3 Common Plot Problems

Back to plot consultations after a month hiatus, I once again marvel at the universality of our writer’s journeys and common plot problems.

Common Plot Problems
1) One writer takes to heart some general advice she hears at a writers conference and rewrites her entire novel based on that advice only to come to understand that her original approach worked. The second approach didn’t. Though I can hear how deflated, the writer resists wallowing in grief over all the hours spent rewriting one way only to have to rewrite the story again. Her calling me for help demonstrates her commitment to keep going forward. I attempt to assure her that the time spent rewriting didn’t set her back. The rewrite was an actual revision and opportunity to practice her writing skills, truly commit to her genre, learn more about herself as a writer and discover her characters and plot from another point-of-view = all valuable. Now that she knows her primary plot and subplots inside and out, the next draft may very well be her best.

2) Then there is the writer who often turns bored by an idea she’s working on, gets a brainstorm and gives in to the inspiration to start over. Yes, if the story bores her, she’s best served to figure out how to enliven the action, characters, setting for herself or chances are good she’ll bore the reader, too. If, however, her pattern is to start and then turn and run when the going gets tough, I’d say she’s suffering from an active form of procrastination. In other words, she doesn’t stop writing, which is great, and still, she doesn’t stick to her plot ideas and thus never truly moves forward. Why? A fear of commitment? A belief her plot ideas aren’t worthy going the distance for, fighting for? The truth? Illusionary thinking? Only she can decide the answer for herself.

3) Another writer gets so lost in creating exciting dramatic action that she’s painted herself into a corner at the Climax. When we untangle the various plot lines, the primary plot, which has been buried under the weight of guns and hit men, has a chance to make itself known. The exciting subplots make for page-turning action in the middle and the end and she’s managed to flawlessly tie them to the overall thematic significance of the piece. However, the primary plot demands the spotlight at the climax. The major subplot can influence the climax so long as the primary plot comes to a satisfying end. Often we feel we have to throw in guns and explosions, car chases and violence to amp up the story. Sometimes that may be the truth. Often it’s illusionary thinking based on a belief that the primary plot is not enough.

Who we are as emotional creatures directly influence what we write about, how we write, the beliefs we carry about our writing and our stories. Some writers write without hesitation. Some of those same writers when faced with a rejection or poor feedback begin to hesitate. There are other writers who bring their insecurities and fears with them every time they sit down to write. When lost in the writing itself, they fly. When reading over their work, they fear and doubt their ability. In their fear and doubt, they procrastinate, rewrite and rewrite without moving forward, give up, start over… never reach the end.

If you’re curious about how your individual patterns and habits and beliefs influence your writing, join the Beta-Membership: Writing a Story with a Plot Takes You on an Epic Journey and receive both of the following on-line video programs:

27-Step Tutorial: How Do I Plot a Novel, Memoir, Screenplay?
and
The Spiritual Guide for Writers: Secrets of Personal Transformation