Showing posts with label Plotting. Show all posts
Showing posts with label Plotting. Show all posts

Friday, December 16, 2011

Deja Vu Blogfest -- A Taste of Magic

So in reading one of my favorite bloggers early this morning, (thanks Laura!), I discovered that today is Deja Vu Blogfest. What fun!

In looking back over my earlier posts from over a year ago, I decided to revisit this one, because, to be honest, it needed a touch-up.

Hope you enjoy a second, improved helping of A Taste of Magic. Oh, and please skip over to Wednesday's guest post from fabulous debut author Michael L. Martin, Jr. and post a comment on A Sense of Wonder to win a copy of his book Burn in Hades. Winner will be announced in this space at noon today EST. So hurry!

Congratulations Suzanne Lucero!  You're the winner of Michael's book Burn in Hades!  I hope you enjoy it as much as I did.  I'll send you an e-mail about which format.


A Taste of Magic

When working with an element unfamiliar to your reader, such as a certain magical spell or fantastical beast, it is important to introduce how your creation works before using it in an important situation, especially a situation that involves a twist or mystery.  You have to play fair with your reader by exposing the magical function before the magical result is critical to the story.

J.K. Rowling was really good about this.  For example, we saw McGonagall transform as an animagus long before the Padfoot, Wormtail, Prongs, and Mooney thread of Prisoner of Azkaban.  Likewise, Jo introduced the Polyjuice potion as a relatively minor plot point in Chamber of Secrets before it became a major potion of concealment two books later.

In looking at Goblet of Fire, I found two magical elements that JKR deliberately introduced to her reader at the beginning of the story which played a crucial role in its climax: the Portkey and Prior Incantato.  Early in the book, Mr. Diggory used Prior Incantato to discover the last spell cast from the wand Winky had been discovered with...Harry's own.  Hermione gasped in horror as a shadow of the Dark Mark emerged from Harry's lost wand.

When traveling to the Quidditch World Cup, Mr. Weasley tells Harry that the Portkey they are about to take is an object "used to transport wizards from one spot to another at a prearranged time.  You can do large groups at a time if you need to."  And when Harry asks what type of objects they are, he replies, "Well, they can be anything...Unobtrusive things, obviously, so Muggles don't go picking them up and playing with them." (p. 70, GoF).

Tuesday, July 26, 2011

Twisting and Deepening the Final Battle

The final plot for the ultimate book of the Potter series was a closely guarded secret. How would this beloved epic end? Millions of readers' fervent expectations, and the financial well-being of the vast Potter empire, all rested on JK Rowling's nimble fingers.

For readers, they were concerned that their beloved friends survive the impending war and that the proper soul-mates hook up together. Many were also hopeful that their pet theories--of who was to die and who was to survive and who was loyal to whom--come to fruition.

For writers, who are more knowledgeably trained in the craft, we knew certain beats of storytelling must be met. What most fascinated us was on speculating HOW Jo would interpret this particular hero's journey.

Evil must be defeated. Harry must triumph, even if he died in the process. And order must be restored. JKR had not dutifully followed the hero's journey to end it short of the ultimate elixir.

The biggest question, for me at least, was how could this amazing mistress-of-surprise delight her readers one final time when expectations and speculations had risen so high? Was it possible that she could pull off one final twist? A twist, that of course, must have been well-laid throughout the vastly scoured pages of these most beloved tomes.

In this final chapter analysis, what I hope to cover are 1) the surprising plotting tricks JKR still had up her magical sleeves, and 2) her unique interpretation of the hero's journey. We'll cover plot twists in this post, but to keep the length sane, the hero's journey will follow another day.

With JKR, a plot twist is never just a craft technique alone. It must carry a deeper meaning to the whole series.  Therefore, this plot analysis is closely linked to the one I did a couple of days ago on themes in the final battle.

First up, that master of disguise, Snape:

JKR's ultimate plot twist, of course, was Snape. And while many of you will say that you knew Snape was loyal from Book 1, many readers had serious doubts up until the final shared memory. I can clearly remember discussing with a relative of mine, after finishing Half-Blood Prince together in July 2005, whether Snape was good or evil. My relative is extremely intelligent, well read, and a prolific writer. And he was convinced Snape was guilty. I was sure he wasn't.

We discussed the evidence. In the end, my kin had doubts about Snape's guilt, just as he'd introduced the faintest niggle in my mind as to where Snape's loyalty lay.

That's how well planted a trail of clues and red herrings JKR left for her readers. The evidence pointed in both directions, but only one side would emerge victorious.

Snape's act of mentor mercy killing, his role as double agent, was pivotal in bringing about Voldemort's demise. It was his reason for doing it, however, that had left most Snape supporters divided. Many were on the Snape/Lily ship well before the last book's release. Others believed Snape to be acting with goals of his own personal power. This last surprise of motivation was carefully concealed until the final book to keep the readers guessing and intrigued.

On that, JKR succeeded brilliantly.

The complete story of how JKR wrought the mystery of Snape is fit for a book, not a (relatively short) blog post. However, I will say that although Snape had exited the scene before the very final chapter, his actions still affected Harry's ultimate outcome. It was Snape's loyalty to Dumbledore, which Harry threw in Voldemort's face, that most unsettled the Dark Lord. Because it was in learning that Snape had not conquered Dumbledore, as Voldemort had believed, that left Voldemort holding a useless wand. Without Snape's actions, Harry would not have been triumphant.

And without Snape, JKR could not have shown off the depth and complexity of two of her crucial themes -- the power of love and the importance of choice. Because Snape had loved, he was able to make a better choice than Voldemort, who knew not love. Even to have loved once and lost is better than to not have loved at all.  For love is that ultimate elixir that protects the soul from ultimate destruction...always.


A come-from-behind mother, Narcissa:

For me, the surprise twist that caught me the most off guard was the role of the Malfoys, especially Narcissa, in the final battle. Who would ever have thought that the mother of Harrry's school nemesis and the wife of the Dark Lord's second lieutenant would be Harry's final savior? That one, JKR completely snuck by me.

And yet, she prepared the reader well for Narcissa's surprisingly soft hands absorbing Harry's very alive heartbeat as she touched his chest to verify his death for Voldemort. Yet, it was her Dark Lord Narcissa betrayed, not Harry. And the betrayal was due to her mother's love, a theme JKR had developed from the very beginning, not only through Lily's sacrifice, but the love of mothers such as Molly Weasley and Alice Longbottom. Even Petunia loved Dudley dearly, though her short-sighted love sometimes caused more harm than good. And we must not forget those loving packages from home that Draco's owls constantly brought him. Indeed, the crucial criteria separating Narcissa from her deranged sister Bellatrix is that Narcissa bore a mother's love.

So, in JKR's wonderfully circular way of writing, a mother's love stopped Voldemort in Godric's Hollow as a mother's love stopped him in the Dark Forest. In essence, Narcissa prepared Harry's body for his final resurrection in the Great Hall. (There may even have been a hint of Mary Magdalene in Narcissa's hair touching Harry's body).


Harry, a simple hero with a standard spell:

The final, greatest mystery yet to be unveiled was in what manner would Harry defeat Voldemort. Defeat him, we knew he must. But how?

For an author who had based so much on her theme of love and the maiming of one's soul through killing, how would Harry kill and yet perfect his hero's journey at the same time? Surely, love would play a part. But how could love truly bring down a tyrant?

Of course, there could be a magical explanation for whatever devise she used, but with a writer of JKR's caliber, every magical and fantastical element in her created world must have a realistic counterpart in our everyday one.

In other words, to uncover the true ticking of JKR's final plot, we must understand what all that wand lore symbolizes in our real world.

In JKR's adept fingers, Harry defeated Voldemort not because he became a killer, but because he sacrificed himself for others. Harry defeated Voldemort not because he murdered, but because he refused to harm anyone any more. Harry won the wand off Draco not through killing a school bully, but in yanking it out of Draco's hand in his bid to protect his mates. Harry's triumph was a culmination of always seeking to protect others, to put an end to tyranny, and to remain true to his core beliefs.

In the end it must be noted that of all the Horcruxes destroyed, Harry killed only one. Harry had learned to join forces with others, to trust in the wisdom of his mentors, to lay down his life to save many, and to always seek to disarm rather than to harm.

All these lessons are just as real in our world as in Harry's.

And so, what of that ultimate fantasy weapon, the wand? How could a hero in ours truly stop a tyrant by disarming his wand? In our world, we do not have wands. But we have power. And we have tyrants who wield their power over others like Voldemort does with his wand.

When a ruler uses his power to harm his people, it can be stripped away if those oppressed rise in unified protest. Tunisia and Egypt are two recent examples. People rose up. People fought. Yes, people were killed, but the dictators' wands were ultimately disarmed.

As writers, I believe that we must plot the significance of our climax as carefully as we plot the actions which lead up to it. It's not only important to tie up most loose ends and to deliver that final, stunning twist. It's also crucial that the story have import.

Through leaving revelations of character motivation and action to the final chapter, coupled with a well-prepared trail of clues, JKR satisfied her reader with final surprises. Above all, JKR twisted every significant action and surprise with even deeper meaning into the themes of life she explored.  Because she wove her story throughout with meaningful subtext relevant in today's world, she ensured her readers would not soon forget Harry.

Above all, your reader will remember your characters' final triumph. If it's weak, or not well grounded in reality, your story will soon be forgotten. But if you plot your story well, both the above ground action and below the surface meaning, then you should leave your reader with the thrill of a satisfying read that warms their heart and is not soon forgotten. And that they then tell their friends about.

What plot twists have you saved for the ending of your manuscript?  How is that particular surprise relevant to your story's main themes?


(Update: I'm away from home using a slower computer and am noticing that sometimes the comments below don't load. There IS a comment trail. If you are not seeing it, try reloading. Your connection may be too slow).

Thursday, March 24, 2011

Linketty Link

Just a short post to point your way to a great analysis on Literary Rambles that I just discovered by S. Kyle Davis.  He analyzes JKR's plot chart from Order of the Phoenix for writers, and does a great job of it.

Check it out!

Thursday, March 10, 2011

Harry's Calls to Adventure

The Hero’s Journey and its Call to Adventure is a concept described within Joseph Campbell’s groundbreaking The Hero With a Thousand Faces. A comparative mythologist, Campbell studied myths separated by continents, centuries, and cultures and discovered that most shared a basic framework, the Hero’s Quest, which he broke down into 17 steps. Christopher Vogler, a scriptwriter and film producer, simplified Campbell’s work into 12 steps in The Writer’s Journey, making it more accessible to writers and the film industry. Campbell’s and Vogler’s Journey have been used in storytelling in everything from Star Wars to About a Boy to Harry Potter to insertyourowntitlehere.

This monomyth is a universal pattern of story structure that transcends human boundaries to bubble up in myths from ancient Greece, to medieval courtly romances, to today’s commercial fiction. To put it simply--the Hero’s Journey is the story plot which has lasted the longest because it strikes a basic, universal human chord of truth.

The first real step of the Hero's Journey, after setting up the ordinary world, is the Call to Adventure--the catalyst or trigger that gets the story rolling. The Call to Adventure prompts the heroine to leave her Ordinary World for the Special World. It could be something that threatens the peace of the Ordinary World if the heroine does not go off to deal with it.

Each of Harry’s calls to adventure also directly reflects the primary focus of that book’s story.

  1. PS/SS--Letters from Hogwarts -- the letters signify Harry’s initiation into Hogwarts and the wizarding world.
  2. CoS--Dobby’s warning -- spurred by the diary of Tom Riddle which Lucius, Dobby’s master, will pawn onto Ginny Weasley
  3. PoA--the Muggle newscast regarding Sirius' escape -- this starts the immediate focus on Sirius and his mystery
  4. GoF--Harry's dream of Voldemort and Wormtail at the home of Riddle’s father -- foretells the climatic scene at the graveyard of Riddle’s father with Voldemort's rebirth
  5. OotP--the Dementors attack -- the Dementors sent by Umbridge reflect the intensifying discord between Hogwarts under Dumbledore and the MoM under Fudge as manipulated by Umbridge
  6. HBP--Dumbledore’s arrival at Privet Drive -- sets the stage for the private lessons into his Pensieve which form the core of the book
  7. DH--The seven Potters -- the sacrifice Harry’s friends are willing to make for him by drinking his Polyjuice is directly reflected in the self-sacrifice Harry will make for them all in the end.

It's lovely when a call to adventure at the beginning of a story can set the tone for what is to come and hint toward the resolution as well. Of course, the call should intrigue the reader and provide a strong hook to what is to come.

click to enlarge
And while we're on the subject of plotting...have you seen the spreadsheet JK Rowling had to help her plot Order of the Phoenix?  It's rather messy, as mine tend to be.  Makes me think I'm in good company! :-)


What have you used as a call to adventure? How has it reflected your central theme or conflict?

Tuesday, August 17, 2010

Harry's Inception

Have you ever noticed how each Harry Potter book starts with Harry in a dormant or sleeping position? It's true! Take a look at this:

  1. PS/SS -- In this first book, the reader is presented with not one, but two dormant Harrys! First, we have the baby Harry swaddled in blankets in Hagrid's arms, sound asleep. Then, when we are introduced to the almost 11-yr-old boy, he is asleep in his cupboard under the stairs...but not for long. Aunt Petunia approaches.

  2. CoS -- The book starts out with Harry and the Dursley family at breakfast, and Uncle Vernon upset because he was awoken by Hedwig. However, after the reader is caught up on what happened in the first book, the first thing Harry says is "I'll be in my bedroom, making no noise and pretending I'm not there." (p. 7) Can't be much more dormant than hiding in your bedroom pretending not to exist.

  3. PoA -- "It was nearly midnight, and [Harry] was lying on his stomach in bed, the blankets drawn right over his head like a tent.." (p. 1) Harry is reading A History of Magic and trying not to get caught.

  4. GoF -- "Harry lay flat on his back, breathing hard as though he had been running." (p. 16) He's awoken from his dream of The Riddle House.

  5. OotP -- "The only person left outdoors was a teenage boy who was lying flat on his back in a flower bed outside number four." (p. 1) Rather an odd position to be in to listen to the news, don't you think?

  6. HBP -- "Harry Potter was snoring loudly. He had been sitting in a chair beside his bedroom window for the best part of four hours, staring out at the darkening street, and had finally fallen asleep with one side of his face pressed against the cold window-pane, his glasses askew and his mouth wide open." (p. 42) Harry has been waiting for the promised approach of Dumbledore, while not truly believing he would arrive.

  7. DH -- This is the book that breaks the pattern. Although Harry starts off in his bedroom, this time he is active, taking charge. He's been cleaning out his trunk all morning, preparing for his departure, and has cut himself on that broken mirror of Sirius', bleeding.
So, why all this dreaming, sleeping, lying down, or pretending not to exist? When something like this happens once or twice in a series, it could be merely a coincidence. However, when a pattern is present in every single book, the author is obviously making a point. But, what could it be?