Adventures in Structure, Part Two- The First Plot Point

Stephanie Raffelock

Welcome to StoryCraft: Writers Write About Writing (formerly the SCN blog Telling HerStories), all about the craft of writing by published authors and teachers. This premier post is the first in a series on “Adventures in Story Structure” by SCN author Stephanie Raffelock. (Members, submit your posts here. You must be logged in to access the form.)

Other sections in Her Stories include:

• True Words from Real Women (formerly One Woman’s Day) section featuring stories about ordinary and extraordinary days in the lives of Story Circle members.

• Reviews & Interviews pointing you to your next great read or favorite author.

• And our informative monthly Flash newsletter.

We’re delighted to be here and look forward to your comments and submissions. Let’s write!

In some ways, the Craft phase is one of the least glamorous parts of the artist’s job.

There is creativity involved, but it often carries less of the magic of exploration

and more of the labor of brick-laying. ~ Rick Rubin

Think of story structure as a tool and not a formula. The language of structure may be defined with slight variation and nuance depending upon who is talking or writing about it. Shawn Coyne describes large structure and mini structure as in big picture arc, and smaller scenes that connect the markers to keep pushing the story forward. He writes that story needs an “inciting incident, progressive complications, crisis, climax, and resolution.” Later in Coyne’s book, Story Grid he boils it down to this: “Story distilled is hook, build and payoff.” That goes for the big, over arching story as well as the smaller parts of story told in scenes.

Structure provides us with overview helping us to keep track of where we are going. Without knowing what our story is about and where it’s going before actually writing it down, we are sure to get lost, or at least, I am. I’m not saying that some people can’t hold a large story in their head and just write it as they go. For example, Stephen King swears he writes by the seat of his pants; but I think he’s been writing for so long, that the arc of story is deeply integrated in his psyche. For most of us mere mortals, however, we need some kind outline or map, with markers to keep things straight.

Last week, the inciting incident was defined as where the story begins. Something happens that violates expectation and the protagonist is summoned to the journey, more often than not, kicking and screaming.

The first plot point happens about twenty-five to thirty percent into the story, building from the inciting incident. The definition of the first plot point is where we see the story growing legs by creating tension, conflict and drama. The heroine must suffer, because suffering produces insights which leads to wisdom. Without suffering, we will not see the heroine change. We need to see our protagonist fight through the suffering – that’s what makes us root for her.

The protagonist is the emotional door to the story.

The first plot point is where the stakes grow higher for the protagonist. The first plot point will show the protagonist faced with an impossible choice that will determine what happens next. Abbie Emmons explains the psychology of this in a wonderful series of structure teachings on You Tube.

The inciting incident has set the heroine on a journey. By the first plot point, the heroine knows there is no turning back; she’s in the thick of it; and it’s not pretty. This is because there are challenges and obstacles that will get in the way of her goal.

K.M. Weiland gives this example of a first plot point from one of her blogs:

“In Legally Blonde, the ditzy protagonist is accepted into Harvard Law School. Up to this point, her attempts to get her boyfriend back didn’t create permanent change in her life. By deciding to follow him to law school, the actions she takes forever alter the trajectory of her life—no matter what happens next.”​

· The set -up of Legally Blonde shows Elle, a shallow, self-involved young woman who thinks her boyfriend ,Warner, is about to propose.

· The inciting incident is that instead of a proposal, her Harvard bound boyfriend, breaks up with her. This feeds the protagonist’s intent. She will follow Warner to Harvard to get him back.

· In the scenes after the inciting incident, we see Elle studying hard and applying her mind instead of just her makeup.

· The first plot point is Elle being accepted at Harvard. This is the bridge between Act One and Act Two. Now Elle is completely out of her depth and will have to begin taking herself seriously, a path that will ultimately transform her life.

In summary:

1. The first plot point demonstrates that the protagonist cannot return to the status quo;

2. It clarifies or heightens what’s at stake;

3. The first PP acts as a bridge between the first and second act;

4. And the first plot point shows us that the protagonist now has a goal (not just an intent) to get out of the dilemma she finds herself in. Now conflict and tension are driving the story.

Here are a couple of free websites by authors who but share their vast knowledge about story structure with writers like us. They are great “go-to’s:”

Abbie Emmons presents the structure of novel/memoir writing in easy-to-understand terms.

Everything posted by Steven Pressfield will teach you and tell you something about writing better stories.

The big markers of inciting incident and the first plot point are like signs on the freeway. They tell us where we’re going and how far it will be to the next marker. I’m grateful for my GPS. I can plug in an address and see a map of where I’m going. Story structure is your GPS.

I sincerely hope this series inspires you to explore different points of view on story structure to find what works best for you. For me, the most fun part of writing this series for Her Stories is getting to review all of the information I’ve been studying for years. And, I love that I’m still in a learning and gathering phase, fueled by the curiosity and passion for telling a good story that works.

Coming up in the series is The Midpoint and The All Is Lost Moment. Until then, write on!

A fun idea is to review a fairy tale that you know by heart, like Cinderella. See if you can identify the inciting incident and the first plot point. Also, if you’re a visual learner, like me, watching films or series to see if you can identify the markers of inciting incident and first plot point can be very helpful.

Please share any experience of learning , understanding and employing the first plot point in storytelling. See you in the comments. Let’s have a conversation!

Stephanie Raffelock is the author of Creatrix Rising, Unlocking the Power of Midlife Women. She also penned the award winning book, A Delightful Little Book on Aging and is the editor of the anthology, Art In The Time of Unbearable Crisis. A graduate of Naropa University’s program in Writing and Poetics, Stephanie has worked as a freelancer for The Aspen Times and The Rogue Valley Messenger. She has written and blogged for numerous publications and currently writes a weekly Substack, Creative Eldering.

Stephanie enjoys an active life in Austin, Texas with her husband, Dean and their Labrador retriever, Mickey.

Website: http://www.BylineStephanie.com

Instagram: http://www.byline.stephanie