Plots, roller-coasters, and mountains

[prophet224]

Something Starbeam said in another topic got me thinking.

So wisdom says, rightly so "Don't build a roller coaster with only one hill." Basically as we plot, we want a series of growing struggles. If you look at your classic quest fantasy story, plot build-up (plaque build-up? I wonder if plot build-up can be cured with brushing<G>) tends to look more like a climb up a mountain with a slide on the other end.

Anyway, in my main project I have two split story lines - a space battle and a ground battle. They split off about... maybe 30%-40% in. There are a few extremely minor ups and downs before that, but I mean extremely minor, including a fake.

So basically the story is:
Prologue -> Intro -> Background and Setup -> Short plot fake and build -> Split plotlines -> 2-3 rise and fall sets per plotline -> Climax for each.

This means a good number of things are going on, but is this an 'out'? In other words, if there are six climax/fall sets plus two real climaxes, with much of one plotline being solid action without as much background as the other side, is this cheating?

How far into your story are you before you start hitting plot points or crises? Technically for me it is right away in the prologue, which sets up everything else, but I'm not counting that one.

[Kali]

My current WIP sort of works like a backwards roller coaster. 

Ok, y'know how in roller coasters there's a big hill at the beginning, then some smaller hills, somewhere in the middle there's a loop-de-loop, then some hills, and then you're at the station trying not to barf up your chili cheese fries?  My WIP's like that, inreverse.  Only hopefully without the nausea.

There's a minor conflict that's 3/4ths resolved (they were attacked, survived, but have no idea who attacked them, that kinda thing), a slightly bigger conflict that's 3/4ths resolved, an even bigger conflict that's 3/4ths resolved, then a plot loop-de-loop, a decent-sized resolution, then a couple of minor half-resolved conflicts and finally one last conflict and a huge resolution and you're at the station.

[prophet224]

LOL - Yeah, that's about what I was thinking as far as the roller-coaster model.

How do you feel about split plot lines?

[the neurovore of Zur-En-Aargh]

How far into your story are you before you start hitting plot points or crises?

Depends on the story. Partway through the first sentence, in the thing I've just finished. (Not quite "Ford Prefect hit the ground running" but close.)

[Starbeam]

Something Starbeam said in another topic got me thinking.

So wisdom says, rightly so "Don't build a roller coaster with only one hill." Basically as we plot, we want a series of growing struggles. If you look at your classic quest fantasy story, plot build-up (plaque build-up? I wonder if plot build-up can be cured with brushing<G>) tends to look more like a climb up a mountain with a slide on the other end.

Anyway, in my main project I have two split story lines - a space battle and a ground battle. They split off about... maybe 30%-40% in. There are a few extremely minor ups and downs before that, but I mean extremely minor, including a fake.

So basically the story is:
Prologue -> Intro -> Background and Setup -> Short plot fake and build -> Split plotlines -> 2-3 rise and fall sets per plotline -> Climax for each.

This means a good number of things are going on, but is this an 'out'? In other words, if there are six climax/fall sets plus two real climaxes, with much of one plotline being solid action without as much background as the other side, is this cheating?

How far into your story are you before you start hitting plot points or crises? Technically for me it is right away in the prologue, which sets up everything else, but I'm not counting that one.

The basic plotline you're describing is, to me, very reminiscent of how Star Wars stories tend to be set up.  I don't think you have to worry too much, because different types of stories, as well as different POVs, will end up with different plotlines.  You're plot will look different from mine because yours, from context, sound like a multiple third POV sci-fi/space opera where mine is a first POV urban fantasy.  Both of which will differ from a traditional fantsay plotline.

I can't exactly say how my plot looks because I haven't stepped back to be able to look at it in terms of peaks and valleys.  Plus my draft so far is very rough, to the point where there are lots of scenes in white rooms with invisible characters.  Oh, and the plot point/crises thing? First sentence.

[Kali]

I think the crucial thing about plotlines is that there IS a resolution.  I don't think the split plotlines would bother me.  After all, Tolkien got away with it in the Lord of the Rings series, when Aragorn went off to rescue Pip and Merry while Frodo and Sam headed off with the Ring.  As long as everything resolves, you're golden.

[prophet224]

Hey, good point Kali!

Thanks for the input Starbeam! It definitely is a third-person limited all-over-the-place sci-fi.

[the neurovore of Zur-En-Aargh]

The basic plotline you're describing is, to me, very reminiscent of how Star Wars stories tend to be set up.  I don't think you have to worry too much, because different types of stories, as well as different POVs, will end up with different plotlines.  You're plot will look different from mine because yours, from context, sound like a multiple third POV sci-fi/space opera where mine is a first POV urban fantasy.  Both of which will differ from a traditional fantsay plotline.

I'm not at all sure I agree that the shape of stories has to necessarily differ based on the genre; I mean, Star Wars, Dune, the Wheel of Time books and the DF are all ultimately about one young man with a rather messed-up family background discovering that he is in some way special and becoming embroiled in world-sized struggles thereby.

[prophet224]

I would agree that it doesn't differ based on the genre, just based on the given story. And those types of story can all be told with single plot threads, single plot threads with sub plots, dual(ing) plot threads (and w/subplots) etc.

[Starbeam]

I'm not at all sure I agree that the shape of stories has to necessarily differ based on the genre; I mean, Star Wars, Dune, the Wheel of Time books and the DF are all ultimately about one young man with a rather messed-up family background discovering that he is in some way special and becoming embroiled in world-sized struggles thereby.

I meant more if the plots were drawn in a purely visual line drawing with spikes and drops, and forks for the different story threads.  Nothing about the actual content.

[Snowleopard]

Don't know if this helps in anyway but that first hill and drop on a roller coaster is what gives the coaster it's momentum for most of the rest of the ride.  Think about that in relation to writing.

[the neurovore of Zur-En-Aargh]

Don't know if this helps in anyway but that first hill and drop on a roller coaster is what gives the coaster it's momentum for most of the rest of the ride.  Think about that in relation to writing.

Only some kinds of books want momentum. The Gormenghast books would be ruined by having it, frex.

[Snowleopard]

Only some kinds of books want momentum. The Gormenghast books would be ruined by having it, frex.

I couldn't get into the Gormeghast books.

[the neurovore of Zur-En-Aargh]

I couldn't get into the Gormeghast books.

To each their own; but a fair few people other than just me seem to love them.

[Snowleopard]

To each their own; but a fair few people other than just me seem to love them.

I wasn't knocking them Neuro, I was just saying they weren't MY cup of tea.
As you say - to each their own.  Heck, I've got a friend that doesn't like either Butcher or Pratchett.
Morning by the by.  I hope you are well.