Click
here to read EYEBROWS RISE
AND RISE AGAIN
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read Theme songs
Or read LOGICAL PLOTTING right here.
In
most novels there comes a time when the author must make the protagonist choose
to do something "for the sake of the story". If this is not the
logical, likely or sensible choice, then the author must set up the situation
so that the choice becomes logical or likely.
In
other words, the consequences of any other choice must be made worse than the
necessary choice.
Here
is an example. A boy smells smoke and discovers the school is on fire.
He
has three obvious choices.
(1)
He can go home.
(2)
He can stand and watch the fire.
(3)
He can enter the burning building.
The
most sensible choice is (1). The most likely choice is (2). The
most interesting choice (in the context of fiction) is (3).
So,
you, as writer, want that boy to enter the burning school. How can you make the
interesting choice logical? As it stands, the consequences of doing
nothing (Choice 1) are slight. He might miss out on something interesting. The
consequences of (2) are slight. He'll cough from the smoke and maybe get moved
on or scolded. The consequences of (3) are unthinkable. Death by burning or
smoke inhalation in the worse case, Trouble with a Capital T at the very least.
Now
you start adjusting the balance. What could possibly weigh up against possible
death? Only the death or loss of something else enormously important to the
boy. There is something or someone in that school who is going to burn if he
takes Choice (1) or (2).
But
wait – won't the Fire Brigade rescue his best friend?
Of
course. So bring that logic back into play.
Here are some possibilities.
A
beloved school pet. A runaway only the boy knows about. A time-traveller (maybe
his own grandfather-to-be). A precious belonging borrowed or taken without permission.
A sentimental keepsake that cannot be replaced. The clue to a murder.
Now
the consequences of (3) become more thinkable. Now it might be logical (or at
least more likely) that the boy will enter the burning school.
Here's
another example; for the sake of the story a girl needs to enter a tight,
flooded tunnel to escape a besieged castle.
Logic
says no one would send a girl when there are adults available.
Response?
Make the girl the only one who can physically fit down the tunnel.
Logic
says the girl would probably elect to remain in the castle instead.
Response?
Have the invaders after her in particular.
Logic
says imprisonment might be better than death by squishing and drowning.
Response?
Make the girl someone whose continued existence the invaders won't stand for.
Now
she's (1) the only person who will fit
in the tunnel and (2) the one who faces certain death if she doesn't do it.
Now
the "story choice" becomes logical.
Background –
"Shell Waves Light" by Sallyo's
Backgrounds
