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The Passionate Cry of a Delusional Pantser

Let me be clear on something before launching into this: I’m not anti-pantsing or anti-pansters.

It’s not how I develop stories, nor is it something I recommend. But it is something I absolutely understand – with the exception of today’s little rant – and I’m clear on how it can work, when it works.

That’s the problem, you see. Many passionate pantsers aren’t really clear on how it needs to work.  And they are the ones who are already composing a Comment here with a knee-jerk emotion… and thus, might just miss the point.

So please read the headline as intended.

I’m not saying pansters are delusional. Today I’m writing about one of the things some passionate pantsers say that is delusional. I’m certain story planners say delusional things, too – I’m probably among them – but look before you leap to a judgmental conclusion.

I have (looked, that is), and this is what I see.

Today I’m dissing one of the arguments – a single strand of rationale – that some pansters put forth as reasoning behind their pantsing preference. It’s like a kid saying he doesn’t like string beans because they are green.

They say that. And it’s ridiculous every time they do.

That single strand of pantsing rationale – not the other reasons that defend it – is exactly like that. Ridiculous. Which I’ll explain clearly in a moment.

I could – perhaps should – write a book about How To Pants Your Book Successfully.

Pansting is no different than any form or degree of story planning, relative to the criteria and elemental requisites for a story that is functionally and thematically sound. The bar is the same, and it is high with either process.

Too many writers pants for the wrong reasons. The more seasoned a writer is, the more likely they are to incorporate some form of story planning – if nothing else, then some alignment with the principles of story structure – into their process. Even if it all unfolds out of their head, without an outline.

That’s pantsing, too. The kind that works. Pantsing without a seasoned grounding in the principles of craft is the only option available to the new writer, or the stubborn resistant writer who denies the principles (and man, they’re everywhere out there), because in that case there is nothing to plan. It’s like trying to draw a house without ever really knowing how a house is built… you’ve simply been in a few houses in your life, so now you’re trying to build one without a blueprint.

Because hey, it’s fun to do it that way!

Pantsing is a process.

Nothing more. It’s not more artful or more mysterious than any other approach. It is neither qualitatively superior nor inferior.

It is, however, fraught with risk, in the same way that a pilot operating without a flight plan is inherently more risky than a pilot being guided by a regional air traffic controller from a flight plan filed in context to approaching weather, proximity to traffic and the length of the runway at the destination.

Both can land safely. The one without the flight plan – and here’s the important part, the part you should not miss – if bringing years of experience and training and understanding to the job, can probably weather an emergency (unexpected fog, low fuel, sudden wind sheer, an alien attack) as well as the pilot flying from a plan.  Because they do know how to fly an airplane.

So, within this analogy, here’s what doesn’t happen: the pilot without a plan rationalizes that choice because it’s more fun. Or worse, say, “I just can’t read any of that flight plan stuff, my mind fogs.”

Thing is, this isn’t flying for fun. It’s professional flying. Just as we are talking about professional writing, writing to sell in a competitive market.

Here’s what doesn’t make it into the famous author interviews:

The iconic successful author who proudly waves the pantser flag – Stephen King and Diana Galbadon, as examples – has the expected structural paradigm and aesthetic bones of a story firmly implanted in their head, as an instinct. They don’t need a written plan any more than LeBron James needs a buzzer-beater play written out for him.

They know.

So if you’re Stephen King or Diana Galbadon or LeBron James, go ahead and wing it. Make it up as you go along. Have fun. But don’t fool yourself, you’ll be doing the exact same work as the other successful author – if, in fact, you are a panster writing from a keen awareness and story instinct; this is where the pantsing proposition crumbles under scrutiny – who is writing from an outline created in context to principles she or he understands to be inviolate and universal.

The same understanding, by the way, as that of their successful pansting peers.

It is the unschooled, less instinctual pantser that really can’t get away with claims of “I just can’t do it any other way,” or, “Planning takes all the fun out of it.”

Those are the battle cries of the naïve.

You’re writing a book to sell, right? So the “fun” part falls way down the list of priorities.

And the “I just can’t do it part” is a preference, not a principle.

The genius in the white coat who put the stent in your heart probably didn’t like mucking around the room temperature innards of a poor homeless guy when she/he was in Human Anatomy Lab 101, either, but here she/he is, saving lives and driving a German car.

Because the very thing that you, as a pantser, claim you just can’t do, is in fact the essential elemental composition of the very story you are trying to create.

If you just can’t create a story in outline form, then you just can’t create one in a draft, either. Both will require continued evolution, and if your story sense is weak, it will be extensive in either case.

A true story, not an analogy.

I know a guy, a great guy, who has the eating preferences of a 12-year old. We had them over for dinner not long ago, and served up some terrific homemade, freshly mixed guacamole as an appetizer. My guest wouldn’t touch it. Here’s the exchange when I asked why.

“I don’t eat that stuff.”

“Why not?”

“I just don’t.”

“You don’t like guacamole?”

He looked at with me a go F-yourself expression. I grinned back.

“No. I don’t,” he said.

“When was the last time you tried it?”

The look again. A cornered perp. No response.

“Do you like avocados?”

“Hell no.” His expression reminded me a little girl who had just stepped in her dog’s doody outside the backdoor.

“When was the last time you tried it?” I asked, stuffing an overloaded chip into my mouth.

He shook his head, the forehead of which was getting quite red.

“You’ve never tried it, have you.”

“Hell no.”

“You’ve never tasted an avocado, either, right?”

He shook his head. He was grinning at this point, realizing he was going down.

“So how do you know you don’t like it?”

No response.

“Go on, take a bite. Everybody likes guacamole. It’s delicious.”

He flashed me the palm of his hand when I moved a loaded chip his way.

My wife intervened. “Let him go,” she said.

“Sure. But you’re missing out on something really wonderful.”

“I don’t eat anything green,” was his final comment before my wife dug her fingernails into my shoulder.

Here’s my point for writers: My friend wasn’t trying to become a professional in the food business. He’s just being ludicrous because, other than embarrassment he pretends to not notice, there are no consequences to it.

But for you, the writer, the consequences can be significant.

Another True Story, Leading to Today’s Primary Point

Here is something I just read on another writing website, a pantsing rationale from an established writer that is repeated all the time, propagating like a sort of Zika virus of illogical crazy:

I’d say I’m a recovering pantser. Up until very recently, my mantra/excuse was, “If I figure out the plot ahead of time, I’ll have told myself the story and I’ll be bored and won’t want to write it.”

Yep. Because now that I know the story, I’m bored.

It’s not the process, folks. It’s the story.

Notice she said recovering pantser. And that she positioned her rationale as an excuse.

We’ll get back to her in a minute. But for now, know that…

The gold resides in those caveats.

For too many newer writers, that flip doesn’t register in their pantser brain. They cling to “I just can’t outline or plan,” and even, “It takes all the fun out of it.” I hear that battle cry constantly. It’s one of the reasons I don’t hang out on writing forums, because too many blustery novices put forth this nonsense within some faux context of artistic righteousness.

Which is ludicrous.

Other than the obvious, here’s why:

If you’re bored with a story plan, then how can you possibly be anything other than bored with a story you drafted organically, with no plan guiding you? Both are the expression of the exact same thing – a story unfolding from your instinct, from your inherent ability to sequence a story arc.

I’ll tell you how: because you evolved the story as you wrote it. It was better than it might have been at the outline stage. But that doesn’t legitimize the process, it simply states the writer was incapable of conjuring the best story at the outline stage.

That’s not something to brag about, that’s something to work on.

Planning or drafting are two different ways toward the same essential goal: the discovery of your best story.

Notice how this might translate to real life:

You work with an architect to draw a plan for, and a rendering of, your dream house. As you sit there, you grow bored. The house itself bores you. So instead, you back up a truck full of shovels and concrete and wood, and you build the house itself straight out of your head.

But you’ve never built a professional-level house before.

You’ll be too exhausted and frustrated to be bored. And, unless you have the talent and training of a professional, your house will look like something from a cartoon. A professional would never build a house without a blueprint, like you just did. Because it doesn’t work that way.

You’re not an artist in that case, you’re a beginner who doesn’t yet wield the requisite knowledge and skills. And the only way to find those things is by engaging at the principle-based story-bones level – as in, a story plan leading to an outline.

If you do that planning as a draft, then call it what it is: a story plan attempt, formatted as a draft.

Story is story. If you outline the bones of it and you’re bored by it, then the story isn’t good enough. Don’t blame the story… blame yourself. You have more work to do, and yeah, it may not be fun.

The same writer, sitting down to write the story that bored them as an outline, will experience one of two outcomes: the exact same story will manifest on the page (because it’s still you, doing this with the same level of story instinct), and you’ll be bored with it, too, for the same reason. Or, as you build, your instincts tell you to do something different, something better… and when you do that, you’re coming closer to a more functional story.

So have I just rationalized pantsing from the blank page forward? Yes… if and only if you have a story sense that is developed to the extent that you actually can recognize the moment and nature of something that isn’t working.

Which means, you could have recognized it at the outline level, as well. But didn’t.

Welcome to a paradoxical loop that leads to only one conclusion: no matter what your process, you need to evolve your story sensibilities and awareness of the principles of craft to a higher level, before you can render it to the page.

Then, write your story any damn way you choose. And you’ll choose some form of story planning when you get there, even if it remains in your head.

If you had that evolved level of story sense going for you, you would not be bored by the story at the outline level.

Because your story sensibility drives that, as well. In that case, your story would excite you, not bore you. And the draft you write from it would be the path toward elevating it, not just discovering it.

So when you hear a new writer claiming that outlining and planning takes the fun out of things, that it bores them, what you’re hearing is that the writer isn’t capable of conjuring up a story that works.

And as they draft, that same less-then-optimal story sense will realize a story that also doesn’t work, but they’ll be too immersed the forest of words and the fun of writing sentences and scenes to notice. They won’t even realize they are lost… precisely because their story sense can’t sniff out a lost dog of a story.

Ask any agent or editor. All day long they are reading stories that don’t work, precisely for this reason.

The interviewed writer above, the one who confessed that story planning bored her, went on to say this:

What I’ve learned—the hard way—is that there’s a lot of pleasure to be had in pondering plot and character before getting into the writing. And there’s much, much more to it than saying this needs to happen, then this, etc. The first inkling of each story nearly always comes to me as a vivid image—usually of a protagonist or a setting. But that’s not a heck of a lot to hang a novel on, and thus the plot often reveals itself with an agonizing slowness that undermines my production goals. I’ll get into this later, but for a long time I bought into the notion that the story was a sacred object, and if I manipulated it, it would become over determined and wouldn’t work.

She learned it the hard way.

Because the belief that planning a story will result in boredom is ludicrous. 

It is the story itself that is boring, not the process.

If you’re a pantser, listen to how you rationalize your choice of process. Other less-then-enlightened pantsers won’t hear it, but the people that count – agents, editors, other writers with some seasoning under their belts – will hear any omission of logic, and they’ll silently feel bad for you.

Or they will reject your pitch.

Process doesn’t matter, once you get to a certain point. A point where your story sense already knows how a story is built from a foundation of universal principles of dramatic theory, structure and thematic power through characterization.

****

A little Storyfix news: the September issue of Writers Digest Magazine has an article I wrote; actually, it is an excerpt from my latest writing book. “Revive Your Story with Dramatic Tension” appears on page 58.

Also, Story Engineering was named as one of the “nine essential books for writers,” on Jon Morrow’s site, Smart Blogger, which has 500,000 subscribers. There’s also some interesting new 5-star reviews for the book on Amazon, if you’re interested in understanding why the book is among those nine.

 

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Art Holcomb on: The Character/Plot Connection

(This is an excerpt from my July tele-seminar, “The 10 Steps to Building a Better Story” – more information at the end of the post –Art)

 I’ll tie this all together at the end, so stay with me . . .

I want to begin with a story about growing up with my 10-year old brother Ray and his Hot Wheels tracks.

Ray loved Hot Wheels from the moment he first saw them.  If you don’t remember, Hot Wheels was a system of cool replica cars and these road segments that you could configure all-which- ways to make more and more elaborate tracks. Click here to see them in all their glory.

Ray started out with just one set but kept adding more and more parts.  He collected all the tracks from several different kits, borrowed pieces from his friends and went on to build more and more elaborates stunt track formations – loops, 90, 180, 270 degree turns. Twists and jumps.  At some point, he went beyond the guidelines of the toy manufacturers and created lay-outs that no one had thought of.

Sometimes the cars would make it through to the end and he’d get so excited.  Sometimes the cars flew off the track – maybe they were going too fast, or the turn was too steep and the car couldn’t handle – but he kept  pushing the cars to do the most elaborate and interesting tricks.

The All-Important Test

And the way he tested these configurations was very simple.  He had very basic criteria:

  • Did they make it to the end of the track?
  • Did the cars perform the way he wanted?
  • Was it exciting?

He pushed himself to make more unique and death-defying configurations.  But the test was always the same.  Could the car perform?  Could the car make it all the way to the end, instead of spinning off of one of the loops or turns?

He spent hours designing configurations and then choosing just the right car for each.

Remember that.

The Truth about Plot

So – What is the true definition of a plot?

It is the mechanism by which the truth and humanity of a given character is delivered to the audience.

And in the argument of what is more important – Character or Plot – I believe that character wins every time

Why?

  • Because there are only a limited number of master plots and an assortment of variations;
  • But there are an infinite number of unique characters!

Each – both plot and character – are vitally necessary to the process fo storytelling.

The Job of the Audience

And what the difference between a plot that just relates a series of events and a story that is compelling to an audience?

It’s Audience Engagement

And the storyteller’s purpose? – To keep the audience doing their job – whch is, staying engaged in the story.

Engagement means that the audience must be made to work for their supper

Because a good story is not meant to be like syrup poured over pancakes – giving all the elements PRE-CHEWED to the reader or viewer.

The audience, in order to stay engaged, must be constantly longing to find out what happens next.  So long as that’s going on, the story is working and you have them just where you want them – and more importantly, the Audience is just where THEY want to be.

You as the Imagineer!

Imagine a story like a roller coaster and you’re the designer.

Your job is to create the RIDE and everything is under your control. You decide everything: the length of the ride, the timing, length and details of every twists and turns.

Everything they see, hear, think and feel is completely under your control

Don’t think for a moment that Space Mountain at Disneyland – or any other roller coaster you’ve ever been on – is about anything other than the drama of the moment and your emotional reaction to it. You enjoy it because the designers did their job well.

It’s exactly the same with story.

To Wrap this Whole Thing up . . .

Let’s return to the story on my brother and his Hot Wheels.

This is exactly how I see writers and their plots in the best stories. Ray worked to get the most out of each part of his equipment. He pushed the limits of the track to  get the best out of the cars. And he pushed the cars to get the best out of the track.

This is the nature of the all-important Character/Plot Connection

A Story is about the WHOLE of what you create

The plot is how we put the characters through their paces, show the extent of what they can do.

But it is through our characters that we illustrate to the world the truth and humanity of our lives.

Your stories are ultimately judged by the success of this interplay.

Because, as my young brother knew, you build the track to race the cars and you race the cars so that the crowds in the stands can feel the thrill.

It is as simple as that.

Goodnight, Ray . . .

* * * * *

IMPORTANT:  I want to thank all of you who joined us in the DEFEAT PROCRASTINATION NOW teleseminar. We had over 300 StoryFix readers at the event and the reviews have been gratifying.

Thanks to you all!

In July, our seminar is entitled The 10 Steps to Building a Better Story, and we’ll be talking about how to make sure your story idea is strong enough to go the distance.  If you’re interested in joining us, click HERE for more information – Art

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