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THANK YOU SO MUCH I've been needing something like this to put plot stuff clearly into something tangible from the messy bits of plot knowledge all over my brain
3hks' Guide to Plot (2024)
Alright guys... Here's a big one! These are MY personal thoughts on how to create and write plot. As time continues, I'm positive that some of these things will change, which is why I included "(2024)" in the title! Let's start with some of the basics and definitions, shall we? Hint: you probably want to see the last tip!
~PLOT STRUCTURE~
For 99.9% of novels, they follow a similar--if not the same plot structure--so let's take a look at them chronologically!
>>> Exposition: The beginning of the story, the starting characters, settings, relationships, and ideas are established. This is meant to give the reader a basic sense of the story.
>>> Inciting Incident (initial conflict): This is what sparks the conflict. The characters themselves may not realize it, but this event ultimately changes the whole course of the plot! (This may not always be before the rising action.)
>>> Rising Action: The GOOD stuff starts here! More introductions, more development, more action! Tension builds as the story continues.
>>> Climax: The climax is NOT equivalent to the conflict. The climax is the most exciting or tensest part of the story. The protagonist often is forced into making a difficult decision, whether it be self-inflicted or by another character's hand.
>>> Falling Action: The climax has ended, and things are coming to an end! The falling action is always shorter than the rising action, because there isn't much to introduce, and the characters are simply rolling through the consequences (good or bad) of their previous actions.
>>> Resolution: This is the end of the story. Many people will tell you to tie all the knots together during this part, but it's ultimately up to you! However, there should be some sort of ending to provide closure, at the very least. The conflict should also be resolved (hence the name).
Let's look at the diagram itself! (I'm using Freytag's pyramid because it's well-known. Thank you Writer's Hive for the image!)
~CONFLICT~
Alright, let's talk about the types of conflict real quick!
Character v.s Character: This is your typical conflict, where there are two opposing characters struggling against each other.
Character v.s Self: This is a less common conflict that takes place within the character's mind. (Examples: Self-doubt, decision making, moral dilemma, etc.)
Character v.s Society: This is a conflict between a character (or even a small group of characters) struggling against a larger, typically oppressive society as a whole.
Character v.s. Nature: Just like in the name, this is a character against a force of nature: a tornado, storm, flood, etc.
Character v.s Supernatural: Simply put, this is just a character struggling against a supernatural force.
While knowing and being able to identify the different conflicts doesn't necessarily help you write, it's important to understand what your character is battling against in order to build the conflict.
~BUILDING THE ARCS~
If you watch a lot of shows or movies, you're probably familiar with the term "arc," which is just another way to say plot or subplot, depending on your story.
When writing plot, you want to have a MAIN or LEADING ARC. This is your character's goal that's usually established at the exposition. However, there is usually more to add so your storyline isn't too one-dimensional. These are more arcs or subplots that simply branch out. In a way, it's meant to slow the plot down and add more content while still advancing the story.
So yeah, subplots are able to assist in slowing down the story but they need to help advance the main arc.
This can be done by simply connecting the two--making sure that both of them are at least relevant to one another.
Here's an example! Let's look at HunterxHunter (Yoshihiro Togashi)
The main character, Gon, has a goal to locate his father. This is what HunterxHunter is mainly about. The leading arc, main plot, etc.
It's incredibly simple and straightforward, but it's not that easy.
Along the way, you see different problems arise, creating more subtle and smaller arcs. For instance, there's the Yorknew arc, the Greed Island arc, and the Chimera Ant arc.
The focus of those arcs aren't necessarily for Gon to find his dad. As a matter of fact, his objective is kind of an afterthought in the presence of these subplots. Still, they are connected to Gon's objective and push the story!
See how modest the main plot is? It does not have to be the world's most complex storyline.
Your protagonist's goal is the leading arc, and things just get in the way of it.
Keep this in mind and it may actually help you design your plot events!
~KEY POINTS~
Character introductions: By the end of the rising action, you want most of your characters to have been introduced. This may vary for some certain scenarios, but logically, most characters are going to be involved in the climax, so they must be introduced beforehand.
Environment: Your character will typically start out with a set view of their society, world, and people. Through your developing plot, there should be some changes in their view. What they believe is true could prove to be false.
Triumphs and losses: Sometimes, your character needs to win, and sometimes, they need to lose. This adds a sense of naturalness (not everyone gets what they want) and aids your character development. There are times when a loss is actually the foundation of the exposition! (Wink-wink, nudge-nudge)
~WHERE TO PLACE "THAT SCENE"~
Here's a pretty big one! As writers, we often have just "that scene" pictured out in our minds--it's absolute perfection and a REAL piece of art.
But where are we going to insert it?
If it's not too important, there are three places I suggest! 1. The exposition, 2. the rising action, 3. the falling action.
If your moment is able to introduce a relationship, character, or setting, the exposition is the way to go. If it can build on the three things I listed AND may have a part in the conflict and/or climax, then rising action it is! If it's somewhere in between and somewhere else, then try falling action!
And it can even be the inciting incident if begins the conflict!
Resolution is also a possibility, but because it's near the end, your scene may have less impact than you want. However, if you're still into that idea, then I suggest placing it at the very end! (You'll just need a lot of patience to get through your whole story just for that part, though lol.)
The most important part is to understand what the moment can contribute to the plot, because then you'll have a much better idea of whether you should place it closer to the climax or further away!
Did this help? Let me know!
Happy writing~
3hks <3
#writing#writeblr#writerscommunity#writing tips#creative writing#writing inspo#writing advice#writing plot#how to write plot#tips for writing plot#advice for writing plot#tips on how to write plot#advice on how to write plot
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Steps to Write Compelling Plot Twists
1. Plan the Twist Early
Decide the Purpose: Determine how the twist advances the story or challenges the characters.
Foreshadow Strategically: Seed subtle clues throughout the narrative that hint at the twist without giving it away.
2. Build Tension and Expectations
Create a Red Herring: Introduce elements that mislead the audience into expecting a different outcome.
Heighten Stakes: Ensure the events leading up to the twist are emotionally engaging and meaningful.
3. Deliver the Twist Impactfully
Time it Right: Place the twist at a moment of high tension or when it feels least expected but still logical.
Use Reversal or Revelation: Employ one of two main twist types:
Reversal: A situation is the opposite of what the audience believed.
Revelation: New information changes the context of prior events.
4. Maintain Credibility
Anchor in Logic: Ensure the twist is believable within the story’s world and doesn’t feel contrived.
Align with Characters: Make sure the twist fits with established character motivations and actions.
5. Reflect the Impact
Affect the Narrative: Show how the twist changes the story’s direction or character dynamics.
Re-examine Earlier Clues: Allow the audience to realize how the twist was set up through earlier hints.
Examples of Plot Twists in Films and Books
1. Film Examples
The Sixth Sense: The revelation that Dr. Malcolm Crowe is dead reframes the entire story and previous interactions.
Fight Club: The twist that Tyler Durden and the narrator are the same person shocks the audience and redefines the plot.
Parasite: The discovery of the secret bunker adds unexpected layers of tension and tragedy.
2. Book Examples
Gone Girl by Gillian Flynn: Amy's manipulation and fake disappearance drastically shift the narrative’s direction.
And Then There Were None by Agatha Christie: The reveal of the murderer’s identity ties all the deaths to a chilling plan.
Harry Potter and the Prisoner of Azkaban by J.K. Rowling: The twist that Sirius Black is not the villain but Harry’s ally surprises and deepens the story.
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sometimes the best writing happens when you stop overthinking and just let the words flow
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How are literary and Commercial Stories Different?
Literary plots are meant to explore a specific theme/convey a message to the reader.
Literary plots can be slow paced.
Literary plots can have different types of endings.
Commercial plots are meant to entertain.
Commerical plots are fast-paced.
Commercial plots must almost always have a happy ending.
For Literary Plots:
detailed characterization: authors explore the inner change and development of the character (which means the external action is going to be slower paced)
use of metaphors, symbols, and presentation of ideas in a way that requires analysis
aims to deliver a message or moral
On the other hand, Commercial Plots:
fast-paced and action oriented, delivers highly emotional scenes so entice the reader rather than ambiguous writing
uses intuitive language, setting and tropes to help readers immerse in the story world quickly
often, the stakes are a lot higher
the ending needs to provide a sense of satisfaction for the readers. Otherwise, they might not feel compensated for all the time they invested in reading.
If you like my blog, buy me a coffee! ☕
Reference: <Write Great Fiction: Plot and Structure (techniques and exercises for craftin a plot that grips readers from start to finish)> by James Scott Bell
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Writing Advice: How To Write A Tight Story!!!
You are trying to write a story :D
BUT! The characters just feel so disconnected from each other that at this point they come from different genres. The plot lines just seem to be weaving less of a beautiful tapestry and more of a hairball. Nothing seems to be going together.
but fear not, for I am going to be giving advice today on how to connect your characters and plot thematically!
Today, we are pulling out our tool box and breaking out themes, motifs, and great writer shit!
A) Character Design :D
The trick to character design is to make everyone unique enough that they stand apart from eachother but cohesive enough you can look at them and say "yeah".
A trick that I use is to ground them in ~realism~
If your characters live in a cold weather, then obviously they're going to wear clothing that protects them from the cold. Now, there are circumstances that might permit your character to wear non-cold appropriate clothing like superpowers or species-related stuff but just grounding your characters into the setting and just saying "what would they need?" can just do amazing things for your characters.
Other things that cohesive-fy your characters is sharing a fundamental aesthetic but then having different branches of of these aesthetics. These aesthetics tend to also come with the setting!
Sci-Fi = Futuristic (Solarpunk, Cyberpunk, Cyberpop, Oceanpunk)
Fantasy = Nature (cottagecore, ravencore, dragoncore, etc.)
Slice of Life = Mundane Cozy (Academia, Clean Girl, Casual)
You get the point. Even the social outcasts will be using the same materials as the in-crowd uses, unless it's specialized material. The difference is in how they wear it. A social outcast's Sci-Fi outfit will probably be a bit tattered. A bit dystopian maybe. But it's still Sci-Fi!
Two characters can wear a crop top of the same material and still seem distinct enough if their backstories have them being distinct.
Differentiating characters is pretty easy. Have them share the same overall type of stuff and let the details weave the story.
B) Plot Lines
Look, there is no easy way to say this but you probably need to cut out some parts of your story.
Let me tell you, a plot is a summary of all of it's subplots. The goal of a subplot is to gradually build up these elements whether it be character arcs, character relationships and all that good shit so it can light a bigger fire.
It's just like a bonfire. The characters are the spark, the subplots are the logs, and the plot is the fire.
Ask yourself this:
Is there a way I can incorperate this character arc into a grander action-focused plot where I actively demonstrate this character's change?
Is there a way I can morph two subplots together so I can get both the benefits and the lessen load?
Is there a way I can give character responsibilities onto the well-developed characters I already have instead of just making new ones?
All of these questions can help chop off some of the bad filler that is weighing your story down. And also give your story a bit more breathing room so you can have all of those important quiet moments.
C) Themes :D
Let me tell you, having themes just makes my story that much more cohesive. It feels like there is this overarching tie between all of my characters that just makes the story feel that much more well-thoughtout.
A good example of characters being reflective of the overall theme of the show is "The World God Only Knows"! It's a harem anime that genuinely feels very well-thoughtout with the comedic dating sim parody elements and the deeper message about the fight with reality both bouncing off of each other.
It feels like a world wear the characters and the theme are both gently rocking the worldbuilding and story together.
Having themes allows me to identify potential character flaws within my cast, develop characters that I didn't really have an idea about, and the overall worldbuilding of the WIP.
Overall, my themes tend to read more like central ideas. It's less about a moral message in my opinion but an explanation.
Some of my lastest themes are:
" the horrors of love and understanding"
" the alienation of being not human in a world of humans"
"the burden of being forced into selflessness"
"the desire to no longer exist"
"the fantasy of controlling reality"
"the limitations of instinct"
I'll give you a quick summary of how each different theme impacted the characters and the storyline :D
"the horrors of love and understanding" inspired the storyline of being smothered in a Hive Mind and the desire to not be an individual anymore since it's so lonely being singular. It developed my main characters extensively.
"the alienation of being not human" was definitely uplifted by the fact that this is a superhero story about literal non-humans who may look and sometimes act human but will always be eternally aware of the chasm. It shaped my protagonists extensively.
"the burden of selflessness" inspired the motivation behind why Yituing became a villain. It also serves as the mantra for Nonkosi's character arc. The theme was eventually developed into a commentary on the Strong Black Woman
"the desire to not longer exist" was uplifted with heavy religious symbolism. This was demonstrated through an angel trying to use empathy as a way of self-imploding and an ex-pastor using invisibility to try and drive themself away from humanity.
"the fantasy of controllin reality" was developed in an isekai setting which definitely drove home the theme of literally escaping the necessary evils of reality for the simplicity of fantasy. All of the characters are inspired off of motivations protagonists tend to have which ultimately boiled down to a desire for control.
"the limitations of instinct" was a crtique on the argument that what's natural is somehow better. The main protagonists work with their instinctual existences with Nariman lacking in empathy and Hetrunmeass being an android who can literally turn off their feelings at any moment. They grow beyond who they were. They still are what they are but they are also something more.
#writers block#creative writing#writer#writers#writing#writing life#writing community#writeblr#how to write#writers life#writing inspiration#writing advice#on writing#writing themes#themes#writers on tumblr#writerscommunity#wip#my wips#writers and poets#writing plot#fiction writing#plotting
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on plotting: the rule of three
what is it?
about the rule
other people might call it something different, but for me, the rule of three in fiction writing is a foreshadowing tool. to persuade your audience of something and make a twist or story element feel earned, you hint at it at least three times.
things are appealing in sets of three. if something happens once, it’s random, twice is coincidence, and three times is a pattern.
a brief guide
on using the rule
use showing over telling. the whole point of this rule is to convince your reader of something, and unfortunately you can’t “trust me bro” your way into establishing key information.
look into types of foreshadowing. you can call attention to these scenes using strategies like symbolism or irregular description, in which you call unusual attention to a seemingly insignificant detail.
let’s say you want to convey that a specific character is untrustworthy. let’s break this down into three scenes.
first, let’s say we catch this character sneaking out after they said they were going to bed. this raises questions of why they lied and what they’re actually doing. using a direct scene like this first will alert the reader and make them more likely to notice less obvious information later on.
second, we maybe include a scene where they directly contradict something they said earlier. it helps if it’s a minor detail that wouldn’t make much sense to lie about, such as their birthday.
the third scene is the one that should cement this item in your readers’ minds. maybe this scene is a step above the others; maybe this time, the character tries to pit everyone else against each other. maybe they steal or participate in a much bigger lie.
if you’re building up to a betrayal, this can either be the betrayal itself or the scene directly before.
use this rule in moderation. if you bring up something too many times without solidifying it, the story risks becoming repetitive.
brainstorm, create brief outlines of the scenes you want to include, and then decide where in the story these scenes should go.
when i’m using the rule of three to revise, i create a list of all the scenes and chapters i currently have and tack the new scenes on as sticky notes where i see fit.
this may be a bit excessive.
instead, you might consider creating a rough outline of the plot or plots you want to write and jotting down a list of scenes according to where in each arc they should fall, or simply having a document or notepad where you write down ideas.
in action
media examples
the hunger games. the poisonous plant nightlock is specifically mentioned three times, once in the capitol and twice during the games, before it is used for a major plot point.
the karate kid. the crane kick technique is introduced early on, and there are scenes where the main character specifically practices his crane kick before it wins him the match at the end of the film.
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thanks for reading! hope this was helpful :)
tip jar | so what even is radio apocalypse?
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i’ve lowkey just outlined my first ever multi chapter fic idea and im actually so scared bc one of two things could happen here:
1) i never write it bc i can’t handle all that and i start spiraling.
2) i write it and i start spiraling bc i can’t handle all that.
which one is less self destructive
#i’m like very into the plot i’ve come up with#like very (help)#but will i lose my mind writing a whole convulated fic ? uh probably#i’d lowkey love some advice on how to go about this#bc id love to actually give this a shot#acotar#fandiction#writers#i’m making it sound more serious than it is#like it is#but is it
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ima say something controversial but not brave. the problem with writing around tropes is a lack of payoff. for example, the one bed happens because of the plot itself and the bonus is building the romantic subplot tension. the story does not revolve around trying to reach the tropes. tropes are the filler, they are the spaces between the major beats which deepen the whole tapestry.
#lenee is yapping#on writing#creative writing#writing#writing advice#writing process#The current trend in publishing with marketing and writing everything around tropes misses the point of why the tropes exist and get people#Excited#like#the media these tropes originated with only had them sprinkled throughout as a device to help get#the relationships to certain points#but the wider overarching plot takes the forefront#when ur focused on how many self indulgent tropes and dynamics you can sell#you’re not making something substantial#it’s the writing equivalent of filling up on candy and not having any dinner
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This-is-trash phase
Don’t worry if you think your writing is terrible. That’s what editing is for. In fact, every masterpiece has probably been through at least one 'this is trash' phase before becoming great. Consider your trash phase character-building for both you and your story.
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If You Don't Know These Two Plot Points... You Don't Know The Story - Steve Harper
Watch the video interview on YouTube here.
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Writing Problem: The Ending Is Completely Anti-Climactic
Problem: The Ending Is Completely Anti-Climactic
Solution: Endings can be dramatic. Endings can be a little ambiguous. Endings can be bittersweet. Endings can be simple surprises. Endings can be unique and unresolved. Endings can reverse motives, reverse perspectives, or reverse fortunes. Endings can be complex webs that tie up every single loose end. Whatever the author's preference, endings shouldn't read as if the last 10 pages were cut off.
But knowing how to end a story is not an isolated challenge. To end a story properly and effectively, the author must know how the story begins, how its characters evolve, and how these dynamics transform over the course of narrative's varying points of tension and conflict. Recall, how does the story begin and why? How, specifically, do the characters evolve? And what compels them to do so? Where and how do the story's internal and external conflicts converge? Endings follow a few essential rules: endings require context, endings must be plausible, and endings must connect to the narrative's key elements.
Writing Resources:
Figuring Out Where to End a Story (Writing Questions Answered)
Writing Great Beginnings and Endings (Writing Questions Answered)
Feeling Overwhelmed by Plot Points (Writing Questions Answered)
What Is the Dénouement of a Story? Your Guide (With Tips) (Jericho Writers)
How to End a Story Perfectly (Jericho Writers)
Story Climax Examples: Writing Gripping Build-Ups (Now Novel)
How to End a Novel: Writing Strong Story Endings (Now Novel)
Tension vs. Conflict (Hint: They Aren't the Same Thing) (September C. Fawkes)
Utilizing 3 Types of Death (September C. Fawkes)
10 Signs Your Plot is Weak (and How to Fix it) (September C. Fawkes)
❯ ❯ Adapted from the writing masterpost series: 19 Things That Are Wrong With Your Novel (and How to Fix Them)
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Four Tips On How To Make Your Plot Twist Work
Plot twists are often one of the most exciting aspects of reading a good book. When properly executed, plot twists enhance your reader engagement and make your readers feel excited and satisfied with your novel. However, when done wrong a plot twist can often feel redundant and make your reader feel unsatisfied and annoyed.
Are you facing issues trying to make your plot twist work? Here are four tips for writing a killer plot twist.
Tip One: Foreshadowing
One of the most important aspects of a good plot twist is foreshadowing, or dropping subtle hints that make your readers sit back and wonder why they didn’t connect the dots before. This can seem easy enough at first—you just need to drop some hints, right? But if done wrongly, foreshadowing can make your plot twist seem obvious and give away your mystery.
When foreshadowing it’s important to only mention minor details that will tie together in the end. Maybe you’re writing a story about a popular boy band preyed on by a masked killer during their tours, and at the end the final victim remembers their agent suddenly switched all of their hotels last minute.
If you’re writing a murder mystery it’s important to drop small hints about the killer’s identity. Maybe they used a very expensive tool only accessible by people of their status, maybe they left a clue at the murder scene that tied back to their personality. The protag could find their wife’s pink scrunchie on the victim’s wrist, or maybe their mentor’s favourite pen was found in the victim’s car.
It’s important to steadily build a list of logical clues and hints that make your plot twist make sense at the end.
Tip Two: Make It Obvious, Then Debunk It
One popular plot twist technique is to make your plot twist obvious at the start but then completely debunk it and convince your readers that couldn’t possibly happen, only for it to happen at the end.
This is a very complicated technique and can either make or break your plot twist, but it comes with a high risk high reward. If you do pull this off you’ll leave your readers impressed and make them feel annoyed with themselves for falling for your ruse.
This technique can seem a little complicated, so here’s a simple list of how to properly apply this technique for your plot twist:
Give your readers a valid reason to suspect the plot twist. Maybe the protagonist saw their wife leaving the victim’s car when they were returning from work and suspects their connections. It’s important to establish a logical reason for their suspicions, and make your readers agree with your character’s logic.
Then, debunk it. Maybe the protagonist finds out the victim was their wife’s colleague and dropped her home after work because it was raining. They have no reason to suspect someone so close to them with their only form of evidence debunked, so they move forward with their case.
Make them find out they were right in the first place. The protagonist sees the maid takes their wife’s clothes to the dry cleaner because they were covered with sweat patches since it was sweltering hot that day. Except, if it was so hot, then their wife couldn’t possibly have been with the victim because of the rain. This makes the protag think back to their own outfit that day and how they purposely left their coat at home.
The example above gives your readers a logical and uncomplicated reason to believe the other character’s lies, but the protagonist’s choice of clothing gives your readers the adequate foreshadowing needed to make them feel annoyed for not catching the lie in the first place.
You would obviously have to go into a lot more detail than I did above, but I hope this example gives you a clear idea of how this tip works.
Tip Three: Pace Yourself
Think of a plot twist as pulling the loose string of a sweater. The sweater doesn’t unravel with one pull, but it does fall apart slowly if you tug hard enough. Writers don’t just need a dramatic reveal to pull off a plot twist. You need to pace yourself and give your readers enough foreshadowing while also slowly revealing the plot twist.
Maybe your protagonist thinks the masked killer is a vengeful servant only to find out it has to be someone close to them because they had access to the house’s upper floors. Or maybe your characters casually mentioned your antagonist’s motives at the start of the book.
It’s important to properly pace yourself when revealing new information pertaining to your plot twist.
If you suddenly drop a series of hints in the second half of your book then your readers will likely catch on before your big reveal. But if you drop hints in the first half then slowly solidify those hints in the second half, your readers will be able to understand your plot twist while also being surprised.
Tip Four: Don’t Rely On Coincidence
It is important not to rely on coincidence when revealing your plot twist. Sure, coincidences happen in real life, but a series of coincidences can take away your story’s credibility and make it seem boring.
Rather than having your character coincidentally stumble upon a very important clue, make them work for it. Saying the protagonist coincidentally saw the maid leaving with their wife’s dry cleaning can be boring. This can be made more fun if the character believed their wife’s lie and left to fetch her coat from the front of the house (since she would have obviously worn one if it were cold and raining), only to find the maid putting away a knee-length dress for dry cleaning with complaints about the sweat patches staining the fine material.
There’s nothing wrong with using a coincidence once in a while, but keep in mind too many coincidences can make it feel like you were too lazy to actually tie together your plot twist.
When writing a coincidental scene, try to consider how your character could have gotten to this point of the story without the coincidence, and whether that would be more exciting to read than a mere coincidence.
I hope this blog on how to make your plot twist work will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and subscribe to my email list for new blog updates every Monday and Thursday.
Looking For More Writing Tips And Tricks?
Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday.
Want to learn more about me and my writing journey? Visit my social media pages under the handle @hayatheauthor where I post content about my WIP The Traitor’s Throne and life as a teenage author.
Copyright © 2022 Haya Sameer, you are not allowed to repost, translate, recreate or redistribute my blog posts or content without prior permission
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I wonder, does everyone go through the hell of trying to find an outline that actually works or is it just me? Because I swear none of them are all that helpful. They're so focused on fights, for one. Like in all of them, there's a "battle". There has to be at least one "twist". It's all so... prescriptive. Surely an outline should be descriptive, right? But none of them seem to work at all for any of the stories I want to tell, and it's not always for a lack of plot. Like they're fundamentally wrong--I always find a place in the outline that just doesn't work the way they say it does.
It reminds me a lot of those useless character sheets everyone puts up. Having things like "favourite colour" or "first job", and it feels more like creating a Sim than an actual character you care about. How does anyone actually manage to make something out of those materials?
#writing#thoughts#I feel like there's something wrong with me#I also feel like there's something wrong with most writing advice#but I don't know enough about writing to make my own#it feels like I'm drowning and people are floating around me on make-believe floats and I'm just like???#how???#also I *can* see how following that plot structure with those character sheets could help you make the most blasé story imaginable#I just can't see how it's supposed to help with stories that are actually personal#but it seems like people *do* manage to use them successfully which is why I'm so confused#like what am I missing
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”I just wanted to say... A's feelings get hurt when you ignore him. He really cares for you”
”Are you worried about A's feelings now? If you're so worried, then stop playing with his feelings, for god’s sake!”
” I'm not playing with his feelings! Why should I? We're in a completely platonic relationship.”
” Platonic relationship?? He longed for you for more than 4 years, and now you betray his feelings! I was happy for him to finally get the person he ached for. But is he really happy to have you? Why don't you think so??”
” I...I..!! ”
#writing#creative writing#how to write#plot#story writing#writers#writers on tumblr#writing advice#writing process#writing tips#sad prompts
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The novel first draft is with the first of my test readers, and on its way to the second!!
#Knitwear Club#writing#novel#test read#the plan is to see how viable the plot is as-is and then use any trouble spots as the basis for edits#the advice: 'readers are right with what's wrong with a work but not how to change it' will feature fairly heavily#but i do trust them a great amount so if their advice feels right i may just try it
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