What Do You Do When Your Plot Changes Halfway Through?

What Do You Do When Your Plot Changes Halfway through?

Original photo: Wilson Hui, flickr.com/photos/wilsonhui/

Today’s oddly musical post title brought to you by the uniquely writerly combination of leftover taco fixins and hot coffee. I know; my life is glamorous.

Are you a pantser? That is, someone who writes to discover your novel’s true intent and direction? Well have a seat, because I’m not talking to you today. You’ve used to the chaos.

Rather, I’m directing my advice toward the Type As in the group: plotters. You’re my people. For as much as I like to joke around about procrastinating, my approach to novel writing has been very methodical, very painstaking, and above all, very slow. (I do procrastinate in the margins; no furious bouts of thousands of words per day here in the earliest stages.)

But this happened to me recently and I found it terrifying.

After all the time and effort I put into my most recent novel-length work in progress, my most important supporting character, who had the grace to already be dead at the start of the book, had decided to show up at a local hospital with traumatic brain swelling and in a coma she may or may not emerge from, instead. In other words, as characters are sometimes wont to do, this one didn’t have the common decency to stay dead.

And since her death was the fuel that fired my protagonist’s positive change arc (from a sort of anti-hero to a woman of action), I panicked.

Maybe she can die partway through Act I, I reasoned. I could just delay my protagonist’s arc. But then the intro would be laboriously long.

Maybe she can die at the end of Act I, and her death could be the defining Point of No Return for my protagonist’s journey to her hometown. Nope, because once she gets there and the supporting character dies, all the help she’s supposed to receive from the other minors won’t be there.

Crap. Crap. 

Actually, This Is a Good Thing.

Does all this angst sound familiar? When you have threaded what seems like the perfect Act I and Act II and midpoint and rising action and all that, having something in your work just turn on you is a test of your creativity and dedication to making your work better.

Because, you see, your characters are teaching you how to be a storyteller. They’re leading you – which is exactly how well-conceived characters are supposed to behave. A sign that you’ve got cardboard cutouts instead of people in your novel is when you realize that they’re all so damn pliable. Real humans fight back.

What to Do Now

First of all, if you’ve found yourself in this mess, it’s easy to imagine the beautiful scaffolding of your story falling around you in flames. But this isn’t the case!

If You’re Still Plotting

If you’re still at the outlining stage and haven’t yet started a first draft, here’s my advice: Re-write your outline from the very beginning, but before you do, take about an hour per misbehaving character and freewrite.

Yes, I said freewrite. Let your little truant talk to you. Let him tell you his limited-third-person side of the story (especially the disobedience that’s driving you batty). Once you’ve let your characters speak for about an hour each, re-read what you’ve made, absorb it, ask yourself if this makes sense on a super-basic level (because if you get nonsense, you need to back up and figure out what your book is really going to be about in one paragraph or less). If it makes sense, return to your outline. Write it again from the beginning.

It sucks, but it’s saving you from rewriting your actual draft, which, I promise you, is much, much worse.

If You’ve Started Writing

Hoo boy. My condolences. Your work is a little bit harder.

Step One: Grab a fresh document or sheet of paper, and start to make a very bare-bones outline. One sentence per scene, max (or less). Incorporate your plot change into this outline. WHen you’re done, tack it up right next to your writing spot. You’ll want it handy.

Step Two: You’re looking for instances where the new plot change doesn’t jive with what’s already in your draft. You’re on a search and destroy mission from page 1. Go in sequence and let the changes build. If you’re using Microsoft Word, I strongly suggest tracking these changes in Track Changes, so when you get mixed up in the details (does he have red hair or black hair now?) you can quickly do a scan-back and find your answer.

But Don’t Ignore Your Instincts

Remember what I said before – characters drive the story in all great works. People love to read about characters more than they love a gripping plot or intricate wordsmithery. WHen your characters go astray, follow them. Usually, they’re leading you to where your work is really supposed to live.

Unless you’re eating taco meat and drinking hot coffee. Then all bets are off.

When was the last time one of your characters went astray? Was it painful? How did you deal with the plot carnage? Was it the right decision? Share your battle wounds in the comments. 


  • Marya Miller

    I’m up at 3 a.m. having this very problem. First one character rebelled and changed the ending of my entire trilogy; now I am discovering that another character whose death is central to the whole thing is too good at surviving. And I was a meticulous plotter, who spent months working out the entire three-book plot-line.

    What I’m actually going to do is take your suggestion and redo a bare-bones outline. Thanks for the timely post!

  • Jamie Rose

    This happens to me ALL THE TIME. And I plot in ridiculous detail. Or I used to; I’ve had to move to a more limited outline to give me the flexibility to deal with it.

    In my current WIP, we have:
    – the minor character (literally, she was a name so my FMC had some subordinates to order around when required) who decided she didn’t want to be so minor and developed a backstory & ulterior motive that warped the entire plot and turned it into a four-book series instead of a duology.
    – the MMC, required by the outline to spend a considerable amount of time underground in tunnels, caves etc, who informed me two chapters in that he has claustrophobia as a result of being buried alive in a past accident
    – Most recently, the supporting character, best friend of the MMC, who threw all his toys out of the pram and instead of helping the MMC with his latest disaster is now not speaking to him, got him arrested and is unlikely to have forgiven him in time to help with all the things he was supposed to be helping with later. Just as well I have the formerly-minor character to help out instead, I suppose.

    Ah well, it’s all part of the fun. I agree absolutely with your final point – if the characters are taking over, fighting it will get you nowhere and just leave your story without its soul.

  • SCB

    I’m a little bit panster and a little bit plotter. I plotted my previous novel, I have a whole outline done, its a good plot but then I decided to open up a blank document and just write what came to me. The character has the same name in both novel drafts, in one she is heterosexual, but in this one, she is gay. She will have a girlfriend. She is running for office, not currently in office, and she has imposter syndrome somewhat badly rather then being confident. This change feels much more freeing. I didn’t fight it, though due to my religious upbringing, I may face some critical judgements or loose membership in my church which obviously makes me nervous. On this though I am willing to go through with it because the story needs to be told this way. The characters ARE gay, I didn’t choose for them to be gay, I do not know what being gay is like, I am married to a man, I have two children. But other incarnations of the story made no sense with her as a married woman with children. Yet what I do know is what true love feels like. I think that would be the same no matter who has your affection.

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