Act Blurbs

This book is huge with a cast of thousands and five subplots plus, of course, a main plot.  And as we all know, organization is not in my natural skill set.  This leads me to do Act Blurbs.

You know what blurbs are, those pithy synopses on the back of the book that run something like “She’s a cop, he’s the Devil, they fight crime!” and right away you know what the book is about and if it’s your thing.  So early on, I figured out that one way to break the progression of a book down was to give the acts titles.  Then I remembered I’m bad at titles and went to one sentence blurbs.  Like: Continue reading

Structure and Nita’s First Act

This is another wonky post about structure, so you have been warned.

I’m obsessed with structure.  Structure has a huge impact on meaning in a story the way that structure has a huge impact on meaning in a sentence.  So when I went back to Nita’s Act One, currently logging in at an unsustainable 37, 236 words, it was time to analyze the structure.  In the beginning, I look for two things: word count of scenes and scene sequences (scenes that grouped together form a narrative unit of their own).  If I’ve planned my scene sequences right, a one sentence description of what happens in each should tell the story of that act.   I do structure analysis in Curio because it’s the easiest way to diagram out and color code a scene.  So let’s start with the Curio doc of Nita’s First Act:

Continue reading

Nita’s First Act Truck Draft: Escalation

 

Thank god, the math is over.

Escalation is pretty simple: the stakes get higher in each section between the turning points of the act.  So checking for escalation is just making sure the stakes increase at each turning point..  Easy  

Unless you’re an idiot who lets huge plot points  drop so your protagonist can go shopping.

Let’s look at how this truck draft escalates while I berate myself throughout this post.

Continue reading

Act One, Part Seven: The Final Scene Sequence and Transition into Act Two

Here’s the thing about first acts: they’re a bitch to write. They’re loaded with back story and infodump that you have to make into the now of the story, you have to twist your narrative into a pretzel to foreshadow any character you can’t get into a scene, you have to start not only your main conflict but any subplots you’ve got going, and you have to do it all while moving your plot from the beginning where the stability is shattered to the first turning point where things get much, much worse and the story hits a climactic turning point that swings the entire narrative in a new direction.   And you have to do that in 33,000 words or less that are never boring and continually escalate as the stakes rise. Continue reading