You’ve likely read or heard me go on and on about how your people (your characters and/or your Ideal Reader) come first when preparing to write a book. As I’ve posited many times over, once we know our people DEEPLY, the plot starts to reveal itself.
But what about story? How does it figure into the process of getting our people from the beginning to end of their adventures? And what is story, anyway?
Kurt Vonnegut clarified traditional, recurring story forms to help us comprehend the concept of story by visualizing them in shapes.
Here’s how I think of it.
First, plot is the container within which your characters and their stories live and breathe. I think of it as the body that holds all the parts—the locations your people occupy, the scenes they live out, and the exposition that reflects their experiences in their adventures, conversations, and conflicts.
Story, on the other hand, is the heart of it all. Story pumps the blood within and throughout and gives life to your people’s thrills and tribulations—the plot. Or, the path your people will follow throughout the story.
Story is what makes your readers care and keep turning the page.
This likely sounds vague and intangible. And it is, in a way. It’s what we, as writers, feel within us when we conceive of a protagonist and care enough to put pen to paper or fingers to keyboard. Likewise, it’s what makes our readers stay engaged throughout and, in the end, feel they’ve had an experience that goes beyond simply reading words on a page.
So how do we create story?
Just like a body is made up of many parts, so is story. And just as with all the many parts of the body that keep it running smoothly, we can think of the many parts of story in the same way.
Without understanding these important and essential features, it can be difficult—if not impossible—to begin and keep moving forward.
This scene puts your reader right in the story world by showing her who your protagonist is, what her status quo life looks like (before the inciting incident), and what she might need or want to change. That thing she desires.
This scene happens in a ways (I always tell my clients to use three chapters or 45 pages as a guide… this can always change as the writing and story evolve). It’s the event or situation that happens and is out of the protagonist’s control. It’s what sets her off on a new trajectory that serves as a path for the story’s unfolding.
Using vivid descriptions—including setting and place—that create a lucid, true-to-life sensorial experience for your reader is essential. When you help her see, smell, taste, touch, and hear, as well as sense, the details of your story world, you infuse her real-life world with wonder, which makes her want to keep invest in your protagonist and your book.
So, what then, after these elements of the story have been determined and written?
We keep checking back in on what we discovered about our protagonist’s deepest desire, wound, and fear. And we write scenes that build on and connect with each other, that suture the protagonist into the reader’s heart, that offer a means to understand this particular human’s—your protagonist’s— inner world.
We keep asking the all-important question: “Why?”
And if we keep writing, we find the answers.
Sending you mad writing mojo…