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OK, so there was no pelican, but there was a there was a private dinner sponsored by MITX (The Massachusetts Innovation and Technology Exchange). Aside from picking out the wine for our dinner at the Blue Room in Cambridge (which was excellent), Gary offered several insightful tips. This got me thinking about how critical storytelling is to successful brand engagement on the social web as well as at face-to-face events. Events and social media alike provide brands an amazing opportunity to connect with their audiences. Going through the materials of this website, I selected for you the  6 most popular learning activities and tools used by teachers on Read Write Think. This entry is part 1 of 24 in the series The plot thickens (Mwahahaha)As Andrew guessed last week, our next series is on plotting! I used to be a pantser—some romantic notions about a story springing fully formed from my head like Athena from the mind of Zeus, and fears about outlining killing my muse. I think that the mystique of the organic story, one that is so perfect and beautiful that it just wrote itself, is one of the big things that convinced a lot of us (or all of us) to become pantsers (and maybe even writers).
So, our mission (should you choose to accept it!) for this series is to look at the whys (for the unconvinced) and the hows of plotting. This entry is part 3 of 24 in the series The plot thickens (Mwahahaha)I think most of us have to try a few Winchester Mystery Stories before we’re ready to become story architects. I really like the analogy of architecture here because I like floor plans a floor plan isn’t a complete house. On the other hand, the floor plan is just a basic sketch, which can be improved upon, revised, and changed during the process of writing. For me (and others), the floor plan is such a basic sketch that once we’ve gotten that built, we still have a long way to go before we have a finished product. There’s a long way from the bare drywall to the furnished home we hope to end up with.
This entry is part 4 of 24 in the series The plot thickens (Mwahahaha)The most basic story structure is the story in three acts. This entry is part 5 of 24 in the series The plot thickens (Mwahahaha)Yesterday’s post spawned an interesting discussion in the comments about story questions.
I like to think in romantic suspense, both of those are the story questions, but when it comes down to it, there can only be one—one question whose answer brings the book to a satisfying conclusion.
A third way is to answer an intermediate question without satisfaction, making another answer (the story question) necessary.
Thanks to everybody who joined in the discussion yesterday—I certainly learned something.
This entry is part 6 of 24 in the series The plot thickens (Mwahahaha)Planning out a novel?
The basic difference between three and five act structures is that the second act in the three act structure is divided into three acts in the five act structure. The three act structure would divide the acts at the end of the exposition and either at the climax or just before the resolution (depending on who you ask ). This entry is part 6 of 24 in the series The plot thickens (Mwahahaha)I have a three-year-old, and as three-year-olds are wont to do, he likes to watch the same movie over and over and over for about two weeks straight. Suspecting her husband is doing something not-so-good, Helen activates the homing beacon in his super suit. This entry is part 7 of 24 in the series The plot thickens (Mwahahaha)Yesterday, we talked about the basics of the three-act structure by Syd Field. Some critics of the three-act structure, such as former Writers’ Guild Director James Bonnet, say that the three-act structure is an artificial superimposition.

On the other hand, Bonnet argues that studying structure doesn’t automatically make you a wizard at writing well-structured stories. Aristotle’s classical structure, which is the dominant feature of this structure, can stand alone. Everything you ever wanted to know about character arcsThis entry is part 9 of 11 in the series character arcsPart two . Gary joined us just after speaking at The Gravity Summit at Harvard University earlier that day.
Ensure you have defined the ideas, messages or lessons you’d like to get across to your audience.  What knowledge or feelings do you want the audience to walk away with?
Photography, Audio, Video, Text and Interactive Multimedia can each play an powerful role in getting your message across. Wherever possible engage your audience so they become part of the story or at the very least, vested in the outcome.
The best stories in marketing are those that the audience identifies with ~ where they can see themselves as the hero. Whether you are engaging with suspects, prospects, customers, loyal advocates, shareholders, analysts, or the press and media, its critical you can communicate with them effectively. It provides a variety of lessons, interactives, calendar activities, printables, diagrams and many other teaching and learning materials for free. We came up with an idea to write parallel novels with four main characters (a hero and heroine for each of us, with her heroine and my hero as siblings). We had to know who did it, when, and why—what events led up to it, what other characters were involved. You may be like I was, and have an ending and one or two twists in mind, and take off to discover the rest. We learn more about plotting, and give that a try—and lo and behold, we have story arcs.
But having a floor plan means we don’t end up six months into the project with 123 bedrooms, 16 dining rooms and no kitchen or bathrooms. Once we have the events down in the first draft, we still have revising and finishing to do—furnishing, painting, decorating, accessorizing (moving all our crap in ?? ).
This is the point at which the story world gets turned on its head, and we get the story question (Will our hero(ine) win?). To be quite honest, I was familiar with the concept, but I’d never given it that much thought. If the hero wins the girl before he catches the bad guys, then catching the bad guys is the story question—the story would be incomplete without it. Really, the rising action is anything but a straight line—we have all those intermediate story questions to answer. So when I wanted to show the three- and five-act structures in action, I knew I had to use his latest obsession: The Incredibles.
They’re now a family of super heroes, and are happy and united against the forces of evil. Today, we’ll weigh some of the pros and cons of using this method to plot our stories. Even if you haven’t used the three act structure in plotting your story, odds are good you can apply it now.
It’s familiar to readers, easy to understand and apply, and almost what we expect when reading a story. It doesn’t offer a whole lot of guidance in the way of how to keep building in the story.

But come on—not studying structure is even less likely to help you avoid Winchester Mystery Stories.
All of the structures you might find in the act are already built into the problem solving action that encounters resistance, namely: conflict, complications, crises (turning points) climax and resolution. What weaknesses and strengths do you see in using the three-act structure to plot your story? Social media is providing an opportunity for supply and demand to connect directly (think brands and customers).
Or as we learned in grade school:  Introduction, Rising Action, Climax, Falling Action and Resolution. This can be done through digital or physical interaction, imagination or emotions (humor, shock, etc.) Another good Idea is to entertain your audience at the beginning, end and middle of the story. This might be a pain point your product(s) address or a new service that propels your audience beyond their competition (perhaps it really is an arch nemesis!) The key here is relevancy. Storytelling, when done correctly can engage your audiences intellectually and emotionally.
And there’s joy in discovering the story, finding the characters and their twists and turns. As I mentioned last week, when I know what’s coming, I can plant clues, turn those screws to make the coming disasters even worse, or foreshadow. It’s an easy way to look at a scaled-down model of where you think you want the major rooms to go, where the appliances will be, where the doors are, etc.
How much detail (or freedom) do you need in your “floor plan” to make a house work? I linked to a great article on story questions by my friend Annette Lyon, but our discussion also brought out a few more interesting points that I wanted to share. Maybe Jezebel did her dissertation on an obscure enzyme that’s just the breakthrough Horatio needed, but he would never know that until he looks up from his test tubes. The hero has to learn and acquire new skills (like 8-bit graphic skillz, yo), and growing and learning and changing are usually painful and fraught with setbacks.
He also decides not to tell his wife that he has been fired or offered this high-paying assignment. Because there’s not a whole lot set in stone, the three-act structure is highly flexible.
In fact, all of the plotting methods that we’ll examine later can be sketched out on the three act structure outline, too. It is, in fact, the structure of any problem solving action (real or fiction) that encounters resistance. Relevancy to your industry, and relevancy to you audience on both an emotional and rational level.
He tracks her down in her Antarctic research station, proclaims his love (and promises to publish the truth about her research).
Know what the most effective vehicles are for your audiences to profoundly understand retain and share your message. They watch as the villain’s dastardly plan plays out in their home town, then the villain leaves to play his role there as well.
Also, Use a single, effective narrative device to help guide your audience through the plot.

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