"Three Act structure is like saying that a meal consists of a starter, main course and dessert. Four Act structure is like saying there is a break in between the main course for a sip of wine." Kal Bishop," Shoot the 3 Act Structure and the 4 Act Structure"
"Sadly, I think I resisted plotting because it feels suspiciously like Real Work. And in that, I don't think I'm alone." Betsy Dornbusch, from the March 10, 2010 post on her blog
I am by nature a seat-of-the-pantser, and, as Betsy Dornbusch mentions in a recent blog post, quoted above, I think it's more due to how plotting feels like real work than easier or better product production.
Think of writing freestyle, seat of the pantsing, like a conversation among friends in a crowded bar. Lots of gesturing, sloshing beer, glancing around at commenting about strangers, and checking out hotties--all the while everyone in the group is diving in and out of the conversation. It's not in any shape or form communication designed to convey a thought or argument clearly and concisely. It in no way resembles a formal lecture or presentation. The two styles of speaking are as opposed in function and purpose as freeform writing is to plotted out writing.
Not to say that you can't write entire books either way. But, being honest, I prefer the pantser style because I don't have to be disciplined when I get my ideas out. Which is fine; I just have to admit when I've gotten the idea out and then I can determine the actual info that needs to be there.
Which brings me to the point, which is plotting out the story. Alexandra Sokoloff has a zillion and one great articles on plot structure and means and ways of hammering out a functional plot. But Betsy mentions a 4-Act structure, and I find I like that one a bit better.
Here it is, kyped from The Scherer Joy of Writing Weblog. It is set up for screenwriting, but ignore the sequence and minute notations except as a general idea as to what the page lengths would be:
Over the past five years I have read dozens of books on screenwriting, searched hundreds of Web pages for tips and techniques, and spent a lot of time just plain THINKING (another excuse not to write). I have looked at the three, four, and nine act structures. Sequencing methods (anywhere from 8 to 16). The Hero’s Journey. Blake Snyder’s Beat Sheet, et-cetera, et-cetera, et-cetera.
What I have settled on, and what works for me, is a hybrid of the Four Act Structure and the Sequence Method. The template I use follows:
ACT I – The Loner [NOTE: 10 minutes per section, e.g. 1/4 of the film]
Sequence #1 ( 01-10) Setup: Protagonist In The Ordinary World
Sequence #2 ( 11-20) Call to Adventure / Predicament / Inciting Incident
Sequence #3 (21-30) Turing Point: Change Of Plans / New Lower Obstacles
ACT II – The Wanderer [NOTE: 10 minutes per section, e.g. 1/4 of the film]
Sequence #4 ( 31-40) Elaborating on the Dilemma and The World of Story
Sequence #5 ( 41-50) Hero encounters TESTS, ALLIES, and ENEMIES.
Sequence #6 (51-60) Point Of No Return / Discovery Of False Goal
ACT III – Towards The True Goal: The Warrior Phase [NOTE: 10 minutes per section, e.g. 1/4 of the film]
Sequence #7 ( 61-70) Complications, Higher Stakes, And Subplots
Sequence #8 ( 71-80) Culmination Toward The Main Plot
Sequence #9 (81-90 ) All Hope Is Lost
ACT IV – Result Of The Action: The Martyr [NOTE: 5 minutes per section, 1/4 of the film]
Sequence #10 ( 91-95 ) Final Push Toward The Main Plot
Sequence #11 ( 96-100) False Resolution (The Twist)
Sequence #12 (101-105) Final Test of Character and True Resolution
Sequence #13 (106-110) Final Confrontation
Sequence #14 (111-115) Climax
This model isn't perfect for a novel writer, but I think that the breakdown is very helpful, better than what Ms. Sokoloff has in terms of how my mind works. The biggest problem, as always for me, is determining where to have each section end and transition to the next. In short, where a writer decides to place these plot elements is a bit of a choreography. Rythm and pace and subplots and artistic considerations apply.
Thinking about plotting, I honestly hate it. But that's because I like freewriting with no discipline and no yanking myself back to the paved road of my plot. It feels like work. But, like anything else, it is still creativity. I just need to allow myself to have fun by reframing the resentment at "real work" by thinking of it as a challenge. Just like writing metered poetry, or poetry to a specific form. I hate that, too, unless I think of it right.
Wikipedia has a great article on screenwriting that defines many of the terms tossed about re plot and screenwriting. Another interesting dissection of plot (the Matrix dissected) on Diane Preterfreund's blog is here.
And, as always, happy writing!
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