Cover for Searching for Margarito Temprana
Searching for Margarito Temprana

“The plotter’s approach resembles architectural design. These authors construct elaborate story blueprints, mapping character arcs, plot points and thematic elements before writing their first draft. Their outlines can span dozens of pages, breaking down each chapter into granular scene descriptions.” (JD Barker, The Great Writing Divide: Inside the Creative Battle Between Plotters and Pantsers)

Writing Exercise: Structuring Character Growth Through Architectural Plotting

Key Techniques:

1. Pre-structuring Character Arcs: Strong character development requires intentional plotting. By mapping a character’s transformation, writers ensure internal and external conflicts align, creating a satisfying arc.

2. Scene-Level Planning for Thematic Cohesion: Each scene must contribute to both narrative momentum and character growth. Detailed outlines prevent unnecessary detours, ensuring every moment reinforces core themes.

3. Balancing Control and Discovery: Over-planning can result in rigid storytelling. A strong outline allows room for dynamic, character-driven adjustments while maintaining structural integrity.

500-Word Writing Prompt:

Outline and draft a pivotal scene where a character reaches a major turning point in their arc. Before writing, create a 250-word structural breakdown of the scene, including:

• The character’s emotional and psychological state at the start.

• External conflict driving the scene.

• Internal conflict shaping their decisions.

• The thematic weight of this moment.

• The intended shift in the character’s arc.

Using this breakdown, write a 500-word scene that adheres to the plan while allowing space for organic character moments. The scene should reveal change, whether through realization, action, or failure to act.

Evaluation Criteria:

• Structural Clarity: The scene adheres to the outline’s emotional, thematic, and narrative beats without feeling mechanical.

• Character Authenticity: The protagonist’s internal conflict feels earned, not imposed. Their transformation (or resistance to change) is rooted in previous development.

• Scene Momentum: The moment carries weight in the larger narrative, with stakes that matter beyond this scene.

• Dynamic Writing: While structured, the scene should not feel like a rigid exercise. Natural dialogue, subtext, and sensory details enhance engagement.

Strong vs. Weak Examples:

A strong response presents a protagonist at a crossroads, their decision informed by previous struggles. Their internal debate unfolds naturally through action and dialogue rather than direct exposition. External pressure amplifies the stakes. The scene carries an undercurrent of tension, even in stillness.

A weak response forces a shift in the character without sufficient groundwork. The protagonist makes a decision because the outline demands it, not because the story has led them there. The scene lacks thematic resonance, feeling more like a checklist than an organic moment.

Follow-Up Workshopping/Revision Questions:

• Does the character’s decision feel earned, or does it appear dictated by plot mechanics?

• Is there a natural interplay between external and internal conflict?

• Could the scene function independently as a compelling short piece?

• Does the dialogue, action, or subtext reveal the character’s struggle without excessive exposition?

• How does this moment reinforce the story’s central themes?

Recommended Reading:

“The Cheater’s Guide to Love” by Junot Díaz – This story exemplifies structured character transformation while maintaining an organic, emotionally resonant flow. The protagonist’s arc is deliberate, yet every moment feels alive, not predetermined.


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3 responses to “The Blueprint Prompt: Crafting a Scene with Purpose and Authenticity”

  1. This is good, in a formulaic way, but doesn’t address the “Write the story as it gets here” types. Is that considered unviable? Many million sellers write as they go. Discovery may send them backwards, or a sag in the middle requires editing, but Here’s where we start, here’s what we want to get to, lets throw these disparate characters into a scene and see how they get us there is just as valid. From Louis Lamour to Elmore Leonard it’s more a matter of seeing how they do it than playing puppet master. Puppet master is why so much redundant trope BS clogs the airwaves and bookshelves.

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    1. Phil, thank you for this thoughtful take. I completely agree that discovery writing can be every bit as valid and exciting as plotting in advance. Many writers, as you mention, find their rhythm by stepping into a scene and letting the story reveal itself. The prompt leaned toward structure as one possible lens, but it is not meant to rule out the more instinctive and exploratory process you describe.

      I have always thought of it as two ends of the same creative spectrum. Some writers need a compass before they start walking, while others find the map by moving through the landscape. Both can lead to powerful and authentic storytelling if the writer stays curious and engaged.

      The most alive stories often come from writers who begin like discoverers and finish like architects, improvising freely first and shaping that energy into structure afterward.

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      1. The lst bit sums it up. It’s great to follow the characters around but in the end we need to know when they are (or we are) off in the weeds in stead of serving the story.

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