Master Plot 5 – The Fourth 1500 Words

We’re in the home stretch, folks!1 Here’s the plot for the final 1500 words. I found my way back to the original plot somewhere along the line and this is actually pretty accurate to what’s on the page.

You can read the last section of the story here. Stay tuned2 to the central pillar for my final thoughts and a critique from My Greatest Critic.

1–Shovel the difficulties more thickly upon the hero.
Well, Liz is trapped now, but she’s hearing the song, she knows what it is. She knows it’s a drug. OH and earlier, you should have mentioned that the others used to be addicts, into hallucinogens.

2–Get the hero almost buried in his troubles. (Figuratively, the villain has him prisoner and has him framed for a murder rap; the girl is presumably dead, everything is lost, and the DIFFERENT murder method is about to dispose of the suffering protagonist.)
She can feel the drug acting on her, see the hallucinations. She wants to do the things she’s being told to do — give up her accounts, send money to different people. But the music is acting funny, the song is telling her to do things using the poem (mention the hallucinogenic song that’s all the rage way earlier, in the first 1500 words maybe — Yates mentions it while talking about Brown. OH no, LIZ mentions it (yates: since when were you into classical poetry. Liz: oh, it’s sampled in that song, the one they say is like taking DRUG.3) I think, although I could be wrong, that this counts as “introducing all the characters as early as possible”

3–The hero extricates himself using HIS OWN SKILL, training or brawn.
When she went into the club, her cams were smashed (no eye cams yet). But she’s not actually hallucinating, not fully — she KNEW this was what was up and sends a help beacon out to Yates. When she knows Yates is close, she pretends to stand wobbly then lashes out at her captor with her feet, sending him sprawling. She brawls, hand-to-hand for the first time, until Yates stumbles in with stunners and a little man, the owner of the night club, in cuffs.

4–The mysteries remaining–one big one held over to this point will help grip interest–are cleared up in course of final conflict as hero takes
the situation in hand.
Turns out the owner of the club was a failed audio engineer, and he discovered this trick of certain musical structures to override meshes (he plays it over the loudspeaker to the whole room, watching his thugs go down, but of course Yates doesn’t have one and she just stares him down.

He’s arrested, all of the siphoned money is returned.

5–Final twist, a big surprise, (This can be the villain turning out to be the unexpected person, having the “Treasure” be a dud, etc.)
God, what’s the final twist? Was it just that this huge thing was just a single man doing something stupid? Is that enough?That he has no intention of murdering anyone — that that part was a screwup? Maybe. 4

6–The snapper, the punch line to end it.
God help me, this might be the hardest part. Must do more research on this one.

Is the warm-feeling snappy punchline something like “then their show became more popular than ever”? Or does it need to be a literal punchline, something kicky and cool?5

HAS: The SUSPENSE held out to the last line?
The MENACE held out to the last?
Everything been explained?
It all happen logically?
Is the Punch Line enough to leave the reader with that WARM FEELING?
Did God kill the villain? Or the hero


  1. I have no idea what this means.

  2. I have only the vaguest idea of what this means.

  3. Now this, this is interesting: even within the outline I’m using the process of writing to find the story.

  4. Even within the outline, I knew this was a cop-out. I wonder if I re-wrote the story from the top, would I find something?

  5. Never did figure it out. I read through some of the stories–usually it IS something kicky and cool. I knew it then and I know it now. Just because you know something, though, doesn’t mean you can do it.

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