Avoiding Plot Pitfalls by Everett Maroon
Plot pitfalls happen. That moment when one realizes two points don't make sense temporally, structurally, or logically can suck all the motivation out of a writer, because sheesh, what the hell should one do now? It's a frustrating moment to realize one has written oneself into the proverbial corner. Sure, there are easy-to-resolve pitfalls out there—a story may be too trite or too action packed, so the remedies are clear: spice it up or slow it down, respectively. In these cases this is where I would pull out my index cards that break down each scene and look to see where I could insert new material or take out moments I don't need for the tale.But then there are complicated problems in plotting that either aren't so clean-cut to diagnose or that require the equivalent of neurosurgery to solve. Here are a few of the wilier beasts, and the way in which I've made fixes. These could be solved in other ways, I'm sure, and as always, I'm open to suggestions in the comments—this is just what has worked for me.
I'm writing science fiction/fantasy and I can't get explain this new technology/magic well enough, and it's pivotal to the plot—I may be unorthodox here, or subjecting myself to a wave of rotten virtual tomatoes from other writers, but not everything needs an explanation. Sometimes less is more. Sure, this advice will not work for the hard core science fiction story, but characters don't need to know why things are the way they are, either. Perhaps there's room for some sarcasm or satire; Douglas Adams has a wonderful, absurd way of stating things and moving on, and while we're laughing, we're not paying attention to the paucity of sense. That's the point, and as every 6th grader knows, it's a ton of fun to read. Got wormholes? Fine. Do authors spend time explaining how car pistons work every time their characters climb into a vehicle? No. Write the story plot on a piece of paper without the genre elements and see if it's still interesting as a story. Where are the plot holes without the genre? Those are the ones that will require the most explanation, should the writer choose to describe them.
The other thing I want to say about explanations is that in representations of worlds that aren't this one, over-description can make even simple stories impossible at some point, as the creation begins to collapse under its own weight. Lots of later sequels do this. So-and-so is the secret daughter of Big Evil Guy, but didn't we read in book 3 that daughter was actually from this totally other place where he can't exist? Don't let back story or loads of description cut off avenues of storytelling. Besides, avid readers will spot each and every inconsistency and call it out, and that's never a good day.
The novel is too long and it's impossible to figure out what to cut—Back to the index cards, my trusty companions. Or a spreadsheet, or notebook of scenes. Here's how I outline my scenes:
- PROTAGONIST in blue
- ANTAGONIST in red
- SUPPORTING CHARACTERS in green
- LOCATION, SEASON, DATE, TIME
- WHAT HAPPENS in one sentence—like "FIGHT" "CHASE" "CONVERSATION" "INT. MONOLOGUE"
First things first—can I cut the first two chapters? I often reflect on Eudora Welty's comment that "starting a story is the same as how to pick up a puppy; a little in front of the middle." (Apologies to Ms. Welty for the paraphrasing.) If the first and/or second chapter can become the back story, it probably is.
Next, really look at the cards. Maybe they're a little like tea leaves, but as I have no idea how to interpret tea leaves, I'll say this about the cards: they should help writers visualize patterns. Sure, there's an overarching plot, and the cards should let those plot points stand out in a clear way (if not, that's yet another problem to resolve). But the cards also declare whether the pacing and subplots are working out. In long books, somewhere in the 120,000-word and plus range, it's probably pacing that is suffering. Look for cards that are doing the same thing, back to back, or in a series of three or more. Can any of these scenes get cut or collapsed? Are there too many side characters? Is a major character introduced past the first third of the book? There better be a darn good reason, because readers don't particularly enjoy seeing introductions late in the game. They want the story to establish itself and get going. Yes, hero journeys can be the exception to this.
Cutting never feels good, but there are two things to remember here:
- It was necessary writing to help establish the tone so that the scenes that remain could be written in kind
- It may be resurrectable for sequels, or spin off other stories
I can't figure out how to end this beast because I've drifted from my original plot—that is the danger of throwing in twists. Meandering turns can be surprising and fun, but they complicate the plot and at some point, there are diminishing returns. Go back to the original plot path and compare it with the new one. Maybe the ending is already in there, or maybe it needs to be reinvented. I like to try visualizing an epilogue—not to write, just to see it in my mind's eye—of the major characters five years or so down the road. Often the novel ending has already happened, and I can pin it down from there. Remember that most stories tell the experience of the protagonist: who they are at the beginning, what conflict happens to them, how it changes them, and then The End. We're watching personalities grow in most novels, and when the growth has taken place and the protagonist realizes it, the novel is over. If that new plant shoot can be spotted in the text or the scene cards, voila, end the story. If it isn't there, then it has to be found.
Isn't writing a wonderful thing?
