Element 5 – Call to Adventure

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Sea Hawk, from Episode 5, Season 1 of “She-Ra and the Princesses of Power” on Netflix

As I mentioned in the Inciting Incident, often the Call to Adventure is the same moment, but they can be separate events/scenes, especially if what changes the MC’s circumstances happens off the page and/or beyond the MC’s knowledge.

So, what is the Call to Adventure? It is the point where the MC is unavoidably faced with change to their previous existence.

Example Calls to Adventure:

  • Accident – happy or otherwise, an adventure can begin with an accident
    • On the train to school, Kaja’s phone runs out of battery and she has to ask someone else for their charger
  • Temptation – while the MC might have a mostly happy life, they do have desires (Remember needs and wants?) that could drive them to seek an adventure
    • Happily married Irene is tempted to spice up her vanilla lovelife
  • Herald – this is a person – friend, foe, or neutral – who brings the adventure to the MC in the form of an invitation, challenge, or summons
    • Friend – “Hey, did you see there’s an open trial for figure skating this weekend? Don’t you skate a little?” Jake asked.
    • Foe – Max yelled, “No girls allowed!” Laura ground her teeth and resolved to get into the clubhouse, no matter what.
    • Neutral – The pamphlet read: Free cookies with optional chess games in the library
  • Reconnaissance – the villain accidentally alerts the MC that trouble is coming while pursuing their nefarious agenda
    • Jones picked up the papers on Miller’s desk, scanning them intently, which was strange because he had no ‘need to know’ for that program.

Ready or Not?

Most of us are familiar with the reluctant hero concept. Adventuring is scary, uncomfortable, and may involve more than the usual amount of gastrointestinal upset. On the other hand, adventuring is exciting, heroic, and may involve amazing prizes.

In Refusal of the Call, I’ll delve into how MC’s react to the Call to Adventure and we’ll look at how eager would-be heroes can and do refuse their adventure’s call, too.

Refusal of the Call can happen in the same scene as the Call to Adventure, or different one, but as with the Inciting Incident, the scene(s) should err on the short and sweet side of writing.

Element 4 – Inciting Incident

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Here we are – everything is going swimmingly. You’ve got a flawed MC (internal conflict), or one who’s got a problem (external conflict) or one who’s dealing with both (better yet!). You’ve introduced your story world, decided whether your MC exists in a SOP or is seeking their version of one. And you’ve set up some lovely tension between what your MC wants and what they need.

Time to kick the tires and light the fires…of imagination!

Image by Thomas Skirde from Pixabay

The Inciting Incident is an event that changes the MC’s world, making it out of the question for them to stay in their starting situation. It’s possible for the Inciting Incident to not actually involve the MC at all. They might not even be aware of the Inciting Incident.

Or maybe they are. Often the Inciting Incident is also the Call to Adventure.

Let’s look at some examples of Inciting Incidents that stand alone and ones what are also the Call to Adventure.

Inciting Incidents alone

  • War breaks out far away
  • A natural disaster occurs
  • An ancient relic is found

Inciting Incident – Call to Adventure

  • War breaks out and your MC is a soldier
  • The first day of school
  • MC wins the lottery

Some thing to consider: The Inciting Incident should happen early, should be fast*, should be out of the MC’s control, should interrupt the MC’s life or change their life especially if it’s combined with the Call to Adventure.

Image by pralea vasile from Pixabay

* It’s okay to use a few scenes to set up the Inciting Incident, but don’t drag it out. Get in, get out, get on with the story.

Element 3 – The Ordinary World

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Welcome to the Shire, a water farm on Tattooine, 4 Privet Drive, Little Whinging, Surrey. Here, we find our Main Character (MC) in their natural environment.

Shh, MCs can be very shy and timid at first. Don’t spook the wee rascal.

Image by RENE RAUSCHENBERGER from Pixabay 

The point of the Ordinary World is to allow you to set up benchmarks for your MC. Show the reader what the MC’s State of Perfection (SOP) is and why they will work so hard, face so many challenges, and sometimes literally go through hell to get back home.

As we previously discussed, the SOP is generally how the MC starts off – reasonably happy, contented, an okay (maybe even great) life. They have people they care about, things they are working toward, goals, hopes and dreams.

via Giphy

Poor lambs.

And along comes you, dear writer, to take that wonderful life away. But it’s crucial to make sure that the reader appreciates, even feels that loss along with the MC.

How to do it? Five “easy” steps.

  1. Loved ones. Who does your MC care about? Why? Is it a long-time lover, or a new flame, a beloved parent, charmingly precocious child, a sibling they are trying to impress or their bestie who’s always ready to share a beverage and a chat?
  2. Hopes and dreams. What is your MC working towards? It doesn’t have to be big, but it can be. A promotion at work, a trip, eating sushi for the first time, getting their crush to notice them. Consider how this can work with the plot and how it can work against it (even better – TENSION!).
  3. Foreshadowing. This is harder to do than threeshadowing, but not as advanced as fiveshadowing. For you pantsers, some of this will be done in post-first-draft revision. Totally okay. You do you. For you plotters, this is where the magic happens. Drop hints of what your MC will face and how they will change. Be subtle, but not too subtle. You know, write casual.
  4. Setting. What are the day-to-day conditions of MC’s life? Are they super advanced, living in a world where nanotech is a thing and they can access anything via their neural implant? Are they in the middle of a war? Are they at sea, in space, under the ground, at a horse race? Consider how the setting can either push the MC outward or draw them back.
  5. Routine. What kind of life has MC built for themselves? Are they a student going through the school grind? Are they a 9 to 5 office drone? A fisherman on the lonely isle of Nergoingnoplaceelseagain (located off the coast of Wales, I believe)? Consider how this can be used against them…I mean used to propel the story. Yes.
Image by Isa KARAKUS from Pixabay

And what about the feely-feels? Your MC recognizes the story problem (“What’s the what of the story?” remember?), but can’t or won’t address it. They want to stay in the Shire and not have any adventures. They want to harvest water and shoot womp rats. They want to get out of the cupboard under the stairs, sure (not a euphemism, but J.K. Rowlings may yet prove me wrong), but they’re not expecting to go to a magical school.

Although this is where you can slow down and do a bit of worldbuilidng, writing “The Ordinary World” shouldn’t be boring and your reader shouldn’t be bored. Keep the focus on your characters – what do they care about? What do they notice? Why are they doing the things they’re doing?

If you don’t know or the answer to this last one is “cuz plot” that’s okay. This is your first draft. You can fix it later. The main thing is to get the ideas down before they escape into the ether.

Good luck!

Element 2 – Dramatic Question

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The second element clarifies the overall question the story will try to answer, or the premise of the story. I use the formula I picked up from Eric Witchey’s Fiction Fluency class: X leads to Y, which results in Z.

X is the character’s starting internal and external conflicts.

Y is the change the character and story world undergo.

Z is the end state of the character as a result of what they’ve encountered and done as well as the changes to their story world.

Let’s look at how this functions in a couple books.

***SPOILERS***

via GIPHY
  1. In The Poppy War Rin’s ambition, coupled with the rigid classism of the Sinegard academy, leads her to embrace shamanism, which results in unleashing a terrible god of wrath upon the land.
  2. In my book, Survivors’ Club, Marius’ naïveté and desire to help others lead to a viral outbreak, which results in a suicidal attempt to stave off a global pandemic.
  3. In Assassin’s Apprentice, Fitz’s need for safety and belonging lead him to accept his role as an assassin, which results in him saving the Six Duchies (and emotional trauma to this reader that has lasted for decades. Highly recommended!)

The Dramatic Question is really two questions: 1) What does the Main Character (MC) want? 2) What does the MC need? A great way to add tension to your story is to make sure that these are not the same thing.

From our previous examples:

  1. Rin wants to avoid a forced marriage to an older man. Ultimately, what she needs is to study and understand how shamanism works. But she’s not interested in that. She wants to be a soldier so she can protect herself and exact revenge.
  2. Marius wants to research viruses and develop ways to treat and cure disease. Marius needs to survive and protect his friends and co-workers from the Infected. For extra fun, his attempts to do what he wants actually contribute to the pandemic that ultimately endangers everyone he cares about.
  3. Fitz wants be accepted as a Farseer. Fitz needs allies to survive at King Shrewd’s court. To gain allies and protectors, Fitz must make himself invaluable to the king. In agreeing to train to be an assassin, Fitz embarks on the road to a very lonely life and remember, he wanted friends and family.

Knowing what your MC wants and what they need helps you to craft a story where they are constantly struggling to get what they want, but you are pushing them towards what they need.

Element 2 – the Dramatic Question is where you must make it super-de-duper clear what your MC wants. You should at least hint at what they need, but this can remain unclear until much later in the story, especially if you’re writing a close first person point of view (POV).

What are some other examples of the Dramatic Question?

Once you start looking for it, you’ll see it everywhere!

Attendees at the 2011 Where’s Wally? World Record event in Dublin, Ireland

Element 1 – Big Trouble

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Whether your story starts en medias res or with a loving description of the how the universe began, it has to start somewhere.

Many Western stories follow the Hero’s Journey as described by Joseph Campbell. For the purposes of learning and practicing story structure, this is the model I’ll be using – at least in the beginning.

In the beginning…

Introduces main conflict of the story. As my ever-zen writing workshop instructor Charlie used to say, “What’s the what of this story?”

External Conflict – something threatens the Main Character (MC)’s State of Perfection (SOP)

Internal Conflict – MC is emotionally stuck. They have a deep fear, limiting belief, or conflicting desires.

State of Perfection – Yes/No?

State of Perfection means the MC has a reasonably happy, comfortable life. They are not motivated to change things. They like what they like and they don’t want to have any adventures.

If the MC starts in the SOP, they will be fighting to stay there, resistant to change, reluctant to leave.

It’s a bit more tricky to start with an MC not in SOP because you have to weave in backstory and benchmarks to explain why the MC is not in SOP and what exactly MC thinks SOP is (at the beginning of the story). We know MC’s SOP may change as they grow through the story, but we need a start point to…well…start from.

Worldbuilding:

Whether you’re writing spec-fic filled with nanotech, tentacle monsters, and swords and sorcery, or writing about a knitting circle in Blandsville, Nebraska (sorry, Nebraska, I still love you), you’ll need to establish where your MC is and what they’re doing.

Do NOT dump info. This is the part where you splash your reader with the world, not drown them in it. It’s more important that the reader connect with the characters and care about them than the reader understand how the hyper-drive 7000 works or the exact ritual elements needed to summon Yog Gogiryazhiji.

Instead, focus on the details the characters would care about. Unfold the world through their experience of it and trust that you’ll be able to work in all the cool tech, alien races, ancient elven feuds, and the finer points of the Double Moss Knit Stitch Pattern later.

Spreadsheety Goodness:

I have a spreadsheet and I’m not afraid to use it. Your tools may vary: 3×5 cards, notebooks, whiteboards, various software, a trusted friend or random pelagic bird who happens to be a great listener. Whatever you need to help you organize your thoughts, use it.

Image by Mario Liebherr from Pixabay

If you’d like to use my spreadsheet layout, here’s an example of Act I, Elements 1-9. I tend to ramble when I write, so I have broken down my word count targets based on an 80,000 word novel. That gives me 25% Act 1, 50% Act 2, and 25% Act 3. These are my rough goals to help me stay on track and should not be taken as carved in stone limits.

Additional Resources:

“The Writer’s Journey” by Christopher Vogler

Mythcreants has a beautiful post about the Heroine’s Journey that is well worth your time!

Fiction Fluency or really any class you can get from Eric Witchey, who is an absolute wizard when it comes to writing emotions.

The Pleasure and Pain of Editing

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You’ve just finished a full draft. OMG! You are amazing! The last thing you want to do is acknowledge that you’ve only begun the true work of putting a story out into the world.

Interactive Brokers War Room

“Interactive Brokers War Room” By Ɱ

Editing can be daunting for a number of reasons, not least of which is the time investment, but I find that’s not the main thing writers shy away from. For most writers, it’s a lack of understanding of how to edit. Where to start? Spellcheck? A complicated wall maze of string, post-its, and 3×5 card madness? Continue reading →

Words Matter: Quest for Equality in a World of “Girls”

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Recently, I’ve been doing a lot of editing of my and others’ work. As writers, we know that words are powerful. They are also delicate and easy to misuse.

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During my time as a student of Linguistics, I ran across the Sapir–Whorf hypothesis, or Whorfianism, which holds that language either determines or at least influences thought and that linguistic categories limit and determine cognitive categories. What this means is that our language structures how we think, the ways we classify things, our worldview. For example, if your language is divided into “genders”, it is really hard for you not to see the world as also being divided. Similarly, languages that don’t separate the future from the present tense influence how people save for retirement.

But enough science. What’s this got to do with writing?

When gender inequality exists in our internal language it can influence our worldview and our writing. For example, I’ve noticed that many writers frequently use the word “girl” to refer to adult female characters, while they rarely use the word “boy” to refer to adult male characters. Similarly, a group of people of mixed gender is often referred to as “guys” or “men”. My own novel Survivors’ Club has several instances of this that I shamefully missed in my final editorial pass. As a born Minnesotan, “you guys” is the way to pluralize “you” and it’s a tough habit to break, especially when talking about military or paramilitary groups.

So, what? Why get so wrapped up about this?

Because language matters!Blue Wood (2).png

When we use diminishing terms for a character, treat an adult like a child, or make an entire gender invisible in a crowd, we are telling the world implicitly what we think of that character or group of people. Girls need to be protected and cared for because girls are children. Women are adults who are capable of making independent choices and dealing with the consequences.

How can you help make the world of words a better place?

What not to do:

Do not use the term “girl” unless the character is A) female and B) under 18.

Instead:

Think about your characters. Would you call a male character of this age “boy”? If you answer no, well, “young woman” works fine or simply “woman”. Don’t let the laziness of typing an extra few letters hold you back from writing about your characters with the accuracy and respect they deserve.

The exception to this rule is character dialog. Some characters, especially those of a certain age or background, will call any female, regardless of age “girl” and if that’s what the character would say, have them say it. But you, dear writer, are not that antiquated character. You can do better.

What not to do:

Do not use “guys” or “men” to mean a mixed gendered group. For example, “The soldiers marched across the parade field. General Bushy Beard was pleased to see the men in their dress uniforms.” Or “Detective Eva Maxwell enjoyed the banter of the guys in the bullpen as they waited for Captian Dwayne to brief them.”

Instead:

“Guards” “soldiers” “cops” “troops” and on and on. There are plenty of non-gendered ways to describe almost any group of people.

What are your writing pet peeves?  Continue reading →

Exploration and You: Advice for Pantsters

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If you’re a panster writer dealing with writer’s block, try exploring your characters’ motives and agendas

A Crack in the Pavement

While I’m on injured reserve Molly Martin has agreed to step up to the plate. My goal is to see you on Friday. Fingers Crossed.

Until then…..Molly, take it away!!!

Molly 4Congratulations! You are in your favorite writing spot, a fresh page ready, waiting, aching for your words to cast the magic spell that brings life to a whole new world.

In a breathless flurry of inspiration and caffeine, you write. And write. And write. Hours pass by in a bliss known to few but runners, writers, and junkies. Let’s be honest, there are few highs as good as a writer’s high.

But then…you crash. The words stop flowing. Your characters turn against you. They refuse to be interesting, spontaneous, or even interactive. The dialog stumbles along with banal banter.

“How’s the weather?”

“Oh, fine.”

“Great.”

“Well, so nice to see you.”

“You, too.”

You don’t want to write this. No…

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Thumbscrews: How and When to Ratchet up the Tension in Stories

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Thrilled to have a chance to share some insights on writing and interrogation – keep reading. It’ll all make sense.

A Crack in the Pavement

A long time ago I was taught an excellent lesson: Surround yourself with smart people and listen.

My Wednesday guest blogger is such a person. We met a few years ago when I was a stumbling bumbling writer. In that time I have listened and I have learned.

I am really happy that she found the time to be a guest on my blog.

Molly, take it way…..

Thumbscrews: How and When to Ratchet up the Tension in Stories

by M. K. Martin

How many times have you gotten feedback along these lines: “I liked it, but it needed more tension.”?

Yeah, we all have.

So what do you do? Add some gunfights, maybe a car-chase or a natural disaster. When in doubt, call in the ninjas…

Molly 2….ah, not that one. She’s busy writing.

But here’s the thing – you don’t always need tension in every scene. At least, not…

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