What We Can Learn About Plot Writing From Thriller Series, Vigil

Plot is arguably one of the most important elements of fiction writing – from it stems, the characters, the mood, the pace. It sets the scene for the whole tone of a fiction novel, so it’s important to get it right. When you’re writing crime or thriller novels, it is absolutely key, and there are ways of raising the stakes to keep your reader hooked.

Here are a few that I noticed, while watching the BBCs recent new thriller, Vigil. If you haven’t seen it, you can watch it on catch-up. As a writer, it’s difficult not to consider plot, when watching high-tension drama on television and and in Film!

Put your characters in a challenging environment or physical danger.
Introduce vulnerabilities and character flaws.
Create secondary characters to add new tensions to the plot.
Allow tension to ebb and flow.
Create obstacles and conflict between characters.
Keep raising the stakes.
Make the viewer (reader) ask questions.
Create internal and external conflict.
Leave things unresolved until close to the end.
Remind the reader of the stakes.

The plot hinges on a Detective Chief Inspector Amy Silva (played by Suranne Jones). DCI Silva works for the Scottish Police Service and is sent to HMS Vigil, a Trident nuclear submarine, by helicopter for three days, at first, to investigate. Shortly after the mysterious disappearance of a Scottish fishing trawler, a member of the crew on Vigil is murdered, and DCI Silver has been sent to investigate. The series takes viewers on a journey into a world of submarine warfare and security threats.[Skip ahead to the next paragraph to avoid a plot spoiler] Having lost her husband in a car crash, where the car is submerged in water, Amy manages to rescue only her daughter. She suffers from flash-backs, depression and anxiety, for which she is taking medication.

Much like Carrie, in Homeland (a highly-skilled, but bipolar CIA operative), it’s this vulnerability that makes Silver so likeable and her achievements all the more impressive as the plot unfold (see no. 2 in raising the stakes). Finding character flaws and vulnerabilities draws the reader to the character. The human need to connect through vulnerability is best illustrated in Brené Brown’s TEDxHouston Talk, The Power of Vulnerability. In this twenty minute TED talk, she describes vulnerability as uncertainty, risk and emotional exposure, but says that vulnerability is not weakness; it’s our most accurate measure of courage. It’s this courage, despite character flaws and vulnerabilities, that makes the best protagonists so appealing and keeps viewers and readers hooked.

DCI Silver’s investigations, along with her team on land, create conflict between the police, the Royal Navy and MI5 (see no.5 in the list of raising the stakes). She is in a challenging physical environment (see no.1) in a confined space, away from her daughter, her normal routine and recent partner, DS Kirsten Longacre (Rose Leslie), leaving her conflicted.

While there were a few plot holes and inconsistencies in places, it was a gripping series, with tensions ramping up towards the end. The finale provided both the tension and resolution that viewers were hoping for, with some impressive redemptive qualities.

You can find out more about plot, tension and story arcs, from several of my other posts (links below):

Narrative Arc: Shaping Your Story (one of my most read post’s with almost 15,000 views)

Plot, Characters, Homeland, and What You Need to Achieve to Keep Readers Engaged

What we can learn from Beauty and the Beast About Plot, Tension and Obstacles

Narrative Arc: Shaping Your Story

What is a story arc and why is it important?

A story arc is the episodes within a storyline, the narrative structure of a book or a story (or a film, or TV series). It is the rise and fall of tension, as well as the pace and timbre of a plot. Shifts in the actions and behaviours of the characters, as they evolve and are changed by what happens to them, should force changes in tension.

Although an arc suggests a curve, most stories look more jagged. The image above is only one of the many examples of a story arc, with a fairly classic rise and fall of tension, and ending with a denouement, a resolution. Films often use a simplistic three act structure: Setup – Confrontation – Resolution. Short stories also have a story arc, unless you are Lydia Davis! Her short story, Children, is a mere two sentences.

The introduction draws the reader into a setting, the characters, their goal, and any potential. This is where the reader discovers what drives the protagonist and what might stand in their way.

A series of complications will often develop in the core of the text, leading to a crisis or a series of problems. Each of these crises may be temporarily resolved, but the narrative will eventually lead to a climax. There is a rise and fall of tension with each crisis, with an overall rise in tension as the reader approaches the climax.

The denouement ties up the loose ends and resolves the conflict. Tension, at this point, rapidly dissipates, leading towards the ending.

The three act structure was used by Aristotle and in Greek tragedy.

The importance of a story arc lies in the need for structure, however varied. Without it, the reader will meander through the book, invariably getting lost and will want to put the book down. As a writer, you need to hook the reader to keep them turning the pages. Structure is an area of writing that I try to focus on, as I naturally tend not to plan too much of the plot. It depends on your genre and crime thrillers will demand many more plot twists and much higher levels of tension than literary fiction, for example, but the story arc should be such that the reader’s emotions rise and fall throughout the narrative. Too much high tension, and the reader will run out of steam, too little tension and you will lose the reader all together.

I’ll leave you with a humorous video of Kurt Vonnegut on Cinderella and the shapes of stories. It’s highly exaggerated but worth watching.

Kurt Vonnegut on the Shapes of Stories

What Do Authors Have in Common with Orchestra Conductors?

The more I write, the more I am aware of the variety of elements involved in creating a compelling story. These elements are all individual parts but they have to be pulled together to work effectively. Alone, each part would sound musical, lyrical, but together they create a depth of sound which cannot be created alone.

I used to play the clarinet in various orchestras and jazz bands and, while I also enjoyed playing music alone, nothing matches the sound of an entire section, woodwind in my case, or a whole orchestra. Some sections alone sound fragmented, have you ever listened to a double bass playing an orchestra piece without the rest of the string section? Unless it’s a jazz improvisation it might sound staccatoed and uncomfortable.

When you create a book you look at the story arc, the balance of dialogue and narrative, points of view, pace, action, language. When you conduct an orchestra, you need to see the different sections: string, wind, brass and percussion. Within each section are the individual groups of instruments. In the strings you would hear the violins, violas, chellos, double basses, and so the list would go on with each of the other sections. The conductor needs to be able to hear each section and filter out the other sounds as well as to be able to hear the collective sound. He or she needs to pull the instruments in at the right time, control the tempo and the volume, and to be able to create an even balance.

In the same way an author needs to be able to look at the different sections of the book, and to hear the sounds and feel the rhythm of the story; to be able to create balance in pace and point of view, a balance between high emotion and lower points of tension, a balance between dialogue and narrative prose.

The threads within a story weave together in a similar way to the instruments within an orchestra. If anything sounds off it can run the risk of throwing the rest of the story off kilter. There is a delicate balance between the threads, requiring the skill of a competent author or conductor, and at different points in the story and the music there will be certain elements that will be louder and clearer, more dominant, while others subside. The balance can make or break the overall sound and quality.

Creating Believable Characters

“Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations.”

― Ray Bradbury, Zen in the Art of Writing

Character description is crucial to a good story that is both readable and convincing. For a reader to get inside your story, the characters have to seem real. They need to have characteristics which are compelling and hook a reader at an early point in the story. As writers, there are so many elements to plotting a novel which need to be considered, that it can at times be head spinning.

You have to focus on scene setting, dialogue, narrative, pace, story arc, point of view, voice and many other aspects. Without good characters, involving skillful characterisation from the author, the story will fail to bring the reader to the last page. So how do you pen characters who are enticing, captivating, abrupt, frustrating, lovable or frightening?

Study real people – Watch people’s behaviour, body language and conversations. Fictional characters need to take elements from real life. Even sci-fi has elements that can be observed from every day life. Study human behaviour and you will be much closer to creating characters who resonate with the reader.

“By the end, you should be inside your character, actually operating from within somebody else, and knowing him pretty well, as that person knows himself or herself. You’re sort of a predator, an invader of people.” ― William Trevor

Watch films – They can be a good way of observing character traits and provide ideas for your characters. Look for what is not being said, look at the body language and each character when put into different situations and learn from great scriptwriters. Remember that you have to put together in words what a director will create with images and action. The two forms are similar but the difference is that you have a blank canvas with the reader’s imagination. Create atmosphere through your characters.

“As a writer, I demand the right to writer any character in the world that I want to writer. I demand the right to be them, I demand the right to think them and I demand the right to tell the truth as I see they are.” – Quentin Tarantino

Read books (classics, if you enjoy them) – The classics are still being read because they are timeless and because they contain characters who readers can relate to, characters they love and hate. This is the essence of good story telling.

“I wish we could sometimes love the characters in real life as we love the characters in romances. There are a great many human souls whom we should accept more kindly, and even appreciate more clearly, if we simply thought of them as people in a story.” ― G.K. Chesterton

Write character profiles – Imagine that your character needs a curriculum vitae for a job interview. What would you write for each one? Think about their individual skills and experiences. Push it further and consider locations or events which might have affected them and shaped their character.

“The characters in my novels are my own unrealised possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented.” ― Milan Kundera

Put together a pin board of images – this helps if you are very visual. I use Pinterest for this and I find it also engages readers who are interested in your work. Having a selection of portraits can help to remind you of features and posture, if you wish to use this method. Some people would rather writer freely with no prompts and therein lies the truth that no two writers work the same way.

“Be sure not to discuss your hero’s state of mind. Make it clear from his actions.” (Letter to Alexander Chekhov, May 10, 1886)” ― Anton Chekhov

Related articles:

Andrew Miller, Booker and Whitbread shortlisted author, wrote a Guardian article on Creating Characters.

Melissa Donovan has written a good blog post on tips for character writing.

Writer’s Digest wrote an article on How to Craft Compelling Characters.

Warning: Structural Work Needed – Plotting Your Novel

I drove past a beautiful old building this morning with incredible detail around the windows. When I looked again, the inside had been completely demolished and was being gutted and restored. From the outside it was a beautiful picture of fine architecture and decadence, an eye-catching building which stood out from the rest, but from the inside there was nothing, just rubble and empty space.

It was a strange sight in some ways and it reminded me of building a novel and the differences in how writers construct their work. I have spoken to people who work in any one of the following ways:

– Inside Out Model – Beginning with the bare bones, getting the story down onto paper, and then going back and layering it with detail and links, flashbacks and subtle hints of what is to follow.

– Outside In Model – Constructing the outside, the look and feel, the genre, narrator, tense, style and character of the novel, and then working inwards to develop the structure, the chapters and the story arc.

– Scatter Graph Model – Starting to write chapters, in no particular order, filling in the gaps as and when the inspiration strikes. This method is often discouraged by agents and editors as it is less structured but some of the most creative writers work this way.

– Sprint Runner Model – Beginning in great detail with a clear idea of your central character, racing through the first 1,000 words or so and then drifting as you get further into the plot, not being sure where the novel will end. Instead of it being a slower and more steady pace throughout, the writing decreases in speed as the ideas thin out.

– Foregone Conclusion Model – Knowing exactly how the novel will end, much like a science experiment with an expected outcome, but struggling to begin or sagging in the middle.

These are just some of the many ways in which authors work and there are many cross-overs in their method. I was impressed by Will Self’s ability to do away with chapters completely in his Booker Prize Shortlisted novel, Umbrella. He is not the first author to do this and I am sure he won’t be the last. Some authors prefer fine structure, plotting meticulously before beginning a single sentence, then there are those who are somewhere in between.

There is no right or wrong way to plot a novel and to construct a story, although there are books which tell you otherwise. You have to experiment with what works. Every writer has a preferred way of working and it changes and develops with time.

I’ll leave you with some interesting quotes from the various writing handbooks:

“A basic structural design underlies every kind of writing. Writers will in part follow this design, in part deviate from it, according to their skills, their needs, and the unexpected events that accompany the act of composition. Writing, to be effective, must follow closely the thoughts of the writer, but not necessarily in the order in which those thoughts occur.” The Elements of Style, Strunk and White

“Very few writers really know what they are doing until they’ve done it. Nor do they go about their business feeling dewy and thrilled. They do not type a few stiff warm-up sentences and then find themselves bounding along like huskies across the snow.” Bird by Bird, Anne Lamott

“Writers of literary and much mainstream fiction usually begin by imagining a character…some writers can’t help starting out with a theme that obsesses them. They imagine characters whose lives might involve the theme, or they work out a plot first. If their allegiance is to character, their theme-based story has a better chance of survival.” Stein On Writing, Sol Stein

“If there are no rules, or none worth [the writer’s] attention, where is the beginning writer to begin?” The Art of Fiction, John Gardner