JULIA SPENCER-FLEMING: My writing for my college classes is thankfully over until next September, and, like the proverbial In spring, a young man's fancy lightly turns to thoughts of love, in May, a college instructor's fancy bemusedly turns to prepping other courses.
In my case, I'm working up another one of my creative writing seminars. I've done them on creating suspense, on using setting to strengthen your writing, and on developing characters. Now I'm turning to story structure.
Not, mind you, outlining techniques. I'll leave that to authors far more skilled at them than I. But I'm someone who has long been fascinated by structure - by acts and scaffolding and playing with chronology. One of the first things that led me to writing a mystery, when I was a very unfledged novice, was the fact crime fiction had, as it were, a skeleton already provided, something I could drape muscle and skin over.
And yes, the fact that was literally the metaphor that presented itself to me all those years ago probably indicates I was choosing the right genre.
Here's an example of how I worked on ONE WAS A SOLDIER, which had eight point of view characters (!) whose stories switched between the past and the present.
I was very pleased with the book, and glad I was so creatively ambitious, but I do have to point out this was where I fell off the book-a-year cycle - this was published three years after the previous novel - and so far I haven't gotten back on that horse. Maybe simpler is better?
This is a fascinating look at screenwriter/director Christopher Nolan's process, which I can across while researching. I encourage anyone interested in structure to click through and read the whole thread, which also includes other examples of mapped story.
The amazing Jennifer Crusie, who is one of my writing goddesses, uses a story-creating technique so far from my comfort zone I wouldn't even know how to begin: she makes collages.
And here's what I'm trying out for my current work-in-progress, a combination of Jessica Ellicott's Post-It note plotting on the framework of a classical four-act structure.
Also, I really need to scrub off that door to my office. Usually the only person who sees that side is me.
Do you notice story structure, dear readers? Or does it get lost in the flow of a good book? And if you're a writer, what scaffolding techniques do you use?
For me, I think the structure stays in the background; I do tend to get caught up in the flow of the story . . . .
ReplyDeleteI suspect, for the reader, that's how it ought to be, Joan
DeleteWhat an amazing notebook, Julia. Did you do that ahead of time, as you were writing, or after? (I ask because it looks essentially neat, and I'm sure mine, unless I wrote it after the first draft was finished, would be full of cross-outs and Wite-out and rethinking.)
ReplyDeleteSigh. I really don't use any scaffold except how I feel the story needs to unfold. I push aside the veil a little a time as I go. Sometimes I step back and decide the pace needs to ramp up, or we need a meditative scene, or "Did she have her dark night of the soul?" or that scene needs more suspense. So far, it's working for me.
My one attempt at three POVs and two eras didn't succeed, and I split it into two books to give each their full due (and added two more POVs to the historical part). The modern era story awaits my attention.
That notebook is a little bit of both, Edith. I tend to write forward a few chapters without any sort of outline, then synopsize them, looking particularly at what plot threads are appearing where and who the point of view character is. Then I use that to structure going forward, figuring out who else needs to take center stage and when certain events need to unfold.
DeleteWOW - this is impressive and I just realized how little I know about writing! What an amazing notebook, and your handwriting is legible. Extra credit for that.
ReplyDeleteAs a reader, I only notice structure if it's lacking, otherwise, like Joan, I get lost in the flow.
Thank you, Kait! My handwriting is considerably messier when I rush, but I do think I have a fair hand if I try. I always loved my grandmother's perfect Palmer penmanship handwriting, and tried to emulate her.
DeleteJULIA: "One Was A Soldier" is a fantastic book and it's understandable you needed a notebook to keep track of all the POV and story structure. Good luck with using Jessie's post-it note system this time.
ReplyDeleteI am not usually very aware of story structure. If it's well done, I just get immersed in reading. But if I get taken out of the story or confused about what is happening, then I do notice.
I guess that's why another term for this is the architecture of the story, Grace. When you are inside a building, you're not supposed to notice the beams and girders and ductwork. And if you do, it usually means there's a problem!
DeleteI use tentpoles at the 1/4, 1/2, 3/4 points and then divide the big middle into reactive and active phases for the main character, something I learned from Beth Terrell. I like the plan's simplicity and room for secondary plots. I'm contemplating a past and present book and have no idea how it's all going to work.
ReplyDeleteMargaret, that sounds fascinating. I will have to look up Beth Terrell's work and explore that in more detail.
DeleteFrom Celia: That is quite a structure Julia, all places in your office at their part. As a reader I don’t really notice structure until a glaring error appears. Which I have not seen in any of your work. But learning how writers set out on the journey to the denouement is fascinating. Thanks for sharing.
ReplyDeleteHappy to oblige, Celia!
DeleteJulia, what an interesting post! You must be an amazing teacher...I started down the Jen Crusie rathole--her collages are like nothing I've ever seen! She's collaborated with a number of people--Hallie did that at the beginning of her career too. And now Rhys and Clare--imagine how much faster the writing could go:).
ReplyDeleteps we are still waiting anxiously for your book and hope it will be on your radar too!
No faster, please! I’m already doing two and a half books a year! Rhys
DeleteDon't worry, Lucy, my book is very much on my radar!
DeleteJulia, thanks for giving us a view into the process. It is endlessly fascinating.
ReplyDeleteI was a literature major in college back in the 1960's. Character and story were definitely things I thought about, spoke about, wrote essays about. Thanks to JRW, I am now acutely aware of structure. It is something I notice in every book. This is a new phenomenon for me and (I am already a slow reader) it may slow me down even more. But it makes me very appreciative of the effort that goes into telling a story in a cohesive and engaging manner.
Thanks, Judy. I do think structure is often overlooked when teaching literature, unless you're dealing with plays.
DeleteAs others have said, I notice structure only when there are gaps, bumps or snarls. I agree with GRACE that One Was a Soldier is a fantastic book, one of my favourites of yours. Now I can reread it and pay attention to how you handle those 8 (!) POVs in the story. That notebook of yours is amazing, Julia.
ReplyDeleteThanks, Amanda!
DeleteThanks for this peek into your writing process. I remember the first time I read One Was a Soldier, and that very satisfied, bittersweet feeling I had when I finished it--I loved it! I do notice structure and shifting points of view. If it's done well, I don't get confused. Last night I finished Mick Herron's Slow Horses. There were many different points of view there, but it all worked very well.
ReplyDeleteThanks, Gillian. Yes, learning how to structure means the author can tell more complicated and bigger stories, which is one of the things I love about it.
DeleteRhys: Julia. I am in awe of these. I usually have no idea where my story is going and like my characters to surprise me as I try to rein them in. However for my multi time periods I do use the white board with parallel columns of each characters arc and where they intersect
ReplyDeleteOh, those multiple timelines are always a killer for me, Rhys. With my last book, I wound up sketching in when I wanted each era and then writing them separately, because I just couldn't manage otherwise.
DeleteI LOVED that book, Julia!
DeleteThank you, Judy!
DeleteIn the hands, heart, and mind of an author, structure stays in the background and the story unspools seamlessly as I read what they've created. But I love these glimpses into how authors go about creating that scaffolding, Julia! Amazing how the mind works! (Flora)
ReplyDeleteI think for the reader, structure should be something that is seamless and that blends into the background, Flora. I'm glad you enjoyed this!
Delete"Rhys: I usually have no idea where my story is going and like my characters to surprise me as I try to rein them in."
ReplyDeleteWhat an interesting comment.
I've heard many writers say that the characters just come to them (as does the story) and they often have no control over what the characters are doing. (Or something similar). I remember Bob Dylan saying, when asked about how he comes up with his lyrics. He said something to the effect that it just pours out of his mind and he writes it down.
I think this is fascinating and wonder about the science (maybe) behind this part of our brains.
We often wonder about the mystery of story creation as well, Anon.
DeleteI don’t notice structure when I’m reading. I’ve read thrillers that were so good that when I got to The End, I was amazed at how the author pulled it off. A couple of times I’ve
ReplyDeleteimmediately gone back to Page 1 to reread the book and try to figure out what magic the author had worked! Of course, it was structure!
DebRo
DebRo, I remember finding out that Lee Child wrote all of his thrillers from start to finish without an outline or any other guide. I was truly staggered. The clockwork precision with which things come together seemed like he must have had to pre-plan everything, but no!
DeleteAuthors in the past, like Dickens, who published their works in periodicals, had to have done much the same thing. Lee Child's books are very complicated. I am in awe!
DeleteJulia - thanks for the info about Jennifer Crusie. I love her collages. I was wondering if she, well obviously, she would be a visual writer. More along the lines of maybe how a movie screen writer or director might think.
ReplyDeleteI can highly recommend her books, Anon. I suggest you read them yourself and see! She also has a lot of craft information in her blog, and talks about her collage process, which is fascinating.
DeleteWe readers may not notice structure, but we know when it's done right because we can enjoy a complicated story. We will dive right in and engage and experience as long as the writer guides the way.
ReplyDeleteThat's how I experience it as a reader as well, JC. Although later, I'm often tempted to reverse-engineer what the author did to learn something new.
DeleteI absolutely notice structure--I think it's what sets truly special books on a higher level. Sometimes, just for my own work, the structure appears later. Which I know is inside out, but there you have it. This is fascinating, and now I am going to look at your stickies more closely..that seems like a logical method, but I would have NO IDEA. what to put on the stickies. And there's the problem. LOVE this post.
ReplyDeleteAs for a collage--HA HA HA HA HA. Not a chance in the universe. :-)
I feel the same way, Hank, and find it fascinating that Crusie can find her way into a story and character using that method. I think of myself as a visual writer, but I'm sure as heck not that visual.
DeleteJulia, no wonder it takes you so long to write a book. You don't just write one, you write two--one of which is the notebook! And no wonder I have not been able to finish a novel--perhaps I'm just too lazy to go to all that effort.
ReplyDeleteBut it clearly works for you. Your books are amazing and I have so often recommended the series to friends. Thanks for the peek behind the curtain, or door, in this case.
Thanks, Karen. I could definitely stand to up my speed somewhat... :-)
DeleteJULIA: Great post! As a reader, I do notice story structure.
ReplyDeleteWhen it is a really good book, the story structure works very well. When I struggle with following the story in a book, it is the story structure and how the words go together that throws me off!
Years ago when I was at a Mystery writing three day weekend at a bookstore, one of my favorite authors showed us the mapping of plot and subplots. In her novels, her Detective uses mappings to connect the dots and to solve the mysteries.
Diana
The only time I notice structure is when it is a back-and-forth-in-time structure. I just read a great story (The Block Party) with a plot that bounced between Memorial Days one year apart and what happened in between. Structure was very obvious but made the unrolling of the story tantalizing.
ReplyDeletePat, I'm streaming a wonderful crime drama/fantasy that moves between 1989, 1995, 2000 and 2015: SIGNAL. Two detectives from the earlier and later years find they can communicate somehow on a walkie-talkie. It has an intricate structure, and after I suck the story down, I plan to go back and outline what's happening when.
DeleteI can't turn off my analytical -- even watching a cartoon, I am looking at the digital line work. So yes, amazing you creative types, I notice everything from format to pagination. Just me. Amazing that art that looks effortless, comes forth from desire to thought to words to books. / See? no structure here appreciation lives on Nome St.
ReplyDeleteWe need analytical readers to keep us honest, Coralee!
DeleteSo interesting, Julia. Love Jennifer Cruise's collage! I have put photos and clippings and drawings in my book journal before, but not in an organized way. I think in major plot lines, or story lines, and I usually make a chart with each story line running vertically with where it starts at the top and where it ends at the bottom. Then I fill in what needs to happen in between, and then work the plot points from the different story lines into chronilogical order. It's messy, but it it works. I also do chapter/scene outlining in Scrivener as I write, with a different color for every view point. This is really helpful for keeping track of what you've written about whom in a long book.
ReplyDeleteWeirdly, I cannot think in acts. I've tried because all the writing theory tells you to, but it just doesn't work for me.
As a reader, I don't want to think too much about structure, I want the experience to be seamless.
I tried Scrivener, and it just didn't work for me, Debs. Which proves true a saying of Jennifer Crusie's: "There are many roads to Oz."
DeleteYou move so well between characters and times that it's easy to follow, a rare and appreciated skill. Thanks for a look at how you do that.
ReplyDeleteThat you, Mary!
DeleteOh, these are fascinating. Collages are not for me, but I do like the flow chart idea. I tend to write ten page outlines and then fill in with Post-Its as new ideas arrive.I haven't deviated from that in many many books other than writing one with no outline recently because I chucked the one I had and it as too late to write another. In two words: Never again.
ReplyDeleteJenn, I'm listening to an audio book you suggested, DEAR WRITER, YOU NEED TO QUIT. I just got to the chapter where the author urged writers to pay attention to how things have worked for us in the past - and not to think we have to poke around with success.
DeleteThinking about it now, I do notice structure, but it's not a distraction to my reading. I especially notice it in time travel stories or different time periods. I think when structure is off, it's like putting the cart before the horse effect. Of course, as Debs said, it's best when the experience of the story is seamless, and structure isn't a focus of your reading. I love Jessica Ellicott's post-it notes system. And, your door lends itself nicely to that method, Julia.
ReplyDeleteNothing like those old paneled solid wood doors! It also served to keep the noise from the rest of the house down when the place was still full of kids.
DeleteWhen I read, I prefer to be unaware of structure, character development, any errors in grammar or punctuation or god forbid typos. I don’t want to edit. All I require is a good tale that drags me in and won’t let go and leaves me wanting more. I admire that the writer writes. I presume it is all for me. And I don’t care how you got there!
ReplyDeleteThis doesn’t mean I’m not interested in the process. I love knowing how your minds work. But when I’m reading your books, I do not want to be deconstructing. I want to read until I fall asleep and then wake up when my Kindle hits me on the nose!
As you were
Xo
Such eloquence, Ann. And the way I feel about reading and learning about the writer writes. Marching to your orders, ma’am. 🙃 Elisabeth
DeleteThank you Elisabeth
DeleteI feel the same way as a reader, Ann!
DeleteSometimes I do notice story structure, especially when the story is told in a straight forward linear. In those cases that does not distract me from the story, but gives me a tiny glimpse behind the curtain. Depending on a lot of other variables that same style might be much closer to boring than fascinating.
ReplyDeleteTruly, Julia, I am in awe of your story-telling, as well as that of the other Reds!
Thank you, Judi!
DeleteOnly reading this now, Julia, but better late than never. I not only read your post but all the comments, too. Lots of fun. I'm just starting to think about my next book--I've managed a one-half-page outline so far! But it's a start. At least I know what I want to start researching, and research always provides ideas that add to the outline. I think structure is extremely important and difficult, and I use points of view to help to provide structure since my two detectives' viewpoints tend to alternate between single chapters. Before I started my first Polizei Bern mystery, I discovered a book about screenwriting called "Save the Cat," which I reread every time I start a new book (it's not very long.) It's all about structure, and even though I don't follow all of its instructions, it always gets me thinking about HOW to solve problems in the plot.
ReplyDelete