This document provides guidance on plotting a novel. It discusses developing kernel ideas, characters, goals, motivations and conflicts for characters. It also outlines Joseph Campbell's hero's journey model for plotting, which involves stages like the call to adventure, tests and helpers, supreme ordeal, and return with the elixir. The document aims to help writers develop compelling plots and characters for their novels.

1. Plotting Your Novel

2. Step 1: Planning

 Before you can begin work on plotting your novel,
you must first start with the basics of your story.
(Or else, mid-way through the book, you will look
like this guy.)

3. 
The Kernel Idea
 What is a “Kernel Idea”?
 This is the idea that sends shivers up your spine. The ah-ha moment when a
plot is born and the writing begins.
 What happens if I don‟t really have a Kernel Idea?
(i.e. I only have the lifelong desire to become a writer, but I don‟t
know where to start.)
 That‟s Okay. You don‟t have to start with a novel in mind. Start with
something simple. A man. A woman. Then ask yourself if I could go
anywhere where would I go? What troubles would I find?
 And there is a perfect kernel.

4. It Can‟t be That Simple.

 Okay, for some of us it‟s not always that easy. So
what next?
 What are you interests? What is your passion?
 In order to write a book that others will want to read you
must write what you LOVE. I must stress LOVE. You
are going to be working on your novel for at least a few
months if not years. If you don‟t love your characters,
your premise, or your genre you are going to walk away
and never come back.

5. Your Characters

 The best way to get to know your character is to develop them (at least the basics)
before you ever start writing your book.
 How?
 Character Interviews
 Take the place of your character and have a conversation (a little bit like method
acting)
 Character Questionnaires
 Myers Briggs Personality Test (this is a great tool once you know a bit the basics of
your character)
 What other type of character would create tension/conflict. Could you make them
work to your advantage in the book?
 The Beauty vs. the Beast
 The workaholic vs. the drifter
 The cop vs. the reporter
 The aristocrat vs. the bar owner (Revenge)
 From the character information, what type of Goal would my Characters want to
achieve?
 You don‟t need to know every turn in your book, but you do need an overall driving
GOAL.

6. More on Characters

 We all are defined (at some level) by our WOUND.
 What is each of your character‟s emotional wounds?

7. The three Key Steps

 Goal,
 Motivation and
 Conflict
 must be present in every aspect of your novel.
 Take a moment and draw this:
(Character) External Internal
Goal
Motivation
Conflict

8. 
What is a Goal?
 “A goal is a desired result, a purpose or an objective.
A goal is the prize or reward that your character
wants to obtain or achieve. Everybody likes a
winner, and readers are no exception to the rule.”
 Debra Dixon (GMC Goal Motivation Conflict, 1996)

9. What is a GOOD Goal?

 Your character‟s goal must be urgent.
 Examples:
 They need to:
 Find the cure for cancer before their husband passes away.
 Rescue their long lost sister from a band of pirates.
 Give an injured jockey the ride he‟s been waiting his whole life to
attain, but must prove to the world he can ride again.
 Give a work driven maniac a chance at a job that will risk his family,
but give him the job satisfaction he‟s always wanted.
 Remember* We don‟t always achieve our goals and neither
should our characters.
 There are two types of Goals:
 External: The man wants the Job.
 Internal: The man wants to be Satisfied.

10. What Motivates
your Character?

 What is Motivation? (i.e. WHY?)
 Why do your characters want to achieve their goal so
badly?
 “Motivation is what drives your character to obtain or
achieve his goal… Keep it simple. Keep it strong. Keep it
focused.”
 Debra Dixon (GMC Goal Motivation Conflict, 1996)
 Again, there are external and internal motivations:
 Why does the man want the job?
 External: It will make him the CEO of the largest Tech
company in the world. Who wouldn‟t want to be all
powerful in the information age, right?
 Internal: He is unhappy.

11. 
Conflict…
 What is conflict? (i.e. Why not?)
 “Conflict is the reason your character can‟t have what
he wants. If you character could have what he
wanted, then you have no book! Conflict is the
obstacle or impediment your character must face in
obtaining or achieving his goal. Conflict is not an
optional element.”
 Debra Dixon (GMC Goal Motivation Conflict, 1996)

12. Let‟s Make a Chart for Dorothy from
The Wizard of Oz
Debra Dixon (GMC Goal Motivation Conflict, 1996)
Dorothy External
 Internal
Goal • Get Home (for the book) To find her heart‟s desire and a place
• Get to Emerald City with no trouble.
• See the Wizard
• Get the Broomstick
Motivation • Auntie Em is Sick. • She is Unhappy.
• The Wizard is there. • Trouble follows her everywhere.
• He has the power to
send her home.
• The price for sending
her home.
Conflict • The Witch She doesn‟t know what she wants.
• The balloon lifts off without
her.

13. Step 2: Plotting

 There are two main types of authors:
 Type 1: The Plotter
 This is the author who sits down and plans each step of the book—
every goal, motivation and conflict, every plot twist, every black
moment and even the ending. This is great and usually when you sit
down to approach your book it easy simple. You know what you want
and how you will be getting there.
 Every author secretly wants to be this type, but the honest truth is that this is
a very hard thing to do without an enormous amount of writing under your
belt.
 Type 2: The Panster
 This is the more common of the two types of writers. This is a person
who has either only a vague idea of what they will be writing, or the
major plot points. These types must get to know their characters as the
story evolves.
 It must be said that there can be a combination of the two. I.e. the In-
betweener. This is the author who knows the characters and most of the
plot points, but lets the story flow naturally. If it strays from the plan
so be it.

14. The Hero‟s Journey

 This is Joseph Campbell‟s basic pattern that is found in
many books and is wonderful place for all writers to
begin when they start plotting their novel.

15. Hero Introduction

 Where your novel begins.
 Introduce your hero/heroine in his/her ordinary world.
 This does NOT mean writing ten pages of backstory.
 This is simply the chance a writer has to quickly introduce
the readers to the main character, the setting and the
introduction to the plot.
 I Strongly Recommend that you begin the story with an
attention grabbing first paragraph.
 Warning* You can use dialogue, but this is a challenge for any
writer as you are dumping a reader straight into the book with
no forewarning.

16. The Call to Adventure

 This should be your GOAL. This is the major event
that will cause the story to begin and keep it driving
forward.
 Examples:
 Shrek: (External Goal:) Must find Fiona and bring her
back to Prince Farquaad so that he can get his swamp
back.
 Revenge: (External Goal:) She must get Revenge for her
father‟s death.

17. 
The Hero is Reluctant
 This is where your hero is stuck in their Identity and
is afraid to step outside of their comfort zone to act
on the call to adventure.
 What is Identity?
 This is how the hero sees themselves.
 Example: Shrek believes he is a monster.
 Is he really? No.

18. The Hero is Encouraged

 The hero is encouraged by the Wise Old Man or
Woman to pursue their call to action.
 The push the character outside their comfort zone
(slightly out of identity).
 Example: Donkey‟s role in Shrek.

19. The Hero Passes the
First Threshold

 This is the point in the story that threatens the heroes
identity. Are they really the person they think they
are? Or are they something more?
 The hero has begun moving into his true character, his
essence.
 Essence: The deep characteristic of a person. For
example Shrek believes that he is a monster, he has
bought into other people‟s opinions of what and who
he is. In reality, he is caring, loving (once you get
through his layers) and desperately wants to be
„prince charming‟ (internal motivation).

20. Hero Encounters
Tests and Helpers

 This is the stage in the narrative when the
transformation between identity and essence really
starts to take place.
 The character is put through a series of pitfalls that
he must use his inner-most nature in order to
succeed.
 He shows his willingness to succeed.
 Example: This is when, in Shrek, the men attack him
because he is an ogre and he must turn into „Prince
Charming‟ or Fiona‟s hero in order to save her.

21. The Hero Reaches the
Innermost Cave

 The Point Of No Return.
 They are almost completely engrossed in their essence.
No longer are they the person that they were at the
beginning of the story.
 Example: Shrek and Fiona on the „date‟ in the forest. He
is fully invested in his relationship with both Donkey
and Fiona. He is no longer the loner or emotional
isolated person.

22. 
Hero Endures the
Supreme Ordeal
 All hope is lost. The hero is facing the death of their
identity and the rebirth of their new character
(essence).
 Example: Shrek hands over Fionna to King Farquaad
after their fight (his character‟s identity wins). He then
realizes that he has changed and….

23. The Hero Seizes the
Sword

 Shrek understands that he has fallen in love with
Fiona. Metamorphosed into level of Essence.
 i.e. He can have love. He is a caring, warm and
worthy of her love.
 This is the place in the story in which the hero
survives the ordeal and reclaims whatever they have
been fighting for (Fiona).

24. The Road Back

 Headed back, but first must face one more challenge.
 Has dealt with the „bad guy‟ but there are more
people/events that must be dealt with.
 Example: Shrek and Fiona kiss and she changes into
her essence (an ogre). He must face that she is like
him (he loves it of course) and the mob that wants to
attack them.

25. Hero Emerges From the
Special World

 Shrek and Fiona return to the swamp.

26. The Hero Returns with
the Elixir

 The (internal) Goal is achieved.
 Character is firmly in their essence. Identity is a thing of
the past.
 Example: Shrek marries Fiona.

27. My Books:
Coming Soon:
Montana Mustangs (May 2013)
Winter Swans (Fall 2013)

If there are any questions please feel free to ask!
I love working with fellow authors.
Thank you for coming!