<![CDATA[ISABELLA JETTEN - Blog]]>Fri, 17 Jan 2025 06:32:11 -0800Weebly<![CDATA[They Published "Bloody Avenue"]]>Tue, 18 Apr 2023 17:20:22 GMThttps://www.isabellajetten.com/blog/they-published-bloody-avenueIn my first round of submitting, my short story "Bloody Avenue" was accepted by Four Way Review. It was published in Issue 26 on April 15.

What struck me most about working with the editors is that they had a keen sense of what the story was, and what it needed to be. They understood the characters, both in their internal contradictions and their places in the overall narrative I created.

Their excitement made the story better. In turn, that made the process one I'll always hold close.

I'm happy this weird little story has a home.

READ IT HERE.]]><![CDATA["What transforms an anecdote into a story..."]]>Sun, 02 Apr 2023 21:59:33 GMThttps://www.isabellajetten.com/blog/what-transforms-an-anecdote-into-a-storyGeorge Saunders said, "What transforms an anecdote into a story is escalation. Or, we might say: when escalation is suddenly felt to be occurring, it is a sign that our anecdote is transforming into a story."

I'm working on a story with a very simple plot, and I often wonder if it's interesting or, at the very least, coherent.

Obviously, writing with an awareness of complicating and intensifying the conflict in our stories is helpful. Since studying screenwriting, I've kept Blake Snyder's Beat Sheet close to me. But, how does it translate to short stories or novels? How can I make sure I'm crafting a plot that is more than a series of snippets or anecdotes?

I've found it helps having a resource to compare my plots to. I use several outlines, often all for a single story or script: Dan Harmon's Story Circle, Freytag's Pyramid, and Blake Snyder's Beat Sheet (plus a few aspects of characterization and conflict I've picked up from studying fiction).

So, to the one reading this: I hope these tools can assist you with your own stories.

CHARACTER-DRIVEN PLOT
  • Character's Quest — Inspired by Robert McKee's idea that all stories take the form of a quest. What quest is your protagonist going on? Identify what they want and what they'll do to get it.
  • Character's Desire(s) (External) — What do they think they want? Or, what do they want consciously?
  • Character's Desire(s) (Internal) — What do they really want? Or, what do they need subconsciously?
  • External Conflict(s) — What is happening outside of the character? What is the character doing, and what's stopping them?
  • Internal Conflict(s) — What does the character need to overcome, and what's preventing that?
  • Obstacles — What will prevent the character from getting what they want? What will try to stop them in their quest? Identifying them in a list, from least to greatest threat, could be helpful.
DAN HARMON’S STORY CIRCLE

Resource: Dan Harmon Story Circle: The 8-Step Storytelling Shortcut
  • A character is in a zone of comfort — Everyday life is mundane and unchallenging.
  • But they want something — The protagonist’s desire compels them to take action.
  • They enter an unfamiliar situation — The character crosses the threshold to pursue what they want.
  • Adapt to it — They acquire skills and learn how to survive in this new world.
  • Get what they wanted — The character achieves their goal, but at a cost.
  • Pay a heavy price for it — New and unexpected losses follow the victory.
  • Then return to their familiar situation — The character goes back to where they started.
  • Having changed — The story’s resolution; the lessons they’ve learned stay with them, and the character has grown.

FREYTAG’S PYRAMID

Resource: The 5 Stages of Freytag's Pyramid: Introduction to Dramatic Structure
  • Exposition — The storyteller sets the scene and the character’s background. 
  • Inciting Incident — The character reacts to something that has happened, and it starts a chain reaction of events. 
  • Rising Action — The story builds. There is often a complication, which means the problem the character tried to solve gets more complex. 
  • Climax — The story reaches the point of greatest tension between the protagonist and antagonist (or if there is only one main character, the darkness or lightness of that character appears to take control). 
  • Falling Action — The story shifts to action that happens as a result of the climax, which can also contain a reversal (when the character shows how they are changed by events of the climax). 
  • Resolution — The character solves the problem or conflict. 
  • Denouement — French for “the ending,” the denouement is often happy if it’s a comedy, and dark and sad if it’s a tragedy.

BLAKE SNYDER'S BEAT SHEET

Resource: Blake Snyder's Beat Sheet - Explained
  • Opening Image — A visual that represents the central struggle & tone of the story, a snapshot of the main character’s problem before the adventure begins. Often mirrors the Closing Image. 
  • Set-up — Expand on opening image. Present the main character’s world as it is and what is missing in their life. 
  • Theme Stated — The message, the truth you want to reveal by the end. What your story is about in a larger sense. Usually, it is spoken to the main character or in their presence, but they don’t understand this truth until they go on the journey to find it. 
  • Catalyst — A moment where the opportunity to go on a journey is presented to the main character. Life as it is now changes. It is the telegram, catching your loved-one cheating, allowing a monster onboard the ship, a secret holographic message from a galactic princess, etc. The “before” world is no more, change has begun. (Catalyst = Inciting Incident or Call to Adventure) 
  • Debate — Change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? Often the hero denies the call to adventure at first. 
  • Break Into Two (Choosing Act Two) — The main character makes a choice to go on the journey, and our adventure begins. We leave the “Thesis” world and enter the upside-down “Anti-thesis” world of Act Two. 
  • B Story (30) — This is a discussion about the Theme, the nugget of truth. It often takes place between the main character and love interest. The B Story is usually called the “love story”.
  • Fun & Games — “The Promise of the Premise.” This is the fun part of the story. The Fun & Games is the first half of Act II where the audience is entertained as the main character explores the new world and overcomes the type of obstacles they have been promised by the premise of the film, it’s genre, even it’s one-sheet poster. This is when the detective finds his clues and interviews his first witnesses to the murder mystery, when Indiana Jones tracks down the possible resting place of the Arc, when Harry & Sally are stuck together over and over seeming to annoy one another. The Fun & Games are what we came to see the movie for! 
  • Midpoint — The midpoint is the largest plot twist of the film, it raises the stakes of the main character’s goal, can change the goal completely, or at least makes the requirements of the goal much more difficult. It can feel like a new movie is starting as a result of the midpoint. Here the main character must recommit to the new goal, for which there is no turning back. Often it is the B Story that incites the midpoint plot twist. Often a “ticking time clock” for resolving the goal begins ticking at the midpoint.
  • Bad Guys Close In — Now the Fun & Games get serious. The BGCI is the second half of Act II where the audience is exhilarated by an ever more complex and overwhelming set of obstacles to the main character’s goal. Here the main character’s gifts are of no use, their plans are foiled, their team can be split up, or a trusted friend will betray them.
  • All is Lost — The low point of the main character’s journey. The moment that the main character loses everything they gained so far, or realizes everything they now have has no meaning. The main character has lost even more than if he’d never gone on the journey in the first place. At the All is Lost, something or someone dies.
  • Dark Night of the Soul — The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again. Here the main character’s arc is complete as they fully understand the truth they could not see when they set out on the journey.
  • Break Into Three (Choosing Act Three) — Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again. The New Information presents the final goal the main character will have to achieve to complete the journey. 
  • Finale — The main character confronts the antagonist or force of antagonism with new strength. This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight because they have experience from the A Story and context from the B Story.
  • Final Image — Opposite of Opening Image, proving, visually, that a change has occurred within the character

I combined all of these outlines below. At times, it can help to see something vague and comprehensive in order to fill in those blanks.

THE COMBO OUTLINE
  • Opening — The first page. The setting, genre, and central character(s) are introduced. The tone is set.
  • Set-Up — This establishes what is normal (the "everyday") for the protagonist by showing them in their comfort zone. It lays out their external conflict(s) and external desires. It can include a "Save the Cat" moment, and/or show the character's flaw(s).
  • Theme — The protagonist's internal conflict(s) is referenced or shown.
  • Inciting Incident — A conflict or disruption is introduced; the first opportunity for change, and the start of the quest.
  • Debate — The protagonist decides if or how to start the quest. Their reservations and weaknesses are revealed, and we see what they need to overcome before the end of the story.
  • Starting the Quest — The protagonist chooses to go after what they want. They leave what is normal and safe and enter a new world.
  • Subplot — A secondary story is introduced. It reflects the theme. It can be a love story or a minor conflict.
  • New World — The protagonist explores their new circumstances and tests the limits of their new environment, now that they've chosen the quest.
  • Midpoint — The first  real threat or obstacle, or a plot twist. This raises the stakes and can change the goal or strategy of the protagonist.
  • Obstacles — The threats get stronger. The goal becomes less feasible.
  • Possible Defeat — The low point, where the protagonist experiences loss, defeat, or death. They have a choice to continue toward their goal or give up and go home.
  • Hope — The protagonist has a new idea or finds inspiration. They have adapted with new skills or plans on how to survive.
  • Climax — The greatest point of tension, the confrontation with the antagonist. The protagonist has to face their external and internal demons. This leads to a resolution, which can be good or bad for the protagonist.
  • Consequences — The protagonist gets what they wanted, but at a cost.
  • Return — We see the results of the climax. The protagonist goes back to their everyday life. They have learned lessons and become a new person.
  • Ending — The conflict is over. The protagonist's final moment reflects or opposes the Opening. According to Chris Wooding, "Everything you write makes you better. But if you really need a tip, here’s one: a good story begins in opposition to its ending. That means you work out how it finishes first, and then begin the story as far away from that point."​

Happy writing,
Isabella
]]><![CDATA[The Blog]]>Sun, 26 Mar 2023 22:59:49 GMThttps://www.isabellajetten.com/blog/the-blogImagine this blog as a coffeehouse table where we chat about writing over scones and breves. Either that, or a slumber party at 1 a.m. where we kick our legs and giggle in our pillows. Sometimes, it might even be a diary where I tuck away little notes or curate the words that have to leave my head and land on something.

In any case, writing is like having your heart in a hundred places at once. Every word is an awesome, ugly, messy attempt at learning and connecting. Writers are constantly breaking themselves up and building at the same time to make weird and wonderful pieces that could mean something on and outside of the page.

This might be a nice place for my other words, the ones that don't quite have a place to go. So, hi.

A lot of what I write is to explore the intricacy of "being." The words come from my appetite for testing my own morality and empathy. I like characters that represent the complexity of “doing wrong," since living is complicated—I've found my (belated) teenage rebellion in that.

We don't need characters to be "likeable," we need them to be distinct and multi-faceted. They need inner and outer conflicts, central contradictions, and imperfections. Their story takes shape based on who they are, what actions they take. Then, they become people we can empathize with.
​
Robert McKee said, “all stories take the form of a Quest." George Saunders said, “we tend, in discussion, to reduce stories to plot (what happens). We feel, correctly, that something of their meaning resides there. But stories also mean through their internal dynamics—the manner in which they unfold, the way one part interacts with another, the instantaneous, felt, juxtaposition of elements."

All of this depends on character. Plot and characterization are directly and authentically connected. The story unfolds from the character's wants, their wounds, their subconcious needs and concious choices. They need to be one thing and another. And then another. It's their complication that determines the stakes, the situation, the story.

So, I think that's one thing driving my writing right now. With my characters, I'm getting to know a person. Some are more difficult to figure out than others.

Sure, it's make-believe, but the important thing is "belief." You come up with an idea. You make that into a being. You give it traits, until it's a character. You learn what makes them tick. You romance them or throw them off a cliff or kick them in the nuts. You try your best to capture their essence in words and believe it. Then, your readers might too.

Thanks for reading, and happy writing.

Isabella
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