#advice on how to write plot

[3hks]

3hks' Guide to Plot (2024)

Alright guys... Here's a big one! These are MY personal thoughts on how to create and write plot. As time continues, I'm positive that some of these things will change, which is why I included "(2024)" in the title! Let's start with some of the basics and definitions, shall we? Hint: you probably want to see the last tip!

~PLOT STRUCTURE~

For 99.9% of novels, they follow a similar--if not the same plot structure--so let's take a look at them chronologically!

>>> Exposition: The beginning of the story, the starting characters, settings, relationships, and ideas are established. This is meant to give the reader a basic sense of the story.

>>> Inciting Incident (initial conflict): This is what sparks the conflict. The characters themselves may not realize it, but this event ultimately changes the whole course of the plot! (This may not always be before the rising action.)

>>> Rising Action: The GOOD stuff starts here! More introductions, more development, more action! Tension builds as the story continues.

>>> Climax: The climax is NOT equivalent to the conflict. The climax is the most exciting or tensest part of the story. The protagonist often is forced into making a difficult decision, whether it be self-inflicted or by another character's hand.

>>> Falling Action: The climax has ended, and things are coming to an end! The falling action is always shorter than the rising action, because there isn't much to introduce, and the characters are simply rolling through the consequences (good or bad) of their previous actions.

>>> Resolution: This is the end of the story. Many people will tell you to tie all the knots together during this part, but it's ultimately up to you! However, there should be some sort of ending to provide closure, at the very least. The conflict should also be resolved (hence the name).

Let's look at the diagram itself! (I'm using Freytag's pyramid because it's well-known. Thank you Writer's Hive for the image!)

~CONFLICT~

Alright, let's talk about the types of conflict real quick!

Character v.s Character: This is your typical conflict, where there are two opposing characters struggling against each other.

Character v.s Self: This is a less common conflict that takes place within the character's mind. (Examples: Self-doubt, decision making, moral dilemma, etc.)

Character v.s Society: This is a conflict between a character (or even a small group of characters) struggling against a larger, typically oppressive society as a whole.

Character v.s. Nature: Just like in the name, this is a character against a force of nature: a tornado, storm, flood, etc.

Character v.s Supernatural: Simply put, this is just a character struggling against a supernatural force.

While knowing and being able to identify the different conflicts doesn't necessarily help you write, it's important to understand what your character is battling against in order to build the conflict.

~BUILDING THE ARCS~

If you watch a lot of shows or movies, you're probably familiar with the term "arc," which is just another way to say plot or subplot, depending on your story.

When writing plot, you want to have a MAIN or LEADING ARC. This is your character's goal that's usually established at the exposition. However, there is usually more to add so your storyline isn't too one-dimensional. These are more arcs or subplots that simply branch out. In a way, it's meant to slow the plot down and add more content while still advancing the story.

So yeah, subplots are able to assist in slowing down the story but they need to help advance the main arc.

This can be done by simply connecting the two--making sure that both of them are at least relevant to one another.

Here's an example! Let's look at HunterxHunter (Yoshihiro Togashi)

The main character, Gon, has a goal to locate his father. This is what HunterxHunter is mainly about. The leading arc, main plot, etc.

It's incredibly simple and straightforward, but it's not that easy.

Along the way, you see different problems arise, creating more subtle and smaller arcs. For instance, there's the Yorknew arc, the Greed Island arc, and the Chimera Ant arc.

The focus of those arcs aren't necessarily for Gon to find his dad. As a matter of fact, his objective is kind of an afterthought in the presence of these subplots. Still, they are connected to Gon's objective and push the story!

See how modest the main plot is? It does not have to be the world's most complex storyline.

Your protagonist's goal is the leading arc, and things just get in the way of it.

Keep this in mind and it may actually help you design your plot events!

~KEY POINTS~

Character introductions: By the end of the rising action, you want most of your characters to have been introduced. This may vary for some certain scenarios, but logically, most characters are going to be involved in the climax, so they must be introduced beforehand.

Environment: Your character will typically start out with a set view of their society, world, and people. Through your developing plot, there should be some changes in their view. What they believe is true could prove to be false.

Triumphs and losses: Sometimes, your character needs to win, and sometimes, they need to lose. This adds a sense of naturalness (not everyone gets what they want) and aids your character development. There are times when a loss is actually the foundation of the exposition! (Wink-wink, nudge-nudge)

~WHERE TO PLACE "THAT SCENE"~

Here's a pretty big one! As writers, we often have just "that scene" pictured out in our minds--it's absolute perfection and a REAL piece of art.

But where are we going to insert it?

If it's not too important, there are three places I suggest! 1. The exposition, 2. the rising action, 3. the falling action.

If your moment is able to introduce a relationship, character, or setting, the exposition is the way to go. If it can build on the three things I listed AND may have a part in the conflict and/or climax, then rising action it is! If it's somewhere in between and somewhere else, then try falling action!

And it can even be the inciting incident if begins the conflict!

Resolution is also a possibility, but because it's near the end, your scene may have less impact than you want. However, if you're still into that idea, then I suggest placing it at the very end! (You'll just need a lot of patience to get through your whole story just for that part, though lol.)

The most important part is to understand what the moment can contribute to the plot, because then you'll have a much better idea of whether you should place it closer to the climax or further away!

Did this help? Let me know!

Happy writing~

3hks <3

[nondelphic]

sometimes the best writing happens when you stop overthinking and just let the words flow

[writers-potion]

How are literary and Commercial Stories Different?

Literary plots are meant to explore a specific theme/convey a message to the reader.

Literary plots can be slow paced.

Literary plots can have different types of endings.

Commercial plots are meant to entertain.

Commerical plots are fast-paced.

Commercial plots must almost always have a happy ending.

For Literary Plots:

detailed characterization: authors explore the inner change and development of the character (which means the external action is going to be slower paced)

use of metaphors, symbols, and presentation of ideas in a way that requires analysis

aims to deliver a message or moral

On the other hand, Commercial Plots:

fast-paced and action oriented, delivers highly emotional scenes so entice the reader rather than ambiguous writing

uses intuitive language, setting and tropes to help readers immerse in the story world quickly

often, the stakes are a lot higher

the ending needs to provide a sense of satisfaction for the readers. Otherwise, they might not feel compensated for all the time they invested in reading.

If you like my blog, buy me a coffee! ☕

Reference: <Write Great Fiction: Plot and Structure (techniques and exercises for craftin a plot that grips readers from start to finish)> by James Scott Bell

[imbecominggayer]

Writing Advice: How To Write A Tight Story!!!

You are trying to write a story :D

BUT! The characters just feel so disconnected from each other that at this point they come from different genres. The plot lines just seem to be weaving less of a beautiful tapestry and more of a hairball. Nothing seems to be going together.

but fear not, for I am going to be giving advice today on how to connect your characters and plot thematically!

Today, we are pulling out our tool box and breaking out themes, motifs, and great writer shit!

A) Character Design :D

The trick to character design is to make everyone unique enough that they stand apart from eachother but cohesive enough you can look at them and say "yeah".

A trick that I use is to ground them in ~realism~

If your characters live in a cold weather, then obviously they're going to wear clothing that protects them from the cold. Now, there are circumstances that might permit your character to wear non-cold appropriate clothing like superpowers or species-related stuff but just grounding your characters into the setting and just saying "what would they need?" can just do amazing things for your characters.

Other things that cohesive-fy your characters is sharing a fundamental aesthetic but then having different branches of of these aesthetics. These aesthetics tend to also come with the setting!

Sci-Fi = Futuristic (Solarpunk, Cyberpunk, Cyberpop, Oceanpunk)

Fantasy = Nature (cottagecore, ravencore, dragoncore, etc.)

Slice of Life = Mundane Cozy (Academia, Clean Girl, Casual)

You get the point. Even the social outcasts will be using the same materials as the in-crowd uses, unless it's specialized material. The difference is in how they wear it. A social outcast's Sci-Fi outfit will probably be a bit tattered. A bit dystopian maybe. But it's still Sci-Fi!

Two characters can wear a crop top of the same material and still seem distinct enough if their backstories have them being distinct.

Differentiating characters is pretty easy. Have them share the same overall type of stuff and let the details weave the story.

B) Plot Lines

Look, there is no easy way to say this but you probably need to cut out some parts of your story.

Let me tell you, a plot is a summary of all of it's subplots. The goal of a subplot is to gradually build up these elements whether it be character arcs, character relationships and all that good shit so it can light a bigger fire.

It's just like a bonfire. The characters are the spark, the subplots are the logs, and the plot is the fire.

Ask yourself this:

Is there a way I can incorperate this character arc into a grander action-focused plot where I actively demonstrate this character's change?

Is there a way I can morph two subplots together so I can get both the benefits and the lessen load?

Is there a way I can give character responsibilities onto the well-developed characters I already have instead of just making new ones?

All of these questions can help chop off some of the bad filler that is weighing your story down. And also give your story a bit more breathing room so you can have all of those important quiet moments.

C) Themes :D

Let me tell you, having themes just makes my story that much more cohesive. It feels like there is this overarching tie between all of my characters that just makes the story feel that much more well-thoughtout.

A good example of characters being reflective of the overall theme of the show is "The World God Only Knows"! It's a harem anime that genuinely feels very well-thoughtout with the comedic dating sim parody elements and the deeper message about the fight with reality both bouncing off of each other.

It feels like a world wear the characters and the theme are both gently rocking the worldbuilding and story together.

Having themes allows me to identify potential character flaws within my cast, develop characters that I didn't really have an idea about, and the overall worldbuilding of the WIP.

Overall, my themes tend to read more like central ideas. It's less about a moral message in my opinion but an explanation.

Some of my lastest themes are:

" the horrors of love and understanding"

" the alienation of being not human in a world of humans"

"the burden of being forced into selflessness"

"the desire to no longer exist"

"the fantasy of controlling reality"

"the limitations of instinct"

I'll give you a quick summary of how each different theme impacted the characters and the storyline :D

"the horrors of love and understanding" inspired the storyline of being smothered in a Hive Mind and the desire to not be an individual anymore since it's so lonely being singular. It developed my main characters extensively.

"the alienation of being not human" was definitely uplifted by the fact that this is a superhero story about literal non-humans who may look and sometimes act human but will always be eternally aware of the chasm. It shaped my protagonists extensively.

"the burden of selflessness" inspired the motivation behind why Yituing became a villain. It also serves as the mantra for Nonkosi's character arc. The theme was eventually developed into a commentary on the Strong Black Woman

"the desire to not longer exist" was uplifted with heavy religious symbolism. This was demonstrated through an angel trying to use empathy as a way of self-imploding and an ex-pastor using invisibility to try and drive themself away from humanity.

"the fantasy of controllin reality" was developed in an isekai setting which definitely drove home the theme of literally escaping the necessary evils of reality for the simplicity of fantasy. All of the characters are inspired off of motivations protagonists tend to have which ultimately boiled down to a desire for control.

"the limitations of instinct" was a crtique on the argument that what's natural is somehow better. The main protagonists work with their instinctual existences with Nariman lacking in empathy and Hetrunmeass being an android who can literally turn off their feelings at any moment. They grow beyond who they were. They still are what they are but they are also something more.

[so-many-ocs]

on plotting: the rule of three

what is it?

about the rule

other people might call it something different, but for me, the rule of three in fiction writing is a foreshadowing tool. to persuade your audience of something and make a twist or story element feel earned, you hint at it at least three times.

things are appealing in sets of three. if something happens once, it’s random, twice is coincidence, and three times is a pattern.

a brief guide

on using the rule

use showing over telling. the whole point of this rule is to convince your reader of something, and unfortunately you can’t “trust me bro” your way into establishing key information.

look into types of foreshadowing. you can call attention to these scenes using strategies like symbolism or irregular description, in which you call unusual attention to a seemingly insignificant detail.

let’s say you want to convey that a specific character is untrustworthy. let’s break this down into three scenes.

first, let’s say we catch this character sneaking out after they said they were going to bed. this raises questions of why they lied and what they’re actually doing. using a direct scene like this first will alert the reader and make them more likely to notice less obvious information later on.

second, we maybe include a scene where they directly contradict something they said earlier. it helps if it’s a minor detail that wouldn’t make much sense to lie about, such as their birthday.

the third scene is the one that should cement this item in your readers’ minds. maybe this scene is a step above the others; maybe this time, the character tries to pit everyone else against each other. maybe they steal or participate in a much bigger lie.

if you’re building up to a betrayal, this can either be the betrayal itself or the scene directly before.

use this rule in moderation. if you bring up something too many times without solidifying it, the story risks becoming repetitive.

brainstorm, create brief outlines of the scenes you want to include, and then decide where in the story these scenes should go.

when i’m using the rule of three to revise, i create a list of all the scenes and chapters i currently have and tack the new scenes on as sticky notes where i see fit.

this may be a bit excessive.

instead, you might consider creating a rough outline of the plot or plots you want to write and jotting down a list of scenes according to where in each arc they should fall, or simply having a document or notepad where you write down ideas.

in action

media examples

the hunger games. the poisonous plant nightlock is specifically mentioned three times, once in the capitol and twice during the games, before it is used for a major plot point.

the karate kid. the crane kick technique is introduced early on, and there are scenes where the main character specifically practices his crane kick before it wins him the match at the end of the film.

---------------------------

thanks for reading! hope this was helpful :)

tip jar | so what even is radio apocalypse?

[yaralulu]

i’ve lowkey just outlined my first ever multi chapter fic idea and im actually so scared bc one of two things could happen here:

1) i never write it bc i can’t handle all that and i start spiraling.

2) i write it and i start spiraling bc i can’t handle all that.

which one is less self destructive

[rosenfey]

things that are hard to find: writing advice that isn't condescending.

[filmcourage]

If You Don't Know These Two Plot Points... You Don't Know The Story - Steve Harper

Watch the video interview on YouTube here.

[ahb-writes]

Writing Problem: The Ending Is Completely Anti-Climactic

Problem: The Ending Is Completely Anti-Climactic

Solution: Endings can be dramatic. Endings can be a little ambiguous. Endings can be bittersweet. Endings can be simple surprises. Endings can be unique and unresolved. Endings can reverse motives, reverse perspectives, or reverse fortunes. Endings can be complex webs that tie up every single loose end. Whatever the author's preference, endings shouldn't read as if the last 10 pages were cut off.

But knowing how to end a story is not an isolated challenge. To end a story properly and effectively, the author must know how the story begins, how its characters evolve, and how these dynamics transform over the course of narrative's varying points of tension and conflict. Recall, how does the story begin and why? How, specifically, do the characters evolve? And what compels them to do so? Where and how do the story's internal and external conflicts converge? Endings follow a few essential rules: endings require context, endings must be plausible, and endings must connect to the narrative's key elements.

Writing Resources:

Figuring Out Where to End a Story (Writing Questions Answered)

Writing Great Beginnings and Endings (Writing Questions Answered)

Feeling Overwhelmed by Plot Points (Writing Questions Answered)

What Is the Dénouement of a Story? Your Guide (With Tips) (Jericho Writers)

How to End a Story Perfectly (Jericho Writers)

Story Climax Examples: Writing Gripping Build-Ups (Now Novel)

How to End a Novel: Writing Strong Story Endings (Now Novel)

Tension vs. Conflict (Hint: They Aren't the Same Thing) (September C. Fawkes)

Utilizing 3 Types of Death (September C. Fawkes)

10 Signs Your Plot is Weak (and How to Fix it) (September C. Fawkes)

❯ ❯ Adapted from the writing masterpost series: 19 Things That Are Wrong With Your Novel (and How to Fix Them)

[hayatheauthor]

Four Tips On How To Make Your Plot Twist Work 

Plot twists are often one of the most exciting aspects of reading a good book. When properly executed, plot twists enhance your reader engagement and make your readers feel excited and satisfied with your novel. However, when done wrong a plot twist can often feel redundant and make your reader feel unsatisfied and annoyed. 

Are you facing issues trying to make your plot twist work? Here are four tips for writing a killer plot twist. 

Tip One: Foreshadowing

One of the most important aspects of a good plot twist is foreshadowing, or dropping subtle hints that make your readers sit back and wonder why they didn’t connect the dots before. This can seem easy enough at first—you just need to drop some hints, right? But if done wrongly, foreshadowing can make your plot twist seem obvious and give away your mystery. 

When foreshadowing it’s important to only mention minor details that will tie together in the end. Maybe you’re writing a story about a popular boy band preyed on by a masked killer during their tours, and at the end the final victim remembers their agent suddenly switched all of their hotels last minute. 

If you’re writing a murder mystery it’s important to drop small hints about the killer’s identity. Maybe they used a very expensive tool only accessible by people of their status, maybe they left a clue at the murder scene that tied back to their personality. The protag could find their wife’s pink scrunchie on the victim’s wrist, or maybe their mentor’s favourite pen was found in the victim’s car. 

It’s important to steadily build a list of logical clues and hints that make your plot twist make sense at the end. 

Tip Two: Make It Obvious, Then Debunk It

One popular plot twist technique is to make your plot twist obvious at the start but then completely debunk it and convince your readers that couldn’t possibly happen, only for it to happen at the end. 

This is a very complicated technique and can either make or break your plot twist, but it comes with a high risk high reward. If you do pull this off you’ll leave your readers impressed and make them feel annoyed with themselves for falling for your ruse.

This technique can seem a little complicated, so here’s a simple list of how to properly apply this technique for your plot twist: 

Give your readers a valid reason to suspect the plot twist. Maybe the protagonist saw their wife leaving the victim’s car when they were returning from work and suspects their connections. It’s important to establish a logical reason for their suspicions, and make your readers agree with your character’s logic. 

Then, debunk it. Maybe the protagonist finds out the victim was their wife’s colleague and dropped her home after work because it was raining. They have no reason to suspect someone so close to them with their only form of evidence debunked, so they move forward with their case. 

Make them find out they were right in the first place. The protagonist sees the maid takes their wife’s clothes to the dry cleaner because they were covered with sweat patches since it was sweltering hot that day. Except, if it was so hot, then their wife couldn’t possibly have been with the victim because of the rain. This makes the protag think back to their own outfit that day and how they purposely left their coat at home. 

The example above gives your readers a logical and uncomplicated reason to believe the other character’s lies, but the protagonist’s choice of clothing gives your readers the adequate foreshadowing needed to make them feel annoyed for not catching the lie in the first place. 

You would obviously have to go into a lot more detail than I did above, but I hope this example gives you a clear idea of how this tip works. 

Tip Three: Pace Yourself 

Think of a plot twist as pulling the loose string of a sweater. The sweater doesn’t unravel with one pull, but it does fall apart slowly if you tug hard enough. Writers don’t just need a dramatic reveal to pull off a plot twist. You need to pace yourself and give your readers enough foreshadowing while also slowly revealing the plot twist. 

Maybe your protagonist thinks the masked killer is a vengeful servant only to find out it has to be someone close to them because they had access to the house’s upper floors. Or maybe your characters casually mentioned your antagonist’s motives at the start of the book. 

It’s important to properly pace yourself when revealing new information pertaining to your plot twist. 

If you suddenly drop a series of hints in the second half of your book then your readers will likely catch on before your big reveal. But if you drop hints in the first half then slowly solidify those hints in the second half, your readers will be able to understand your plot twist while also being surprised. 

Tip Four: Don’t Rely On Coincidence 

It is important not to rely on coincidence when revealing your plot twist. Sure, coincidences happen in real life, but a series of coincidences can take away your story’s credibility and make it seem boring. 

Rather than having your character coincidentally stumble upon a very important clue, make them work for it. Saying the protagonist coincidentally saw the maid leaving with their wife’s dry cleaning can be boring. This can be made more fun if the character believed their wife’s lie and left to fetch her coat from the front of the house (since she would have obviously worn one if it were cold and raining), only to find the maid putting away a knee-length dress for dry cleaning with complaints about the sweat patches staining the fine material. 

There’s nothing wrong with using a coincidence once in a while, but keep in mind too many coincidences can make it feel like you were too lazy to actually tie together your plot twist. 

When writing a coincidental scene, try to consider how your character could have gotten to this point of the story without the coincidence, and whether that would be more exciting to read than a mere coincidence. 

 I hope this blog on how to make your plot twist work will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and subscribe to my email list for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday. 

Want to learn more about me and my writing journey? Visit my social media pages under the handle @hayatheauthor where I post content about my WIP The Traitor’s Throne and life as a teenage author.��

Copyright © 2022 Haya Sameer, you are not allowed to repost, translate, recreate or redistribute my blog posts or content without prior permission

[kikizoshi]

I wonder, does everyone go through the hell of trying to find an outline that actually works or is it just me? Because I swear none of them are all that helpful. They're so focused on fights, for one. Like in all of them, there's a "battle". There has to be at least one "twist". It's all so... prescriptive. Surely an outline should be descriptive, right? But none of them seem to work at all for any of the stories I want to tell, and it's not always for a lack of plot. Like they're fundamentally wrong--I always find a place in the outline that just doesn't work the way they say it does.

It reminds me a lot of those useless character sheets everyone puts up. Having things like "favourite colour" or "first job", and it feels more like creating a Sim than an actual character you care about. How does anyone actually manage to make something out of those materials?

[writingformett]

”I just wanted to say... A's feelings get hurt when you ignore him. He really cares for you”

”Are you worried about A's feelings now? If you're so worried, then stop playing with his feelings, for god’s sake!”

” I'm not playing with his feelings! Why should I? We're in a completely platonic relationship.”

” Platonic relationship?? He longed for you for more than 4 years, and now you betray his feelings! I was happy for him to finally get the person he ached for. But is he really happy to have you? Why don't you think so??”

” I...I..!! ”

[emeryleewho]

The difference between a good plot twist and cheap shock value is in the *depth*. It's in the *characters*. A good plot twist should be evident even from a Wikipedia article. You should be able to read it out like a monotone robot and still see how clever and brilliant it is. It is a divine fact. Shock value relies on twisting your audience's emotion to get a reaction. It tries to treat disgust or horror as inherently valuable, worthwhile story techniques. But the second you zoom out, you recount the ending to a friend, you take a moment to actually think about where it comes from, it's *empty*, and even if it scars your audience enough to stay with them for a while, it's like the Boogeyman. Once you shine some light on it, you realize how empty and pathetic it is and it fades away. If you want to be a great writer, stop relying on shock value and learn how to write a plot twist!!!

[maelancoli]

ima say something controversial but not brave. the problem with writing around tropes is a lack of payoff. for example, the one bed happens because of the plot itself and the bonus is building the romantic subplot tension. the story does not revolve around trying to reach the tropes. tropes are the filler, they are the spaces between the major beats which deepen the whole tapestry.

[topazadine]

How to Use Chomolungma for Writing Adventure Stories; Or, the Plot Mountain Method

Estimated Reading Time: 13 Minutes

I've become a little obsessed with stories of Chomolungma lately. You probably know this sacred Nepalese mountain by its Westernized name, Mount Everest.

Anyway, I'm never going to scale the world's highest peak because I have no interest in losing any of my toes to frostbite or dying of pulmonary edema. Don't think I'm about to go dashing off into the wilderness.

BUT I think we writers can derive a lot of lessons from mountain climbers when plotting for grand adventure novels.

And why the hell is that? Why Chomolungma specifically? Well, I'll explain.

Just a head's up that my advice probably won't apply to romances, mysteries, or anything other than your typical "we're going on an adventure to slay a dragon or whatever." I don't have much experience in those genres and am not going to step on any toes.

As usual, this is just my opinion. There are thousands of different plotting tools out there, and this is only one of them. If you don't like it, then no need to use it. I'm simply giving you a different option. Alright, let's go!

I am sure you have seen this diagram a million billion times and are very tired of it.

It's not wrong, per se; in fact, it looks much like a mountain. Most stories do indeed have these same parts, and so will yours if you use the Plot Mountain method.

However, there's some things that this simplified version doesn't explain:

It acts as if you're just constantly ramping up pressure. There's no breathers to let readers catch up.

There are no differential tensions to keep interest.

There are no "mini-climaxes" that impress upon the reader a sense of danger.

We are not provided with an understanding of how to create different stages of the plot within the rising action.

There is no discussion of how characterization changes during the course of the plot.

It's not explained how to organize the falling action in order to provide continued tension and character development.

I also have some problems with other common plotting methods, specifically Save the Cat and the Hero's Journey. Mostly, I think that they get really tiring and formulaic because they're just so rigid. There's little room to add your own flare; you're plugging all the shit in as intended.

Save the Cat especially irks me because it basically demands that you divide up your story into little percentages so everything happens right according to this algorithm.

If I start to get a hint that your story was designed by adhering to these standards, then I can just predict what's going to happen and I don't care anymore. "Oh ... there's the B Story. I guess the Fun and Games is coming next. Yippee."

One time, I had someone beta read one of my manuscripts, and she complained that my story didn't exactly match this structure.

"I couldn't figure out where Act 1 ends and Act 2 begins!" she wailed. Well, given that I didn't design my story according to strict acts, it's no wonder you couldn't find them.

Also, I hate math. Don't infest my passion with my nemesis, please.

So, I challenge you to think a bit differently using my method instead. It combines characterization with plot and momentum to offer you a natural setup for a great story. Thinking of your story this way forces you to focus on how all elements come together, and it discourages you from piling on dumb shit that won't help.

My option is also more flexible; I'm not telling you exactly when and where the stuff needs to happen. That's up to you, babe. You're the boss.

Key elements of Plot Mountain

Your plot must be desirable for some reason.

Whatever goal your characters have should feel worthwhile. People spend their life's savings and a good portion of their lives to get to Chomolungma, facing down all the frustrations and disappointments to do it.

While your character may not necessarily know what is in store for them, they should nevertheless have a reason for wanting to achieve whatever you've got going on.

You need to "equip" your characters by giving them the skills and purpose necessary to tackle this challenge.

Mountain-madness-morons who think themselves "Chosen Ones" are generally the ones that fuck up and die. That's why you have all these rich tourists falling into crevasses, where their bodies are trapped forever.

Similarly, you must demonstrate to your readers that your character is somehow worthy of the challenge you're giving them.

Sometimes, this means they have the natural passion and inclination but need some training. At Chomolungma Base Camp, the native Sherpas give their charges some lessons in high-altitude mountaineering before they head off onto the mountain, even if they have experience. This is your "orientation session" for the characters that shows why they, specifically, can handle what you are throwing at them.

Every character has a reason for being there.

This is a good reminder for people who have a tendency to cram a million characters into their stories.

A Chomolungma expedition is not composed of random passersby who feel like going up a mountain today. Everyone there brings something unique to the table and must work in concert to achieve their goal.

This offers you many options for main characters and support characters. For example, an expedition team can have mountain climbers, Sherpa guides, porters, and a camera crew, and you can give your main cast similar roles.

Your characters have agency and make choices.

No one just kinda wanders up Chomolungma. They must consistently make the right decision, and it's rare for a deus ex machina to pop in.

Yes, things fit together to make things happen, and there are sometimes miracles, but for the most part, it is the preparation, experience, and some external circumstances (like weather) that decide whether someone lives or dies. No last-minute Hail Marys or interventions from on high.

There is a time crunch.

It's rare to summit Chomolungma in the winter because it's just too dangerous, so climbers need to head off during the spring and summer, before the weather turns nasty. There's a short window of opportunity.

Because the Nepalese government only issues a limited number of expedition passes each year, and they're so expensive, many people only get one shot in their entire lives. Everything has to go perfectly or they may never get to try again.

Additionally, being at altitude for any period of time is dangerous, which keeps people pushing for the summit even when they want to give up and go home.

You should show the pressure of your plot, explaining why it needs to be done right now rather than ten years in the future. We must feel that this is essential and that time could run out.

Every summit attempt is fraught with peril, and many have to turn back.

It is incredibly common for expeditions to hit bad weather and have to abandon the summit push; every climber knows and fears this.

Demonstrating that it's entirely possible not to hit your climax infuses the story with a sense of danger. It can also help you decide what might be more impactful and relevant to your story: having to turn back (which opens the door for a sequel) or getting to the summit and celebrating.

Not everyone makes it to the top.

You probably know that Chomolungma has at least 200 bodies littered across it, many of which have become signposts for other climbers attempting not to meet the same fate. There are likely dozens of others that have been blown away by the wind into crevasses or buried under snow.

Depending on your genre, you can and should show that others have failed, or even kill one of your characters during the "summit attempt" to highlight the peril.

Thinking of different plot points as camps reminds you that you need moments of downtime.

While you can't overstay your welcome on Chomolungma, you also can't be climbing 24/7; you'll straight up die. It's important to stop, take a break, and acclimate to the different altitudes as you keep going.

"ABC" stands for "Advanced Base Camp," basically right at the foot of the mountain. It's where you actually start your summit push. North Col is also known as Camp 1.

The camps, I think, are the key element of the Plot Mountain method, because they remind you that your story needs to "plateau" at a few different points to give your characters (and readers) time to breathe.

This doesn't mean that there's no tension at all, because things can still go bad at camp. It just means we're slowing down, recapping things, allowing for character development and maybe a bit of backstory.

You can also allow your characters to meet background characters at these camps, knowing that they will not be around forever. These background characters can offer helpful advice, sow doubt, or impress upon us the risks that will be up ahead.

Each "push" between camps is a little different, with unique dangers.

As you head up Chomolungma, there are different challenges to overcome between each camp; this may be steeper climbs or dangerous crevasses with only a tiny metal ladder to keep you from plunging to your death. Driving snow and fierce gusts can blow you off the mountain as you get higher and higher.

And, of course, there's the Death Zone at the top, where's there's practically no oxygen whatsoever and it's so freezing cold that you may lose your feet.

The danger rises with every push toward the summit, reminding you to build the tension and demonstrate the dangers in your story. After each camp, you'll show brand new risks that nevertheless fit into the plot.

A climax can't overstay its welcome.

After spending all this time preparing to reach the top of the world, climbers actually don't get that much time on the summit. It's freezing cold, the air is impossibly thin, and they need to head down before it gets dark.

Similarly, you need to let the climax linger just long enough to offer catharsis without boring everyone. This is the height of the tension, so keep it fast but thorough.

The summit isn't the end of the journey.

Many people rush to the climax and then spend almost no time wrapping things up, which makes the story feel incomplete. While the downclimb doesn't need to last as long as the summit push, you should still devote a chapter or two to the falling action, which may have its own dangers.

Characters must be changed by their time on Plot Mountain.

No one comes back from Chomolungma without changing. Maybe they have a renewed sense of purpose or a better appreciation for life. Maybe they have made friends, discovered themselves, gained better skills.

Or maybe they lost some toes while up there. Or lost a friend.

Whatever you choose, it must be clear that your characters have grown and evolved throughout the course of their story. They need to end up somewhere different internally, even if they are returning right back to base camp.

How to Use the Plot Mountain Method

Here's the major points you'll hit using Plot Mountain. This is a bit of a simplification, of course, because technically Camp 3 is in the Death Zone (above 26,247 feet), but look, we're fiction writers, not mountaineers.

Base Camp

This is the exposition, where you tell us a bit about the characters, the world, etc.

Base Camp -> ABC

We have a sense of momentum, that something is building up, but don't quite know what it is.

Advance Base Camp

The inciting event, where the character understands what is happening and must choose to accept or refuse. If they accept, they head up to North Col. If they refuse, well, you're going to push them up there.

ABC -> North Col

The first challenge (and the first chance to turn back). This is a sobering moment that impresses upon them that they are in peril, but it's not as risky as the next steps. If they came there against their will, this is when they start to get more committed and aren't refusing quite so much.

North Col

The first downtime. We learn more about the characters and get a better idea of the problem, but don't have all the details yet. Characters may still be a little delusional about what is happening. There may still be some resistance.

North Col -> Camp 2

The second challenge, which offers different dangers. The characters have faced difficulty now and have a better understanding of what is at stake. They are older, wiser, and less optimistic.

Camp 2

Characters may be questioning their ability, looking back down toward North Col and wondering if it would be cowardly to leave now. We have a better understanding of the potential dangers and the ramifications of failure.

Camp 2 -> Camp 3

The third challenge. The characters are fully committed and can't walk away. They know what they're going for and refuse to be deterred because they're so close to what they want. The dangers they face now give a taste of what the climax holds for them, impressing upon the readers that something enormous and risky will happen.

Camp 3

We are given a stronger understanding of this plot's full purpose and how it fits into the world. It's a time to stop and reflect on why this is important, what the characters have learned so far, and how their lives will change once they hit the climax.

The Death Zone

The dark before the dawn. Things are at their most difficult, but we're not quite there yet. The tension is extreme, and characters are truly fighting for their lives. They're scared, disoriented, and worn down by the challenges, but still willing to go on. There are no respites and no safe harbors. No one is going to save our characters but themselves.

Summit

Climax. It's fast, but not too fast: we get a chance to soak up what is happening, but we know that it won't last forever. There's a sense of pressure and the need to get out of the line of fire.

Death Zone Revisited

This is an opportunity to demonstrate how tired the characters are and the ramifications of their decisions. Things still feel fragile and dicey. We don't know whether the characters are out of danger just yet.

Camp 3

An opportunity to let the characters rest and reflect. We see the changes that have come about because of the climax and see them differently.

Camp 3 -> Base Camp

There's no need to linger all the way down the falling action; we don't require as much detail because we understand the world. Still, we should get a sense of how the characters navigate this new chapter of their lives and what they have learned.

Base Camp

The finale. It may be triumphant or heartbreaking, depending on what happened at the summit. Muted goodbyes, happy reunions, bittersweet reflection, and a sense that the characters are moving on with a better understanding of themselves.

And that's about it. You can add camps if you need to, or have little biovacs if your characters get stuck somewhere. You can find good places for description during those downtime moments. There's a lot to do!

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