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Sanderson 2016.3 - Plotting

Brandon Sanderson’s 2016 Semester at BYU: Creative Writing, Lecture 3: Plotting This video is a mirror of the materials posted by user camerapanda. The authorized filming is thanks to Brandon's friend Earl Cahill and his assistants from CameraPanda.com (go support them). The lecture was filmed at Brigham Young University. I've color corrected the original shots, transcribed the whiteboard, and taken some notes w/ timestamps to help you follow along. ** LECTURE NOTES ** 0:12 / Questions How to apply last week’s sliding scales to actual characters - Useful in understanding your character’s arc 5:19 / Plot as illusion Writers are like stage magicians The strange attractor: every story combines something familiar with something strange A sense of progress: the most important part of the book - This is an illusion! Progress is artificial in every book Your job is to make the progress exciting and satisfying 14:15 / Promises Learn how to make promises early in your story and how to fulfill them in a satisfying way Opening chapter establishes these promises - This is one of the reasons for the epic fantasy prologue: establish promises that are larger than the first chapter can deliver Making the wrong promises is a major pitfall for new writers 25:33 / Approaches to plotting The most famous is probably 3-act format - Act 1: the introduction/setup - - Establish the character, the setting, the tone - - Ends with a crisis point where the character is called to action - Act 2: the confrontation - - Escalation - - Ends with a low point; can’t fail again or we lose - Act 3: the resolution - - Make good on crisis point promise The simplicity of this format helps break down a very big story or provide general structure to a discovery writer 35:31 / Questions on 3-act format For a trilogy, you can usually see this within each book as well as across the three books How long should each section be in relation to eachother? - Standard story, the middle is the biggest, intro is the second biggest, and resolution is the shortest - Sometimes the middle is divided into three smaller parts also - These are general guides, not strict rules 38:14 / The monomyth Describes a character’s journey as a circle Character ignorant, but at peace Forced into motion (usually meeting with mentor, which is a tonal promise) Crosses a threshold and takes action Trials / tests Often mentor is lost; often a supernatural aid granted to character You die (not necessarily literally; this is the low point) Resurrection; moment of peace and serenity The return Becomes mentor for people still at home 45:07 / Considering the monomyth As with all tools, understand ‘why’ and don’t view as a checklist Why the refusal? - Tension, promise, everyman Why loss of mentor? - Necessary to become independent Why apotheosis? - Need understanding before resolution You can pick and choose the parts that work for your story 50:09 / Pantsing Try-fail cycles - Anything you want to become a nice moment, have the characters try two or three times and fail Yes-but-no-and - Plotting method where you introduce a problem, have character try to resolve it - - Does attempt work? If yes, add a BUT. If no, add an AND. - Let it snowball, but remember causality and character motivation to keep proactivity 54:22 / Questions about pantsing Try-fails can get exhausting if the string is never ending; thrillers do this - It works for one-sitting books - If you nest plot cycles you can hand out some resolutions as you go to make it work smoother 56:09 / Brandon’s plotting method Picks promises and great moments he wants to fulfill Example from Mistborn: romance moment; overthrow of empire; vin learns magic; kill lord ruler When he has a lot of these goals (attached to scenes), asks how to earn each moment - For the romance, Vin must learn trust. What are moments that can lead to this? - This creates the progression Promises and types of subplots are a guide for breaking down progress Builds a book by taking bullets from each of his arcs, picks an interesting setting, and builds a scene to address them You need red herrings and foreshadowing to do this well ** CAMERAPANDA NOTES ** Works Mentioned: The Hero with a Thousand Faces - http://amzn.to/28ZyZdz The Eye of the World - http://amzn.to/29eQzdt A Series of Unfortunate Events - http://amzn.to/29fG5Hn Christmas Carol - http://amzn.to/29iWooT Superman comics - http://amzn.to/29mC8mA Sword of Shannara - http://amzn.to/29iWCfJ Eragon - http://amzn.to/29fHcXn The Lost Fleet - http://amzn.to/29db0ml My Fair Lady - http://amzn.to/29dbybM Mistborn - http://amzn.to/29kK7ie Battlefield Earth - http://amzn.to/29JVtwc Inferno - Larry Niven - http://amzn.to/29fHn4Y Inferno - good old Dante - http://amzn.to/29kKbyN