Using Scene Trackers and Plot Points to Plan Your Story

Beautiful woman in the magic forest

You might wonder what to insert into my Scene Tracker Template or Plot Point Graph. If you’re a pantser, you know your story by heart and use the tools of plot-weaving instinctively as you go. You might strip needless elements and refine your story as you reach the editing phase. But if you’re serious about being a professional writer, you must study your beloved craft and recognize plot points, character arcs, and other tools of drama.

Here are my methods of outlining:

Scene tracker model (Microsoft Office Excel).

PowerPoint Plot Graph Template (Microsoft Office PowerPoint).

Download files from the Internet at your own risk.

The files make it easy to analyze the dramatic arc and structure of your story.  If you don’t want to plan your draft one meticulously, use my templates as a refresher of your memory before you start revising your second draft. You don’t have to include all the crucial plot points, and your arch can curve up and down several times to surprise your readers.

Think of each significant event in your story as a sequence which consists of:

  • setup
  • complication
  • crisis
  • resolution

Your book is one instance of continual transformation which composes of smaller events (acts), which in turn comprise of chapters and scenes. I like to know my word count, and that’s why I included it in the Scene Tracker. I also keep track of days and months which pass in my book, just to stay level with continuity issues.

Keeping Track of Scenes

Scene= “a part of a play or film in which the action stays in one place for a continuous period of time.”

A scene means a small section of your novel where your characters engage in action or dialogue. They are mini-stories with a beginning, middle, and end. A chapter contains one or many scenes. Usually, the scenes within a chapter are related to one another. If you change location, or the clock of your manuscript moves forward, give the reader a pause in the form of moving into the next scene or chapter.  Scenes are like pearls in a string. Each story consists of these pearls, some small and ordinary, and others big, shining ones which surprise the reader.

Both templates let you add cells/boxes for your key scenes and plot weaving mechanisms.

Great scene beginnings include:

  • Put unusual events in motion
  • Tone-building scene setting
  • Intriguing backstory
  • New, interesting viewpoint
  • Introduce uncertain factors

More information: https://www.nownovel.com/blog/writing-scene-beginnings-grab-attention/

Great Scene endings:

  • Cliffhanger – place your protagonist’s life is at risk or produce some other threat which forces the reader to turn the page and begin a new scene/chapter
  • Revelation –something changes the course of the story
  • Setback– one of your characters should be frustrated about the latest event
  • Reveal a secret–a full secret or part of it to keep the mystery going
  • Question left hanging –teasing the reader
  • Unexpected plot twist –keep the reader guessing.

Character Arcs and the Three Acts

“A character arc is the transformation or inner journey of a character throughout a story. If a story has a character arc, the character begins as one sort of person and gradually transforms into a different kind of person in response to changing developments in the story. “

Source: https://en.wikipedia.org/wiki/Character_arc

Your protagonists and antagonists evolve through character arcs. An excellent way to build conflict is to make the main character unable to overcome an opposing force at the beginning of the story because he/she lacks skills or resources. The main character must change through learning or achieving new capabilities. Let the MC interact with the environment or produce a threat or a charismatic mentor. At the heart of your story lie conflict and change.

Plotting a Novel in Three Acts

“Aristotle plotted in three acts, and almost every story comes with a beginning, middle, and ending. Act One makes up 25% of a storyline, with Act Two taking up 50% and Act Three, the final 25%. The story is divided in half as well, with the midpoint squarely in the middle of Act Two. The first half of a story involves introducing characters, themes, motivations, settings, conflicts, and important elements. In the second half of a story, all its threads untangle.”

Read more about The Six Key Scenes of Aristotle’s Incline and source of the above snippet: http://livewritebreathe.com/how-to-plot-a-novel-in-three-acts/

Plot Points

A plot point is an incident which impacts what happens next. A plot point:

  • Moves the story in a different direction
  • Impacts character development
  • Closes a door behind a character, forcing them forward

Plot points form a whole, each piece informing the event before it and after it.

Seven-point

Image source: https://blog.reedsy.com/plot-point/

Examples of plot points:

Hook: A story must start off strong to keep the reader reading. The Hook is the point that pushes a novel into motion and sets it apart from others.

First Pinch Point: The middle of the story consists of the character reacting to the Big Event and its respective consequences. Pinch Points put the character under pressure.

Midpoint: Perhaps the most crucial plot point occurs near the middle of a story. The midpoint is a critical turning point that forces the protagonist to stop reacting and start acting.

Final Pinch Point: For the second half of the middle, the protagonist experiments with the agency, taking different approaches to overcome the conflict. The protagonist reacts to or acts on pressure and conflict, with middling success.

Final Plot Point: Going into the third act (or the beginning of the end) there is one Final Plot Point. This shows the protagonist at their lowest, having taken a profound misstep among their newfound actions, which drives them directly into the Climax and Resolution.

Resolution: A great story will end on a Climax, Realization, and Resolution, a series of events that bring the story and character arc in full circle. Usually, these revolve around a choice presented to the protagonist.

Source and more information: https://www.nownovel.com/blog/what-is-a-plot-point/

How to Design Plot Points

  • Draw them from your central idea or theme
  • Show desires, motivations, and setbacks
  • Place plot points at crucial structural junctures
  • Create points of no return
  • Create and arrange summaries of each plot point

Tension

Tension is a product of uncertainty and the resulting suspense we feel.

“To take the analogy of watching a tightrope walker, we know they are moving from an A to B of safe ground. Yet between these two points, how things turn out depends on many variables. Their balance, focus, and how they place their feet. And how swiftly they correct any stumble.”

Source and read more: https://www.nownovel.com/blog/writing-a-scene-that-engages/

Know Thy Enemy- The Making of a Great Villain

Detective interviewing suspect in dark private room

So, you have a theme in mind: justice, revenge, friendship- a theme can be anything. But a great idea has to be universal- it must play the heartstrings of your readers. It knots into the expectations of your audience. The central psychology of stories varies somewhat by the era. If you want your book to surface among the classics, you must have the longevity of a timeless theme. You have to touch upon the common sub-consciousness: story and character archetypes which have been passed on in literature, movies, and music.

What does your villain symbolize? What does he/she stand for? This is important.

Evil Dressed Up

Christianity has embedded the notions of good and evil into western writing. Great monotheistic religions have similar theories of hell and the devil. The antagonist, if he is a real villain in the classical sense, embodies the ancient idea of the dark one.

22_top25greatestvillains
Ralph Fiennes as Amon Goeth in Schindler’s List

We love evil characters. I know I do. Some of the actors I admire have played iconic embodiments of darkness: like Ralph Fiennes as Amon Goeth in Schindler’s list. What could be eviler than a man who shoots a small boy in the back, or tortures a defenseless woman daily?

The antagonist is a vessel for your book’s theme. He dresses up the devil. He is the opposite of your hero’s goal. But remember that evil must be proved through constant actions of vileness. If you litter the pages of your villain with murder and mutilation, one good deed gets more attention.

You want your readers to understand your antagonist, don’t you?

If he/she doesn’t have a tiny speck of goodness, how could people relate to his story? The nightmare embodied has to be understandable. Some of the best monsters show mercy or love to the heroine/hero: like Anthony Hopkins as Hannibal Lecter protecting the main character, Clarice Starling in The Silence of the Lambs.

Ways to show a bit of good inside bad

  • He/she doesn’t understand what he/she is doing
  • The villain thinks that he is right, that he has the proper moral grounds
  • Ends sanctify the means: world-domination is required to set history straight
  • He suffered from violence and abuse as a child
  • He is a psychopath- and this is really hard to relate to but makes him interesting if you do your research
  • He understands the meaning of his actions in the end
  • Love redeems him. I don’t believe in this one because we each love in our way. Evil loves with murder and violence loves with a punch in the eye. If you have serious writing skills, you can make this one float though.
  • He loves animals or his children. He can’t be totally evil, can he?

Of course, if your villain is simply seething with malevolence, you can kill him in the end. Justice is redeemed and you stand your moral ground.

In real life, the most ruthless violent bastard usually wins. I’m sorry.

Remember that some of the cruelest monsters in world history have believed in their own ideology. Whatever you can conjure from the depths of hell, can never compare to the good intentions which have paved the road to the real-life inferno of genocide.

description

A good villain can be a pain in the ass for your protagonist. But does he talk to you? If you’re like me, he/she bothers you when you should fall asleep or drive a car, or take the kids to daycare.

How is his/her voice? Raspy? Seducing? Deep? Beware of cliches. How about whiny, wiry, oppressing?

Describing hands or voice or movement is more fertile than the usual color of eyes and hair. What are his mannerisms and bad habits? How does he move? What does he do for a living? And the job is essential. It’s the first question which we ask when we make acquaintance.

If you want to twist the usual clichés, give him a job which conflicts with his evil.

Stalin
Josif Stalin

Thinking about actors who could play your villain helps to visualize your monster. You can find animated gifs about almost every actor from the roles they’ve played. I use the gifs to describe different facial expressions and movements.

If your style is film noir, look up 40’s faces. If your princess of horror roams the distant future, try sci-fi movie actresses.

Searching the web with words like “greatest movie villains” will most likely offer you a library of wickedness which you can build from.

Each depiction is famous for a reason.

If you’re a history buff like me, you will find a catalog of despicable people on the pages of history books. I like to have a real-life equivalent for my villains.

Character Questionnaire

Letting the antagonist answer your questions during a character interview is a great way to get to know your villain.

The net is full of questionnaire forms, like https://www.novel-software.com/theultimatecharacterquestionnaire

Character mannerism lists: https://www.wattpad.com/84533439-a-list-of-500-character-quirks-and-traits-list-1

To avoid information indigestion, make your own list, which suits the novel you are writing at the moment.

And finally, check out your favorite books. Read the epic pages which:

  • introduce the villain and describe him
  • what happens to him in the end?
  • How does the writer show some admirable traits among the constant darkness of evil?
  • What’s his relationship with the hero/heroine?
  • What are his mannerisms, his bad habits, his job, his hobbies, etc.? President Snow tended to roses in his garden in The Hunger Games. And his role was played by one of the greatest character actors: Donald Sutherland.
  • What does he stand for?
  • How do you identify with the antagonist? Can you understand his motives? Why?

I keep a writer’s journal on my favorite villains. I have page after page of classic villainy from the authors I respect. There’s no way- ever- my villain can topple O’Brien in George Orwell’s 1984.

Other Tips

The Warrior Mindset – How to Write Compelling Action

Futuristic warrior

Have you ever fired a gun? Oh, you have- good for you. If you haven’t, find a shooting range near you or ask the local hunting club to let you tag along. Just smelling gunpowder and hearing the blast noises (through quality headphones that protect your hearing) will give you a sense of the real thing. The rest is up to your imagination…

If you are writing about military action like me, you face a tougher challenge to get the facts right. The army uses unique terminology, and the warriors have a certain mindset forged through endless drills and hard work. The NATO and European armies have slightly different rank systems.

Add in The Russian Federation, and you’re officially in the same grievous trap where I found myself when writing The Unholy Warrior. I decided to take things methodologically: I researched until my butt hurt from sitting and my fingers were raw from tapping on my keyboard.

Join a writer’s site like The Write Practice where you publish one piece a week and get critique from other writers in exchange for you doing the same for them:  www.thewritepractice.com

You can also ask some of your beta-readers to point out flaws and factual errors. There’s always someone who knows specific things because he has a military background or just because he is interested in such stuff.

facts- Get Them Right

You can also keep a memo on things which bother you and tackle the mistakes one by one. That way you can continue writing but know your weak spots need tending to.

When you’re wicked famous like John LeCarre, you can create your own terms and expect the spy professionals to start using them. LeCarre devised terms like “babysitters” and “lamplighters” to describe different guilds of the spy profession.

Gun Caliber

Writing about guns and ammo is so much easier if you have some first-hand experience. Organizations such as the NRA and various hunting magazines offer advice on shooting positions, the common aiming errors and using the best ammo to kill big game. They have some excellent info graphs online.

On shooting positions, visit: https://tpwd.texas.gov/education/hunter-education/online-course/shooting-skills/rifle-positions

Do you know what a large- caliber rifle recoil feels like? If not, chances are that a relative of yours is a passionate hunter. Go along. You might be a pest to begin with, but the odds are that he loves to ramble about duck or moose hunting forever. You’ll learn something as you sit by the campfire and drink soot pan coffee. If you’re lucky, he’ll let you shoot under his supervision. I fired my first load of shotgun pellets towards a pinetree when I was fourteen years old.

The lighter caliber .22 is the best one to start target practice with. .22 LR is found in pistol and rifle ammo.

Read about different caliber ammo and what they are used for. The numbering isn’t linear or very informative. A bigger number doesn’t automatically mean a bigger bullet! Using the wrong caliber will jam the weapon and you risk serious injury or death. In addition to numbering, the ammunition manufacturer uses a short code. For example .Win means Winchester. Your rifle carries a carved text to signify the type of correct ammunition. Perhaps “win .308” like my Tikka T1 Tactical from Sako, a Finnish company which belongs to the Beretta conglomerate.

Hunting

Three-hundred thousand people are registered hunters in Finland, and ours is a small population with six million citizens. The government demands that each hunter undergoes a series of lectures and passes the final examination before gaining a hunting license. Gun laws are strict in the European Union and especially in Finland. Yet, commercial shooting ranges offer you a chance to shoot pistols and revolvers in the heart of Helsinki, our capital. In the countryside, almost every considerable village has a shooting range nearby for rifle training. People do hunt and are passionate about it.

Hunting

“Recoil (often called knockback, kickback or merely kick) is the backward movement of a gun when it is discharged. In technical terms, the recoil momentum acquired by the gun exactly balances the forward momentum of the projectile and exhaust gases (ejecta), according to Newton’s third law, known as conservation of momentum. In hand-held small arms, the recoil momentum is transferred to the ground through the body of the shooter; while in heavier guns such as mounted machine guns or cannons, recoil momentum is transferred to the ground through the mount.”

Source: Wikipedia.

Basically, the energy of ignited gunpowder has to go somewhere. It propels the bullet out of the barrel but an equal amount of energy kicks back towards the shooter. A heavy rifle absorbs some of the energy just lessening the force which hits the shooter. That’s why sniper rifles are usually bulky. They need to be accurate. Hunting rifles, which you drag around in the forest all day through the f***ng foliage and bush, are light and thus kick you harder during firing.

In Hollywood movies, we see a pistol bullet traveling far and hitting the opponent. In real life, it’s almost impossible to hit a moving target which is running zig-zag hundred-and-sixty feet away from you. Movie heroines hardly ever flinch at explosions. In real life, the sound of a .9 causes ear-splitting pain. Not flinching (as in shutting one’s eyes tight and grimacing not so sexy-looking) takes some heavy-duty training, not to mention a possible hearing loss.

As a writer, you can decide how much reality you want to embed. If you write fantasy, just come up with impossible things. Your readers will love them. If you’re writing a spy thriller which happens in the 21st century, do some serious research.

Close Combat

Have you received a blow to the head delivered by a powerful opponent?

You don’t have to tackle a man, or a woman, with a black belt. You can gain a lot of information by taking some newbie-sissy-level classes in self-defense arts like Defendo, Karate of Krav Maga. Ask your instructor to teach you what happens if you drop your defenses. One (gentle) blow to the head, and you’ll never forget that lesson.

It amazes me how short real-life fights are. Just a few seconds and a severe injury with long-time consequences has been inflicted. The winner and looser are found out in a blink of an eye.

Writing near combat scenes usually demands some bending of reality. We writers cannot disappoint our readers by a few lines, and that’s that. No, we must write different phases, evasion moves, near escapes and grabbing makeshift things like rocks to be used as weapons.

Attending writer’s festivals and happenings can link you with your thriller writer idols:

http://thrillerfest.com/

You can always learn from the best!

Other tips: