Plotting your Novel

A masterclass on plot with Amita Murray

By Ulka Karandikar

The first “novel” I ever wrote had no discernible plot. None, zero. Zilch. Largely, it was a collection of thinly disguised versions of myself drinking cups of tea, with the odd talking Beagle (yes – it really was that bad). So, with this failed attempt safely tucked away inside a drawer, I listened to the wonderful Amita Murray talk about plot.

Amita Murray is a London-based writer whose first novel The Trouble with Rose was published in 2019 by Harper Collins; her short story collection Marmite and Mango Chutney won the SI Leeds Literary Prize in 2016 and she teaches advanced fiction at both the University of East Anglia and City Lit, London.

Amita begins her Masterclass by talking about Character: What does the character want? What is in their way? Will they get what they want? According to Amita, the worst thing in the world is to make your characters too comfortable (cup of tea anyone?). The reader needs to always be moving towards something. Engaging characters overcome obstacle after obstacle, resulting in ‘Rising Action’.

Essentially, she goes on to say, a strong plot starts with an ‘Inciting Incident’, followed by a series of obstacles which lead to a ‘Crisis’ and culminates in a satisfying ’Resolution’.

So, does she plan all of this before she embarks on a novel? The answer surprises me – she does not. But her novels do contain all of these elements and if something isn’t quite working, it’s likely the solution lies with fine tuning one of these elements.

Then there is the tricky question of sub plots and minor characters. Ultimately, all these should be in service to the main plot. If a minor character does not drive the plot forward (talking Beagle anyone?)  It might be worth asking what is the purpose of this character?

Amita ends her masterclass with some extra tips about how to keep the reader engaged. The key here is variety. Variety of setting: are your characters always in one room? Try a restaurant, a lift, or merry-go-round. Too much dialogue? Add some description or reflection. Working together, all these elements provide a piece of work that keeps the reader interested in turning the pages until they get to the end.

When it’s time for questions we ask about plot in the short story. Amita comments that varying setting, backstory and resolution are less important in this form. This lack of resolution may even leave the reader in an unsettled place which Amita actively encourages because – in answer to the tricky question of where to end a short story – Amita feels it is much more useful to think of the feeling you want to inspire in a reader at the end. However, she stresses strong character remains a vital element. The journey may be shorter but it still has to engage.

There was so much more to ask but, as usual, time ran out. I left armed with a sense that I was wise to leave my first “novel” (and its talking Beagle) inside a drawer.