Down to the Bones: the Key Points in Your Book

My latest post on JMWW - about inciting incidents, pinch and major points, master scenes, and more! Get the low down on what these are, where they should show up in your book, and how to fix/plan/tweak if they're missing.

Down to the Bones

We can talk ad nauseum about elements of craft where fiction is concerned, and we will in other posts, I promise, but what's really important, is underlying structure, how a story/book is put together.

If you're not making the right connections at the right time, the piece will be just a wandering mess with some key moments that the reader knows should really mean something, but kind of don't.

Here are key points and scenes to determine in your story/book. You can figure these out now, when you've just started (best way!), halfway through (nice save!), or once your book is finished (all is not lost!). Once you've read through them I'll put you to work.

Inciting Incident

What sets events in motion and leads to the FIRST MAJOR PLOT POINT. This should happen fairly quickly. Ideally within the first 5-10 pages. Definitely Act One. (I'm a fan of IN MEDIAS RES—starting your story/book in the middle of the action that changes the status quo of your characters and their world. Starts everything with a bang and also gets the inciting incident out of the way.)

Pinch Point

An example or a reminder of the nature and implications of the antagonistic force (this can be imagery or literally a cut to the voice of the antagonist—but only if you're writing multiple points of view!). Another definition of this point is a reminder/recognition, for the protagonist, of what he/she is fighting for. This can and should also be in reaction to the antagonistic force and can be internal/emotional. Happens near end of Act Three.

First Major Plot Point

Establishes the rising action and protagonist goal. This should happen early on as well. At least in Act Two.

Master Scenes

Pivotal scenes with significant events (the FIRST MAJOR PLOT POINT—and the SECOND, and the CLIMAX—are these types of scenes, for example).

Major Scenes

Advance the story to the MASTER scenes (sometimes through secondary characters) but not the significant reversals or complications.

Minor Scenes

These add life, detail, and minor action. They do have a purpose and are not just atmosphere or you waxing philosophical in your AUTHOR VOICE.

Second Major Plot Point

Related to the PINCH POINT and the MAJOR REVERSAL (see below). This is where the protagonist changes tack and pursues a new and more productive goal. Opens Act Four.

Climax

We all know this is where everything hits the fan. But what's also important is showing the cost for the main character. Even if victory is involved, there is a cost, which is shown in the—

Denouement

Theme should play a role in the aftermath as well as what's learned by your protagonist.

You'll also want to note when MAJOR COMPLICATIONS take place, MINOR REVERSALS (setbacks), the MAJOR REVERSAL (when the character realizes he/she is pursuing the wrong goal or going about the right goal in the wrong way), and VICTORIES.

Now that you know what these key moments/scenes are, you're either excited to determine these in your piece, or freaking out because you don't recognize any of these in what you've written so far.

This is where the work comes in. It's called a "writing practice" for a reason, so if you're one of those people who thinks whatever you write is close to perfect and just needs a few tweaks, you really need to get over yourself. Everyone in your critique group thinks so, but is afraid to tell you.

1) Get a pack of index cards. Actually, get three or four. Buy the colored ones, if that will make this more fun. And some chocolate. Maybe some Pop Tarts. I am all about feeding the fear.

2) As you go through your story/book, write down each scene on an index card. Give it a short but clear description. Don't go on and on or you'll never get through this exercise.

3) Read through the cards again, noting at the top of the appropriate cards (in black marker, in caps), which scenes and points they fulfill in your book. If some don't have a label, reconsider them. What purpose are they serving? If a scene can't even be labeled minor it should go. "Kill your darlings" (Arthur Quiller-Couch, who originated the phrase).

Once finished, you will know your manuscript inside and out. You now also have cards you can move around as needed to give yourself a map to follow. Need a new scene? Write it on a card and stick it in where appropriate. Need to rewrite a scene? Write what the new scene should be, staple the old card behind it and insert it into its spot. Mark the top of these cards with asterisks so you can spot them and work on them one by one, including the ones you need to delete, checking each off once complete.

I use index cards because it's more manageable than a giant chart on the wall or an outline on paper. Why? Because you can't see everything. Sometimes seeing the entire picture can be overwhelming. One scene on one card—That is doable and, hopefully, fun. If I want a bigger picture, I'll lay them out on the floor. That said, if you dig the giant chart, go for it.

The best part of doing this kind of work with your manuscript(s) is that now you can kick the proverbial asses of everyone in your critique group with your new knowledge. You're welcome.

If you'd like to go deeper, I suggest checking out Author Salon. Besides a wealth of craft articles and a critique phase process, they've just launched a new Author Salon Novel Program that teaches writers how to turn a manuscript into a potentially competitive commercial project.

Full disclosure: I'm a moderator on the Author Salon site and have contributed to its content, but I do not benefit financially from it. I do it for free because the behind-the-scenes people are cool and I love helping writers like you.

Yes, you. xo

*Master, Major, and Minor scenes are the brainchild of James V. Smith, Jr. See pgs 97-101 of The Writer's Little Helper, Writer's Digest Books, 2012.