My Writing Guide for PHR Part 3: PLOT

PLOT.

We often hear this in fiction writing or movies, but newbie writers sometimes have a vague idea of what it means. 

Not anymore. 

Now you'll UNDERSTAND what plot is. (Or bite me)

Ready?

PLOT
: a series of events that form the story in a novel, movie, etc. (m-w.com)

Plot is the term used to describe the flow of events in your story. It's composed of:

• BEGINNING
• MIDDLE
• END

For a more detailed version, I offer you Gustav Freytag's take on a plot's composition:

FREYTAG'S PYRAMID (source: Wikipedia.com/Plot)

• EXPOSITION. You get to introduce your characters in this part, set up the story, and introduce the problem that the protagonist will face (sooner or later along this line, depends on you). This is where "boy meets girl" (or vice versa).
• RISING ACTION. But before the rising action, you need to INCITE an event that will push the protagonist deeper (or higher) into the conflict. The "boy gets girl" part also happens along this slope.
• CLIMAX. This is the "turning point". The protagonist finally reaches that moment when she needs to decide her fate. And she'll make a mistake, causing what we know, in Tagalog romance terms, as the "boy loses girl" scenario. This is where they'll experience misunderstandings, lose hope, give up, or be separated.
• FALLING ACTION. But eventually, something comes up that will clear the misunderstanding or solve the problem, therefore setting our protagonist free to pursue her romance with the hero. They make up and have a happy ending. But before the happy ending, there's...
• DENOUEMENT. Also called "resolution", where everything is solved and explained. And where commitment/marriage proposals happen. "Boy gets girl for good".

FACTS: I usually start writing a story by testing the CLIMAX first—specifically, the conflict. If it's good enough and if I was able to find a solution (`cause sometimes, the conflict is too complicated that my head aches trying to solve it), I proceed with the story. I use the climax as a lighthouse, guiding each scene towards it.

Okay, so we're done with the definition. 

But, waaait. I remembered an important question:
 
AT WHAT PART OF THE STORY DO THEY FALL IN LOVE? 

Hmm. For me, this the most sensitive part; the part that needs the best timing. 

If the heroine admits (to herself or to the hero) that she had fallen in love (again or for the first time for the hero) too early, she might not sound convincing. If it's too late, she'll sound forced.

So, before you drop the bomb, you can ask your heroine:

• How strong are your feelings at the moment? 
• Is it strong enough for you to be forced to admit your feelings, even to yourself? Feeling restless? Can't hold it anymore?
• How about your reservations or doubts or fears? Do you finally have the courage to pass through them?
• What did the hero do to make you realize that you love him?

Establishing this, making the admission/confession believable and on-cue, depends on how you build up their feelings towards each other. 

BUILD UP—from a little crush, to a major crush, to lust, then to love. Add the feelings little by little until the heroine can't handle it anymore. 

But how many scenes do I have to write and how much feelings for each scene?

For a 24,000-word story, you'll only have a few opportunities. You have to measure them and place them wisely. 

How?

Tantiyahan lang. When it's time for you to edit your own work, you have to think like a really critical reader. Your standards should be equal to or greater than your target readers' "taste". How do you grasp that taste? 

I only have one answer: be an avid reader. Mostly, of romance, `cause that's our genre, but don't limit yourself. READ A LOT.

As for me, two to three getting-to-know-each-other AND kilig scenes are good enough. 

You'll notice that I emphasized AND. It's because I think that kilig scenes aren't always beneficial in making your characters know more about each other. Sometimes, serious talk is needed. You'll have to balance them. Knowing-each-other + kilig.

Before or at the climax, I make sure my heroine admits about falling in love (mostly to herself). 

`Cause when she's finally in love, then I can break her heart. 

...

What? 

Yep. "Boy loses girl" (or vice versa), remember?

Okay, moving on...


EXAMPLE OF CLASSIC PLOTS

source: Twenty Classic Romance Plots (Prairie Chicks Write Romance)

There are more romance plots not included in this list, but most of them are just "customized versions" of the classics. The differences, and what makes them unique, are in the details. Your writing style also separates your story from another of the same plot, so it's IMPOSSIBLE to plagiarize. (If you really don't intend to, that is)

CHOOSING A PLOT

Since I'm new to this business, I dig the easier plots first. In regards to that, I find a plot easier when the hero and heroine:

• KNOW EACH OTHER. Friends, best friends, or mutual friends.
• SHARED A PAST AS STRANGERS/ENEMIES. One night stand, rivalry, etc.
• WERE LOVERS IN THE PAST

It's not bad to choose an easier and simple plot. (Why not, when it cuts my work in half? Bwahahaha—huggukguoh *chokes in her own saliva*)

Seriously, don't be too hard on yourself. Initially, it's easier to write when your hero and heroine are already familiar with each other. Once you get the hang of it, you can take on more complicated plots. And more complicated research. You'll write better each time as long as you take in your lessons.

I tried making the characters strangers, too, and the result was How Deep Is Your Love. (Though they're not totally strangers :D ) I had a hard time doing it, but I liked the challenge. 

But that's just me. 

Some of you might find it easier to write about characters who are strangers or have nothing in common. You just have to try it to find out. ;)

FEWER PLOTS MEAN SAME-OLD-STORIES

NOT TRUE.

Take a novel with several stories of different authors compiled. There are instances that each story follows ONE PLOT. But each story is unique even though they're using the same idea or setting. As long as you don't intentionally plagiarize, it's fine.

Novels use the same plot over and over again. 

But make yours UNIQUE. 

...

When I started writing for Precious Hearts Romances—meaning I actually WROTE a manuscript—I had an idea on the kind of story that they would find acceptable. I guess it's from reading pocketbooks that I like; it made me familiar with the structure.

But I didn't want to write it.

I thought MY ideas are original and better. I could do more interesting dialogues and scenes.

So, I wrote what I want.

I wrote for myself.
 
Since I love historical romance, the characters I came up with were like nobility (just without the titles). I loved it, so it broke my heart when they were rejected. (serves me right :'( )

I realized that the ideas I'm excited to write about were too disorganized and unrealistic. They were more like my raw fantasies (and the thought that I bared those to the PHR editors made my skin crawl up to this day). 

But I had no idea how to set them right. I'm too starry-eyed to see that my first drafts were crap. I refused to summon the critical reader and editor in me. 

But I had to, because I wanted my books to be published. 

You might say that I did something wrong by "changing" how I write and what I want to write about. But there are "better ways" to express myself and at the same time be understood by readers. So, I tried my best to learn them.

After that, once I accepted that writing for Precious Hearts Romances meant that I have to follow certain guidelines and responsibilities—for both the readers' and writers' sake—, I found out that I can still write a simple, but decent romantic story.


I still plan to write my version of Regency-based novels someday, and take greater risks, but I learned to write not just for my own pleasure.

I also write to share that pleasure with the readers.

So, take time to build a good plot. Make your readers enjoy the flow of your story. Make it easy for them to follow your thoughts and emotions through your characters' journey.
 
But if you really need a rule in choosing a plot, I can offer you one of my own: Use a plot that you'll enjoy writing about and at the same time challenge you.

Also, don't feel bad if your story keeps going back to a classic plot. Maybe that's what your character needs. It's not everyday that you can write a story that takes you up to the clouds. 

Consistently good is great. 

And after all, plot is just the events in the story. You still have your own personal touch to use.

“The story is not in the plot but in the telling.” —Ursula K. Le Guin