When Plots Go Bad
It is easy to identify something obvious that one dislikes in a story, such as one that is unbelievable, off-topic, or upsetting. Yet, sometimes plots are terrible, and it is difficult to pinpoint exactly what the problem is.
To help build a fantastic story, authors have many tried-and-true techniques, such as the three-act story structure, the hook, and the dramatic conclusion. Yet, many outstanding stories do not contain classic elements, and I can dispel this mythical requirement with two words. Forrest Gump.
From a high-level view, the movie has nothing going for it. The plot is an unremarkable life story; the romance is flawed, and the viewer gets hit by multiple deaths of beloved characters. From a three-act, hook, and logical perspective, this movie is a complete failure. Yet, I loved that movie, and many other people would place this movie in their top five. (The book did not impress me, but that is a future topic.)
Let’s examine another popular movie, Avatar. It contains a three-act story with a hook and a dramatic conclusion. Plus, the special effects, music, acting, and excellent premise dramatically pushed what was possible. And audiences agreed.
Yet, I was not fond of the movie. It had underdeveloped characters, obvious logical, technological, and biological faults, and the story was a blatant plot rip-off of the less-than-successful Disney film Pocahontas. However, that is not the core problem.
My dislike stems from the filmmakers’ demand that viewers take on the plight of a mythical creature. I liken this to being forced to live with a hippie roommate. Do you know any giant blue beings who communicate through their tails? I do not either, which makes it hard for me to relate to their struggle.
How can writers prevent these issues? I have learned the tough way to identify story problems at the outline stage. How would this tool have helped Avatar? I would have used a completely different plot structure, starting with a world without humans. This would have established a comfortable foundation, allowing viewers to bond with the blue creatures. Next, pleasant humans would be gradually introduced who would see the value of the natural resources and become greedy. This result would be dramatic and relatable. Perhaps a common foe would have been helpful. My point is that rather than slamming things together, the plot would build to create a powerful story, rather than something forced.
From my writing experience, poor plot results from not analyzing the big picture, and my second book was a perfect example. My first draft had a weak beginning, an arrogant main character, and a weak main character. It took a year of editing to correct these flaws. Of course, this was before I discovered outlines… Live and learn.
I began my sixth book project with an outline, and this tool identified a fundamental problem. My plot drifted, I did not stick to the core premise, and there were more side tangents than stars in the sky. It took four months of outline work to correct the issues. Had I started writing without an outline, the book would have been a disaster.
What flaws should a writer try to identify at the outline stage? A plot must connect with readers, keep them interested, and leave them entertained. To ensure this is the case, I review the outline several times with different questions in mind. What is the main character’s role? Does the core story make sense? Is there enough drama? Is there too much drama? Is this story exciting? Are there any logic problems? If character X were female, would this be a better story? I have a list of 21 such questions and am constantly adding to it.
One problem I have seen (more often in films) is the inclusion of an irrelevant character, and a good example is Jar Jar from Star Wars. All characters must contribute to the main story, and I spend time at the outline stage analyzing how each one contributes, interacts, and adds to the enjoyment.
From a broader perspective, I examine how the plot unfolds. This is where the three or five-act play structure can be found and where I get the most use out of an outline. The fundamental question I want to answer is, “Will readers like my book?”
Then I show my outline to somebody and ask for opinions. There are problems if the feedback is, “Hey, you have a story about a race car driver. Where are the racing scenes?” “Why does the hero lose every battle?” “The main character sounds like a jerk.”
Why don’t authors see the issues ahead of time? It is challenging to attain a high-level view. And looking into the mirror can be difficult. Yet, thinking is cheap, and heart-wrenching reviews are… Well, bad.
You’re the best -Bill
January 12, 2021 Updated July 19, 2025
To help build a fantastic story, authors have many tried-and-true techniques, such as the three-act story structure, the hook, and the dramatic conclusion. Yet, many outstanding stories do not contain classic elements, and I can dispel this mythical requirement with two words. Forrest Gump.
From a high-level view, the movie has nothing going for it. The plot is an unremarkable life story; the romance is flawed, and the viewer gets hit by multiple deaths of beloved characters. From a three-act, hook, and logical perspective, this movie is a complete failure. Yet, I loved that movie, and many other people would place this movie in their top five. (The book did not impress me, but that is a future topic.)
Let’s examine another popular movie, Avatar. It contains a three-act story with a hook and a dramatic conclusion. Plus, the special effects, music, acting, and excellent premise dramatically pushed what was possible. And audiences agreed.
Yet, I was not fond of the movie. It had underdeveloped characters, obvious logical, technological, and biological faults, and the story was a blatant plot rip-off of the less-than-successful Disney film Pocahontas. However, that is not the core problem.
My dislike stems from the filmmakers’ demand that viewers take on the plight of a mythical creature. I liken this to being forced to live with a hippie roommate. Do you know any giant blue beings who communicate through their tails? I do not either, which makes it hard for me to relate to their struggle.
How can writers prevent these issues? I have learned the tough way to identify story problems at the outline stage. How would this tool have helped Avatar? I would have used a completely different plot structure, starting with a world without humans. This would have established a comfortable foundation, allowing viewers to bond with the blue creatures. Next, pleasant humans would be gradually introduced who would see the value of the natural resources and become greedy. This result would be dramatic and relatable. Perhaps a common foe would have been helpful. My point is that rather than slamming things together, the plot would build to create a powerful story, rather than something forced.
From my writing experience, poor plot results from not analyzing the big picture, and my second book was a perfect example. My first draft had a weak beginning, an arrogant main character, and a weak main character. It took a year of editing to correct these flaws. Of course, this was before I discovered outlines… Live and learn.
I began my sixth book project with an outline, and this tool identified a fundamental problem. My plot drifted, I did not stick to the core premise, and there were more side tangents than stars in the sky. It took four months of outline work to correct the issues. Had I started writing without an outline, the book would have been a disaster.
What flaws should a writer try to identify at the outline stage? A plot must connect with readers, keep them interested, and leave them entertained. To ensure this is the case, I review the outline several times with different questions in mind. What is the main character’s role? Does the core story make sense? Is there enough drama? Is there too much drama? Is this story exciting? Are there any logic problems? If character X were female, would this be a better story? I have a list of 21 such questions and am constantly adding to it.
One problem I have seen (more often in films) is the inclusion of an irrelevant character, and a good example is Jar Jar from Star Wars. All characters must contribute to the main story, and I spend time at the outline stage analyzing how each one contributes, interacts, and adds to the enjoyment.
From a broader perspective, I examine how the plot unfolds. This is where the three or five-act play structure can be found and where I get the most use out of an outline. The fundamental question I want to answer is, “Will readers like my book?”
Then I show my outline to somebody and ask for opinions. There are problems if the feedback is, “Hey, you have a story about a race car driver. Where are the racing scenes?” “Why does the hero lose every battle?” “The main character sounds like a jerk.”
Why don’t authors see the issues ahead of time? It is challenging to attain a high-level view. And looking into the mirror can be difficult. Yet, thinking is cheap, and heart-wrenching reviews are… Well, bad.
You’re the best -Bill
January 12, 2021 Updated July 19, 2025
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