Applying the Formula

A long-running controversy in writing circles rages around the validity of formulas. Keep in mind that I don't mean formulaic writing, which is just predictable and derivative. More accomplished authors than I swear by the effectiveness of time-tested plot structures, character archetypes, and pacing guidelines.

Can these decades-old conventions help authors produce soundly constructed, and most importantly, entertaining stories? Let's find out.

The Hollywood Formula

Screenwriting teacher Dan Decker identified the Hollywood Formula to help his students maximize the emotional impact of their movie scripts. It was widely adopted by film makers following the success of Casablanca; where, Decker speculates, the creative team stumbled upon the formula by accident.

The Hollywood Formula utilizes three archetypal characters whose interrelationships drive the story across three acts.

• The Protagonist — the character whose pursuit of a goal drives the story. The goal must be concrete, definable, and achievable. Not "I want to be happy" or "I want to be rich", but rather, "I want him to fall in love with me so that I will be happy." "I want to win the game show that I'm going to be on so that I will be rich."

• The Antagonist — the person who places obstacles between the protagonist and his goal. The antagonist is not necessarily a villain. The antagonist's goals may be diametrically opposed to, or even the same as, the protagonist's.

• The Relationship Character — accompanies the protagonist on his journey. Typically a more experienced character who has wisdom to share with the protagonist, which the protagonist rejects at first. The theme of the story, what the protagonist needs to understand in order to succeed, is expressed either by or to this character. In many cases, this happens as part of an actual conversation. At the end of the story, this conversation or expression of the theme will be revisited, and the protagonist and this character will reconcile with each other.

The story ends when the protagonist achieves or relinquishes his goal, defeats or is defeated by the antagonist, and reconciles with the relationship character. The closer together these things happen, the more emotional impact the story will have.

Unlike Dent's model, which divides a story by word count, The Hollywood Formula indicates which events should occur at various percentages of the way through the story.

• First Act: beginning at 0% of the way through the story; Introduces the characters and their goals. At 10%-15%, the protagonist faces a fateful decision, a choice, and how he answers determines whether or not there is a story.

• Second Act: begins after 25% of the story has been told. Starts piling on the problems. At about 50%, the story has been raising questions. It begins to answer them.

• Third Act: begins after 75% of the story has been told. The beginning of the third act is the low point—the furthest the protagonist can possibly get from the goal. At Climax the protagonist confronts the antagonist, reconciles with the relationship character, and claims success or failure in his goal. Then we have Denouement; loose ends are wrapped up and the story reaches its conclusion.

The Lester Dent Pulp Master Plot

SFF grand master John C. Wright shares the method used by master pulp writer Lester Dent to turn out countless Doc Savage tales.

Dent's formula presupposes a 6000 word short story and dictates placing various plot elements by word count accordingly.

Before writing, Dent advises the author to come up with:
1. A DIFFERENT MURDER METHOD FOR VILLAIN TO USE
2. A DIFFERENT THING FOR VILLAIN TO BE SEEKING
3. A DIFFERENT LOCALE
4. A MENACE WHICH IS TO HANG LIKE A CLOUD OVER HERO

By "different", Dent means "extraordinary". For example, don't have the villain just shoot the victim. Have him hide a rattlesnake in the victim's sock drawer. You get the idea. It also helps to establish a relationship between the McGuffin and the setting.

With these decisions made, we begin the story.

FIRST 1500 WORDS

1–First line, or as near thereto as possible, introduce the hero and swat him with a fistful of trouble. Hint at a mystery, a menace or a problem to be solved–something the hero has to cope with.

2–The hero pitches in to cope with his fistful of trouble. (He tries to fathom the mystery, defeat the menace, or solve the problem.)

3–Introduce ALL the other characters as soon as possible. Bring them on in action.

4–Hero’s endevours land him in an actual physical conflict near the end of the first 1500 words.

5–Near the end of first 1500 words, there is a complete surprise twist in the plot development.

SO FAR: Does it have SUSPENSE?
Is there a MENACE to the hero?
Does everything happen logically?

At this point, Dent advises us to make sure that the action isn't just window dressing. It must accomplish something.

SECOND 1500 WORDS

1–Shovel more grief onto the hero.

2–Hero, being heroic, struggles, and his struggles lead up to:

3–Another physical conflict.

4–A surprising plot twist to end the 1500 words.

NOW: Does second part have SUSPENSE?
Does the MENACE grow like a black cloud?
Is the hero getting it in the neck?
Is the second part logical?

Dent now offers us the sage advice Show; Don't Tell. He also exhorts us to structure our stories for continuous action (note: "action" does not always mean "violence", and you should avoid using the same type of action twice).

THIRD 1500 WORDS

1–Shovel the grief onto the hero.

2–Hero makes some headway, and corners the villain or somebody in:

3–A physical conflict.

4–A surprising plot twist, in which the hero preferably gets it in the neck bad, to end the 1500 words.

DOES: It still have SUSPENSE?
The MENACE getting blacker?
The hero finds himself in a hell of a fix?
It all happens logically?

Make every word count.

FOURTH 1500 WORDS

1–Shovel the difficulties more thickly upon the hero.

2–Get the hero almost buried in his troubles. (Figuratively, the villain has him prisoner and has him framed for a murder rap; the girl is presumably dead, everything is lost, and the DIFFERENT murder method is about to dispose of the suffering protagonist.)

3–The hero extricates himself using HIS OWN SKILL, training or brawn.

4–The mysteries remaining–one big one held over to this point will help grip interest–are cleared up in course of final conflict as hero takes
the situation in hand.

5–Final twist, a big surprise, (This can be the villain turning out to be the unexpected person, having the “Treasure” be a dud, etc.)

6–The snapper, the punch line to end it.

HAS: The SUSPENSE held out to the last line?
The MENACE held out to the last?
Everything been explained?
It all happen logically?
Is the Punch Line enough to leave the reader with that WARM FEELING?
Did God kill the villain? Or the hero?

There you have it. Dent made a living from this formula, so we know it worked in the golden age of the pulps. And it can scale from short stories all the way to full novels

Seven-Point Structure

Seven-point plot structure—a powerful tool that will help you craft engaging and tightly woven narratives. We'll explore the fundamental elements of this story structure and how you can employ it to keep your readers hooked.

So, grab your pen and notebook because we're going in.

The Hook

Every successful story begins with a compelling hook—an attention-grabbing opener that draws readers in and refuses to let go. This first point of the seven-point structure is crucial, as it sets the tone and establishes the story's core conflict. Make it thought-provoking, mysterious, or intriguing—anything that sparks curiosity and compels readers to turn the page.

Plot Turn 1, aka The Inciting Incident

Once you've ensnared your readers with a strong hook, it's time for the inciting incident—the event that propels your protagonist into action. This moment should disrupt their ordinary world, introducing a conflict that demands a response. Whether it's a call to adventure, an unexpected discovery, or a personal crisis, the inciting incident jumpstarts the hero's quest.

Pinch 1

As the story progresses, tensions should rise steadily. Pinch 1 is when you introduce obstacles, conflicts, and challenges that test the protagonist's resolve. Each encounter should propel the narrative forward, deepening the intrigue and raising the stakes. The hero's path becomes more treacherous, and his determination to achieve his goal intensifies.

Midpoint Reversal

At the midpoint, introduce a game-changing event that alters the protagonist's perspective or reveals new information. This reversal can be a twist, a betrayal, or a significant revelation. It injects fresh energy into the story, forcing the protagonist to reevaluate his objectives and adapt his approach. This pivotal moment marks a shift in the narrative and keeps readers hooked.

Pinch 2

In the fifth point, story threads begin to converge, leading the protagonist closer to the climactic showdown. Tensions mount as conflicts reach their boiling points. Encourage a sense of urgency, weaving together various subplots, character arcs, and themes to create a cohesive and impactful narrative tapestry. This phase builds anticipation and sets the stage for the final confrontation.

Turn 2

Here we reach the climax, the culmination of all the story's conflicts, where the protagonist confronts his greatest challenge head-on. This decisive moment must be emotionally charged, action-packed, and leave a lasting impact on characters and readers. The climax showcases the protagonist's growth, resolves major conflicts, and leads the story towards resolution.

Resolution

Point seven, the resolution, provides closure to the story. It ties up loose ends, reveals the consequences of the protagonist's actions, and offers a sense of satisfaction to the reader. Show the aftermath of the climax, allowing characters to reflect and grow from their experiences. This stage should leave readers with a feeling of fulfillment while leaving room for curiosity and future possibilities.

Congratulations, you've now learned the art of the seven-point plot structure. It's an invaluable tool to craft captivating narratives that will keep readers turning pages.

Remember, each point serves a purpose, propelling the story forward and engaging your audience on a deep level.

Keep these key principles in mind:

Balance: Ensure a well-rounded narrative by devoting adequate attention to each point of the plot structure. Avoid rushing through crucial moments or lingering too long in one stage. Find the right pacing that keeps readers engaged while allowing for meaningful development.

Tension: Harness the power of rising tension throughout your story. By introducing obstacles, challenges, and conflicts, you heighten the stakes and keep readers invested. Create a sense of urgency that drives the narrative forward, leaving readers eager to uncover what happens next.

Transitions: Seamless transitions between each point of the plot structure enhance the overall flow of your story. Avoid abrupt shifts or disjointed moments by carefully threading together the narrative elements. Smooth transitions maintain reader engagement and allow for a satisfying reading experience.

Remember: Every segue between any two beats of your story should be describable as "but" or "therefore," never "and then" or "meanwhile."

Character Development: As you progress through the plot structure, ensure your characters grow and evolve. Each point should offer opportunities for them to face trials, make choices, and experience personal transformations. Invest time in crafting believable, dynamic characters that resonate with readers.

Emotional Impact: Seek to evoke a range of emotions in your readers, from excitement and anticipation to heartache and triumph. Create moments of joy, sorrow, and surprise that leave a lasting impression. These strong emotional connections will forge a bond between your readers and your story.

Remember, the seven-point plot structure is a versatile tool, adaptable to various genres and styles. Experiment, take risks, and infuse your unique voice into your writing. Embrace the structure as a framework, but don't be afraid to deviate when it serves your story's purpose.

 This is all well and good, but are writing formulas of any real benefit to contemporary authors? In my experience, the answer is yes.

Art means producing a work to a standard. As John C. Wright has pointed out, building a story isn't so different from building a house. Human nature is what it is, and there are certain themes and plot devices that tug at our heart strings more vigorously than others.

In other words, none of these formulas are necessarily prescriptive, but they do a fine job of describing the kinds of stories that maximize emotional impact. If you've written yourself into a corner or your beta readers can't seem to get through your manuscripts, you could do worse than giving one of these methods a try.

For an example of a story that uses seven-point structure, see my award-winning novel Souldancer.

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