{"id":847056,"date":"2025-10-31T10:00:00","date_gmt":"2025-10-31T10:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/?p=847056"},"modified":"2025-10-30T15:04:37","modified_gmt":"2025-10-30T15:04:37","slug":"how-i-plot","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/how-i-plot\/","title":{"rendered":"How I plot"},"content":{"rendered":"\n<p>Oh my golly and oh my gosh, there are many ways to build a book.<\/p>\n\n\n\n<p>The purpose of our <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/jerichowriters.com\/events\/build-your-book\/?utm_source=IS&amp;utm_medium=email&amp;utm_campaign=HFE\" target=\"_blank\">Build Your Book Month<\/a>&nbsp;<\/strong>hasn\u2019t really been to guide you in The One True Path. Plotting isn\u2019t like that. There are plenty of variant approaches and they all work. That is: they all work for some authors and some types of book. You just need to find the approach that fits you.<\/p>\n\n\n\n<p>For what it\u2019s worth, I don\u2019t believe that any single approach has all the answers:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>The Three Act Structure<\/strong>: I don\u2019t think this even describes screenwriting structures all that reliably. I don\u2019t think that it even describes the films \u2013 like <em>Chinatown<\/em> \u2013 that supposedly act as exemplars of how the system works.<\/li>\n\n\n\n<li><strong>The Hero\u2019s Journey<\/strong>. Works fine for some stories \u2013 <em>Star Wars<\/em> is the obvious one \u2013 but it\u2019s plainly a stupid structure for something like a detective novel. I\u2019d say this structure feels niche rather than central.<\/li>\n\n\n\n<li><strong>The Rise of the Twist<\/strong>. Thrillers these days brand themselves as twisty in the same way as chick list used to cover itself in squirly pastel fonts. But can you write a decent thriller without its being particularly twisty? Yes, of course, you can. Twist if you want to. Don\u2019t if you don\u2019t.<\/li>\n\n\n\n<li><strong>Snowflakery<\/strong>. This is a good solid approach, where you start with a very brief \u2013 1 sentence summary of your plot \u2013 and then expand and expand from there. That\u2019s a tool so loose that it can\u2019t really go wrong \u2026 except that the original snowflake method was vastly more prescriptive about just how that process of expansion should take place.<\/li>\n<\/ul>\n\n\n\n<p>So what do I think really matters? What do I do?<\/p>\n\n\n\n<p>Well, I do think that you need a <strong>basic concept that works<\/strong>. I call this an elevator pitch: not some pretty slogan to put on Twitter or the front of a book, but the basic DNA of your story. \u201cGirl + romance + werewolf\u201d \u2013 that\u2019ll do.<\/p>\n\n\n\n<p>I\u2019ve talked about this plenty before. The first lesson of our Good To Great course talks about the concept in detail. You already have access if you\u2019re a Premium Member, but if you\u2019re not you can still get the lesson as a free taster session&nbsp;<strong><a href=\"https:\/\/jerichowriters.com\/creative-writing-courses\/good-to-great-writing-course\/\">here<\/a><\/strong>. If you\u2019re not feeling really solid about that elevator pitch idea and why it\u2019s so central to everything you do thereafter, then you should take 40 minutes to work through that lesson. There are lots of writery things you can skip, but don\u2019t skip that.<\/p>\n\n\n\n<p>After that, I do think that you need to understand your <strong>central character(s)<\/strong>. What are they about? Who are they?<\/p>\n\n\n\n<p>It\u2019s hard to explain the kind of knowledge that you need there. It\u2019s easy to develop the kind of character-narratives that give you a hero like <em>Mission Impossible<\/em>\u2019s Ethan Hunt. Yes, there\u2019s backstory. Yes, there are details briskly suggestive of personality. But really? Ethan Hunt feels like a blank into which you can conveniently pop the biggest movie star of his generation.<\/p>\n\n\n\n<p>A good character is not a convenient blank. The best characters never are. One of the reasons why <em>Friends<\/em> was such a success was that it never, ever, ever, ever deflected from character. Maybe there was a good punchline to be had, a great joke to be made \u2026 but if that joke required that Joey was astute, or Monica was relaxed, or Phoebe was a corporate drone, the screenwriters would never take the joke. The character shape was iron. The show worked everything out from there.<\/p>\n\n\n\n<p>And then I think you need a <strong>shape<\/strong>.<\/p>\n\n\n\n<p>You need to be able to see a story arc in its broadest terms.<\/p>\n\n\n\n<p>The clearest example I can offer there has to do with the <em>Deepest Grave<\/em>. I knew I wanted to write about fake antiquities and a hunt (in modern Britain) for Arthurian relics. I had confidence in an elevator pitch which was basically:<\/p>\n\n\n\n<p><em>Murder story + antiquity fraud + Arthurian relics.<\/em><\/p>\n\n\n\n<p>The initiating murder was easy enough: I chose to behead an archaeologist, but any number of routes would have been fine.<\/p>\n\n\n\n<p>The underlying crime was easy enough to construct as well. My baddies needed to create a credible Arthurian relic with enough clues suggesting an authentic provenance so that when they \u201cfound\u201d and stole the relic, it would be considered authentic enough to be extremely valuable. Again: plenty of ways to do all that.<\/p>\n\n\n\n<p>But all that felt a big girl-meets-boy in terms of story structure. There was a <strong>necessary complication<\/strong> missing. So with girl-meets-boy, we\u2019re waiting for, \u201cAnd boy is a vampire!\u201d. Or, \u201cAnd boy is dying!\u201d Or, \u201cBut one is a Montagu and the other is a Capulet!\u201d<\/p>\n\n\n\n<p>In effect, that complication takes a standard story structure and throws it in a new and unexpected direction.<\/p>\n\n\n\n<p>What was my complication? I didn\u2019t have it. I couldn\u2019t start writing the book until I did.<\/p>\n\n\n\n<p>And then \u2013 bingo. My complication was, \u201cFiona makes a fake Arthurian relic of her own.\u201d That made perfect plot sense. (She could draw the baddies to her, as they\u2019d have to take her relic off the market before they could sell their own.) But better than that, it added the perfect ingredient thematically: if the novel was about fakery, then faking a fake was perfect. And this is Fiona! She\u2019s not a character who wants to approach things normal police-style ever. So faking a relic was the perfect (utterly unanticipated but totally logical) step to take.<\/p>\n\n\n\n<p>It also gave the whole novel that sense of a fold \u2013 a mid-book inversion of everything the reader expected.<\/p>\n\n\n\n<p>Because this is a crime novel, I don\u2019t have to think very long or hard about my <strong>denouement<\/strong>. My books open with a crime and&nbsp;they end with a solution \u2026 after a pretty serious crisis of some kind, naturally.<\/p>\n\n\n\n<p>And that\u2019s it. That\u2019s all that I need before I start writing. A pitch. A character. A sense of the basic shape of the story, together with some mid-book complication. All that and a (for me, nice and easy) denouement.<\/p>\n\n\n\n<p>If I have those things, I know that the book I\u2019m writing will be basically marketable. That is: if I don\u2019t mess up the execution, I\u2019ll have a novel that people want to read (good pitch) and will satisfy once read (shape, complication, denouement.)<\/p>\n\n\n\n<p>I\u2019m not saying that this is the way YOU have to proceed. Our final Build Your Book Month session was delivered on Wednesday by my colleague (and bestselling author), Becca Day. She gave a really useful range of plotting approaches: a kind of sushi conveyor, where you pick off the tools that work best for you.<\/p>\n\n\n\n<p>But, if you want to know my choices from that sushi belt? Well, it\u2019s loose plotting, in Becca\u2019s scheme. Tight enough to be marketable. Loose enough to be free.<\/p>\n\n\n\n<p>For those of you who stuck with us through Build Your Book Month: I hope you loved it, and I hope your writing flourished as a result. For those who didn\u2019t \u2013 well, you can always <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/jerichowriters.com\/events\/build-your-book\/\" target=\"_blank\">catch up on the replay<\/a><\/strong>.<\/p>\n\n\n\n<p>*** <\/p>\n\n\n\n<h3 class=\"wp-block-heading\">FEEDBACK FRIDAY \/ Present your outline<\/h3>\n\n\n\n<p>Post your book outline into <a href=\"https:\/\/myjericho.jerichowriters.com\/forums\/forum\/feedback-friday\/31-october-present-your-outline\/\"><strong>this forum<\/strong><\/a> on Townhouse \u2013 whatever you have and whatever approach you take. (Remember to log in first!)<\/p>\n\n\n\n<p>As always, give feedback on other people\u2019s outlines, thinking especially about:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Conflict<\/li>\n\n\n\n<li>Stakes<\/li>\n\n\n\n<li>Pacing<\/li>\n\n\n\n<li>Character growth<\/li>\n\n\n\n<li>Whether you see a clear complication in the story plan.<\/li>\n<\/ul>\n\n\n\n<p>If you don\u2019t have an outline, share your basic premise and the method you\u2019ll be using (even if that method is pretty much making it up as you go along).<\/p>\n\n\n\n<p>Til soon.<\/p>\n\n\n\n<p>Harry<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Oh my golly and oh my gosh, there are many ways to build a book. The purpose of our Build Your Book Month&nbsp;hasn\u2019t really been to guide you in The One True Path. Plotting isn\u2019t like that. There are plenty of variant approaches and they all work. That is: they all work for some authors<\/p>\n","protected":false},"author":32,"featured_media":815759,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16],"tags":[27495,29212,29313],"class_list":["post-847056","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-novel-writing","tag-plotting","tag-harrys-friday-email","tag-plotting-and-planning"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/how-i-plot\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How I plot &#8211; Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"Oh my golly and oh my gosh, there are many ways to build a book. 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I've published trad &amp; self-pub. Love both. Best known for my Fiona Griffiths crime series. 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