Saturday, December 3, 2022

Box of Chocolates . . . or How to Get Away With Stealing Stories

“If you always do what you always did, you’ll always get what you always got.” —Henry Ford

Writers steal their stories all the time, and often this blatant thievery goes unnoticed . . . until the trained eye digs a bit deeper.
*note: just switch out the preceding word/s with the succeeding word/s (in parentheses).

Here, take a comparative look at Disney’s Pocahontas vs. James Cameron’s (Avatar):

In 1607 (2054), a ship carrying John Smith (Jake Sully) arrives in the lush “new world” of North America (Pandora). The settlers are mining for gold (unobtainium) under the supervision of Governor Ratcliffe (Colonel Quaritch). John Smith (Jake Sully) begins exploring the new territory, and encounters Pocahontas (Neytiri). Initially she is distrustful of him, but a message from Grandmother Willow (the tree of souls) helps her overcome her trepidation. As the two begin spending time together, Pocahontas (Neytiri) helps John (Jake) understand that all life is valuable, and how all nature is connected via the circle of life. Furthermore she teaches him how to hunt, grow crops (tame dragons), and of her culture. We learn her father is Chief Powhatan (Eytukan), and that she is set to be married to Kocoum (Tsu’tey), a great warrior but a serious man whom Pocahontas (Neytiri) does not desire. Over time, John (Jake) and Pocahontas (Neytiri) discover a mutual love for each other. Back at the settlement, the men, who believe the natives are savages, plan to attack the natives for their gold (unobtainium). Kocoum (Tsu’tey) tries to kill John (Jake) out of jealousy, but he is later killed by the settlers. As the settlers prepare to attack, John (Jake) is blamed by the Indians (Na’vi) and sentenced to death. Just before they kill him, the settlers arrive. Chief Powhatan (Eytukan) is nearly killed, and John (Jake) sustains injuries from Governor Ratcliffe (Colonel Quaritch), who is then brought to justice (shot with arrows). Pocahontas (Neytiri) risks her life to save John (Jake). John (Jake) and Pocahontas (Neytiri) finally have each other, and the two cultures resolve their differences.


Or George Lucas’ Star Wars: A New Hope vs. J. K. Rowling’s (Harry Potter and the Philosopher’s Stone):

Luke Skywalker (Harry Potter) is an orphan living with his aunt and uncle on the remote wilderness of Tatooine (in suburbia). He is rescued from aliens (muggles) by wise, bearded Ben Kenobi (Hagrid), who turns out to be a Jedi Knight (wizard). Ben (Hagrid) reveals to Luke (Harry) that Luke’s (Harry’s) father was also a Jedi Knight (wizard), and was the best pilot (Quidditch player) he had ever seen. Luke (Harry) is also instructed in how to use the Jedi light saber (a magic wand) as he too trains to become a Jedi (wizard). Luke (Harry) has many adventures in the galaxy (at Hogwarts) and makes new friends such as Han Solo (Ron Weasley) and Princess Leia (Hermione Granger). In the course of these adventures, Luke (Harry) distinguishes himself as a top X-wing pilot (Quidditch Seeker) in the battle of the Death Star (Quidditch match), making the direct hit (catch) that secures the Rebels (Gryffindor) victory against the evil Empire (Slytherin). Luke (Harry) also sees off the threat of Darth Vader (Lord Voldemort), who we know murdered his aunt and uncle (parents). In the finale, Luke (Harry) and his new friends receive medals of valor (win the House Cup). All of this will be set to an orchestral score composed by John Williams.

See now how even the pros steal their stories without apology or the least bit of regret?
If you’re stumped for your next great story then I suggest trying this method—most often employed by eager screenwriters attempting to make a living punching up weekly scripts for potential sale. Write out a synopsis of your favorite novel or movie then go about replacing characters and other words of narrative influence through cunning creative manipulation.
Because like Forrest Gump’s famous box of chocolates, you never know what you’re gonna get.

Saturday, November 5, 2022

Apples to Oranges . . . or Pricing your Ebook and Paperback

So you’ve spent the past six months writing a book from scratch to finish and now you’re ready to click Publish but for one minor decision: its price.
Should you charge $9.99 for each copy? When you do the math, $9.99 works out to getting paid somewhere around $0.05 a day to write.
Not very lucrative, am I right?
This is why successful authors tell aspiring authors, “You don’t write for the money, you write for the passion.” This is also why most writers have second jobs. Because the average author makes less than minimum wage from their writing.
I have to admit this now and get it out of the way: I was wrong . . . kinda . . . sorta . . . whatever shut up!
I’ve stated before that I would set all of my ebooks’ prices at $2.99 or lower regardless their length and never any higher because heck, it’s not like they’re buying a real tangible book or anything, just a disposable digital copy that can vanish forever with one simple click of Delete. I then based the paperback equivalent’s price on what percentage of profits the average traditionally published author earns for royalties. I always did so without sparing a second thought, and I achieved fair success over the years with this simple strategy while not putting too much thought into it because I don’t depend on my book sales to sustain me financially so I never really cared about it to begin with.
Then I talked with a handful of prosperous authors who advised me about their own particular value systems from which they assign the prices of their books. I won’t name any names but several are very successful authors who sell extremely well, and I’d be a fool not to at least listen to their advice. None of those I talked with knew each other personally, though all of their suggestions pretty much matched up equally as to how to price books.
So I spent time researching their advice via fondling Google’s naughty little search engine to confirm as much from multiple reputable websites offering much the same information of paperback and ebook pricing. Then I decided on a little experiment, changed the prices of my paperbacks and ebooks as per the combined suggestions . . . and wouldn’t you know it, before the first day ended I monitored both bumps and dips in sales that I continued to track for months before settling on the sure conclusion.
So I’m going to present you the information I’ve gathered through research as to how best to price your paperbacks and ebooks via several alternatives and my opinions on them, as well finish with what I’ve learned through my own experience.

Here are thefussylibrarian.com’s poll results from a handful of years ago about ebook prices taken from over 1,000 of their loyal subscribers of voracious readers:

“What do you think is a fair price for a full novel in ebook format that pays an author well though also remains affordable?”

All ebooks should be free: 6%
99 cents: 8.7%
$1.99: 11.8%
$2.99: 16.5%
$3.99: 20.6%
$4.99: 18%
$5.99: 11.6%
More than $5.99: 6.4%

“What is the most you’ve ever paid for an ebook from an author new to you?”

I only download free books: 9.4%
99 cents: 8.7%
$1.99: 9.8%
$2.99: 14%
$3.99: 12.7%
$4.99: 10.5%
$5.99: 7.2%
More than $5.99: 27.2%

*Note: The three most popular prices in both polls are $2.99, $3.99 and $4.99 though their order of preference varies depending if the author is recognizable or not.

Understand there’s a difference between a nobody publishing their first book and a Stephen King publishing his next bestseller. King could fart on a scrap of paper and still sell well regardless the higher prices attributed his books because he’s an established author with a wide fan base and excellent reputation, whereas the nobody first-timer would do well to take the price suggestions into account then adhere to the lower end of the cost spectrum so as to build a readership. Because without readers you’re just a nobody writing sh*t that never gets read.

Here’s the suggested ebook pricing guidelines taken from multiple writing forums (such as kboards and reddit, as well many author advisory websites too many to list) by multiple self-published authors who agree:

Very Shorts (less than 10k words): $0.99 to $1.99
Shorts (up to 15k): $2.99
Novellas (up to 40k): $3.99
Novels (up to 80k): $4.99
Tomes (up to 150k): $5.99 to $6.99
Bricks (150k+): $7.99 to $9.99+

*Note: I don’t agree with this broad application for the average self-published author mainly because these prices don’t take into account how much or little you are established as a writer as well the specific genre involved. Problem being, many self-published authors envision themselves on par with already established authors right out of the publishing gate and so severely overprice their books because they demand to be viewed as equal for thy ego’s sake, whereas plenty others are so desperate to gain readers and insecure in their inexperience that they severely underprice their books.

Paperback pricing conversion is simple, according to these suggested guidelines just add $7 to $10 to the price of the ebook, and hardback pricing is suggested at $12 to $15 more than the ebook.

Keep in mind the average trade paperback novel price is $15.99 (typically ranging anywhere between $9.99 and $19.99). Also keep in mind that exceptions exist to every rule which must be taken into account when pricing: whether it’s fiction or nonfiction, the length of the book, its genre, if it’s part of a series, how long it’s been out for sale, if you are a new or established author . . . et cetera.

Here is authormedia.com’s ebook pricing suggestions:

Flash Fiction (less than 1k words): Free to $0.99
Very Short Story (1k to 5k): Free to $0.99
Short Story (5k to 10k): $0.99 to $1.99
Novelette (10k to 20k): $1.99 to $3.99
Novella (20k to 40k): $2.99 to $5.99
Novel (40k to 120k): $2.99 to $7.99
Epic Novel (120k+): $5.99 to $12.99

*Note: I also don’t agree with this one for same reasons, let alone it still leaves a lot of guesswork up to you considering the price ranges it offers for a particular word count (it suggests $2.99 as the minimum for a Novella and yet also suggests $2.99 as the minimum for a Novel, then caps 40k words at $5.99 yet caps 120k words at $7.99, and that’s a big discrepancy in word count for a mere $2 difference considering 120k reads three times longer than 40k).
I would never pay $5.99 for a mere 20k word novella from one of my favorite authors let alone an unknown author, especially in digital form . . . though I’m an old-timer who is a stickler for paperbacks and am willing to pay more to have the literal book in my hands then on my bookshelf.

Here is scribemedia.com’s Ultimate Guide to Book Pricing suggestions:

(ebook)
Dirt Cheap: $0.99 to $1.99
Cheap: $2.99 to $3.99
Normal: $4.99 to $6.99
High Price: $7.99 to $9.99

(paperback)
Dirt Cheap: $7.99 to $10.99
Cheap: $11.99 to $13.99
Normal: $14.99 to $16.99
High Price: $17.99 to $19.99

(hardback)
Dirt Cheap: $12.99 to $15.99
Cheap: $16.99 to $19.99
Normal: $20.99 to $24.99
High Price: $25.99 to $27.99

*Note: What I don’t like about this is no word counts are listed and neither is genre, though I do like that it implies newbie self-pubbers stick to the Cheap prices until they make a name for themselves and have at least a couple books under their writing belts, those with an already established fan base though still not a big-timer by any means adhere to the Normal prices, and those who have plenty of experience with a wide fan base and a recognizable name can get away with charging the High prices, all while leaving the Dirt Cheap price suggestions for promotional deals and loss leaders.
They also included in their article a graph chart for ebooks showing that $3.99 is the most popular and bestselling price, $2.99 is second, $0.99 is third, there’s a significant drop in sales at $1.99 and $4.99, from $4.99 to $7.99 the sales decline steadily the higher the price rises, but there is no difference in sales between $7.99, $8.99 and $9.99 ebooks.

So what to do after assimilating all of the pricing information I’ve just afforded you?

The simplest method for deciding your ebook vs. paperback prices is to choose your ebook price then adjust its paperback price so that it earns roughly the same amount of profit per sale as the ebook. So if you earn $2.50 per ebook sale then simply set its paperback price so that you also earn $2.50 per paperback sale.
I say ‘roughly’ because it doesn’t and probably won’t be an exact match. Know that 60% of all successful marketing prices end in 9, and 30% end in 5, so you want to round your paperback price up or down to end in .99. This may have you profiting a bit more or a bit less than its ebook equivalent but no biggie and don’t get greedy. Now just set that as your paperback price and get on with the rest of your day.
Easy peasy lemon squeezy!
There’s a big difference when it comes to comparing self-published and traditionally published profits per sale, and here’s the skinny on that rub.
When self-publishing through Amazon KDP you earn 70% royalties on your ebook so long as you stay within their $2.99 to $9.99 price parameter (anything more or less and that sweet 70% drops to 35%), and you earn 60% royalties on paperbacks (this doesn’t include the 40% royalties you earn if you also enlist your book in Amazon’s Expanded Distribution option . . . which I don’t recommend for multiple reasons, one of them being that it jacks up the minimum price you must charge for your book by a large amount, let alone other reasons I’ve talked about in other blogs like not guaranteeing your book in libraries or book stores despite implying so, all of which more than likely won’t carry your book because Expanded Distribution only provides them the OPTION of carrying your book if they so wish to and that’s if they even know that it exists to begin with).
In contrast, the average traditionally published author publishing through a large house profits roughly $1 to $2 per book sold: 5 to 7% for mass market paperbacks, 7 to 15% for trade paperbacks, and 15 to 25% for ebooks. These royalty rates vary, mind, starting at the low end and scaling up depending on the number of print runs, how successful the book is selling, how well known and established the author is, and other such factors, but that’s the general rule of thumb.
As you can see, they profit much less on paperbacks than they do ebooks.
By the way, the difference between a trade paperback and a mass market paperback is that a trade paperback is a version of the hardback book in a less expensive form while still retaining good quality, and a mass market paperback is a mass-produced book that is typically small with thin paper covers and relatively low-quality pages to keep printing costs down. Bestsellers are often printed as mass market paperback books for wide distribution.
Amazon KDP does not produce mass market paperbacks, only trade paperbacks and hardbacks. I mention this because another common strategy of pricing advice is to research your genre, compare the prices of competing books to yours, then price match.
But a problem arises when you price match your self-published trade paperbacks to your competition’s traditionally published mass market paperbacks since mass market paperbacks are sold at the lowest of prices because of their cheaper manufacturing cost which doesn’t apply to trade paperbacks and certainly not hardcovers.
As well if you are an unknown author then there’s no point in price matching your book to known authors who have already established themselves over years of successful sales to a wide and loyal readership—that’s comparing apples to oranges and you’re the banana.
So what’s my advice after years of publishing, achieving thousands upon thousands of sales both ebook and paperback, spending countless hours of research, and experimenting with my own books’ prices while monitoring the changes in sales both positive and negative?
Keep it as simple as possible while sparing yourself the unnecessary headache.
Despite the average Kindle ebook price being $11 (this takes into account small fish authors, big whale writers, and everyone in between), the most popular and top selling ebook prices are $2.99, $3.99 and $4.99 (again, their order depends on how known or unknown the author is). What I suggest is to find the average length of novel in your specific genre then adjust your prices accordingly.
For example, the average total word count of adult fiction novels many decades ago was 60k. Later that bumped up to 80k words. Today that number is closing in on 90k words. This also depends on your specific genre, mind, but we’ll use those figures for sake of simple example.
If you are a beginning author with little to no readership and your book is under 90k then price its ebook at $2.99. If it’s over 90k then price it at $3.99. Once you make a name for yourself and establish a wider readership then you can bump those prices up a $1 tier, meaning less than 90k now equals $3.99 and more than 90k equals $4.99. And once you make an even bigger name for yourself you bump those prices up yet another $1 tier, and so on.
Again, find the average word count of your specific genre then apply the above formula, because every genre has a different average word count for its novels. Then find the profit per sale of your ebook and adjust the profit per sale of its paperback accordingly as earlier described.
Save the $0.99 ebooks for promotional deals, loss leaders, or extremely short stories such as anything under 10k (a loss leader, btw, is underpricing the first book in a series so as to draw more readers in to reading the rest of the more expensive books in the series).
Though again there exists exceptions to every rule, such as erotica shorts which average 5k arousing words yet the typical erotica ebook price is $2.99 because erotica fans are more than willing to pay as much for such a small word count to get their mental, and sometimes physical, rocks off.
Because sex sells, baby!
Remember, with Amazon KDP your ebook profits 70% royalties so long as the price is $2.99 to $9.99, and 60% royalties on trade paperbacks.
Traditionally published authors don’t profit anywhere near those royalties, which is why so many of them have been and continue to move into the self-publishing market, and this in turn is the main reason why traditional publishers charge so much for their ebooks which are often priced equal to or even more than their paperback counterparts . . . because the dinosaur that is traditional publishing is a slowly dying industry which pays their authors far less than does self-publishing. They try to rebuttal otherwise with stats and graphs showing paperbacks selling more than ebooks (which they do by a wide margin), but don’t forget that they monopolize the current market and manipulate these figures by purposely overpricing ebooks so that many readers buy the cheaper paperback version instead, and one reason why is they pay their authors much less per paperback sold than ebook sold. When it comes down to it, publishing is a business and it’s all about the money.
But here’s some good news, Amazon KDP allows its authors to buy copies of their books at a much cheaper price than its list price, so if you take some to book signings or author events to sell then you will make even more of a profit per book sold.
For example (and these numbers are by no means exact), let us say I published a huge novel that is almost 600k words long. It’s an 800 page, 7 x 10 door-stopper of a trade paperback with a minimum manufacturing cost of around $17.00 (this means I must price it at least $17.00 to sell it on Amazon while making zero profit) and it is available to me alone at $11.00 per book with my Amazon KDP author’s discount (less shipping and handling, of course). If this book currently sells on Amazon at $20.99 per copy, I profit somewhere around $2.50 per paperback (btw, don’t think raising your book’s price $1 earns you $1 profit because it doesn’t, Amazon takes a percentage of each and every $1 you raise it). But if I buy it at author discount then sell the same book for the same price in person at a book signing, I profit $10 per book instead of the mere $2.50 through Amazon . . . and I profit even more if I raise the price a bit because it’s an autographed copy with a personal message written to the buyer.
Do you understand now why authors love book signings so much?
Ching ching, bling bling!
Either way, don’t sweat the small stuff too much. And don’t underprice yourself but don’t overcharge your readers.

TLDR?
The average traditionally published author profits roughly $1 to $2 per book.
The average self-published author has the potential to profit much more per book.

*Note: These price guidelines, figures and suggestions (as of 11/5/22 or previous) are applicable for publishing through Amazon KDP; other publishers may vary.
Also, let’s not forget the current economic woes we’re all suffering since the pandemic cruelly paired with rampant Biden-flation causing two things to happen: slowly turning $3.99 into the new $2.99 standard for ebooks because of the American dollar’s dwindling value on a global scale, and yet also having readers wanting to spend less money on books because they’re more worried about paying their monthly bills and supporting their struggling families than spending that money on leisure activities such as reading.
Kind of a double-edged sword, that.

**Also Note: The easiest headache-free way to price your ebooks and their paperback equivalents is by their word count while factoring in if you are a new and unestablished author, one with a growing fanbase and several books under your belt, or a veteran with a large catalogue of books and a well-established readership.
I often change the prices of my books while taking into consideration how long they've been out, if they are a part of a series or stand-alones, if they are fiction or nonfiction, novels or novellas . . . et cetera. Point being, the price of your books is really up to you, because you are the one who put in all of the hard work. Don't sell yourself short, but don't rip off your readers either.
Good luck!

Saturday, October 1, 2022

The Batman Factor . . . or Why Your Protagonist Needs A Key Component

Every protagonist should have at least one Key Component that defines them as the person they are. Often several exist, but you need at least one dominant Key Component that sets your protagonist apart from the rest of the herd.
Superman’s Key Component is that he values life and never kills (as well his classic motto of ‘truth, justice and the American way’ attributed him in the 1940s that DC has since changed to ‘truth, justice and a better tomorrow’ while pandering to unpatriotic Social Justice Whiners who hate the freest country that gives them every opportunity in their enabled lives). Any comic book nerd can tell you that, which is why we had such a problem with Superman snapping Zod’s neck at the end of the 2013 Man of Steel movie. Other options existed to thwart Zod from murdering those innocent people with his blazing eyebeams, and Superman killing Zod goes against his character. Remove this Key Component and he stops being Superman.
For example, the 2019 movie Brightburn. The filmmakers just took Superman, made him a child then removed his Key Component. What we have left is a boy with Superman powers and no compunction about using them to hurt or kill people.
Batman also shares this Key Component because Batman never kills. Heck, he will even risk his life saving a bad guy from certain death even though he was beating the crap out of them ten seconds beforehand. Another Key Component of his is that he never uses guns because as a child he witnessed his parents shot to death during a robbery in an alley. But if you write a story where sometime in it Batman picks up a machine gun and mows down the bad guys then he stops being Batman because Batman would never do such a thing. This would also remove all value from that tragic boyhood event of him witnessing his parents’ murder, rendering it meaningless because that traumatic event exists as the reason why he possesses the Key Components of never using guns, never killing, and is obsessed with fighting crime.
Richard Dean Anderson’s MacGuyver shares this same no-guns Key Component because as a kid he witnessed his friend accidentally shot while playing with a pistol and almost dying but for MacGuyver saving him through his more famous Key Component ingenuity of inventing things on the fly. This instilled the Key Component in MacGuyver that he never in any situation would ever use a gun because he absolutely deplores them.
In contrast to the previous examples is the Punisher a.k.a. Frank Castle who uses lots of guns and his Key Component is that he always kills. Once the Punisher sets his sights on a bad guy, consider them dead. The Punisher stops being the Punisher if you have him surrendering to compassion and leaving a pleading bad guy alive because you remove his Key Component which defines him as the Punisher. The mafia who murdered Frank Castle’s innocent wife and children and left Frank for dead showed no mercy or remorse . . . and for that neither does the Punisher his targets.
The Key Component of the protagonist of my fantasy Soothsayer Series, Banzu, is protecting innocent lives even at the cost of his own. Because of this I burdened him with the bloodlust curse which all Soothsayers are born with, but it remains dormant inside of them until the first time they kill awakens it. Then the bloodlust curse drives them to keep killing while causing madness so that they eventually become an indiscriminant slaughterer, which would obviously include lots of innocent people. This is in direct opposition to Banzu’s Key Component of protecting innocent lives even at the cost of his own, providing an interesting conflict of character.
Captain America a.k.a. Steve Rogers is a great example of someone with tons of Key Components (truth, freedom, justice, liberty, protecting innocents . . . et cetera) and we’re shown them throughout the entire run of MCU movies. He wants to join the military to protect the innocent people the Nazis are brutalizing despite being small and weak. He throws himself on the dummy grenade to protect his fellow soldiers during basic training even though they bully and make fun of him. He stands against S.H.I.E.L.D. when he discovers they want to police the world through pre-crime arrests and detention. He defends his best friend Bucky against Iron Man after Tony Stark learns Bucky a.k.a. the Winter Soldier murdered his parents because Bucky was brainwashed at the time and did not commit the murders of his own free will. When Vision offers to sacrifice himself because Thanos wants the Mind Stone in his forehead and will stop at nothing to get it, Captain America refuses him because, “We don’t trade lives.” When he and Tony argue about stopping Ultron as well the greater threat behind Loki’s attempt at enslaving the world through Chitauri invasion, Tony asks how they’re supposed to deal with that greater threat after excusing why he and Bruce Banner created the Ultron murderbot. Captain America simply says, “Together.” Tony rebuttals with, “We’ll lose.” And Captain America responds, “Then we’ll do that together, too.”
Growing up, us comic book nerds loved to argue about who would win in a fight between our various favorite superheroes. Over the years this resulted in what became known as The Batman Factor. Because, you see, Batman’s dominant Key Component that sets him apart from every other superhero in existence is that no matter how bad you beat him down if you leave him alive he will slink away into his batcave, discover some unique way of exploiting your greatest weakness, then come back with a vengeance, beat you to within an inch of your life and let you know that he can do it again any time he wants, then he’ll walk away while leaving you alive but forever broken. Because what defines Batman as Batman is that no matter who he’s up against, he always wins in the end. Above all, that is what makes him Batman. Remove this Key Component and you render him just a forgettable guy in a costume fighting crime. Provide this Key Component and you get one of the most beloved superheroes in all of comic fandom, recognized today by literally billions of people, who has endured for over eighty years of great storytelling.
The Key Component defines your protagonist by making them who they are, whether they possess one or several. It also helps you write your story because knowing their Key Component allows you to put them into situations that challenge it, where they can utilize it best, as well where it can be exploited against them. Discover your protagonist’s Key Component and you’re well on your way to making a great, memorable character.

Saturday, September 3, 2022

Sweaty Buttnuggets . . . or The Easy Peasy Lemon Squeezy NaNoWriMo Novel Generator!

The easiest way to understand the Wound (scar), Shield (flaw), and Sword (virtue) protagonist process of story and how it applies to their flaw vs. virtue argument is to write a horror story for NaNoWriMo (National Novel Writing Month: from November 1st to November 30th).

I don’t partake in NaNoWriMo because as an author I already write every day so to me every month is NaNoWriMo, but for the rest of you writers aspiring authorship I suggest the following sure-fire method for writing productivity and guaranteed success:

 

Pick a phobia, any phobia, then apply it as your protagonist’s Wound. Regardless the chosen phobia, you now automatically have a dominant character flaw of Fear. And from this you automatically have its opposite virtue of Courage.

 

Horror: Phobia = Fear vs. Courage

 

Plus your protagonist has an automatic backstory because something traumatic had to happen in order for them to get their particular phobia.

Because every story about Fear vs. Courage is the protagonist eventually confronting their fear, you next move to the Rubicon and decide whether your protagonist overcomes their fear or surrenders to it.

Remember: Overcoming the Internal Antagonist during the Rubicon by choosing virtue over flaw is what provides the triumphant protagonist the ability to win against the External Antagonist during the Climax of Act 3. And surrendering to the Internal Antagonist during the Rubicon by choosing flaw magnified over virtue is what condemns the tragic protagonist to lose against the External Antagonist during the Climax of Act 3.

In horror stories such as this, the Internal Antagonist is their dominant character flaw of Fear they confront at the end of Act 2, and the External Antagonist ‘monster’ is the physical manifestation of that fear they will confront during the Climax at the end of Act 3.

For example, as with Jaws: aquaphobic protagonist Sheriff Brody, who almost drowned as a kid, must overcome his fear of water in order to defeat the man-eating shark antagonist, making it the perfect ‘monster’ for that particular protagonist with that particular phobia.

Also remember: the full definition of the Inciting Incident is that it must happen to the protagonist, and it must present their first awareness of the story’s central conflict, as well it must be tailored to the protagonist’s dominant character flaw, and it must be linked to the antagonist.

For those who enjoy partaking in NaNoWriMo I advise using the exampled Horror Story template because it plots your story for you in seconds flat. Phobia = Fear vs. Courage isn’t the only Horror Story template, but it is the most common as well the easiest to plot and write.

So pick an interesting phobia, which gives you the automatic flaw vs. virtue argument of Fear vs. Courage. Now move to the Rubicon and decide if your protagonist overcomes or surrenders to their dominant character flaw (I suggest flipping a coin—heads they overcome and tails they surrender to—so you become accustomed to writing both outcomes). Now make a big list of the worst, scariest, most traumatizing and traumatic situations you could ever put someone in who possesses that specific phobia. Weed out the bad, boring and predictable ideas until you have only good, exciting and unpredictable ideas. Then rearrange your list from least intense to most intense. Now apply your list from least intense to most intense to the plot points of your outline from Act 1 through Act 2 to Act 3. Once you have your outline finished, you’re done!

Repeat this process with a different phobia every day for the first two weeks of October. After which you will have a bank of 14 horror story plot outlines. Go through them and pick the most interesting one you want to write. Now spend every day for the last two weeks of October perfecting your potential novel’s outline by expanding each plot point’s one concise sentence into more detailed and multiple paragraphs until you have a guide dog synopsis of your entire story.

Starting on November 1st, using your synopsis guide dog and wielding a minimum daily word count goal, write your novel for NaNoWriMo.

The rules of NaNoWriMo is to write then submit at least 50,000 words by 11:59 on November 30th.

Instead of shaving it so close, I suggest 29 days of writing then spending the final day with a quick edit before your submission. Which gives you a 1,725 daily minimum word count goal for a 50,025 word novel (1,725 x 29 = 50,025).

Easy peasy lemon squeezy!

Saturday, August 6, 2022

Why Narcissism Matters . . . or Making a Great Villain

Every great hero is defined by an even greater villain.
Whereas good protagonist heroes tend toward modesty and compassionate morality, evil antagonist villains tend toward narcissistic psychopathy and dispassionate apathy disguised as false empathy. And there are two classic types: grandiose narcissist, and vulnerable narcissist.
Grandiose narcissism is defined by self-entitlement, a sense of superiority, and a need for admiration. They are characterized by extraversion, high self–esteem, interpersonal dominance and a tendency to overestimate one’s capabilities.
Vulnerable narcissism is defined by a sense of entitlement but also an anxious and avoidant nature. They are characterized by introversion, are defensive, avoidant and present a hypersensitive attitude in interpersonal relations.
The grandiose narcissist genuinely believes they are better than everybody else and they are constantly proving this to everyone, whereas the vulnerable narcissist manifests their narcissism in a similar way but it’s to try to hide the fact that deep down they don’t believe they’re anything. They desperately seek approval and need people to tell them they’ve done well, whereas the grandiose narcissist continues believing their skewed perception of reality no matter what truths are presented them.
The grandiose narcissist represents order, is detached, calculating and compulsive. They believe they are unique or “special” and can only be understood by other special people. What’s more, they are too good for anything average or ordinary. They only want to associate and be associated with other high-status people, places, and things.
The vulnerable narcissist represents chaos, is temperamental, manipulative and impulsive. They feel inadequate or inferior to others deep down inside, and this is the reason why they’re constantly seeking reassurance. A vulnerable narcissist wants to be able to validate themselves so that they can feel protected, and they need that armor of feeling superior to protect them from the past or their insecurities. They are just as convinced that they’re better than others as does the egomaniacal grandiose narcissist, but they fear criticism so viscerally that they shy away from, and even seem panicked by, people and attention.
Vulnerable narcissism is associated with dissociation of the self-image into an explicit, positive self-image and an implicit, negative self-image. The positive self-image is associated with excessive pride, whereas the negative self-image is associated with shame and humiliation. When receiving only positive feedback, this narcissist is able to keep the negative shame-filled self-image hidden below the level of conscious awareness. But when they experience external feedback as criticism, they are forced to confront their negative self-image and feel deeply ashamed.
Whereas the vulnerable narcissist is struggling with internally conflicting self-images, no hidden negative self-representation is threatening to make a dent in the grandiose narcissist’s positive self-image. Negative feedback, therefore, does not have as profound an impact on the grandiose narcissist. But the deep shame this brings upon the vulnerable narcissist turns them into a combustible compound destined to explode in a frightening outburst of anger or all-consuming fit of hatred. This hostile reaction to insinuations of imperfection is also known as “narcissistic rage.”
The two forms of narcissism share several characteristics such as self-centeredness, exaggerated sense of self-importance and entitlement, disagreeableness, and a tendency to interact with others in an antagonistic manner. Most often, narcissists live unaware of their narcissism and react poorly to being told or confronted because they possess no insight and self-awareness, so their ability to recognize that they are a problem is beyond them.
A perfect example of the grandiose narcissist is Emperor Palpatine in the Star Wars franchise.
A perfect example of the vulnerable narcissist is Arthur Fleck in the movie Joker.
A plethora of villain archetypes exist: the smothering mother, the restrictive father, the evil sage, the genius philosopher, the arrogant tyrant, the scorned societal outcast, the mad scientist, the neglected psychopath, the power-hungry warlord, the fanatical hater, the envious trickster, the misunderstood hero, the crazed madman, the manipulative seducer, the entitled brat, the angry bully, the covetous traitor, the unwanted child, the leper beast, the born-evil . . . et cetera, with too many to list and all of them dependent upon their particular Wound which scarred them into who they are.
Typically villains view themselves the heroes, and this skewed point of view provides them plenty of what they believe as justifiable reasons to excuse their evil schemes. They believe it better that ten innocent people suffer than one guilty person escape. To them, the end justifies all necessary means so long as it gets them what they want which, they often believe, is for the betterment of all but for that they are the only one who possesses the honest scope of this true vision.
Villains are a conglomeration of the seven deadly sins (defined as perverse or corrupt versions of love: lust, gluttony, and greed are all excessive or disordered love of good things; wrath, envy, and pride are perverted love directed toward others’ harm; and sloth is the negligent love of self while disregarding what is good and virtuous) and most often proves the personification of one above the others as their dominant character flaw they eventually fully embrace before succumbing to as their downfall.
Usually the Villain gains access to or possession of some hidden or forbidden knowledge via their greed and lust for power to gratify their insatiable gluttony. They envy its promising capability, and their pride convinces them that they alone can harness its potential while staying immune to its corruptive influence. So in their pursuit to obtain it they unleash their wrath upon all those in their way, but in the end their sloth of virtuous character ultimately condemns them to failure and defeat.
Villains embody the proof that power corrupts, and are driven by a fascination turned obsession.
And it should always be clear that the villain will win if the hero does nothing!


-Triumphant Protagonist Hero vs. Tragic Antagonist Villain-

The two classic character plot paths of Hero vs. Villain:

TRIUMPHANT PROTAGONIST HERO
ACT 1
1. Old World Stasis.
2. New World Flux.

ACT 2A
3. Things Come Together.
4. False Victory.

ACT 2B
5. Things Fall Apart.
6. False Defeat.

ACT 3
7. False Solution.
8. True Resolution.

-VS.-

TRAGIC ANTAGONIST VILLAIN
ACT 1
1. Old World Focus.
2. New World Shift.

ACT 2A
3. Things Fall Apart.
4. False Defeat.

ACT 2B
5. Things Come Together.
6. False Victory.

ACT 3
7. False Solution.
8. True Resolution.


The underlying theme of every classic Hero vs. Villain story is always Good vs. Evil. It may be phrased differently and cover many different battle grounds, but it is always the titanic struggle between what is right and just, represented by the good protagonist hero, and what is wrong and unjust, represented by the evil antagonist villain.
When comparing the triumphant protagonist hero and tragic antagonist villain plot charts, take note of the only real difference between them being their Acts 2A & 2B having their orders switched with each other, though there exists other subtleties as follows:

-ACT 1-

1 vs. 1: The difference here between Old World Stasis and Old World Focus is that the antagonist’s evil plans are already in motion . . . whereas the good though ignorant protagonist is living their normal slice of life and absent any true knowledge of these plans that will soon force them involved. The protagonist may be aware of the antagonist’s existence, and that they are ‘up to something bad’ via rumors or gossip, but most typically they know not what that something is if they know anything about it at all, as well the antagonist usually has no idea the protagonist even exists.

2 vs. 2: The difference here between New World Flux and New World Shift is that the antagonist’s plans achieve them some kind of success toward achieving their end goal so that those plans shift with forward focus via continued momentum . . . whereas the protagonist’s life is now disturbed by the Inciting Incident’s influence upon their ordinary world no longer ordinary which is linked to the antagonist’s ongoing plans.


-ACT 2A-

3 vs. 3: The difference here between Things Come Together and Things Fall Apart is that the antagonist’s plans become disturbed by the meddling protagonist now striving to resolve the story’s central conflict, but for now they are just a fly in the ointment needing plucked so that the preoccupied antagonist may take only slight notice from afar and order their minions to deal with the nuisance because they deem themselves above being involved directly . . . for now. As well often someone trusted by though jealous of the protagonist plots their betrayal behind the scenes.

4 vs. 4: The difference here between False Victory and False Defeat is that the antagonist’s plans are disrupted to the point that they must now take full and direct notice of the meddling protagonist mucking them up . . . whereas the protagonist achieves a big success toward resolving the story’s central conflict which interferes with the antagonist’s arrested plans. At this point they both recognize each other as the main obstacle blocking their way to achieving their competing goals, as well that one of them needs be removed in order for the other to succeed. From here on in the protagonist and antagonist are in direct, open opposition. As well the betrayer’s plans in the shadows continue to develop against the protagonist. Most important, a key revelation happens that raises the stakes for all involved while causing a reversal of circumstances, shifting the protagonist from reaction (not in control of the conflict) to proaction (taking control of the conflict).


-ACT 2B-

5 vs. 5: The difference here between Things Fall Apart and Things Come Together is that the antagonist now focuses their full attentions upon eliminating the protagonist so they can continue their plans unhindered . . . whereas the protagonist cannot yet equally compete against such odds and suffers the effects of the antagonist’s direct focus of attacks because of it. And it doesn’t help that they cling to their dominant character flaw by instinctual response which only adds to the troubles that they themselves also have a hand in causing. Minions of the Antagonist, more powerful and better suited to the task than those from before, close in round the struggling protagonist while internal dissension develops among the frustrated protagonist and their arguing allies because of it. As well the betrayer, working in the shadows, continues taking steps to undermine the protagonist’s efforts, adding to the internal strife.

6 vs. 6: The difference here between False Defeat and False Victory is that the antagonist achieves a big success in beating down the protagonist while possibly killing or capturing their allies and stealing or breaking their precious tools so that now they shift their focus back upon what seems their imminent victory . . . whereas the protagonist flounders in this their lowest moment so far where all seems lost because they are farthest away from achieving their goal after such a tremendous defeat, worse off than when they started, and are usually condemned alone because of it. As well the betrayer makes their ulterior motives known and stabs the vulnerable protagonist in the back at the worst moment of opportunity. But this all leads the protagonist to a defining moment of inspirational epiphany where they realize their dominant character flaw has been hindering them the entire journey and only by replacing it with its opposite virtue do they stand a chance of success however insurmountable the odds have become so that they decide on one last, and almost always suicidal, try against the antagonist.


-ACT 3-

7 vs. 7: The difference here between False Solutions is that the antagonist is verging triumph of their evil schemes through its final stages before the actual accomplishment of the victory itself . . . whereas the protagonist, now working against this ‘ticking time-clock’ after exchanging their dominant character flaw for its opposite virtue, has their attentions divided between stopping the antagonist as well rescuing their kidnapped love interest who will most likely die during the accomplishment of the antagonist’s plans if the protagonist fails on both fronts. Here is also where all subplots outside the protagonist are resolved so that the main story can take precedence once more before its resolution. Remaining minions of the antagonist and surviving allies of the protagonist are dispatched or killed.

8 vs. 8: The difference here between True Resolutions is that the antagonist, either moments from achieving their ultimate success or because their plans have been destroyed beyond repair, is willing to sacrifice everything and everyone but himself to obtain victory or revenge at all costs . . . whereas the protagonist is only willing to sacrifice himself while still protecting others. The two forces collide as promised by the Inciting Incident in an epic showdown of Good vs. Evil, but more importantly (and the key ingredient) protagonist virtue vs. antagonist flaw where virtue triumphs. After which the victorious protagonist enjoys the spoils of the antagonist’s defeat or demise while celebrating and reflecting as the changed and wiser person their journey has made of them, the protagonist having surpassed the mentor . . . and possibly to become the new mentor figure to another flawed and untested protagonist in future stories.


-Christopher Vogler’s simplified Hero’s Journey-

1. Ordinary World: The hero protagonist is introduced in their everyday slice-of-life.
2. Call to Adventure: Something happens to shake up the hero’s normal world.
3. Refusal of the Call: The hero often has doubts, and wants to stay in their safe existence.
4. Meeting the Mentor: The hero meets someone who gives them advice that will be useful for the coming challenges.
5. Crossing the Threshold: The hero changes location or burns bridges in a metaphorical sense, meaning they cannot simply return to their old life as if nothing has happened.
6. Tests, Allies, Enemies: The hero faces various challenges upon their road of trials while making new friends and enemies.
7. Approach the Innermost Cave: The hero prepares to battle terrible danger or inner conflict.
8. The Ordeal: The hero must face great demons, which could be internal or external, or both.
9. Reward: The hero receives some kind of reward for facing their demons.
10. Road Back: The hero begins their journey back to everyday life.
11. Resurrection: The hero faces their greatest battle and most dangerous encounter.
12. Return with Elixir: The hero returns home triumphant.

The villain also walks a similar path to the Hero’s Journey, though the biggest difference being that the hero may fall victim to but ultimately rejects temptation during their Road of Trials (#6) whereas the villain succumbs to it thus twisting the remainder of their journey into embracing the ‘dark side’ instead of rallying against and rejecting it. Though this version is usually a part of the antagonist villain’s backstory since their existence in the protagonist hero’s world is that their ‘dark’ power is already established or verging so.
And remember it is equally important to provide the tragic antagonist villain with a Wound (scar), Shield (flaw), and Sword (virtue) while knowing during their Rubicon (Spiritual Crossing), opposite the triumphant protagonist hero’s decision, they choose their flaw magnified over virtue . . . which provides their inevitable downfall.
Because every great hero is defined by an even greater villain.

Saturday, July 2, 2022

Great Minds Think Alike . . . or How to Combine Proven Plot Formulas

Lester Dent proposed a plot formula for a 6,000 word story as follows: divide the 6,000 words into four 1,500 word sections.
Part One: hit your hero with a heap of trouble. Part Two: double that trouble. Part Three: put your hero in so much trouble there's no possible way he could ever get out of it. Part Four: get him out of it in a logical though surprising way.
Combining Lester Dent’s proven plotting process with the essential elements of my master plot formula, we get the following for a 6,000 word short story, with each numbered section equaling 300 words:

Part One: hit your hero with a heap of trouble

1. Old World Stasis: The Protagonist’s ordinary world of home, work, and social life where stasis = death. Because if nothing changes then they will continue to live their unfulfilling existence. Here you present the Protagonist’s dominating character flaw needing fixed through the exchange of its opposite virtue that will complete them.

2. Inciting Incident: The Protagonist’s first introduction to the central story conflict through a major problem or big opportunity influencing their world in as permanent a way as possible caused by the Antagonist while also establishing the Protagonist’s desire which is dominated by one of three potential outcomes: Possession of something, Relief from something, or Revenge for something. The Inciting Incident also tests the Protagonist’s character flaw, proving its burden upon them though at this point they don’t acknowledge it yet.

3. New World Flux: The conflicted Protagonist strives for balance in their newly disrupted world as they debate what can and should be done about the major problem or big opportunity of the Inciting Incident while clinging to their character flaw.

4. Pressure to Proceed: But people are lazy and tend to avoid conflict by instinct unless necessary, so the Protagonist attempts to avoid the consequences of the Inciting Incident impacting their influenced life, often trying to ignore it while hoping another character deals with it instead, but pressure surmounts until they have no choice but to face it themselves.

5. Physical Crossing: The Protagonist finally decides to act and usually physically leaves their old world of restrictions behind for the new world of possibilities ahead. The Physical Crossing (its parallel scene the Spiritual Crossing) is the link connecting Act 1 and Act 2, and it is a collapsing bridge of No Return. Once this bridge is crossed, the Protagonist cannot return home again until the story’s main conflict is resolved or else they’ll live an even more miserable stasis = death existence.


Part Two: double that trouble

6. Things Come Together: The fish-out-of-water Protagonist makes new friends and enemies while shedding old flaws (though not their dominant flaw) for new virtues (or its fulfilling opposite virtue) as they progress toward resolving the central story conflict. Several forms of training also commence, testing the developing Protagonist’s new skills and relationships.

7. Pinch Point: The Antagonist flexes their muscles in a minor way (and usually indirectly through a minion) against the Protagonist, having realized something minor disrupting their ‘evil’ plans.

8. Betrayal Set-up: Someone trusted who is jealous of or dislikes the Protagonist schemes their future ruin behind the scenes.

9. False Victory: Working together as a team, the Protagonist and Allies achieve their biggest success yet toward resolving the central story conflict though not the central conflict itself while earning the full attention of the Antagonist and their frustrated minions. At this point it is clear to both Protagonist and Antagonist that the other is the main obstacle standing in their way to success and needs be removed.

10. Midpoint Twist: A stunning revelation and reversal of fortune causes the momentum shift of the Protagonist from reaction to proaction against the Antagonist.


Part Three: put your hero in so much trouble there's no possible way he could ever get out of it.

11. Things Fall Apart: The Protagonist’s team of Allies suffers internal dissension as external enemies close in.

12. Punch Point: The Antagonist flexes their muscles in a major way against the Protagonist.

13. Betrayal Pay-off: The Protagonist is stabbed in the back at the worst moment.

14. False Defeat: Someone dies and/or something precious is taken from the Protagonist during this the Antagonist’s false victory where all seems lost in this the Protagonist’s lowest point thus far.

15. Spiritual Crossing: The depressed Protagonist is struck with the inspirational epiphany to continue one last (and usually suicidal) assault against the Antagonist. The Spiritual Crossing (its parallel scene the Physical Crossing) is the link connecting Act 2 and Act 3. This is another collapsing bridge of No Return, and crossing this bridge makes possible or inevitable the final confrontation between Protagonist and Antagonist as well its resolution of the story’s main conflict.


Part Four: get him out of it in a logical though surprising way.

16. Tool Up: The determined Protagonist gathers the necessary tools for the task ahead while making amends with Allies and inspiring them into rejoining the cause.

17. False Solution: All remaining subplots outside the Protagonist are resolved as the surviving Allies of the Protagonist and the minions of the Antagonist are eliminated.

18. Separation: The Protagonist is separated from all remaining Allies so they can face the Antagonist one-on-one as only the unique Protagonist can.

19. True Resolution: The Protagonist defeats the Antagonist or dies trying.

20. Aftermath: The immediate effects of the Protagonist’s victory or defeat.


If you write a measly 300 words per day it will only take you 20 days to complete your 6,000 word short story.
Or you can use this same magic formula for the perfect blueprint to write an outline to your next novel.
Because Michael Moorcock expanded upon Lester's proven plot formula by applying it to his plethora of 60,000 word novels. He suggested dividing the 60,000 words into four 15,000 word sections then dividing those 15,000 word sections into six 2,500 word chapters each for a total of 24 chapters.
Combining Michael Moorcock’s proven plotting process with the essential elements of my master plot formula, you simply add one extra chapter to each section (somewhere at the end of Act One, somewhere in the middle of Acts 2A & 2B, and somewhere at the beginning of Act 3 for four total new chapters) that is told from the antagonist’s/villain’s point of view (all other chapters are told from the protagonist’s/hero’s point of view) to give you six chapters per section:

Act 1
1. Old World Stasis
2. Inciting Incident
3. New World Flux
4. Pressure to Proceed
5. Physical Crossing
6. Villain’s P.O.V. #1

Act 2A
7. Things Come Together
8. Pinch Point
9. Villain’s P.O.V. #2
10. Betrayal Set-up
11. False Victory
12. Midpoint Twist

Act 2B
13. Things Fall Apart
14. Punch Point
15. Betrayal Pay-off
16. Villain’s P.O.V. #3
17. False Defeat
18. Spiritual Crossing

Act 3
19. Tool Up
20. Villain’s P.O.V. #4
21. False Solution
22. Separation
23. True Resolution
24. Aftermath

*note: the presented order of additional Villain P.O.V. chapters is not an unbreakable commandment, only a suggestion of where they usually occur, so feel free to rearrange them as best according to your particular story.

With each chapter amounting to 2,500 words and writing only half that per day (1,250) it will take you less than 2 months (48 days) to finish the first draft of your 60,000 word novel!

Saturday, June 4, 2022

Simple Story . . . or Stop Thinking So Hard!

Us plotters love maximizing details. That’s why we enjoy writing everything down about our characters and stories to the point that it sometimes takes us longer to sort through and organize all of it than it does to actually write the novel itself.
But story is simple really, and consists of three base elements when everything else of lesser value is stripped away:

1. Protagonist
2. Goal
3. Obstacle

And sometimes it’s best to keep things vague so as to allow our brains plenty of creative room to wander through unrestricted wonderment while connecting random people, objects, places and events in unexpected ways without breaking a sweat or steaming our toiling thinker. So take out your best plotting friend, the trusty ol’ pack of index cards, and get ready to make then play your own plotting game I call Simple Story which is made up of three stacks of index cards.

The first stack is the Protagonist pack, which consists of any random occupation (or any basic description of character). Since we’re keeping it vague so as to allow our imaginations freest rein you’ll choose one-word types. For example:

1. firefighter
2. bigfoot
3. plumber
4. scientist
5. cyborg
6. mechanic
7. spy
8. janitor
9. assassin
10. hermit

The second stack is the Goal pack, which consists of any random goal you can imagine. Again, vague, so limit these to three-word types; an action verb, the, and an object or person. For example:

1. save the princess
2. hide the gold
3. find the treasure
4. catch the unicorn
5. steal the blackmail
6. survive the sharknado
7. discover the artifact
8. arrest the murderer
9. deliver the McGuffin
10. protect the family

The third stack is the Obstacle pack, which consists of any random threat you can imagine preventing the Protagonist from achieving their Goal. Remember that vagueness, so we keep it to two- or at most three-word types. For example:

1. zombie apocalypse
2. time-traveling cavemen
3. robot army
4. deserted island
5. giant lizard king
6. vampire Nazis
7. sentient murder vehicles
8. alien invasion
9. haunted mansion
10. intelligent dinosaurs

Now, to play Simple Story you just mix your three stacks of index cards into three separate piles (Protagonist, Goal, and Obstacle) then draw one from each. Try imagining the story by allowing your brain to fiddle and fondle with the information. But don’t think too hard or else you defeat the purpose! So after drawing your three cards, limit yourself to one minute of telling your story.

Here’s just one example:

Protagonist: plumber
Goal: save the princess
Obstacle: giant lizard king

Sound familiar?
Of course it does!
But I’ll extrapolate anyways with a little creative tinkering applied:

“A plucky plumber must save the beautiful princess in a magical mushroom world from the giant lizard king who kidnapped her.”

Bam!
Everyone knows Super Mario Bros!

Simple Story also makes a great game to play with your kids, or a party game with friends. I only included ten examples for each but you can make your stacks as large as you wish. Simple Story is more fun and creative when played in groups because you don’t know what’s written on all the cards until you draw then deal them.
Simple Story is also a fantastic way to teach others or learn yourself how to construct great loglines because the simplest logline is just that: a brief description of the story’s Protagonist, their Goal, and the Obstacle involved.
So gather some friends or family, hand out pens and cards, have everyone write down whatever they can think up, then shuffle and deal. Now go around the table slapping down cards while creating your Simple Story.

But let’s say you do want to complicate things a bit.
Okay, great!
We’ll do so with a little more extrapolation on our three parts of Simple Story.

1. For the Protagonist: discover their Wound, Shield, and Sword.
2. For the Goal: discover the Possession of, Relief from, or Revenge for it.
3. And for the Obstacle: discover its Motive and Opportunity for happening.

This easy three step extrapolation will help you further flesh out your Simple Story into the most basic logline. Let’s use our Super Mario Bros. example as  . . . well, as another example, and with a bit of ingenuity applied.

1. Protagonist: plumber (Wound: returning to the Mushroom Kingdom from the real world for a hot date, our horny Italian plumber Mario discovers his true love Princess Peach was kidnapped during his absence; Shield: Mario is determined but cowardly because of all the new enemies roaming the Mushroom Kingdom seeking to thwart him courtesy of Bowser ushering them forth from his realm; Sword: Mario needs to embrace his courage to defeat the gauntlet of enemies in his way and eventually rescue Princess Peach from the giant lizard king who kidnapped her).
2. Goal: save the princess (Possession of: Mario needs to regain possession of the kidnapped Princess Peach while saving her from the evil clutches of Bowser before the giant lizard king forces her into a marriage that will fully merge their realms and make of Bowser the Mushroom Kingdom’s dictator).
3. Obstacle: giant lizard king (Motive: Bowser kidnaps Princess Peach to force her into marriage so their two realms can merge and he can take over ruling the Mushroom Kingdom; Opportunity: Princess Peach is alone and unprotected during Mario’s absence in the real world).

So what’s the simple one-liner logline of this all?

“Cowardly plumber Mario must embrace his courage and save the kidnapped Princess Peach or else Bowser will force her into a marriage that will merge their realms and make of him the Mushroom Kingdom’s dictator.”

See how easy it is to extrapolate our Simple Story with a little creative tinkering?
Now go make your own deck of cards and have some fun!

Saturday, May 7, 2022

Lake Plotsalot . . . or the Ten-Sentence Pantser Plot Outline

Writers exist on a broad spectrum.
At one end are Pantsers, those who write by the seat of their pants and never plan ahead because they enjoy the wonder of the journey over its final destination. At the other end are Plotters, those who plan everything out in meticulous detail before writing it all down because they look forward to the journey’s satisfying end the most.
Most writers exist somewhere in the middle of this spectrum as some combination of both, and here we’re going to focus on Pantsers who wish to dip their curious toes into Lake Plotsalot but have no intention of diving in for the wonderful swim.

The most basic plot is simple, really.

Act 1: Introduce the story’s central conflict.
Act 2A: Develop the story’s central conflict.
Midpoint: Complicate the story’s central conflict.
Act 2B: Intensify the story’s central conflict.
Act 3: Resolve the story’s central conflict.

And so is the most common subplot that is typically the Love Story.

Act 1: Boy meets Girl.
Act 2A: Boy gets Girl.
Midpoint: Boy and Girl have sex.
Act 2B: Boy loses Girl.
Act 3: Boy gets Girl back.

If you’re a Pantser who wishes only to plot by the slightest margin then those two plots interwoven are all you really need. But how do you utilize them? Write one concise sentence describing each plot point, interweave them as according to their Acts, and voila you have just plotted the most basic outline imaginable.

And if you’re unsure what story you want to write? Then here’s an old and proven standby, the Classic Quest Plot: an object to obtain and limited time to obtain it.

Don’t like that one? Then toss it aside for another method of discovering your story because every protagonist seeks one of three things:

1. Possession of something.
2. Relief from something.
3. Revenge for something.

There you have it, Pantsers, the most basic of everything you need to write your next great novel courtesy of plot.
Happy writing!

Saturday, April 2, 2022

Babypuncher . . . or Why your novel's Title needs impact

The entire point of a novel’s title and cover is to do one thing: elicit as much of a reaction and response as possible from a potential reader. Period.
Perfect example: I chose the title of my book ‘Punching Babies: a how-to guide’ for this specific reason. It’s sold tons of copies over the years because people read the title and most of them laugh with curiosity while others get furious or disgusted.
I’ve actually received death threats over that title, as well have received many negative reviews from people who have never even read the book while telling me I should be ashamed of myself for ever insinuating someone to punch a poor, defenseless, adorable, sweet little baby.
Ironically, on its back cover and on its second page is the logline of the book: how to make writing your novel as easy as punching babies!
I even explain in the book why I titled it so, and nowhere in the book do I ever suggest literally punching a baby.
Punching Babies is an obvious twist on the age-old line, ‘Like stealing candy from a baby’, or translation: something very easily accomplished. But that phrase didn’t contain enough impact for me, and I also have a dark sense of humor. So I thought, What’s easier than punching a baby that can’t possibly fight you back? Ah-ha! And my book teaches the aspiring author how to write their novel in just as easy a way . . . though more specifically how to plot it with the greatest of ease (*I’ve since published two more books on this subject, Pen the Sword and On Writing Well, all three of which I recommend to every aspiring author looking to improve their writing craft, especially so their plotting technique).
The first thing a potential reader notices is your book’s cover. Then its title. Then they turn it over and read its back cover blurb. If they’re still curious they may flip through it and read a few passages before deciding to invest their money and time buying and reading it.
So you want your book’s cover and title to have impact.
Stop worrying about offending people because . . . who cares?
If the great tragedy of someone’s life is that they are offended by an author’s book cover and title then I envy them. Though I pity those who actually take the time not to read the book but instead rush to log on to Amazon or another website and proceed to waste their time giving my book a negative review all based upon their pwecious wittle feewings being offended by the title.
It also amuses me they don’t realize that I don’t care.
I have novels to write.
Because losers focus on winners, winners focus on winning.
That’s why I’m continuously publishing novels as an award-winning and best-selling author while they’re sitting at home and wasting their time complaining online about the title of a book they’ve never even read.
As well they’ve forgotten the old adage: “Sticks and stones can break my bones but words will never hurt me.”

Here are two negative reviews of Punching Babies taken from Amazon as example:

1 star review by ‘Offended’: Title is Offensive!
Reviewed in the United States on February 10, 2021
“The title of this book is offensive and needs to be removed from Amazon. I can’t shop here knowing that you encourage this kind of talk!”

*note: not only is this person an unverified purchaser (which means they never bought and so most likely also never read my book), but apparently they specifically made their Amazon account, ‘Offended’, just to give my book this negative review).

1 star review by ‘Compulsive Reader’: Desperate for attention
Reviewed in the United States on September 20, 2015
“Man, what is your problem? Was this title really necessary? Are you that desperate for attention?”

*note: also an unverified purchaser of my book, though at least ‘Compulsive Reader’ posted their review from a real account.


Now here are two positive reviews by actual purchasers and readers of my book:

5 star review by ‘Graeme Kent’: A 100 Page Encyclopedia for all Writers.
Reviewed in the United Kingdom on March 13, 2019
Verified Purchase
“This is a gem of a book for writers at all stages of their development. I would not have believed that so much practical information could be encapsulated in so little space. This is easily the best writers’ guide I have ever read. Buy this book and use it as your essential guide to a novel writing career.”

5 star review by ‘Lee Man’: My new bible!
Reviewed in the United States on April 7, 2019
Verified Purchase
“This book takes all the books I’ve ever learned from and combines them into an easy, concise doctrine with examples from a well known movie. I love how he took elements from the snowflake method, Save the Cat, Dwight Swain’s motivation/reaction units, Joseph Campbell’s Hero Journey and much more and united it with concrete examples from the movie The Matrix. Very well done!”


It warms my writerly heart that both Graeme Kent and Lee Man not only enjoyed my book but that they learned something valuable from it which may help improve their own writing . . . unlike Compulsive Reader and ‘Offended’ who are probably still toiling away upon unfinished drafts of unpublished novels.
Graeme Kent and Lee Man understand not to throw the baby out with the bathwater and I wish them both much success in their writing careers, whereas and ironically Compulsive Reader and ‘Offended’ let the baby swallow down the drain because they couldn’t look past an innocuous book title and so let their oversensitive emotions get the best of them.
I hate to break it to the latter two but if you are so easily offended then pursuing a writing career (a field in which everyone judges your work) is definitely not for you, and I don’t want to be around for the childish outburst when someone is kind enough to critique any of your writing . . . if, that is, you ever finish it while being so busy cutting your own nose off to spite your face.

Sadly we now suffer an entire generation of these easily offended people who were coddled by their enabler parents and raised into blue- or pink-haired Social Justice Whiners that pout because of micro-aggressions which don’t exist and cry whenever anyone looks at them wrong. They run around screaming false accusations of Racist! and Racism! at anyone who dares hold a different opinion than theirs, regardless the subject, in the desperate hopes of canceling them without realizing they are psychologically deflecting from their own racist tendencies on a subconscious level.
News flash: if you see racism everywhere it’s because you are the racist!
The legendary Dee Snider did a wonderful job of pointing out this psychological proof during his 1984 senate hearing when he was brought before congress to explain the ‘offensive and explicit’ music of his rock band Twisted Sister. Al and Tipper Gore claimed to hear horrible and offensive things such as sadomasochism and bondage in Dee’s songs, to which Dee intelligently pointed out that art is subjective and they have those awful thoughts because that’s what they want to hear.
The ensuing torrid roar of silence after Dee’s rebuttal is priceless.
I suggest every writer fondle into Google’s naughty little search engine “How Twisted Sister Outclassed Congress” then watch the short video for a great time and a little lesson on why some people will project their darkest thoughts onto your art regardless no connection involved but for their own private perversions they keep closeted away while blaming your art as the conduit excuse.
Our current Cancel Culture is a plague of bratty children pretending to be adults. They live with their parents into their 30’s and embrace Socialism because they want the government to take care of them after their parents die or finally get tired and kick them out of the basement.
You know what I say?
Screw ‘em.
And so should you when considering the cover and title of your next book.
Make sure they possess impact, because impact is what gains your book attention and potential readers.
You can’t please all of the people all of the time so don’t bother trying. In fact, sometimes it’s fun to go in the opposite direction and feed those Cancel Culture trolls, because they provide you something valuable: free P.R. for your novel with every complaint they make!
Happy writing!

Saturday, March 5, 2022

To and First . . . or what the Inciting Incident really is

As writers we’ve had it pounded into our heads that an Inciting Incident must be cataclysmic or apocalyptic or world-shattering to ensure maximum excitement at the beginning of our story.
Sure an Inciting Incident can be worlds colliding but it doesn’t have to be. It can be a major or minor event all depending upon your particular story and your particular protagonist.
Because of this, many writers often confuse what the Inciting Incident really is, or even just don’t know, so I’ll give you the proper definition now: the event which happens to the protagonist and presents their first awareness of the story’s central conflict.
Take note of the two key elements: 1. that it happens TO your protagonist, and 2. that it presents their FIRST awareness of the story’s central conflict.
If either of these is missing (To or First) then it is not an Inciting Incident.
For example, in the movie Jaws by Steven Spielberg, ask a room full of people what its Inciting Incident is and many will tell you that it’s obviously the opening scene where the shark brutally kills and eats the swimmer. And they will claim that’s because if not for the shark attack then the rest of the story wouldn’t have happened.
Wrong!
The Inciting Incident of Jaws is not the opening scene of the shark attack because the protagonist, Sheriff Brody, is not present, so it doesn’t happen to him nor does it present his first awareness of the story’s central conflict. If we wanted to make it the Inciting Incident then all we’d have to do is place Sheriff Brody on the beach to witness the shark attack.
Instead, the Inciting Incident of Jaws takes place several scenes later and is a minor event when Sheriff Brody first learns of the shark attack because this happens to the protagonist as well presents his first awareness of the story’s central conflict. He then reacts poorly, as all flawed protagonists do, by trying to keep the matter hush-hush and not shutting down the beach because their little island town thrives on tourism, but that’s neither here nor there yet.
So what makes a good Inciting Incident?
I’ll do you one better!
Here are the five most common Inciting Incidents:

1. A Telegram Arrives: the protagonist is invited into an extraordinary adventure or mission, or an adversity outside of the protagonist’s current worldview forces them from naïveté to maturity through the process of reflecting on his or her life while making changes.

2. A Great Crime: a personal or impersonal crime occurs which spurs the protagonist to seek revenge or justice (or hunt for/escape from the monster).

3. Forbidden Temptation: the protagonist stumbles upon something (a place, an object, or even a person) they know they shouldn’t interact with but they choose or are forced to do it anyway, or a new temptation requests the protagonist to betray their conscience for the sake of some benefit or greater good.

4. Meet / Split: the couple meets for the first time and an emotional connection is made whether romantic or platonic (either eventual sexual relations or a ‘buddy love’ duo) / or the couple already exists and some kind of betrayal occurs, usually an infidelity, so that they separate (the severing of a sexual relationship or best friendship).

5. The Proving: entry into some kind of tournament or competition for the performance of some skill or talent, whether team or individual, though told through the protagonist’s point of view.

*Notice that every example contains multiple versions of the Inciting Incident, and that’s because there exists numerous ways in which you can twist them to fit your particular story. For example #2: A Great Crime. A personal crime could be something like the protagonist coming home from work and discovering their murdered spouse lying on the floor. The impersonal crime twist on this is that the protagonist is a detective and discovers a stranger’s dead body by happenstance while investigating the scene of a police call. The former may spur the protagonist into seeking revenge, while the latter motivates the protagonist into seeking justice.

Inciting Incidents kick off your story’s central conflict, and they should happen as soon as possible, but you don’t want to begin your story with the Inciting Incident because we the audience need to be invested in the protagonist first. That’s why Inciting Incidents work best as a three-part sequence of events as follows:

1. Save the Cat, then Kick the Dog: first the protagonist performs an admirable act to establish likeability (Save the Cat), then they suffer an undeserved misfortune to establish sympathy (Kick the Dog). Likeability + Sympathy = Empathy. Protagonist empathy must exist, which is why you should always start your story with it, otherwise we won’t care when the Inciting Incident happens and that removes its impact.

2. Inciting Incident: the event that happens to your protagonist and presents their first awareness of the story’s central conflict.

3. Reaction and Response: the protagonist’s reaction and response to the Inciting Incident, and in a ‘wrong’ way because of their dominant character flaw, which only worsens the Inciting Incident’s influence upon their ordinary world no longer ordinary until they cannot ignore it any longer and decide they must do something about it.

I suggest making these three events the first three chapters of your novel for good reason. The first chapter establishes reader-to-protagonist empathy, a must in order for us to care about the protagonist and what happens to them. The second chapter introduces the story’s central conflict not only to the protagonist but also the reader; this is, if asked what your novel is about, the story the reader will describe. And the third chapter shows the protagonist’s flawed reaction and response to conflict though also displays their need for and possible willingness to change because of their dominant character flaw’s opposite virtue, providing us a glimpse of who they may become by the story’s end if:

1. Triumph: they eventually abandon their dominant character flaw for its opposite virtue and achieve their true potential through character growth, thus living a more satisfying existence than when they started because of it.

Or . . .

2. Tragedy: they eventually regress deeper into their dominant character flaw while rejecting its opposite virtue, thus living a more miserable existence than when they started because of it (or maybe even earning literal death).

Both of these (Triumph or Tragedy) are decided during the Rubicon that takes place at the end of Act 2, and which of the two the protagonist chooses (either flaw or virtue) will become their new dominant character trait for the rest of the story that is Act 3 . . . because Act 3 exists to reward the triumphant protagonist for choosing virtue over flaw which ends with the ultimate reward that is the story’s Climax, or to punish the tragic protagonist for choosing flaw over virtue which ends with the ultimate punishment that is the story’s Climax.

Point being, all Inciting Incidents introduce conflict. And all conflict falls into two categories:

1. Internal Conflict (within): the protagonist struggles with their own opposing desires or beliefs.

2. External Conflict (without): the protagonist struggles against an outside force, someone or something beyond their control.

*Remember: both Internal and External conflicts are necessary for an interesting story and believable protagonist.

And there exists six different types of conflict you can use to propel your story:

1. Person vs. Self: the protagonist struggles to discern what the moral or ‘right’ choice is, or it may also encompass mental health struggles.

2. Person vs. Person: the protagonist’s needs or wants are at odds with another character’s and they struggle for victory over the other.

3. Person vs. Society: the protagonist (alone or in a group) fights against injustices within their society, whether the government, a cultural tradition, or societal norm of some kind.

4. Person vs. Supernatural: the protagonist is pitted against phenomena (whether extraterrestrial, metaphysical, or technological) to create an unequal playing field while often raising poignant questions about what it means to be human.

5. Person vs. Fate/Destiny: the protagonist discovers an imposing fate or destiny and struggles to accept the sacrifices that come along with it.

6. Person vs. Nature: the protagonist is set in opposition to the weather, the wilderness, or a natural disaster, often battling for survival against the inexorable and apathetic force.

Inciting Incidents are simple really, and can be pretty much anything (surprising news of changing circumstances, a clue discovered to something known or unknown, a sudden turn of luck or misfortune, an ally becomes an enemy or an enemy becomes an ally, something of value is lost or stolen or broken, someone is kidnapped or killed, blah blah blah . . .) so long as it happens to the protagonist and presents their first awareness of the story’s central conflict.
The key is to take your beloved protagonist then inject something they’ve never dealt with before into their life that influences their ordinary world no longer ordinary in as permanent a way as possible and cannot be ignored while also relating to their dominant character flaw as well possesses a link to the antagonist.
Just remember the To and First rule and you’ll never question your Inciting Incident again.
Happy writing!

Saturday, February 5, 2022

The Rubicon . . . or the Most Crucial Moment in your story

The Midpoint of your story serves a very special purpose because it’s when your protagonist achieves their full dedication to resolving the story’s central conflict by shifting them from Reaction (not in control of the conflict) to Proaction (taking control of the conflict). This is what is meant by ‘Midpoint Reversal’ because it’s a reversal of circumstances. The hunted becoming the hunter so to speak.
Before the Midpoint the protagonist is not fully dedicated to the cause. After the Midpoint the protagonist becomes fully committed because the Midpoint is a hefty no turning back point while raising the story stakes and making it too personal to ignore or abandon any longer.
And by the Midpoint at the latest the protagonist and antagonist must recognize that they are each other’s true obstacle standing in their way to achieving their goal and must be removed in order for them to succeed. This is often why in many stories at the Midpoint the protagonist and antagonist come to literal face-to-face for the first time, prompting this necessary recognition of conflict.
Think of the movie Gladiator with Russell Crowe and Joaquin Phoenix. Russell’s character Maximus is enslaved and dons a mask while fighting after being betrayed by Joaquin’s Commodus. At the Midpoint of the story, Maximus and Commodus literally come face-to-face in Rome where Commodus demands of the unknown gladiator to remove his mask and reveal himself. Maximus does, shocking everyone in the arena as well Commodus who presumed the famous general dead. This gives us a little taste of the protagonist vs. antagonist showdown that will happen by story’s end while letting us know that confrontation is now inevitable as well that once it happens the story is over. This also signifies that Maximus and Commodus now truly recognize each other as the main obstacle in their way to victory.
Midpoints also serve another special purpose because they help define whether your story is one of protagonist triumph or protagonist tragedy.
But how do you know which?
Easy.

Act 2A
Midpoint
Act 2B

Act 2A of a triumphant protagonist story is more successes than failures toward resolving the story’s central conflict. The Midpoint is where they achieve their biggest success yet called the False Victory (an All is Joy moment in which the protagonist is at their highest point in the story so far). Act 2B is more failures than successes because Acts 2A & 2B are opposites. Act 2B ends in an All is Lost for the protagonist, or the False Defeat (in which the protagonist is at their lowest point in the story so far).

-Triumphant Protagonist-
Act 2A: more successes than failures leading to the False Victory (all is joy)
Act 2B: more failures than successes leading to the False Defeat (all is lost)

To change their story from triumph to tragedy all one needs to do is switch Acts 2A & 2B as well switch the False Victory and False Defeat each leads to.

So Act 2A of a tragic protagonist story becomes more failures than successes. The Midpoint is where they suffer a major misfortune, or the All is Lost of the False Defeat. Since Acts 2A & 2B have been switched, Act 2B becomes more successes than failures, which ends in the All is Joy of the False Victory.

-Tragic Protagonist-
Act 2A: more failures than successes leading to the False Defeat (all is lost)
Act 2B: more successes than failures leading to the False Victory (all is joy)

Either way, what happens next is the most crucial moment in your story because after the All is Lost of the False Defeat, the triumphant protagonist abandons their dominant character flaw for its opposite virtue. And after the All is Joy of the False Victory, the tragic protagonist regresses deeper into their dominant character flaw while rejecting its opposite virtue.
Both of these determine your entire Act 3 and its outcome.

1. The triumphant protagonist confronts the antagonist and defeats them because of their virtue.

Or . . .

2. The tragic protagonist confronts the antagonist and is defeated by them because of their flaw.

Because . . .

1. A False Victory Midpoint (all is joy) gives you a triumphant protagonist during the story’s Act 3 Climax.

And . . .

2. A False Defeat Midpoint (all is lost) gives you a tragic protagonist during the story’s Act 3 Climax.

I call this most crucial moment of decision the Rubicon because it’s the most defining stage of protagonist change as well a point of no return. The Rubicon is the linchpin which connects Act 2 and Act 3 together. It’s the moment the triumphant protagonist truly realizes their flawed Shield for the burden it is and throws it aside to brandish their virtuous Sword. Or the moment the tragic protagonist rejects their virtuous Sword and regresses deeper behind their flawed Shield (I go more in depth upon this here: Wound, Shield, and Sword).
The Rubicon is the most important decision your protagonist makes in their story because it represents their defining moment of true change. And Act 3 is all about the rewards (if they abandon their dominant character flaw) or consequences (if they embrace their dominant character flaw) of their decision as well how they then apply it to its fullest potential (virtue) or detriment (flaw).
But remember, change is never instant. The Rubicon is more so the protagonist’s acceptance of (flaw abandoned for virtue) or surrender to (virtue rejected for flaw) this defining moment of change. And during Act 3 they may slip in the opposite direction a handful of times along the way while adjusting to this change before they fully embrace it then wield it against the antagonist during the final battle of the story’s Climax.

-Triumphant Protagonist-
Act 1 (show the flaw and hint the virtue)
Act 2A (more successes than failures)
False Victory (all is joy)
Act 2B (more failures than successes)
False Defeat (all is lost)
The Rubicon (flaw abandoned for virtue)
Act 3 (the rewards of the virtue applied)

-Tragic Protagonist-
Act 1 (show the flaw and hint the virtue)
Act 2A (more failures than successes)
False Defeat (all is lost)
Act 2B (more successes than failures)
False Victory (all is joy)
The Rubicon (virtue rejected for flaw)
Act 3 (the consequences of the flaw applied)

Act 2 is well known for causing writers trouble because it is the meat of the story and requires much juicy beef layered between the two slices of Act 1 and Act 3 story bread, so let’s simplify by visualizing a mountain and a valley:

1. A triumphant protagonist’s Act 2 is a mountain (^) with Act 2A the first and ascending side (more successes than failures) and Act 2B the second and descending side (more failures than successes), its highest peak the Midpoint (the All is Joy of the False Victory).

And . . .

2. A tragic protagonist’s Act 2 is a valley (v) with Act 2A the first and descending side (more failures than successes) and Act 2B the second and ascending side (more successes than failures), its lowest dip the Midpoint (the All is Lost of the False Defeat).

You can build your entire story around its Midpoint because the Midpoint determines everything else that happens before and after it.
But what if you don’t know the Midpoint?
It’s all good muh babies if you know the Climax, because the Climax is a more intense version of the Midpoint.

1. Triumphant Protagonist: the True Victory Climax is the All is Joy of a False Victory Midpoint on steroids. And between them is the All is Lost of the False Defeat before the Rubicon.

Or . . .

2. Tragic Protagonist: the True Defeat Climax is the All is Lost of a False Defeat Midpoint on steroids. And between them is the All is Joy of the False Victory before the Rubicon.

We’ll use Gladiator again as the perfect example of how the Midpoint and the Climax parallel each other:

During the Midpoint, Maximus and Commodus come face-to-face though do not engage in battle, only talk and threaten. During the Climax, Maximus and Commodus come face-to-face again and this time they battle to the death.

(*note: Though Maximus is classified as a classic Greek ‘tragic hero’, his story is not one of tragedy but triumph.
Antagonist Commodus’ dominant character flaw is cowardice ((first proven at the movie’s beginning when he arrives late to the opening battle on purpose)) so before the climactic final battle, Commodus visits a chained Maximus and literally stabs him in the back while hugging him to ensure he’ll win then orders the wound covered before they fight to the death in front of all of Rome in the arena.
Maximus tragically dies from the mortal wound, true, but only after triumphantly killing Commodus.
Protagonist Maximus’ dominant character flaw is selfishness ((he cares little for helping Rome over inflicting revenge upon Commodus)), but during his Rubicon he embraces its virtue opposite of selflessness while coming to grips with the tyranny Commodus is imposing upon Rome that will only worsen.
Before Maximus dies after killing Commodus, he orders Senator Gracchus reinstated and expresses Marcus Aurelius’ final wish: that Rome be a republic again. Maximus’ death thereafter reunites him with his murdered family in the Elysian Fields of afterlife as reward.
Maximus is an anti-hero, and the true measure of the anti-hero is that they first reject a cause for selfish reasons ((as does Maximus to Marcus Aurelius then Commodus at the beginning of the movie)) then they eventually take up and almost always self-sacrifice to the cause they now believe in for selfless reasons.
If Maximus would have accepted Marcus’ offer then he and his family would still be alive, and when he kills Commodus in the arena it’s for the selfless higher purpose of saving Rome from Commodus’ tyranny instead of selfish revenge for his murdered family . . . though that latter is a bonus).

But what if you don’t know your story’s Climax either?
The easiest way to have your story plot itself out for you is from the Rubicon. Once you discover your flaw vs. virtue argument (your true story when everything else of lesser value is stripped away), the next step is to decide what your protagonist chooses during the Rubicon at the end of Act 2 (which then becomes their dominant character trait for the remainder of the story). If they choose virtue over flaw then they are a triumphant protagonist. If they choose flaw over virtue then they are a tragic protagonist. Either way, the decision they make at the Rubicon determines your story’s entire Act 2 and Act 3. Find your Rubicon and you’ll automatically find your Midpoint and Climax.
Simple as eating cake.
Knowing your Rubicon then writing from it makes plotting the rest of your story a warm and gentle breeze instead of the turbulent tornado many writers often consider it. So discover your Rubicon and you’ll discover the rest of your story.
Happy writing!

The Most Important Plot Point . . . or Why the Key Event is so damn Important! (part four)

  Star Wars: A New Hope (the triumphant protagonist) Metaphorically speaking, Star Wars: A New Hope is a classic hero’s journey...