Tribbles, as many people know, were – are? – an alien species humans found oddly compelling. They trilled or purred sweetly. They were soft and cuddly. They made humans feel happy. The trouble with Tribbles was how rapidly they reproduced. Suddenly these precious fluffy purring things were everywhere, including the engine of the Starship Enterprise!
Too many tribbles spoiled the inner workings, distracted people from their jobs and basically caused chaos in an otherwise well-run system. Of course, in the end, the Tribbles saved the day. Yes, many of them sacrificed their lives to do so, but without them, the poisoned grain would not have been discovered and people would have died.
What do tribbles have to do with writer’s workshops? Everything.
Workshops, to the writer, are as appealing and irresistible as Tribbles were to the crew of the Enterprise. While Tribbles gave physical comfort with their soft fuzzy bodies and sweet cooing, workshops give emotional comfort with their promise of clarity and focus. Writers flock to them – especially THIS writer. Paying with cash and time. Investing creative energy into new methods to develop characters, plot and theme, as well as new ways to see each.
The trouble with workshops, like Tribbles, is they way they multiply. The way the lectures pile up until there are mounds of them – mostly filled with phenomenal advice about the writing craft. The trouble with workshops, like Tribbles, is their allure.
And so, despite the distraction of Tribbles and workshops, I simply cannot resist their pull. And I, clearly, will not even try.
Resistance is futile.
When I posted the picture of my finished W-Plot worksheet in my last entry, I was afraid it might be a bit frightening. I posted it anyway, hoping that I’d explained it well enough to calm suddenly tense nerves. I don’t think I did, so I’d like to do that now… but I’ll do it without going into detail about the process since no one can (or should try to) explain it the way Karen Docter does.
The completed W-Plot worksheet looks involved because it’s an accumulation of a lot of tiny bits of information. Truth.
In order to get to the final worksheet – which I posted – all that’s necessary is to jot down an OVERVIEW of your character’s throughlines. Face it, stories start with an idea. As you spend time on that idea, it becomes more developed, even if only slightly so.
Now, if you’re like me, thinking too hard about a story before you’re ready to write it is the same as giving anesthesia to your muse. That’s why I love the W-Plot. The beauty of it is indeed it’s simplicity.
Let’s work with the hero – Where is he at the beginning of your story? At what point does he realize what he needs to do for the next 20 chapters? Is it when he learns the jewels have been stolen? Let’s go with that… that’s the high point for your hero because even though stolen jewels suck, pardon my French, he has a solid starting point. He’s got to find who stole them and why, AND get them back without getting himself killed in the process.
Now… getting from that high point (Plot Point 1) to the final high point, (Plot Point 9), is going to be a roller-coaster ride for Hero, with severe drops and slow rises. Your nine points are just highlights of his story with as much or as little detail as YOU want to include.
The reason my finished W looks so intimidating is because I’ve included everyone’s plot points there in the order they’ll occur. It’s like looking at a skeleton of my story. Everything is somehow connected but not yet filled in. THAT’s the fun part. THAT’s the part a pantser muse eagerly awaits. THAT’s when a storyboard truly becomes a treasure if you want to flesh out your W even further… with specific scenes.
Honestly, IMHO, these two tools used properly and in tandem, will make writing/telling/enjoying your story that much easier. Oh, and in case you’re not convinced… a completed W, when organized the way Karen explains, makes writing the dreaded synopsis easy as pie.
So… as many of you know… I’m a writer. Within the writing world, I’m what’s known as a “pantser”, meaning, I’m not big on plotting out an entire story before I write it. I’ve tried it that way and have lost all the excitment of putting fresh words and ideas onto the page.
There was one method I truly enjoyed, though, and that was the storyboard. I’d taken an online workshop with Shelley Bradley and it was amazing. You can be an avid plotter or a simple pantser and still use her method. What it does is organize your thoughts. As they come to you, you jot them down in as much or as little detail as you want (on a post-it) then slap them onto the storyboard in the spot you think they will fit. Of course, there is more to it than that, but after a while, it seems that easy. It’s also fun to see the post-it’s pile up. They’re color-coded, too, so that makes it a super visual tool.
Here’s one of my completed storyboards – ain’t it purdy? 🙂
Another exciting method I learned, use and highly recommend, is the W-Plot. What an amazing tool. Karen Docter gives that workshop, and I can’t say enough about it. Basically what it does is help outline (don’t shudder at that word, it’s not really an “outline” but more like a “highlight” of…) your plot using only nine major plot points for each main character. It’s much easier than I’m probably making it sound, and it is so very worth it.
A finished W might look intimidating at first (even second and third) glance… BUT… I can’t stress enough how simple it truly is. Of course, it forces you to think, but the panster in me stuck around for the entire process without one fainting spell. Truth!
Now, prepare yourself…
Here’s what a finished W looks like with all the plot points (36 total – 9 for the Hero, 9 for the Heroine, 9 for the Villain and 9 for the romance) highlighted in a different color.
See how each plot point in it’s proper place makes the story flow?
If you have the opportunity to take either or both of these classes, I HIGHLY recommend them. Of course, I’m a workshop junkie, so there are many more workshops I can tell you about. Until then… check these out and tell me what you think.
What about workshops you’ve taken? Which ones do you have safely tucked into your writer’s toolbox?