The Five Bricks of Story and Life

by Maureen Lynas

Eureka!

Orrible Enrietta

I'm always on the look out for patterns and structures when I'm analysing books and characters and this week was a breakthrough week for me. My last blog was on the Seven Steps of Structure and I thought the last three steps Reveal, Reflect and React needed a bit more analysis. So I got out the highlighters and put Horrid Henry (and his new friend Enrietta) back under the microscope.

Eureka! No 1

I thought I'd spotted the 3R's as a repeating pattern throughout the work, and not just after the EVENT as previously indicated.

I'll show you what I mean but I'll use Orrible Enrietta to give an example instead of Horrible Henry in case I'm sued.

Reveal

Orrible Enrietta sneaked back into the kitchen for the chocolate.

Reflect

'Chocolate is for kids. Grown ups should eat carrots and soggy cabbage. It's my human right to eat that chocolate. So I will!'

Action

Orrible Enrietta stuffed the chocolate in her mouth.

But something didn't seem quite right. Some sentences, paragraphs didn't fit the pattern – what were they doing, if they weren't revealing, reflecting, or reacting.

So I decided to check my research and went back to James Scott Bell's Revision and Self-Editing but when I looked in the book the three R's were not there! Even though that's where I was convinced I'd discovered them. What was there was –

Action Scenes – Objective, Obstacle, Outcome.
Reaction Scenes – Emotion, Analysis, Decision.

Interesting! And now I was having…

Eureka! No 2! I had discovered The 5 Bricks of The Scene.

If this is a good old secret known to many then that’s brilliant. But it’s new news to me.

The Bricks of The Scene is what story structure is built from.

Something is revealed
There is an emotional response.
There is reflection/discussion
There is a decision
There is action

For example

Reveal

Orrible Enrietta was watching Zombie's Rule, OK.

'It's your turn to wash the dishes,' said Mum.

Emote

'No! Not fair!'

Reflect/discuss

'I did it last year! Why can't we use paper plates. Why do we have to use stinky proper plates like rich people? I'm too young. I'm too clumsy!' 
That'll get her, thought Orrible Enrietta. Mum won't want her precious plates smashed.

But mum was one step ahead of her. 'Any breakages come out of your pocket money.'
Emote
Grrr.
Reflect/Discuss
I'll think of something, thought Enrietta stomping into the kitchen. What would a genius do?

Decision

Aha!  I'll wash them all right. But I won't clean them.

Reaction/action

Orrible Enrietta turned the cold water on. She rinsed the spaghetti off each plate and into the sink. Then stacked each plate on the draining board. I'll leave the tap on, she thought. It'll wash the spaghetti away. Then I won’t have to wash the sink either. I am sooooooo brilliant!

'Done Mum,' she shouted. She dashed back into the living room just as the Zombies chanted, 'Blood, blood, brains and blood. You should run, oh yes, you should.'

That seems a lot better. But I hear you cry (those of you who don’t want to follow rules or patterns)

Are there rules to break?

Yes! It doesn't have to be as prescriptive as it sounds. But rule and patterns are there for a reason, if you apply these bricks to any event, they will be there e.g. I want toast. There’s no butter. Damn it! Shall I go to the shops or have cereal? I’ll have cereal. I eat cereal. They really are the bricks of life not just story.

The reveal and emotion bricks can be alternated to escalate the emotional reaction to the reveal.

Here’s a different scenario.

Reveal

Mum interrupted Zombies Rule, OK. 'Mrs Knowitall is coming for tea,' she said.

Emote

Noooooo, thought Orrible Enrietta.

Reveal

'She's bringing Nigel Knowitall for you to play with.'

Emote

Nooooooooooooo, thought Orrible Enrietta.

Reveal

'And the baby.'

Emote

'Nooooooooooooooooooo! 

Not the BABY! Anything but the BABY!'

I hate the baby!

The emotion and reflection/discussion bricks can be alternated to escalate the panic of the situation.

Reflect/discuss

I need an incredibly clever plan that only I can think of.

Emote

Aaargh! I can't think of one!

Reflect/discuss

I'll hide. Under the bed.

Emote

Grrr. Mum always looks there first.

Refelect/discuss

'Blood, blood, brains and blood,' chanted the zombies on TV.

If only I was a zombie, thought Enrietta. No one would ever come to the house if I was a zombie.

Decision

That's it! I'll be a zombie!

Once the decision is made there can be no more reflection/discussion.

Action

'Blood, blood, brains and blood,' chanted Enrietta. She shuffled towards the door, her arms stretched out in front. 'I need flour and jam and mud.'

What can be missed out?

I'm very interested in 'the gap'. The gap we leave for the reader to fill. This is probably the basis of 'show not tell' (will think more deeply on this, that could be a giant blog post). But for now this is what I think happens. We invite the reader to infer something because we have missed something out. We give them a role to play in the story and they fill the gap with their own life experiences and knowledge. I also think this is where subjectivity comes in to play. People like books that allow them to fill the gap easily. They relate to the gap you leave.

So what can we leave out? The reveal? The emotion? The reflection/discussion? The decision? The action? Are Reveal and Reaction essential? Does leaving out emote or reflect provide the gap for the reader? Let's have a go. Let's go back to the washing up scene-

Reaction/action

I'll leave the tap on, she thought. It'll wash the spaghetti away. Then I won’t have to wash the sink either. I am sooooooo brilliant!

'Done Mum,' she shouted. She dashed back into the living room just as the Zombies chanted, 'Blood, blood, brains and blood. You should run, oh yes, you should.'

Don't Reveal

the sink has overflowed.

Emote

'Enrietta!' cried Mum, storming into the living room.

Reveal

Her slippers left soggy footprints on the floor.

Emote

'You are in soooo much trouble.'

The missing reveal from the text is implied by Mum's emotional reaction. We as adults would be able to fill the gap. But could children? Young children don't have the skill to infer so the gap may be filled by an illustration. Which is why it's essential to discuss the text and illustrations with them: to make sure they have the whole picture.

So, what's on each brick?

Reveal

In no particular order

Who’s there.

The setting.

The obstacle.

The objective.

The tone.

etc

Emote

Any!

But it should be right for your character type. Horrible Henry would be unlikely to do sadness. His main emotions are frustration and joy.

Reflect/discuss

The situation.

The emotion.

The problem.

The consequences.

etc

Decision

The protagonist must make a decision that will carry the story forward. He/she can have the decision made for them depending on the story (a bomb goes off so they must move on, the decision is out of his/her hands) but if all decisions are made for them then it isn’t really the protagonists story is it?

Action

The action should be based on the decision and should move the story along. We're not talking action as in – she waved her hand at Mum. We're talking – so I plastered my face with flour and dribbled on jam for the scars and lay in wait for the BABY.

So

The story layers seem to be

The finished structure (Hero’s Journey, Romantic Comedy etc) is created using –

The 7 steps of pacing and plotting (name, preview, contrast, EVENT, reveal, reflect, react)

Which are built with –

The 5 bricks of The Scene (Reveal, emote, reflect/discuss, decide, act)

And I’m wishing I’d called the 7 steps something else! That fits the analogy of a building. The 7 girders?

And then, I hear you cry over the internet, ‘What about the cement? What's glueing it all together?

Well, that would be the...

WORDS! 

Happy writing

Maureen 

Maureen Lynas blogs intermittently on her own blog which she creatively named - Maureen Lynas

She is the author of
The Action Words Reading Scheme
Florence and the Meanies
The Funeverse poetry site.

Seven Steps for Plotting and Pacing

by Maureen Lynas

WARNING! If you follow these steps you may never enjoy a book or film ever again. You may even experience marital and family discord. Now read on.

Candy's post on the First Page Panel in Singapore reminded of an activity I attempted (and failed) years ago. I'd just bought my very first 'how to' book - James Scott Bell's fabulous and essential Plot and Structure. The activity was:

Read four of your absolutely favourite novels and analyse them, pull them apart, because these books probably reflect the way you want to write and will give you a structure to follow.

I'm paraphrasing because I keep buying this book, lending this book and not getting this book back!

Great, fantastic advice, except – analyse them for what? For me this was a catch 22 situation. I couldn't analyse them until I understood story and I couldn't understand story until I'd analysed the books. So began a long journey to find out what makes a book tick. The other problem was – which four books? Because the books I loved to read for myself were not the books I wanted to write. I read adult books, but I wanted to write children's books, so analysing The Lord of the Rings, The Time Traveller's Wife or The No 1 Ladies Detective Agency was unlikely to help unless I was about to write about a young Orc detective called Sarumantha who can time hop. Gosh, there's an idea everywhere!

So, one thing I had to discover was – which children's books should I analyse. Which children's books did I want to read? And why? This took quite a bit of time but I eventually landed on - 

'I want to write the children's books I would have loved to read to my children (when they were children) and to the kids in my class (when I still had a class).' And 'It's my job to make kids laugh.'

Having these two statements to keep me focused was a huge help. So now I had some idea on what to analyse and once I started I couldn't stop. I became obsessed with getting to the nitty gritty of an author's skills and would jump with excitement when I'd 'cracked' another one. I would bore anyone who would listen, describing the techniques they'd used to make me laugh, cry, think, in minute detail – as if all of my friends, family and acquaintances were actually interested. Thank you for your patience! 

Eventually I had to accept that not everyone was as nuts as I was about writing and so I grabbed the chance to run the North East SCBWI in York, just so that I had the opportunity to share my obsession through chat, workshops and critiquing together. One day I found myself running a workshop on analysing Horrid Henry. I'm now sharing the notes from that workshop with you; they can be used to analyse any book or film, or used as a planning tool.

Analysing Horrid Henry

H

Henry's Here!

Identify the goal

• Henry's attempt to achieve his goal provides the major event of each book.
• The goal may be achieved during the event and the result will be positive for Henry.
• The goal may be achieved during he event but the result may be negative for Henry.

Identify Act one, two, three.

• Look for the inciting incident – the action that triggers the story. Because Horrid Henry is for young children this may be as simple as Mum saying, 'Bath-time!'
• The doorway in to act two – Henry engages with the story as a reaction to the inciting incident. In adult crime stories it can be as simple as being given a case to solve and the detective starts solving. In other stories there is more of an emotional involvement to the trigger. Do a bit of research – What is it in HH? Is it the same type of incident and doorway in each book? Is HH propelled into the story by outside forces or does he jump in?
• Look for the doorway out of act two and into act three. Does HH always solve his own problems in order to get into act three?
• Cut/mark the book into the three acts.

Now for the real fun 

The Seven Steps of Plotting

These are the seven steps to pacing and plotting that I use in my own writing because they do away with the annoying muddle in the middle. Five steps were found in an article in The Complete Handbook of Novel Writing by Meg Leader and Jack Heffron (thanks Geoff) and I've broken down the last one to include some steps from Revision and Editing by James Scott Bell.

The Seven Steps are 

Name. Preview. Contrast. The Event. Reflect. Reveal. React.

It's best to analyse in the following order.

Using coloured pens, identify the following (Just put one straight line from the top to the bottom of each section)

• Highlight the main event of the book (achievement of the goal) in red.
• Highlight the contrast scene (immediately before the event) in yellow.
  • What makes a contrast scene? A contrast scene is the argument before the kiss, the campfire before the battle, the success before the failure, or the failure before the success depending on the tone and genre of the work.
• Highlight Henry's reflection (immediately after the event) in dark green.
• Highlight what has been revealed (immediately after the reflection) in mid green.
• Highlight Henry's reaction/action (immediately after the revelation) in light green.
• Now go to earlier in the story and highlight any previewing of the event in blue.
  • Is the main event (achievement of the goal) shown in another way earlier in the story? Does a similar event happen to another person earlier in the story? Does a similar event go wrong for the protagonist earlier in the story. e.g in the book about the visit to the dentist, Moody Margaret goes into the treatment room just before Henry.
• Highlight any naming that takes place before the previewing. in orange.
  • Naming is very short, e.g. 'Horrid Henry sat in the dentists waiting room' is naming this event will be about HH having a battle with the dentist.
  • Other naming – Mentioning a catapult on the mantelpiece as part of early description means that you can use the catapult later. Or, you can use opposites to name things e.g. 'This won't hurt,' is naming 'This will hurt.' Or in a romantic comedy – 'I'll never kiss him' is naming – 'I will end up kissing him.'

 Of course you will have more than one event in a longer book so the steps can be intertwined. 

You should also analyse for

Cause and effect.

• What triggers movement between the steps. How does the story move on logically.
• What is expected? What would be obvious? What actually happens?

Each scene's emotional dynamic for each character.

• Up – down (happy to sad, excited to boring)
• Down – up (confusion to clarity, failure to success)

And there you have it. For now. Have you noticed - None of the above deals with the words, the language. I'll delve deeper into Horrid Henry horrendous world in my next blog on:

• Conflict
• Tone
• Escalation
• Rhetoric
• Opinion

Back to the apology mentioned at the beginning. If you do this properly – you will irritate people. They don't seem to like it if you watch a film pointing out the seven steps. I have no idea why. After all, what's wrong with a running commentary of , 'Ayup, it's a contrast scene.', 'Nice bit of naming there.', 'Did you see that gun on the mantlepiece? You know what that means, don't you? Don't you, eh?', 'Where was the preview! I can't believe there was no preview! How rubbish is that!' or 'Yay! I know what the event's going to be!'

Good luck.

Maureen

Maureen Lynas blogs intermittently on her own blog which she creatively named - Maureen Lynas
Maureen is the author of
The Action Words Reading Scheme
Florence and the Meanies
The Funeverse poetry site.