Resolving Plot Holes

[Kalipso]

Probably a silly question, but does anyone else struggle with figuring out a way to fill in plot holes? I feel like I'm never able to find a satisfying way to resolve them.

I bring this up because I was trying to figure out a way for my MC to have unknowingly been frozen in time for hundreds of years as a baby. For the past couple of weeks, I've been trying to figure out a way to make magic somehow able to freeze time without it being abused by everyone else in the story. Then it hit me a few minutes ago that the whole "time freezing" thing is just... really dumb. And I only came up with it to try and fill another plot hole! I've also realized that it happens to me quite frequently where I make plot holes that have literally no chance of being filled. Now I have to start from scratch with that whole plot point. Of course, this is all part of the process but it's really annoying, LOL.

If anyone else finds themself with frequent plot holes, how long does it usually take for you to resolve them? And how do you go about finding ways to resolve them? I'm thinking I maybe failed to properly build the world and now I'm left with inconsistencies.

 

[ThinkerX]

The MC travels centuries into the future as an infant.

First question: Why is this necessary? Is it a Bloodline/inheritance issue? If so, consider the 'secret family' option.

If traveling into the future is needed, then use the 'action by an unknown entity' ploy. That entity could intervene in other situations.

 

[Kalipso]

The MC travels centuries into the future as an infant.

First question: Why is this necessary? Is it a Bloodline/inheritance issue? If so, consider the 'secret family' option.

If traveling into the future is needed, then use the 'action by an unknown entity' ploy. That entity could intervene in other situations.

Thanks for the tips!

I actually really like your idea of having them intervene in other situations so that it doesn’t come off as super random! Thank you; I will definitely be working that into the story!

 

[Mothyards]

Unfortunately, when I get into a similar spot I end up having to decide what to ax and what to keep. As hard as it can be to toss ideas you like, some pruning can do wonders for story, plot, development etc. And trust me, I have stories I've been mulling over for many years, and deciding that cutting something is healthy for my stories is a hard decision.

I think you might find it helpful to ask yourself why this point is important, does it help the overall narrative and themes? Though it sounds as though this plot point stemmed from another so it might be more helpful to look at that one first, maybe rework it a bit, or even decide if its needed. You could also shift your story around the point, if you think the time freeze shenanigans are that important, you might want to look at the rest of the story to see what you can move to make it work. Of course that comes with similar issues as well as that moving the rest of your story for a specific point can look bad from the outside if not done correctly.

 

[Mad Swede]

I rarely end up with plot holes, and that's because I think the story through before I write it. With that written, in your situation I'd take a few steps back and ask myself a few questions (the sort of questions I ask myself before I write anything).

First, why is it necessary for the protagonist to go forward in time as an infant? Who, whom or what else does this benefit? That second question is important, because if there is someone/something who benefits then perhaps they have arranged this, in which case you now have a wider overarching story arc to consider.

Next, the mechanisms for the time stop. Here I would always assume that whoever set this up is using techniques from those hundreds of years in the future. That means that the time stop doesn't have to be realistic for the point where it starts, and also that I don't necessarily need to go into the details of the how. Although you could always use some weird crystal structure in some hidden cave, or some odd time dilation which no-one else can see. What you do need to consider is how the disappearance of this infant is covered up at the time, and this is because it should have some consequences when the child turns up later. After all, someone is eventually going to notice and ask a few questions (think here of Jones back story in Gunnerkrigg Court).

Third, back to the question of the someone/something who arranged for the time freeze. What is their motivation for this and how does it impact on others? Does the infant (later adult) protagonist ever have any interaction with them, and what does this mean for the protagonist? There's room here for quite a complex development in the relationship which might add some real depth to the story. This other being's motivations and actions should also form their own story arc, and could be used to set a wider context for the story as a whole.

And finally, if you can't think of a good reason for someone to freeze time for this infant then you should probably chop the whole idea and rethink the plot.

 

[Penpilot]

Yeah, I do this sometimes, but it's become less of an issue since I started to really outline in-depth.

Not to say it doesn't happen, but one of the thing I try to keep in mind is to keep things simple. As soon as the solutions start to become convoluted, I take a step back and reevaluate. I usually end up stripping everything away until it's bare bones and rebuild the plot or the whatever.

 

[Kalipso]

Unfortunately, when I get into a similar spot I end up having to decide what to ax and what to keep. As hard as it can be to toss ideas you like, some pruning can do wonders for story, plot, development etc. And trust me, I have stories I've been mulling over for many years, and deciding that cutting something is healthy for my stories is a hard decision.

I think you might find it helpful to ask yourself why this point is important, does it help the overall narrative and themes? Though it sounds as though this plot point stemmed from another so it might be more helpful to look at that one first, maybe rework it a bit, or even decide if its needed. You could also shift your story around the point, if you think the time freeze shenanigans are that important, you might want to look at the rest of the story to see what you can move to make it work. Of course that comes with similar issues as well as that moving the rest of your story for a specific point can look bad from the outside if not done correctly.

Thanks for the reply! You're right that axing stuff always feels like crap, and I think that's what I am mainly struggling with, lol. I just don't want to feel like I wasted all my time trying to work around this just to realize, "Welp... Guess it was pointless." I'll do what you said and ask myself why this plot point is important.

I rarely end up with plot holes, and that's because I think the story through before I write it. With that written, in your situation I'd take a few steps back and ask myself a few questions (the sort of questions I ask myself before I write anything).

First, why is it necessary for the protagonist to go forward in time as an infant? Who, whom or what else does this benefit? That second question is important, because if there is someone/something who benefits then perhaps they have arranged this, in which case you now have a wider overarching story arc to consider.

Next, the mechanisms for the time stop. Here I would always assume that whoever set this up is using techniques from those hundreds of years in the future. That means that the time stop doesn't have to be realistic for the point where it starts, and also that I don't necessarily need to go into the details of the how. Although you could always use some weird crystal structure in some hidden cave, or some odd time dilation which no-one else can see. What you do need to consider is how the disappearance of this infant is covered up at the time, and this is because it should have some consequences when the child turns up later. After all, someone is eventually going to notice and ask a few questions (think here of Jones back story in Gunnerkrigg Court).

Third, back to the question of the someone/something who arranged for the time freeze. What is their motivation for this and how does it impact on others? Does the infant (later adult) protagonist ever have any interaction with them, and what does this mean for the protagonist? There's room here for quite a complex development in the relationship which might add some real depth to the story. This other being's motivations and actions should also form their own story arc, and could be used to set a wider context for the story as a whole.

And finally, if you can't think of a good reason for someone to freeze time for this infant then you should probably chop the whole idea and rethink the plot.

You bring up some really good points. The funny part is that I haven't even started writing yet and I'm kind of screwing myself over before I can even get there. (Actually, I wrote one scene to scratch my writing itch, but it was only a couple hundred words.) I like your idea of having it be unrealistic to start with and explaining it later. Will definitely look into it.

Yeah, I do this sometimes, but it's become less of an issue since I started to really outline in-depth.

Not to say it doesn't happen, but one of the thing I try to keep in mind is to keep things simple. As soon as the solutions start to become convoluted, I take a step back and reevaluate. I usually end up stripping everything away until it's bare bones and rebuild the plot or the whatever.

You're much better than me, LOL! I've always had this awful habit where I just want to rush into the actual story. But this time, I'm going to try and outline everything before I write anything of substance. This is my first project of such a length, so I'm still figuring out how to pace myself.

 

[Penpilot]

You're much better than me, LOL! I've always had this awful habit where I just want to rush into the actual story. But this time, I'm going to try and outline everything before I write anything of substance. This is my first project of such a length, so I'm still figuring out how to pace myself.

Definitely not better. I just have a few more scars from falling on my face. Sometimes we have to learn the hard way.

 

[dollyt8]

Probably a silly question, but does anyone else struggle with figuring out a way to fill in plot holes? I feel like I'm never able to find a satisfying way to resolve them.

I bring this up because I was trying to figure out a way for my MC to have unknowingly been frozen in time for hundreds of years as a baby. For the past couple of weeks, I've been trying to figure out a way to make magic somehow able to freeze time without it being abused by everyone else in the story. Then it hit me a few minutes ago that the whole "time freezing" thing is just... really dumb. And I only came up with it to try and fill another plot hole! I've also realized that it happens to me quite frequently where I make plot holes that have literally no chance of being filled. Now I have to start from scratch with that whole plot point. Of course, this is all part of the process but it's really annoying, LOL.

If anyone else finds themself with frequent plot holes, how long does it usually take for you to resolve them? And how do you go about finding ways to resolve them? I'm thinking I maybe failed to properly build the world and now I'm left with inconsistencies.

This absolutely happens to me all the time! The funny thing was, Loyalty Fallen, my current novel series, originally didn't have any magic in it. It did, however, have a lot of plot holes. When I finally brought magic into the story, it helped me solve some of the plot holes in ways I hadn't even considered. For example, there's a scene in which the characters need to escape from a castle. In the original story, they escape basically because the guards are incompetent - painfully and unrealistically so. In the final version, they escape because one of the characters is an unusually powerful and talented mage and she is successful in creating a massive diversion that wouldn't have really worked apart from the magical element. There were plenty of other examples as well.

I think the best way to prevent plot holes far into your story is by outlining the entire story from start to finish with all the main plot points. If you're the type of person who hates doing this, I get it, but at the same time, you're less likely to catch major plot points early on. I've had a much easier time with the concept for my latest novel, Ashbranded, than I did the early concept for Loyalty Fallen, because I did a great deal more outlining. With Loyalty Fallen I had a "I'll figure it out when I get there" attitude that didn't really end up working well. It took way more time to resolve plot points as a result.

Another thing that might help is thinking in terms of writing your prequel first. You don't necessarily have to write the whole thing, but for example I had one story that started off with the protagonist being an energy being who was frozen in time for centuries. I think the reason for being frozen for centuries was decently well developed, though, because I wrote a short "prequel" story that outlined exactly how and why he got there. If you're curious, you can find it here (just read the description for the artwork). Insurgent by dollyt8 on DeviantArt The point is, the more excited you can get about that 'prequel' story and the more you develop it, the less you'll find yourself struggling when it comes to figuring out your main story.

Also I don't know how you feel about the use of AI, but it is a lifesaver for outlining. I don't like writing actual books or even a single paragraph with AI because it feels so fake, but if you're just trying to get your ideas into a decent, well-ordered format, ChatGPT is the absolute best in my experience. You can get from scattered ideas to a very well-written outline in minutes. And bounce ideas off it to ask about how to fill plot points as well. It gives surprisingly good suggestions sometimes.

 

[Kalipso]

This absolutely happens to me all the time! The funny thing was, Loyalty Fallen, my current novel series, originally didn't have any magic in it. It did, however, have a lot of plot holes. When I finally brought magic into the story, it helped me solve some of the plot holes in ways I hadn't even considered. For example, there's a scene in which the characters need to escape from a castle. In the original story, they escape basically because the guards are incompetent - painfully and unrealistically so. In the final version, they escape because one of the characters is an unusually powerful and talented mage and she is successful in creating a massive diversion that wouldn't have really worked apart from the magical element. There were plenty of other examples as well.

I think the best way to prevent plot holes far into your story is by outlining the entire story from start to finish with all the main plot points. If you're the type of person who hates doing this, I get it, but at the same time, you're less likely to catch major plot points early on. I've had a much easier time with the concept for my latest novel, Ashbranded, than I did the early concept for Loyalty Fallen, because I did a great deal more outlining. With Loyalty Fallen I had a "I'll figure it out when I get there" attitude that didn't really end up working well. It took way more time to resolve plot points as a result.

Another thing that might help is thinking in terms of writing your prequel first. You don't necessarily have to write the whole thing, but for example I had one story that started off with the protagonist being an energy being who was frozen in time for centuries. I think the reason for being frozen for centuries was decently well developed, though, because I wrote a short "prequel" story that outlined exactly how and why he got there. If you're curious, you can find it here (just read the description for the artwork). Insurgent by dollyt8 on DeviantArt The point is, the more excited you can get about that 'prequel' story and the more you develop it, the less you'll find yourself struggling when it comes to figuring out your main story.

Also I don't know how you feel about the use of AI, but it is a lifesaver for outlining. I don't like writing actual books or even a single paragraph with AI because it feels so fake, but if you're just trying to get your ideas into a decent, well-ordered format, ChatGPT is the absolute best in my experience. You can get from scattered ideas to a very well-written outline in minutes. And bounce ideas off it to ask about how to fill plot points as well. It gives surprisingly good suggestions sometimes.

Thank you for such a detailed reply. I'll definitely look into trying out a prequel. I'm still in the plotting stages for my current story, but the plot hole still exists in my outline--I just need to find a way to find a resolution! I'm thinking of talking it out with a friend to see if that will help at all.

Overall, I don't really like using ChatGPT, but I have tried it out before. I just feel more accomplished when the ideas are entirely my own. However, I'm glad it's been a useful tool for you. AI is best when it's used to help create, not to create something on its own.

 

[JBCrowson]

I write in two ways combined as I have, as you describe, an urge to jump in and start blasting words at the page like i'm in a zombie apocalypse armed only with a keyboard activated shotgun.

So I write out the big things that have to happen e.g. my MC has to become apprentice to some old professor guy; his girlfriend has to get chosen to be the annual sacrifice to the local deity; they all have to escape and leave before returning to deal with the bad guys (gal). Since its a series I added the link to the next book - they try to help some people they meet, and by accident release something that REALLY should have stayed locked up. With that bare bones I started writing scenes for those 'must happens'. When I'd done those scenes I looked at "what would lead my characters to do the things they just did". The answers to those questions made for a bunch more scenes, so the story grew out from those few starting nodes, until the sections linked up into a whole. Kind of like bacterial colonies on a petrie dish, but less likely to cause gangrene.

It means the scenes only get written if they're really relevant to the main plotline, and they're a mix of action and sequel based scenes from the get go, all of which I find works for me.

 

[pmmg]

Probably a silly question, but does anyone else struggle with figuring out a way to fill in plot holes? I feel like I'm never able to find a satisfying way to resolve them.

My answer to this is to write it ugly. Get to the end, and then with knowledge of how it all goes, go back and make it pretty.

My own experience with this is that during the process, the answer usually appears and what to do becomes clear.


I bring this up because I was trying to figure out a way for my MC to have unknowingly been frozen in time for hundreds of years as a baby. For the past couple of weeks, I've been trying to figure out a way to make magic somehow able to freeze time without it being abused by everyone else in the story. Then it hit me a few minutes ago that the whole "time freezing" thing is just... really dumb. And I only came up with it to try and fill another plot hole! I've also realized that it happens to me quite frequently where I make plot holes that have literally no chance of being filled. Now I have to start from scratch with that whole plot point. Of course, this is all part of the process but it's really annoying, LOL.


Are you looking for what to do about the Time Freezing?

And I only came up with it to try and fill another plot hole!

What was the plot hole that made you add the time freezing to fix it originally? Maybe if we address that, the need for this will go away.



If anyone else finds themself with frequent plot holes, how long does it usually take for you to resolve them? And how do you go about finding ways to resolve them? I'm thinking I maybe failed to properly build the world and now I'm left with inconsistencies.

I wont teach you to use AI. You will be on your own for that. For that, I will steer people back to my abyss comment.

For myself, this does not really come up too often, as I pretty much have the story in my head. But I wont say it never does. My usual correction for this, if its really important, is to let it stand, and show an explanation for it in a future scene or book.

But for some, If they become too much of a problem, I may just go back and surgically remove, and create a different thing that happened instead, and then sew the story back together. One plot hole, I sort of had, was along the lines of Tolkien's eagles--why didn't they just fly the eagles to mount doom? Well, for me, it was why didn't so and so heal so and so...they had the ability. Rather than fix this, I let is stand, and had the villain use it as a weapon, asking the injured character directly, why didn't so and so heal you? And wrestling with that answer has caused a lot of mistrust and soul searching in the story. So...it is a hole, but its also material for the character.

I would not call this a problem with world building, I'd call it a problem of the story. But...as Bob Ross would say, there are no mistakes, just happy accidents. So...things may seem off when first they are written, but in time, they may spur something even cooler in the story--or make you come up with a better triggering event.

How long? I dont know. I've had some story problems I've lived with for 20 years. But...they weren't plot holes. Generally, when I am doing the rewrite, I am fixing all the plot holes, and it takes me a year or so to create the novel...so....maybe a little more than a year.

 

[Prince of Spires]

I think most plotholes are some form of gap in logical thinking on the side of the characters. It's often if "X, then why not Y".

There are 3 common solutions:
- Have the character actually do Y and see where that takes your story. If your characters simply would have talked to each other, then they wouldn't have run into the trap. Okay, now they do talk to each other. You can have them either not believe each other (which adds character conflict and depth), or you can have them avoid the trap and have something else happen instead, or you can have the bad-guys anticipate this and the actual trap turns out to be different.
- Hang a lampshade on it. This is what PMMG mentioned. Just have one character ask the other "why didn't you heal him". And then give an explanation. Or even do it without the explanation and just point it out to the reader. Just go with "Hey, I didn't know we had a haunted castle in our little village." and then move on.
- Come up with an explanation why Y doesn't apply in this situation. In 1.000 years, they simply forgot how to time-freeze people. It was never widely known and the person who invented it took the secret with him to his grave. Easy enough. Or you don't even have to explain it to the reader. Just have the other characters be surprised to find someone time-frozen because that shouldn't be possible. And just never make a point of why it happened only once.

For this last option, look at Avatar the Last Airbender. There we have a character frozen in time for 100 years. People have no idea how or why it works, other than "avatar magic". But it's not a plot-point other than that it kicks off the setting. So it's not a big deal and I don't think anyone has worried about it or what it implies.

 

[Insolent Lad]

Typically, when someone points out a plot hole (or what they take as a plot hole) to me, it is a matter of my not giving a good enough explanation of why things happen the way they do. Taking it for granted that the reader gets ones thought processes is usually a mistake.