should be in clever writing: hide that which is in plain sight.
2. The tension of your riddle should come from the conflict between what happens as opposed to what seems to have happened.
3. The riddle challenges the reader to solve it before the protagonist does. (And readers love this.)
4. The answer to your riddle should always be in plain view without being obvious. (And that’s a “trick.”)
5. The first dramatic phase should consist of the generalities of the riddle (persons, places, events).
6. The second dramatic phase should consist of the specifics of the riddle (how persons, places, and events relate to each other in detail).
7. The third dramatic phase should consist of the riddle’s solution, explaining the motives of the antagonist(s), and the real sequence of events (as opposed to what seemed to have happened).
8. Write to a specific audience, i.e. age, sex, etc.
9. Choose between an open-ended and a close-ended structure. (Open-ended riddles have no clear answer; close-ended ones do.)

So, there you have it. If you’ve never tackled a mystery, maybe now you’ll be brave enough to try one. And the mystery to solve is CAN YOU DO IT?

Next time, we’ll look at plot # 8: RIVALRY

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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