Like a tapestry, every story is woven of threads that become invisible within the overall design. By familiarising yourself with story threads and being aware of them as you read, you can learn to weave story threads skilfully into your own novel.

Understanding story threads

Identifying story threads and mentally following them throughout the outline reduces the need for multiple revisions. For outlining purposes we'll look at threads beyond the traditional scope of individual plot and subplot threads. We'll also look at individual tension threads, release threads etc. All of these threads work together to form your plot sketch. With this in mind, your outline will consist of the following threads:

Your plot sketch is your first real opportunity to start thinking about and developing each one of the threads listed above. Worksheet 4 takes you through each thread individually and provides you with prompts to get the ideas rolling. You can revise this worksheet often. It will be especially helpful to you when your formatted outline is complete.

We'll discuss most of the plot threads in greater detail in chapter four, when we cover stage three: story evolution. Remember, at this stage you probably won't be able to fill in all of these sections, but it's still important to start thinking about them.

Story goal

A story goal is the central idea of a novel. You will relate it to your readers through the plot, major conflict and character interactions. In all genres of fiction the story goal is the catalyst of the book: it's the reason the characters are there; the reason the story evolves; and the reason the reader opens the book, starts and keeps reading. All other threads and characters are instrumental in achieving the story goal.

It's important that you identify the major conflict or main theme of your book before continuing, as this will affect your entire story. Why are these characters assembled and what are they striving for? Write as much as you can on this thread. You'll be going back over it and tweaking it often to fit your changing concepts of the book, so don't worry if you can't come up with much at this point.

Subplot threads

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ubplots function as secondary plots. They typically contrast or run parallel to the main plot. They can also function outside the realm of the main plot, existing largely to provide a change of scene, emotion or tone. These threads should work in harmony to effectively develop both character and plot. Each will depend on the others as the novel comes to a close.

Subplots can range from health conditions and financial worries to physical or mental conclusions a character must reach. They might be returning home after a family member dies, or changing career, for example. In all cases it should be clear to readers how the subplots connect with the main story goal.

How many of these subplot threads you include depends on the length and complexity of your novel. Remember that you will have to give regular attention to all of your subplots. Even with a complex plot line, you never want to leave any of your threads for too long. You want to generate tension in the reader – not forgetfulness and frustration.

At times, events in your story will cause some of your subplot threads to merge. This is perfectly acceptable. In fact, in some ways it's desirable. You want your threads to mesh to the point that you've created a net your characters won't easily find their way out of. If your characters can't see a way out, neither will your reader.

The subplot section on your plot sketch worksheet may prove to be the hardest for you to fill out simply because most stories have several subplots working together with the story goal. For now, write what comes to you, even if it's only a few words under each subplot number. Don't worry about putting the threads in order of importance.

Plot tension

Plot tension is essential, whatever the genre. This kind of tension is anything that brings the reader to a fever pitch of anticipation. A story without plot tension leaves the reader uninvolved and unemotional.

Plot tension is extremely tricky to achieve and sustain. You need to bring readers to the snapping point and only then give them what they want—temporarily. You can tease the reader by snatching a resolution away just as it seems the tension is about to break, but don't do this too often. If you grab resolution out of the reader's hands too many times, you may lose them. On the other hand, if you give the reader what they want too soon, you take away their motivation to keep reading.

Release

A release is an easement of plot tension. In a mystery, a release might take the form of one aspect of the main problem being resolved. In a romantic subplot, a release could be a declaration of feelings. The final words in a story should also produce a release that satisfies the reader and makes them long to revisit the story again, even if only in their minds.

Downtime

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Downtime is a form of release, but it happens during a time of incredible tension. It should be one of the most poignant scenes in your novel. During downtime, which comes at the end of the middle section of the book, the main character may step back from th

the action and reflect on what happily-ever-after could have been (if not for all the obstacles you put in his/her way). For a time, the main character may also believe that the story goal is unachievable, and he/she may seem to give up the fight.

The reader is led to an even higher level of anticipation because of downtime. It functions as a temporary respite from the extreme tension the plot is creating.

Following downtime, your character will again realise that he/she must act, and will find a new way to attempt resolution. This new plan of action will be a final, desperate attempt to reach the story goal, and the ground won't feel at all solid as he/she moves forward.

In some cases, your character will decide to act because the stakes of the conflict are again raised – danger is near and he/she must move forward, whether he/she wants to or not. This episode will propel the story to the next level.

In nearly every situation, downtime must be followed with a black moment. Downtime releases the tension for a short period, and that tension must be built back up quickly or you risk losing your reader.

Black moment

The black moment in the story is commonly referred to as the climax of the book. The worst of all horrors is happening, or has happened, and the main characters (as well as the reader) are now thoroughly convinced the future will never be happy. The black moment, which occurs in the first part of the end section of the book (when tension is at its highest), leaves the reader and the characters wondering whether evil will overcome good.

Resolution

The resolution – or denouement – of a story comes after the climax, when the story's main problems have been resolved. This is your chance to provide satisfying conclusions for your subplot threads. The resolutions for the long-term story threads should be relatively clean, but subplot thread resolutions may be more awkward.

Nevertheless, these loose ends need to be tied up. If your reader is left wondering about dangling plot threads, then your novel has not come to a satisfactory end. You, as the writer, must fulfil the underlying promise of a logical, acceptable conclusion, even if it isn't a happy one.

Weaving threads into your plot sketch

As you're puzzling out your outline, keep all your plot threads in mind – they'll come up again and again. Once you've added detail and depth to your outline and developed your story, the threads should become almost invisible. They'll become wonderfully cohesive and solid. Without foundation, your story would either melt into a puddle on the floor or fall flat on its face. With a cohesive structure, your story can breathe, walk, talk and live all by itself.

Go into as much detail as possible on your plot sketch, but keep in mind that your first effort will be light on details. Don't worry. Over the next 27 days, it will grow significantly.