Dressing Up The Skeleton with Subgenres

What if we decided the meteor story worked better as a Romance? We continue with Dick, love interest Sally, and friend/foe Jane and Ted and the meteor and try on different subgenres.

If we select the Romance skeleton, the focus is on Dick meeting, possessing, or losing the object of his affection: Sally. The meteor, Jane, and Ted present antagonistic and interpersonal obstacles to this goal. There are different ways to dress up a romance.

1. You can add the Contemporary Romance jacket. This is defined by the time period. The obstacles to their love occur post World War II to modern day. It is often combined with or related to the term “women’s fiction.”  Most romances are told from the female’s POV, but doesn’t have to be in certain subgenres. Ted wants Sally, or Jane wants Sally. Jealousy and rivalry keep Dick from achieving his goal. The impending meteor strike adds an element of anxiety. At the final turning point, Dick saves the day and wins Sally's heart forever. Or, Sally and/or Jane saves the day if you want to add a feminist touch.

2. If you add the Historical Romance mantle, it means that the obstacles to love occurred prior to World War II and may feature elements of mystery or “damsel in distress.” In this instance, Sally is directly threatened by Jane or Ted while the impending meteor strike provides atmosphere and heightens emotion. We learn a bit about the history of astronomy along the way, but not too much. In the end Sally and Dick live happily ever after.

3. If you choose the Romantic Suspense trench coat, the meteor strike is a Thriller and Suspense subplot. The setting could be contemporary or historical. The couple’s relationship is tested by the race to save the planet. Will they live to love or will the meteor obliterate them? Ted is foiled. Jane is mollified. Dick and Sally live happily ever after.

4. If you select the Paranormal Romance cloak, one or all of your characters could be vampires, werewolves, ghosts, zombies, or witches. The focus is on the romance and the paranormal elements as they attempt to thwart the meteor strike. The different species may have different agendas. In the end, Dick and Sally wind up together, the normal world is saved, and they are happy about it. Except for perhaps Ted. Or Jane. Or Ted and Jane.

5. If you prefer the Science Fiction Romance jumpsuit, the setting becomes the future, perhaps on a remote lunar outpost. A rocket may circumvent the tragedy, taking out the antagonistic Ted along with the meteor, leaving Dick and Sally to love uninterrupted in their space capsule as Jane waves forlornly from the control room.

6. If you adopt the Romantic Fantasy cape, your story will feature dragons, wizards, or fairies working to repel the meteor heading for them, preferably with magic. Perhaps the near miss with the meteor was foretold in a prophecy naming Dick The Chosen One, which tests his relationship to Sally. Dick and Sally hold onto their love in the face of fantastic odds.

7. If you assume the Time Travel uniform, some - or all - of the cast must travel through time to solve the meteor strike problem. Perhaps Dick travels to the past, leaving poor Sally in the present. Will their relationship survive the distance? If Dick changes something in the past, will Sally still be in the present anxiously awaiting his return? Or will he return to find her happily (or unhappily) paired with Ted? Perhaps Jane sees her chance with Dick now that Sally is out of the way. But in the end, Dick and Sally are reunited and it feels so good.

8. If you don the Erotic Romance sheet, you’ll need to add steamy sex scenes in specific chapters. The impending meteor and Ted and Jane's interference fuel the fire. As long as they fog up the windows while fighting for their lives, you're good to go. In the end, the meteor misses and Dick and Sally wind up in bed, thankful to have dodged the celestial bullet. Ted and Jane may end up in bed together as well, even though they pretend to hate each other.

Whatever costume you choose, your romance should satisfy the reader by answering the question: “Will they or won’t they?” The answer should be, “Yes.” If your reader is titillated and satiated by the story’s end, they will love you for it.

The four layers method is versatile enough to work with any genre, subgenre, and mixed genres. Breaking the story down into the types of conflict keeps the reader turning pages. A conflict can be as small as trying to get a cup of coffee and being interrupted and diverted along the way to Starbucks or as massive as a space opera with cowboys fighting aliens.

As always, if you find this information useful, please like and share. 

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/

Stacking The Layers

We have developed our scenes. Now let's look at the best way to arrange them. We began with the premise for a story involving a meteor streaking toward earth, a conflicted scientist, his crumbling marriage, and a coworker who makes his life miserable.  We decided to make the story about Dick, love interest Sally, bossy Jane, jealous Ted, and the meteor streaking toward earth. We have selected the Disaster Thriller format and created at least ten ideas for each layer of conflict. The next step is to decide which order works best for each scene.

We have come up with ten basic ideas for all four layers of conflict. You may find you need to add more scenes to fill in the gaps in the story. You may change your mind about elements of the plot. The point is to have a series of prompts that keeps you working through your rough draft. You can tweak and enrich the draft during the revision layers. Things will come to you as you write that you didn’t think of before. Your characters will come alive and may change the trajectory of your story. That’s expected. What’s important is to avoid getting stuck in the muddy middle.

Let’s layer the scene ideas we've developed in the most logical order.

INCITING EVENT

Internal Conflict 1: Dick and Sally make plans to go on a long-awaited vacation. He gets a call.

External Conflict 1: Dick learns a meteor will strike.

Antagonist Conflict 1: Ted learns there is a meteor headed toward earth. Finally, the world can be destroyed and he doesn’t have to lift a finger. All he has to do is sit back and watch the show.

Interpersonal Conflict 1: Jane meets with Ted to declare her feelings before it is too late. He manipulates her into helping him without telling her the real reason.

Internal Conflict 2: Dick informs Sally that he isn’t retiring after all. He can’t tell her why.

Antagonist Conflict 2: Dick has come up with a plan. Ted vows to make sure it doesn’t work.

Interpersonal Conflict 2: Jane meets with Dick and gives him erroneous data.

External Conflict 2: Dick thinks of a way to stop the meteor while it is still far away. He will nudge it with a satellite.

Interpersonal Conflict 3: General Smith argues that his satellite is too important to be used to adjust the meteor’s trajectory. It could cause more harm than good. They should blow up the meteor.

Internal Conflict 3: Dick and Sally fight about the vacation. Looks like we have to cancel it.

Antagonist Conflict 3: Ted is denied access to the equipment. He has something on one of the ground crew, Bob, and uses that pressure to convince him to tamper with the equipment.  Bob objects, "But we’ll all die.”  Ted threatens, "Do you want to die now or later?"

Interpersonal Conflict 4: Bob tries to tinker with the satellite, but almost gets caught by Jane.

Antagonist Conflict 4: Ted confronts Dick. "Why are you trying to stop the inevitable?"

Interpersonal Conflict 5: General Smith relents and allows the satellite to be used.

External Conflict 3: The satellite crashes into the meteor, but doesn’t change the trajectory.

TURNING POINT ONE

Internal Conflict 4: Sally gives Dick an ultimatum: "I’m tired of waiting. It’s me or the job." Dick replies, "If I don’t do this there won’t be any me or you." Sally asks, “What do you mean?” To which Dick replies, “I can’t tell you.”

External Conflict 4: Dick comes up with plan to divert the meteor with a laser beam.

Antagonist Conflict 5: Dick has come up with a new plan. So Ted must get Bob to tamper with the laser beam.

External Conflict 5: They can’t get the beam close enough from the ground.

Antagonist Conflict 6: Ted calls Sally and tells her Dick and Jane are having an affair.

Internal Conflict 5: Sally accuses Dick of having an affair with Jane at work. Dick is called away.

Interpersonal Conflict 6: Captain Curtis balks at sending the laser to the space station.

External Conflict 6: They send the laser to the space station. The equipment breaks off and is lost in space.

TURNING POINT TWO

Internal Conflict 6: Dick finds Sally packing her bags. Dick says, "Don’t leave. I love you. I’ve always loved you."

She replies, "Then why are you ruining things?" Should he tell? Is it better for her to know or not know that their days are numbered?

Antagonist Conflict 7: Dick confronts Ted. "You had something to do with this." Ted replies, "You’ll never prove it and in a few days it won’t matter anyway."

External Conflict 7: They are back to the drawing board - all seems lost. They enter countdown mode.

Internal Conflict 7: Sally tells Dick that she received a call from Ted and that he said there was no reason for Dick to stay at work. That he is lying to her.

External Conflict 8: Dick comes up with a final plan. It is do or die. They will nuke the meteor.

Antagonist Conflict 8: Ted must find a way to make certain the shuttle doesn’t take off.

Interpersonal Conflict 7: Captain Curtis appeals to his crew. Is anyone willing to go? Captain Curtis decides to go himself.

Internal Conflict 8: Dick tells Sally the truth.

CLIMAX

External Conflict 9: They rev up the shuttle loaded with a lethal payload to intercept the meteor and, despite last minute glitches, the shuttle takes off on a suicide mission.

Antagonist Conflict 9: Ted’s attempts to prevent take off fail.

Interpersonal Conflict 8: Ted and Jane have a show down. Jane can’t believe Ted is so evil.

Internal Conflict 9: Dick and Sally spend the evening together knowing it may be their last.

Interpersonal Conflict 9: Bob rats on Ted.

Interpersonal Conflict 10: Jane and Bob celebrate when the shuttle succeeds.

Antagonist Conflict 10: Ted is led off in handcuffs.

RESOLUTION

External Conflict 10: Their plan succeeds and everyone lives, except the crew of the shuttle.

Interpersonal Conflict 11: General Smith tells Dick to stay. He is too valuable an asset to retire.

Internal Conflict 10: Dick and Sally leave for the airport to go on their vacation.

THE END

Now that we have a basic outline of the plot progression, we can begin our first draft. If massive changes are made along the way, it doesn’t hurt to repeat this exercise at the end. Make a list of each scene and the conflict it addresses. Does it still flow in a logical cause and effect order? 

Next week, we will take a look at how subgenres can affect the story idea.

As always, if you find this information useful, please like and share. 

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/

Working the Theory Internal Conflict Scenes

 

Internal Conflict scenes introduce and explore the personal dilemma your protagonist struggles with. The verbal camera is focused with a tight spotlight beaming on the protagonist in the background. Use these scenes to reveal the protagonist’s back-story and show him dealing with his guilt, pain, or need which leads up to and is resolved by his point of change.

These conflicts test the protagonist’s character and faith. They make him question who he is and what he does. These are the emotional complications or ties that bind that complicate the overall story problem.

If the love interest has equal weight, you can explore her personal dilemma and point of change in these scenes as well.

Internal conflict scenes can be flashbacks, dreams, and revelations of back-story through memories or an encounter with a friend or foe.

You can show him exhibiting one type of behavior in the beginning and a complete reversal of behavior at the end to show the point of change.

These scenes can reveal the event that happened in the past and how it changed him: he deals with the death of his partner, the loss of his wife, or the child he didn’t save.

The internal conflict often culminates in the section after the climax, where we find out if the protagonist lives happily ever after. It can also culminate just prior to the climax.

That does not mean other characters cannot be in these scenes or that he is not doing anything. It means the verbal camera is zeroed in on his thoughts, feelings, actions, and reactions to the underlying problem that drives him and complicates the overall story problem.

In this Thriller, Dick’s personal dilemma focuses on his marriage. His marriage is on the rocks because he is a workaholic. He had planned to retire but this latest crisis forces him to keep working.

Internal Conflict 1: Dick and Sally make plans to go on a long-awaited vacation. He gets a call.

Internal Conflict 2: Dick informs Sally that he isn’t retiring after all. He can’t tell her why.

Internal Conflict 3: Dick and Sally fight about the vacation. Looks like we’ll have to cancel it.

Internal Conflict 4: Sally gives Dick an ultimatum. “I’m tired of waiting. It’s me or the job.” Dick replies, “If I don’t do this there won’t be any me or you.” Sally asks, “What do you mean?” To which Dick replies, “I can’t tell you.”

Internal Conflict 5: Sally accuses Dick of having an affair with Jane at work. Dick is called away.

Internal Conflict 6: Dick finds Sally packing her bags. He begs, “Don’t leave. I love you. I’ve always loved you.” Sallies feels otherwise, “Then why are you ruining things?” Should he tell? Is it better for her to know or not know that their days might be numbered?

Internal Conflict 7: Sally tells Dick that she received a call from Ted and that he said there was no reason for Dick to stay at work. That he is lying to her.

Internal Conflict 8: Dick tells Sally the truth.

Internal Conflict 9: Dick and Sally spend the evening together knowing it may be their last.

Internal Conflict 10: Dick and Sally leave for the airport to go on their vacation.

In the next section, we will look at the best way to layer our scenes. 

As always, if you find this information useful, please like and share. 

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/.

Working the Theory Interpersonal Conflict Scenes

Interpersonal Conflict scenes reveal how the protagonist and love interest, if applicable, are affected by friends and foes. These conflicts test the protagonist’s friendships, loyalties, and will to continue.

This is your verbal camera focused on stage left. Interpersonal conflicts are the push and pull away from the action needed to solve the story problem by secondary characters.

Depending on the point of view, they can involve the friends and foes interacting with the protagonist, love interest, antagonist, or each other. Friends and foes can be used in any combination of scenes that fit with your story line. There will be both positive and negative interchanges with these characters.

Interpersonal scenes address subplots and side stories which should culminate before the climax, with everyone lined up and revealed to be on which side of the fight. Subplots should circle back to and intersect the external story problem. If they don’t, you should consider cutting them.

Secondary characters should have an agenda and stakes. They want to hide, reveal, provide, or take something away. Their personal goals may be at odds with the protagonist’s goal, or the antagonist’s goal. Their situation may complicate the overall story problem, intentionally or unintentionally.

If you are writing in third person omniscient or shifting point of view, you can use the different viewpoints to express the friends’ and foes’ thoughts and feelings or show them taking actions the protagonist would be unaware of.

Interpersonal scenes require the most flexibility depending on the point of view you choose, the number of subplots, and the length of the story. You should decide how many scenes each subplot requires, but they should not exceed the number dedicated to the main throughline. List notes for each subplot scene including inception, complications, and conclusion.

Let’s say that Jane is in love with Ted and wants to help him. Captain Curtis is in charge of the space shuttle. General Smith represents the military and controls the satellite. Bob is the ground crewman controlled by Ted. Jane works with Ted and Dick.

Interpersonal Conflict 1: Jane meets with Ted to declare her feelings before it is too late. He manipulates her into helping him without telling her the real reason.

Interpersonal Conflict 2: Jane meets with Dick and gives him erroneous data.

Interpersonal Conflict 3: General Smith argues that his satellite is too important to be used to adjust the meteor’s trajectory. It could cause more harm than good. They should blow it up.

Interpersonal Conflict 4: Bob tries to tinker with the satellite, but almost gets caught by Jane.

Interpersonal Conflict 5: General Smith relents and allows the satellite to be used.

Interpersonal Conflict 6: Captain Curtis balks at sending the laser to the space station.

Interpersonal Conflict 7: Captain Curtis appeals to his crew. Is anyone willing to go? Captain Curtis decides to go himself.

Interpersonal Conflict 8: Ted and Jane have a show down. Jane can’t believe Ted is so evil.

Interpersonal Conflict 9: Bob rats on Ted.

Interpersonal Conflict 10: Jane and Bob celebrate when the shuttle succeeds.

Interpersonal Conflict 11: General Smith tells Dick to stay. He is too valuable an asset to retire.

Next week, we look at Internal Conflict scenes.

As always, if you find this information useful, please like and share. 

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/.

Working the Theory Antagonist Conflict Scenes

Antagonist Conflict scenes introduce us to the antagonist or antagonistic forces. This is your verbal camera focused on stage right. 

These scenes test the protagonist’s and antagonist’s knowledge, ingenuity, and strength. They are battles of will and wit.
They develop how the protagonist and antagonist face off in between the external conflict scenes. 

If you are only following the protagonist’s POV, these scenes are where the lead alien and the hero face off, the serial killer taunts the investigator, the brothers fight over the woman, the scientists clash over the best way to thwart the meteor, or the knight and the infidel cross swords.

If the verbal camera follows the antagonist, or these scenes are written from his point of view, they show him actively pursuing his goal and reveal his personal dilemma. They show him interacting with his henchmen or threatening secondary characters.

In some stories the antagonist force may be pushing the character to do something positive. Some stories that don't have an evil villain. In a Road Trip, Team Victory, Romance, or Golden Fleece tale, there may not be an overt corrupt or evil character.  In these cases, the character who serves as an antagonist is the one who has the biggest impact on the protagonist. They butt heads and interfere. They exchange barbs if they aren't exchanging bullets.

In Antagonist scenes, the villain states his side of the thematic argument. All of these conflicts lead to the climactic confrontation with the protagonist. The final scene reveals the fate of the antagonist. 

If you are using antagonistic forces rather than a person, these scenes show the protagonist struggling against them. If the force is nature, these scenes show the protagonist being threatened by nature. If the force is society or a controlling power, these scenes show him working against them. If the force is family disapproval, and a specific member isn’t singled out as an antagonist, then these scenes show the protagonist trying to win them over or to break their hold over him.

Antagonist scenes escalate the conflict between the protagonist and antagonist or antagonistic forces: snags in the plan, unexpected discoveries, reversals, gains, important information concealed or revealed, and increasing levels of threat. They are arranged in an order that will make the most impact. The first scene should introduce the antagonist or forces. The final scene should reveal the final disposition of the antagonist or vanquishing of the forces.

Using our thriller story seed, let's look at what the antagonist scenes could look like. 

Ted is directly opposed to stopping the meteor. He has been so damaged by life that he thinks it is time for humanity to be destroyed. Since this is a thriller, we will allow the verbal camera to follow Ted.

1. Ted learns there is a meteor headed toward earth. Finally, the world can be destroyed and he doesn’t have to lift a finger. All he has to do is sit back and watch the show.

2. Dick has come up with a plan. Ted vows to make sure it doesn’t work.

3. Ted is denied access to the equipment. He has something on one of the grounds crew, Bob, and uses that pressure to convince him to tamper with it. But we’ll all die. Do you want to die now or later?

4. Ted confronts Dick. Why are you trying to stop the inevitable?

5. Dick has come up with a new plan. So Ted must tamper with the laser beam.

6. Ted calls Sally and tells her Dick and Jane are having an affair.

7. Dick confronts Ted. You had something to do with this. You’ll never prove it and in a few days it won’t matter anyway.

8. Ted must find a way to make certain the shuttle doesn’t take off.

9. Ted’s attempts to prevent take off fail.

10. Ted is led off in handcuffs.

Next week, we will look at Interpersonal Conflict scenes.

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/.

As always, if you find the information useful, please like and share.

Working the Theory External Conflict Scenes

Now that we have chosen the story skeleton, the challenge is providing riveting obstacles between question and answer to keep the reader glued to the page. The reader knows from the outset that the hero will most likely survive. Your mission is to make them question the outcome anyway. We do this by utilizing the four layers of conflict.

We began with the premise of a meteor streaking toward earth, Dick as a conflicted scientist, his crumbling marriage to Sally, and Ted and Jane as coworkers who make his life miserable.  We have selected the Disaster Thriller format. Let’s start crafting conflict.

External conflicts test the protagonist’s courage, nerves, and determination.

They are high tension scenes that focus on the question of whether the overall story goal will be achieved. They include the main actions and reactions and turning points leading directly to, and including, the climax of the story.

External scenes show the characters caught up in the situation of your premise such as: boy meets girl, the volcano erupts, aliens invade the town, a body has been found, they are all forced to go to a wedding or reunion, or the wagon train heads out for the wild west. They do not address the subplots unless and until the subplot collides with the main plot at the climax.
They introduce the protagonist, the inciting event, the story goal, the prize for reaching the goal, and the cost for not reaching the story goal (stakes). They show him developing and attempting a plan of action for tackling the story problem. In the usual three-act structure, his first plan fails and he must come up with a second plan (the wrong solution). That plan fails and he must come up with the third plan (the right solution).

There have to be some positive moments where it looks like the protagonist is gaining ground. You could divide them equally: five scenes where he is making headway and five scenes where he is losing ground.

Once you’ve picked a skeleton and dressed it up, it is time to list your initial thoughts on events that will happen to trigger then escalate this external conflict: snags in the plan, unexpected discoveries, reversals, gains, and increasing levels of threat. Arrange them in an order that shows cause and effect and final resolution. The first scene should contain the inciting event. The final scene should contain the climax.

Continuing with our premise, we have come up with a list of scenes that introduce and eventually resolve the outer conflict: the imminent meteor strike.

External Conflict 1: Dick learns a meteor will strike.

External Conflict 2: He thinks of a way to stop it while it is still far away. He will nudge it with a satellite.

External Conflict 3: The satellite crashes into, but doesn’t change, the meteor's trajectory.

External Conflict 4: He comes up with plan to divert the meteor with a laser beam.

External Conflict 5: They can’t get the beam close enough from the ground.

External Conflict 6: They send the laser to the space station. The equipment breaks off and is lost in space.

External Conflict 7: They are back to the drawing board - all seems lost. They enter countdown mode.

External Conflict 8: Dick comes up with a final plan. It is do or die. They will nuke the meteor.

External Conflict 9: They rev up the shuttle loaded with a lethal payload to intercept the meteor and, despite last minute glitches, the shuttle takes off on a suicide mission.

External Conflict 10: Their plan succeeds and everyone lives, except the crew of the shuttle.

Next week, we will craft Antagonist Conflict scenes.

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/.

As always, if you find the information useful, please like and share.

Working the Theory

Genre is the promise you make to your reader to give them the kind of story they want without annoying them by giving them information they don’t want.

So what happens when your premise, that brilliant story seed that came to you in a dream or while pacing your kitchen at 3:00 a.m. on a sleepless night, doesn’t fit neatly into one of those broad categories? What if the term genre makes you feel slightly nauseated or makes you fear you’ll have to kill too many darlings?

Let’s say you have an idea for a story involving a meteor streaking toward earth, a conflicted scientist, his crumbling marriage, and coworkers who make his life miserable. How do you decide what to do with it? There are hundreds of variations on the same premise. You develop the idea by choosing a story skeleton and dressing it up to suit your taste. Let’s start with choosing a story skeleton based on the central question. Every plot hinges on a central question. Posing the question at the beginning of the tale and answering it at the end is sound story architecture.

Let’s play with skeleton selection with a few broad options. We start with a story idea about protagonist Dick, love interest Sally, bossy Jane, jealous Ted, and a meteor streaking toward earth.

OPTION ONE: We can dress up the Literary skeleton and explore the theme that relationships are vulnerable to unexpected blows. The impending meteor strike could be real or imagined, past or present. The tension it creates, or the mystery that surrounds it, tests the bonds of the people involved. Threatening situations can bring out the best or worst in people. The central question becomes: What life altering decision will Dick make and how will it affect his life? He can decide to walk away from his chosen career, stay or leave an unsatisfying relationship, or come to terms with the fact that you can’t save everyone, especially from themselves.

OPTION TWO: We can take it on a Road Trip. Dick, Sally, Jane, and Ted travel to the crash site. What they find when they get there isn’t the main concern. It is what they learn along the way. The central question is: What is he feeling and how does it change? Dick can gain an important insight about himself, clear up a misunderstanding from the past. He can find out Sally is having an affair with Ted and Jane has always been in love with him. External obstacles make the destination difficult to reach and interpersonal squabbles bring the conflict to a head, but the internal journey is the focus. The Road Trip could be a slow psychological dissection or a hilarious Comedy.

OPTION THREE: We can wrangle it into a Western. Dick is the Sheriff. Ted owns the ranch where the meteor landed. Jane is the saloon girl who secretly pines for Dick while fighting off unwelcome advances from Ted. Sally is the new widow in town that Dick falls for. The Indians see the meteor as a sign that the white man must leave town or their world will be destroyed. The overall story question becomes: Will they overcome the challenges and stay or will they go?

OPTION FOUR: We can warp it into a Science Fiction future where the meteor is being controlled by savage Carpathians. Dick is the ship’s captain. Ted is his argumentative first officer. Jane is his communications director and is having an affair with Ted. Jane wants Ted to take the Captain’s seat so she can become first officer. Sally is the security chief and half Carpathian. Dick is intent on finding a way to turn the meteor against the Carpathians while Sally lobbies for a peaceful resolution. After all, not all Carpathians are evil. Ted and Jane realize at the last minute that if Dick fails, they all die along with promotional possibilities.  Sally forges a peace treaty while Ted and Jane live to plot another day and Dick is once again the hero in the eyes of the federation.

Which category do you want to explore with your premise? You may not be certain yet. There are subcategories to consider. You can mix genres. You can bend and twist genres. But at some point, you have to pick a main through line that gives a story direction and momentum.

You can have a historical thriller with romantic complications. If it is heavy on romance with the thriller threat as a complication, you market it as romance. If you follow the thriller skeleton, the romance complicates the threat they overcome at the end. The way you layer the genres affects the skeleton dressing, but the central question drives the marketing. 

Next week we look at the different layers of conflict that play a part in your decision making. Who is your hero and what complicates his mission? Who is your antagonist? Who are the friends and foes? Is there a love interest?

Next week, we look closer at the external conflict layer.

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on https://dianahurwitz.com/.

As always, if you find the information useful, please like and share.

 

The Four Layers of Conflict

"Every scene should contain conflict."

This advice led me on a journey to answer the question, “How do you come up with conflict for every scene?” 

I developed the four layer method when crafting my YA series Mythikas Island. There were four books. Each character (Diana, Athena, Persephone, and Aphrodite) had their own story arc and acted as the point of view character in their installment of the four book journey. However, there was no one "bad guy" in the book. So how could I make the story tense without a villain or major battle scenes between good and evil?

As I read and studied, I realized there was another way of looking at conflict in a story. There were different types of conflict in the books, movies, and TV shows I dissected. Many did not have a central villain.

The result is the Four Layer of Conflict method which takes writers from “I have an idea” to the actual nuts and bolts of “I have the required scenes and all pull their weight.” This method can help new writers complete their first novel and offers experienced writers another way of looking at structure.

The first layer is the External conflict layer which focuses on the central conflict of the story. There are times when the characters make progress toward the goal and times when they fail and have to regroup. These are the big battle scenes or the high tension emotional tipping points. They include the inciting event that starts the story ball rolling and all the key scenes that encompass the twists and turning points and the climactic moment.

The Antagonist layer involves scenes where the antagonist and his minions are enacting or plotting their side of the battle or the protagonist and antagonist are in direct conflict. It can be antagonist forces such as weather, terrain, organizations, etc. Whatever, or whoever, is the main source of resistance that stands in the protagonist's way. The POV used depends on the focus of the scene. If you follow only the protagonist, then this is their encounter with minions or friction with the antagonist leading to the main turning points. If you follow the antagonist or other characters, these scenes can follow the antagonist working their plan or interacting with other characters.

The Interpersonal layer involves the friends and foes, perhaps the love interest if it isn't a Romance. These cast members aid and abet or derail the protagonist's efforts to reach the overall problem goal. Sometimes secondary characters have their own arc. This layer follows their detours which will require extra interpersonal scenes.

The Internal layer follows the inner conflict of the protagonist. They often have internal resistance to taking on the challenge. It follows the hero wrestling with his conscience. He may not feel worthy or strong enough. Sometimes their personal life interferes with the challenge, an illness or addiction that makes winning seem unlikely. It is sometimes divided loyalties or a problematic relationship. This is the protagonist's personal crisis moment. Do they have what it takes? Should they quit? Should they leave it alone and take care of other problems? Not all stories have an internal layer. This is often left out of Horror stories. I think it is stronger if present.

If you interweave multiple story threads, each may have its own four layers. Perhaps it is a past versus present story or multiple characters that come together at the end. There are many ways to utilize the building blocks. Later we will look at how they play out in each genre.

Next, we look at how the layers can be utilized to develop a story.

The four layer method is laid out in Story Building Blocks: The Four Layers of Conflict, available in paperback and e-book if you wish to have a copy with all of the information. The theory information is also available on http://dianahurwitz.com.

As always, if you find the information useful, please like and share. 

 

What Is The Central Question Of Your Story?

Every plot hinges on a central question. Posing the question at the beginning of the tale and answering it at the end is sound story architecture. Does that task make your head spin? It shouldn’t. It’s as easy as choosing a story skeleton. Let's look at the fourteen genre's I present in Story Building Blocks.

The Comedy skeleton poses the central question: What do I think and how has this changed it?  

The goal is to make your reader laugh while subtly exploring ideas such as ethnicity, relationships, prejudices, social practices, politics, religion, or manners. Any genre can be written with a comic flair. But a true comedy often uses humor to talk about difficult things or express uncomfortable truths.

The Con, Heist & Prison Break poses the central question: Will they succeed? 

There is often an assembly of a team, but the protagonist has a goal that he considers noble. He can be exacting revenge or payback, seeking justice, righting a wrong, etc.

The Fantasy skeleton poses the central question: Will the hero obtain or learn to use the power to defeat the evil that has disrupted his world in time?

The force is usually with the hero. The wicked witch gets her just due. Lord Voldemort is defeated. If you plan a sequel, the villain can live to fight the hero another day, but the story must show a resolution to a skirmish in the battle. There are many subgenres of fantasy and each puts a twist on the overall story problem. There is often a romantic layer. But the difference here is the overall story is about the conflicts not whether the couple ends up together.

The Gothic story is related the Horror story, but it has specific elements that make it stand out. 

The overall story problem is a deep, dark secret threatening to break free. The reader asks will they realize the danger in time and will they escape?

The Historical story explores events set in the past. The reader asks: what was it like and how did it change things?

It can involve historical characters in an historical situation, historical characters in fictional situations, or fictional characters in historical situations. There can be elements of Romance, Mystery, Thriller, Science Fiction, and Fantasy, but the overall story problem focuses on the historical situation more so that the other genre elements. Otherwise, it is another genre story with a historical setting.

The Horror story involves a mortal threat to an individual or group. The reader asks what brought the danger near and how will they get away from it?

The horror story takes suspense to a higher, usually more explicit, level and generally contains more graphic material than the Thriller. No story makes your skin crawl more than the horror story. The answer can go either way as long as you reveal the reason why. Some horror stories ignore the first half of the question, but fans consider that a weak story. The mythology has to make sense. Fans usually want the main character to live to be frightened another day, even if every other character is knocked off by the tale's end.

The Literary story is usually a wrenching, life-altering, personal decision or life event. The reader asks:  what are they feeling and how will it change?

I use the term literary to cover the human drama genre, it is not a statement as to what constitutes "literature" with a capital L. Theme is key.  Literary can have a specific plot or be a slice of life vignette. Literary fiction does not always follow the traditional story arc,  but the protagonist must undergo a point of change no matter how minimal. The Literary story can be mixed with elements of any genre.

The Mystery skeleton poses the central question: Who did it and will they catch him? Sometimes it is a "howdunnit."

The answer is usually “yes.” The criminal may escape at the last moment to torment the detective another day, but the case that is the focus of the story is considered solved. Twists where someone other than the detective solves the crime or there wasn’t a crime after all should be rerouted to the Thriller section.

The Road Trip  overall story problem is a lesson that needs to be learned or a secret that needs to be revealed. The reader asks: how did this journey change them?

It can be mixed with any other genre with the caveat that two or more people (or a person and animal) are forced into traveling together. They can be trying to reach somewhere or running from something. It isn’t the end of the journey that matters as much as the friction between the characters and the obstacles or stops they overcome along the way. 

The Romance skeleton poses the central question: Will they or won’t they end up together?

The answer had better be “yes” or a satisfying equivalent. The girl can find out guy A isn’t what she wanted after all because she found guy B, but this is not the genre for an “I’m okay on my own” ending. That story uses the Literary or Women's Fiction skeleton. Romance readers want passion and fulfillment and are very disappointed if they don’t get it.

The Science Fiction skeleton poses the central question: Will the hero find, change, or stop something in time?

Most fans prefer an "up" ending. They want to believe that we can overcome the challenges to our existence, especially if you plan a sequel. There can be a romance layer here. Science Fiction needs to be rooted in science, nature, and physics. This sets SciFi apart from Fantasy where magic and paranormal events are possible.

The Team Victory story problem is an underdog who needs to win or achieve something. The reader asks will they win? 

Usually they do. If not, they should still feel really good about it: almost was good enough.  Usually the other coach or team needs to be taught a lesson. These are mostly action and plot-centered tales that make people feel good.

The Thriller & Suspense story problem is a threat to one or many. The reader asks: how will they, and by proxy we, survive the threat? 

For an "up" ending, the hero succeeds. If you want a "down" ending, the hero can fail and learn an ugly truth. It can have an up/down ending. Twists often provide an unexpected answer in this genre.

The Western story problem pits man against self, other men, or nature to survive in an unsettled land. The reader asks how will they overcome the difficulty and will they stay or go?

The conflicts weigh the morality and challenges of survival. Part history and part myth, they explore the people who are courageous enough to explore new frontiers and the obstacles they must overcome to do so.

Once you've chosen a skeleton, the challenge is providing riveting obstacles between question and answer to keep the reader glued to the page. The reader knows from the outset that the hero will most likely survive. Your mission is to make them question the outcome anyway. You do that by exploring believable obstacles.

Next week, we will take a look at the four layers of conflict that are the building blocks you can utilize to tell any tale. They help you fill up the murky middles and act as goal posts to keep the story flowing. They offer a lot of latitude for story development as opposed to the two twists and a finale formula.

If you want to learn more, you can check out Story Building Blocks at www.dianahurwitz.com for free information and forms. 

You can follow new posts on this topic on Facebook https://www.facebook.com/storybuildingblocks or opt for an email through follow.it.

You can check out the Master List of blog posts at  http://dianahurwitz.blogspot.com/2021/10/master-list-of-mini-courses.html

As always, if you find this information useful, hit the like button and share.

Successful Books Begin With A Promise

“You promised!” is a cry often uttered by frustrated toddlers denied a treat. Frustrated readers feel this way when a writer makes a promise they don’t keep.

One of the most important things you as a writer need to decide before you publish or pitch a book is what kind of promise are you making to your reader? When a reader buys a book they want to know  what kind of adventure they are settling down to read. Readers find comfort in certain story forms. Just like ordering from a menu, you want what you want, not what someone else thinks it should be.

You can add stars and quotes and reviews all over the cover, but if you haven't told them: come aboard, ride with me, this is the kind of story I want to tell, it's all wasted effort. Your story promise in the one thing that matches the right audience with your product.

Premise is the story idea, such as a tragic love story about ferrets. The premise could feature giant cockroaches invading the planet, a guy meeting the girl of his dreams, a terrorist attack, aliens descend, a murder is committed, an asteroid heads toward earth, a mysterious virus strikes, a heist is planned, a criminal breaks free, a thief needs to be caught, a monster eats Manhattan, or an evil wizard seeks control of Wonderland. Translating the story idea into a novel-length manuscript is where the work begins.

You must pick a promise which ties in to genre. 

The term genre is often considered a four-letter word. I say genre is the skeleton key that opens doors instead of a locked door that limits your freedom. Genre plays an important role in storytelling. Ancient man did not sit down at the communal fire and promise to tell a testosterone-filled tale about hunting then launch into a boring account of how he picked nits from his partner’s hair. He would have been justifiably chased into the woods by people armed with clubs.

A premise can combine several ideas such as vampires and a love story. However, you must decide if the focus is going to be on vampires killing off humans thus preventing the lovers from getting together or a Romance about people who happen to be vampires. Right off the bat, the concept of vampires will intrigue some and repel others. That is acceptable. You can’t please everyone. If you want to write a vampire tale, write it. If it is good, there will be an audience. If it is bad, there might be a key element of it that attracts readers anyway.

Romance genre readers may not read Horror and vice versa. Horror stories can have light moments, but Horror fans expect to be frightened from page one. If your story does not deliver on that promise, Horror fans are disappointed. Regency Romance lovers expect a love story set in Regency England. They are offended if you throw in a serial killer.

If a reader is warned beforehand that your story explores the mind of a pedophile, she may pass it by. If the cover tells her she is getting a lighthearted Romance and you toss in a pedophile, she will toss your book in the nearest trash bin. Next time she sees a book written by you, she will shudder and move on. I once sat down to read what was billed as a lighthearted Comedy. There were some funny lines, but the story was about child abuse. I was not amused.

Carefully select the promise you want to make to the reader then keep it. It’s the secret to winning loyal fans.

But my novel is full of lots of things! I see this often. That means you are confused about what your plot really is. 

There can be several layers to a story. You can have a Fantasy novel with Romance layer. You can have a Sci-Fi novel set in the old West. You can have a Road Trip that is a serious literary journey or a comedic romp. To help you parse what layers your story has, next week we will look at the importance of the Central Question.

If you want to learn more, you can check out Story Building Blocks at www.dianahurwitz.com for free information and forms. 

You can follow new posts on this topic on Facebook https://www.facebook.com/storybuildingblocks or opt for an email through follow.it.

You can check out the Master List of blog posts at  http://dianahurwitz.blogspot.com/2021/10/master-list-of-mini-courses.html

As always, if you find this information useful, hit the like button and share.

The Magic of Mark Budman

 I just finished the most delightful book by Mark Budman, The Shape-Shifter's Guide to Time Travel.

It is suitable for any age, not just YA. The main character, Rose, travels to the last land of magic in the modern world, fictional Temnova, as an exchange student. She teams up with the Prince of Talents, an advanced shape-shifter named Gavrilo. Together they must go back in time to find an antidote to a drug that suppresses the power to shift. The government has imprisoned the rebel leader and only the antidote can free her and aid their cause to overthrow the totalitarian dictatorship.

The narrative voice makes the characters and setting come alive in a truly divine way. I'd give it six stars if they were available. 

Mark Budman is a first-generation immigrant. His fiction has appeared in Catapult, Witness, World Literature Today, Mississippi Review, The London Magazine (UK), McSweeney’s, Painted Bride Quarterly, and elsewhere. He is the author of the novel My Life at First Try, published by Counterpoint, and co-editor of immigration-themed anthologies published by Ooligan Press, Persea, and the University of Chester (UK). One of his short story collections from Livingston Press received a starred review at Kirkus and another received an honorable mention by the Forward Indies 2022 Award.

I had the pleasure of chatting with him about his writing career.

1.  What led you to your path as a writer?

As soon as I learned the letters, I began to put them together, and I enjoyed the process so much that I switched to assembling words. The sentences came a little later. By the time I progressed to novels, I immigrated to America and had to learn another language.

2. Are you a plotter, pantser, or combination?

A pantser all the way. That is why my pants need replacement more often than the rest of my wardrobe.

 3. How has your background as an immigrant informed your writing?

I answered a bit in #1 but in addition, I consider myself a champion of immigrant fiction and as such I co-edited an immigrant-themed anthology and penned an immigrant-themed novel and two short story collections. All were moderately successful. For someone who learned English at the age of 30.

4. What was your inspiration for The Shape-Shifter’s Guide to Time Travel?

I love fantasy. I love the what if question. I asked myself, what would happen if two people with disparate powers fell and love and combined their powers? What if this would have happened in an oppressive country like my native Soviet Union?

5. Is there anything you would like your readers to take away from this book?

Be young in spirit and adventurous no matter how old you are. And have a good friend. They come in handy. Just come in handy for them as well.

6. You write multiple genres. Do you have a favorite?

Magic realism is my number one love. To combine realistic and surreal in one believable blend. If you make it real, what can be more magical?

7. What is your advice for someone who dreams of writing?

If you have a wish, don't squish it. Work hard and turn the naysayers into admirers. 

8. Do you have a favorite author or two?

Mikhail Bulgakov. I reread his Master and Margarita several times. I imagined myself both of them but not at the same time.

9.  What do you like to do when you’re not writing?

Watch fantasy shows. Currently, it's Foundation.

While I believe anyone can learn the craft of writing, some are just born with natural wit and story-weaving capability that sets them apart. Mark Budman is a natural. In addition to devouring the Shape-Shifter's Guide to Time Travel, I have his book The Armor Thieves on my Kindle to read next. Pick up your copies today!

https://www.amazon.com/Shape-Shifters-Guide-Time-Travel-ebook/dp/B09BBY2QYG/r

https://www.amazon.com/Armor-Thieves-Mark-Budman-ebook/dp/B0BN7182CD/

In a country ignored by most search engines, Andrey and Nina, a brother and sister, take opposite sides in a civil war. Both wear the pieces of an ancient queen’s armor protecting them and only them from any modern weapon and from each other. They both are brilliant and attached to their causes. He’s twenty. She’s eighteen. He’s a modest archivist. She’s a rising star in the Secret Police. He’s a newbie superhero, and she’s a novice super-villain. He loves her. She hates him and his friend Vesna. She wants to fight. He has to fight. Only one can win but many can lose as a result.

I look forward to reading many more stories from this talented author. 

Separating the Writer from the Story

There is a mistake most beginning writers make. They think, or have been told, they have an anecdote or situation from their life that would "make a good book." Chances are, it doesn't. Not that it isn't an interesting story, perhaps an important story of survival or overcoming a trauma, but that doesn't build a plot. 

Many writers start off this way. I certainly did. I thought well, this was a unique situation. It was. But it wasn't a good fictional situation. Plot is not situation. Plot is when an inciting incident happens forcing a protagonist to face obstacles to a achieve a goal that has stakes. 

The problem is that most beginners attempt to shoehorn a real life situation into a fictional framework. But fiction doesn't work that way. You can't write the first half as autobiography then twist the story into a genre plot. The frame is poor and the glue won't hold.

I am not saying that a writer can't be inspired from things in real life. I am saying there are requirements of a good story and genre expectations.  Readers have expectations. They want to know what kind of story they are buying. They want it to meet certain minimum requirements. They really hate bait and switch: when it appears to be one kind of story but turns into another story form they don't like. The biggest problem with this approach is that many readers will walk away unsatisfied. Worse, they will voice their displeasure in a review. They may never give your writing another chance.

So what is the solution? There are multiple options. 

1. You can write an autobiography.

Autobiography is a chronological narration of your life. You takes notes about the important bits and cut the boring bits. Think of it as a highlight reel. Hopefully the content is interesting enough that other people want to read about you. It helps if you are famous or have some illustrious career or fascinating hobbies.

https://www.masterclass.com/articles/how-to-write-an-autobiography

2. You can write a memoir.

A memoir is a group of anecdotes related by a theme: love, loss, relationships growing and dying, life beginning and ending. It can feature a series of successes or failures. It can be a tale of overcoming a disease, an addiction, a trauma. Finding your audience depends on the theme.

https://www.masterclass.com/articles/how-to-start-writing-a-memoir

3. You can take elements from your personal narrative and turn it in to a literary drama.

You have to let go of the idea that it is your personal story and make all elements serve the plot. 

But it is true! But that's what really happened! It isn't that simple (insert complex explanation). 

That has to go. Do you want to write a memoir or a sound fiction story? There's no point twisting yourself into a pretzel to try to make a biographical anecdote fictional. It's just not worth the effort. The story will be weak.

Subgenres include: 

● Activist/Cause Literary examines the ramification of a social topic, politics, religion, man's inhumanity to man.

● Coming of Age Literary examines an adolescent facing adulthood.

● Crime Literary examines the impact and fallout from a crime for the victim, victim's family, the perpetrator, or his family.

● Disease/Death Literary examines the effects of a serious illness or the impact of a death.

● Friendship examines the building, maintenance, or unraveling of a friendship.

● Historical Literary examines the impact of a pivotal point in history on a person and/or their close personal friends and family.

● Legal Literary examines how upholding or contesting the law impacts a person or group of people.

● Malfeasance Literary examines how a corporation or group has damaged people and how their crimes are exposed.

● Multi-Generation Family Saga examines the lives of two or more generations in a family.

● Relationship Literary examines the building, maintenance, or unraveling of any relationship.

● Romantic Literary examines the building, maintenance, or unraveling of a romantic relationship as opposed to the happy-ever-after expectation of the Romance genre.

● Revelation Literary examines the impact of the revelation of a secret or a universal truth.

● Situational Literary peels back the layers of a problem to reveal the cause.

● War Literary explores the cost of war.

4. You can write a story from any other genre. 

There may be elements that inspire your fiction, but don't let your life story hinder the mechanics of a fictional one.

For more on literary drama and other genres you can put your idea through the story sorter here:

http://dianahurwitz.com/theory.html

If you want to learn more, you can check out Story Building Blocks at www.dianahurwitz.com for free information and forms. 

You can follow new posts on this topic on Facebook https://www.facebook.com/storybuildingblocks or opt for an email through follow.it.

You can check out the Master List of blog posts at  http://dianahurwitz.blogspot.com/2021/10/master-list-of-mini-courses.html

As always, if you find this information useful, hit the like button and share.

A Few of My Favorite Things: Anne of Green Gables

Anne of Green Gables by
Lucy Maud Montgomery

It is the late 1800s at Green Gables in the fictional town of Avonlea on Prince Edward Island. Geriatric Matthew and Matilda Cuthbert reached a point where they needed help on the farm. So they applied to an orphanage to take on a boy old enough for the job. Instead they get Anne Shirley, a loquacious, dreamy, eleven-year-old girl.

“Isn't it splendid to think of all the things there are to find out about? It just makes me feel glad to be alive--it's such an interesting world. It wouldn't be half so interesting if we know all about everything, would it? There'd be no scope for imagination then, would there? But am I talking too much? People are always telling me I do. Would you rather I didn't talk? If you say so I'll stop. I can STOP when I make up my mind to it, although it's difficult.”

She charms them in to letting her stay. As she struggles to adjust to life on the farm and school, she proves a challenge. Both grudgingly fall in love with her and decide to keep her.

“Because when you are imagining, you might as well imagine something worthwhile.”

The story is told by an omniscient narrator in third person. The pace is deliberately slow and the tone lighthearted.

“It's been my experience that you can nearly always enjoy things if you make up your mind firmly that you will.”

The protagonist is quirky and spunky. Her secret weapons are her imagination and resiliency.

"Nothing could rob her of her birthright of fancy or her ideal world of dreams." 

When her world disappoints, even cuts when Matthew Cuthbert dies, she embraces her fate with courage and determination.

“Anne always remembered the silvery, peaceful beauty and fragrant calm of that night. It was the last night before sorrow touched her life; and no life is ever quite the same again when once that cold, sanctifying touch has been laid upon it.”

The pull, of course, is the orphan finding a home through line. The Cuthberts are decent people, though somewhat set in their ways. There are disapproving neighbors and bullying children to fill in as antagonists, but no one is overtly evil.

“Life is worth living as long as there's a laugh in it.”

Montgomery's attention to detail brings the characters and setting to life.

“Look at that sea, girls--all silver and shadow and vision of things not seen. We couldn't enjoy its loveliness any more if we had millions of dollars and ropes of diamonds.”

“It was November--the month of crimson sunsets, parting birds, deep, sad hymns of the sea, passionate wind-songs in the pines. Anne roamed through the pineland alleys in the park and, as she said, let that great sweeping wind blow the fogs out of her soul.”

Anne finds allies in Diana, an opposites attract friendship, and a budding love interest Gilbert Blythe. Both appreciate Anne for her pluck and uniqueness.

“Miss Barry was a kindred spirit after all," Anne confided to Marilla, "You wouldn't think so to look at her, but she is. . . Kindred spirits are not so scarce as I used to think. It's splendid to find out there are so many of them in the world.”

The book series has remained popular since its publication in 1908 and has spawned multiple film and television versions and stage productions.

I loved this series for its warmhearted characters, the humor, the feisty protagonist, and the thematic struggle to find a home in a world where you've been abandoned.

The only plot hole would be that someone of her background would not have the vocabulary and sometimes mature thought processes Anne displays.

“People laugh at me because I use big words. But if you have big ideas, you have to use big words to express them, haven't you?”

If there is a weakness, it is perhaps the romanticizing of life on a farm. It is difficult work with little time for leisure. Irresponsible acts can prove devastating. People set in their ways are unlikely to melt so easily, especially when they need the manpower to run the farm.

“We pay a price for everything we get or take in this world; and although ambitions are well worth having, they are not to be cheaply won, but exact their dues of work and self-denial, anxiety and discouragement.”

Still, it is a story of hope and finding one's way and I need that from time to time: a little light in the darkness.

Forty years on, I still love Anne and enjoy the different iterations of her story. The most recent adaption is the three season Anne with an E series on Netflix. Sadly it is now over. 

I hope she continues to touch hearts for many generations to come.

"Dear old world", she murmured, "you are very lovely, and I am glad to be alive in you.”

You can pick up a copy of her story here. Or download a Gutenberg ebook or audio book for free.