1. QUEST – the plot involves the Protagonist’s search for a
person, place or thing, tangible or intangible (but must be
quantifiable, so think of this as a noun; i.e., immortality).
2. ADVENTURE – this plot involves the Protagonist going in search
of their fortune, and since fortune is never found at home, the
Protagonist goes to search for it somewhere over the rainbow.
3. PURSUIT – this plot literally involves hide-and-seek, one person chasing another.
4. RESCUE – this plot involves the Protagonist searching for
someone or something, usually consisting of three main characters – the
Protagonist, the Victim & the Antagonist.
5. ESCAPE – plot involves a Protagonist confined against their
will who wants to escape (does not include some one trying to escape
their personal demons).
6. REVENGE – retaliation by Protagonist or Antagonist against the other for real or imagined injury.
7. THE RIDDLE – plot involves the Protagonist’s search for clues
to find the hidden meaning of something in question that is deliberately
enigmatic or ambiguous.
8. RIVALRY – plot involves Protagonist competing for same object or goal as another person (their rival).
9. UNDERDOG – plot involves a Protagonist competing for an object
or goal that is at a great disadvantage and is faced with overwhelming
odds.
10. TEMPTATION – plot involves a Protagonist that for one reason
or another is induced or persuaded to do something that is unwise, wrong
or immoral.
11. METAMORPHOSIS – this plot involves the physical
characteristics of the Protagonist actually changing from one form to
another (reflecting their inner psychological identity).
12. TRANSFORMATION – plot involves the process of change in the
Protagonist as they journey through a stage of life that moves them from
one significant character state to another.
13. MATURATION – plot involves the Protagonist facing a problem
that is part of growing up, and from dealing with it, emerging into a
state of adulthood (going from innocence to experience).
14. LOVE – plot involves the Protagonist overcoming the obstacles to love that keeps them from consummating (engaging in) true love.
15. FORBIDDEN LOVE – plot involves Protagonist(s) overcoming
obstacles created by social mores and taboos to consummate their
relationship (and sometimes finding it at too high a price to live
with).
16. SACRIFICE – plot involves the Protagonist taking action(s)
that is motivated by a higher purpose (concept) such as love, honor,
charity or for the sake of humanity.
17. DISCOVERY – plot that is the most character-centered of all,
involves the Protagonist having to overcome an upheavel(s) in their
life, and thereby discovering something important (and buried) within
them a better understanding of life (i.e., better appreciation of their
life, a clearer purpose in their life, etc.)
18. WRETCHED EXCESS – plot involves a Protagonist who, either by
choice or by accident, pushes the limits of acceptable behavior to the
extreme and is forced to deal with the consequences (generally deals
with the psychological decline of the character).
19. ASCENSION – rags-to-riches plot deals with the rise (success)
of Protagonist due to a dominating character trait that helps them to
succeed.
20. DECISION – riches-to-rags plot deals with the fall
(destruction) of Protagonist due to dominating character trait that
eventually destroys their success.
Outlining is typically my favorite part of the writing process, and the one that gives me the most trouble. So I’ve made a list of 8 questions to ask yourself when getting to know your story.
1. Who is your protagonist? This goes beyond the basics – what is their name, where do they live, etc. The most important question you can ask when plotting a story is “What does my protagonist want?” followed shortly by “What is my protagonist able and unable to do?”
2: What is in your protagonist’s way? Every story needs conflict. No one wants to read a short story where everything goes the protagonist’s way, and they certainly don’t want to read a novel like that. Ask yourself who or what has what your protagonist wants, or who or what is preventing them from getting it. Whether this is a person, an object, or a force of nature or the supernatural, the main obstacle in your protagonist’s way is your antagonist.
3: What does your protagonist need? What tools do they need to get what they want? What allies do they need? Where do they have to go? Basically, ask yourself how your protagonist can counter their obstacles.
5: Who can help your protagonist?
Harry couldn’t have reached the Sorcerer’s Stone alone, and Frodo had eight pals to walk to Mordor with him. While some stories work well with a lone wolf protagonist, most need an ally or two to achieve their goals. Take some time thinking about who is around your protagonist, and how they can help – or hinder. Every single character can affect the plot in some way, if given the chance.
5: How does your protagonist intend to get what they want? Now that you know what they need, it’s time to look closer as your protagonist as a person. How would they approach the problem? Would they try path A or path B first? Protip: the first path almost never works, and if it does, it should be a bittersweet victory. Your protagonist’s first attempt should leave them with a new obstacle, a new next step to conquer.
6: Now what’s standing in the protagonist’s way? Since Plan A didn’t exactly work out, we need to figure out a Plan B. This means we need to know what Plan B is made for. You have to know your next obstacles before you can know how to overcome them. Step six is usually repeated a couple of times to give a story more meat. Typical novels repeat it one to four times, but that number is just as flexible as everything else. Be careful that you’re not boring your readers with impossible odds, but also be careful that your protagonist doesn’t get everything too easily. Do what feels natural here.
7: How does the protagonist get what they want? So we know how they intended to get it, but how do they really get it? How do they finally best the last of their obstacles and claim the prize? This is your climax, the point of highest tension in your story.
8: How has all of this changed the protagonist’s life? What’s different now that the story is over? How does book 7 Harry differ from book 1 Harry? Can your protagonist go home, or are they irrevocably changed? Have fun with this, you earned it. It’s the moment your story has been leading up to, and often the message you’ve been trying to send.
So there you have it, 8 quick tips for your basic story outline. Remember that none of these are hard-and-fast rules, and that every story differs. Use these as a guideline when you’re stuck, but don’t be afraid to break the mold a little. Happy plotting!
I had a blind professor, last semester, and I swung through his office to make up an exam. It was a while before I knew he was in there because he was sitting with the lights off. I finally went in, apologized, and took the exam by the light of a nearby window (which was fine). Forty-five minutes into dead silence he panicked and yelled in this booming voiced, “WAIT, YOU CAN SEE!!!” before diving across his desk to turn on the lights. I’m sure he was embarrassed but I thought it was endearing and it highlighted a large aspect of disabled life that I hadn’t previously considered.