#advice on how to write plot

[justquokkathings]

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

[choshashio]

Excellent tips and habits for writers

The advice I've given before is to write every scene you think of, no matter if it gets used or not. Its always a great idea to go back every once and a while and edit these scenes, or revise them.

Never force inspiration or a scene. If it isn't coming naturally, take a break and come back later or the next day. it's important to give yourself time to think. use your break to day dream about your story and what could come next. if your brain is happy, this should be relatively simple. If your brain isn't happy, then you need to take a longer break, stop writing for the day all together, or write something else.

if you're a pantser, like me, and it's hard to plot. You can practice reverse plotting, and plot your story as you go. make notes of things that happen in your story, changes in a character, changes in the plot, changes in the setting, dates for events, timelines, important information that's been revealed, anything you deem important to your story.

always reread what you've already written. don't try to edit it. turn off your editor brain and reread your story so far before you resume writing, so you can get into the voice and tone that you've already established.

if you're finding it difficult to start writing or keep writing. try turning off your internal editor and free write. it's good practice to be able to write down your unfiltered thoughts or daydreams without having to stop and edit while you're writing. it helps with your writing flow, getting the scene down onto the page, and increases your writing intuition.

before you write, always take time to daydream or think about your story beforehand. it helps things go much smoother in the long run.

if you've been working on something for a long time, don't pressure yourself into confinement. if you want to work on something new but you're worried about what you've been working on, don't. stop worrying and write what you want. forcing yourself to keep writing something when you don't want to is just going to make you burn out faster.

don't be afraid to create visuals or playlists that help you with what you're writing. It's an enviable talent to be able to write something off a photo you saw on pinterest, or a song you really like.

if you find yourself in a mood where you want to write really badly, but you have no idea what you want to write, and none of the prompts you find are appealing enough. find an activity you use to destress, whether its listening to music, listening to asmr, doom scrolling on social media, or browsing pinterest. go do that. chances are, you'll find something that will inspire you what to write when you're not looking for it.

[theaawalker]

Steps to Write Compelling Plot Twists

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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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thank you, i am farkle :)

[thewriteadviceforwriters]

🧩 How to Outline Without Feeling Like You’re Dying

(a non-suffering writer’s guide to structure, sanity, and staying mildly hydrated)

Hey besties. Let’s talk outlines. Specifically: how to do them without crawling into the floorboards and screaming like a Victorian ghost.

If just hearing the word “outline” sends your brain into chaos-mode, welcome. You’re not broken, you’re just a writer whose process has been hijacked by Very Serious Advice™ that doesn’t fit you. You don’t need to build a military-grade beat sheet. You don’t need a sixteen-tab spreadsheet. You don’t need to suffer to be legitimate. You just need a structure that feels like it’s helping you, not haunting you.

So. Here’s how to outline your book without losing your soul (or all your serotonin).

—

🍓 1. Stop thinking of it as “outlining.” That word is cursed. Try “story sketch.” “Narrative roadmap.” “Planning soup.” Whatever gets your brain to chill out. The goal here is to understand your story, not architect it to death.

Outlining isn’t predicting everything. It’s just building a scaffold so your plot doesn't fall over mid-draft.

—

🧠 2. Find your plot skeleton. There are lots of plot structures floating around: 3-Act. Save the Cat. Hero’s Journey. Take what helps, ignore the rest.

If all else fails, try this dirt-simple one I use when my brain is mush:

Act I: What’s the problem?

Act II: Why can’t we fix it?

Act III: What finally makes us change?

Ending: What does that change cost?

You don’t need to fill in every detail. You just need to know what’s driving your character, what’s blocking them, and what choices will change them.

—

🛒 3. Make a “scene bucket list.” Before you start plotting in order, write down a list of scenes you know you want: key vibes, emotional beats, dramatic reveals, whatever.

These are your anchors. Even if you don’t know where they go yet, they’re proof your story already exists, it just needs connecting tissue.

Bonus: when you inevitably get stuck later, one of these might be the scene that pulls you back in.

—

🧩 4. Start with 5 key scenes. That’s it. Here’s a minimalist approach that won’t kill your momentum:

Opening (what sucks about their world?)

Catalyst (what throws them off course?)

Midpoint (what makes them confront themselves?)

Climax (what breaks or remakes them?)

Ending (what’s changed?)

Plot the spaces between those after you’ve nailed these. Think of it like nailing down corners of a poster before smoothing the rest.

You’re not “doing it wrong” if you start messy. A messy start is a start.

—

🔧 5. Use the outline to ask questions, not just answer them. Every section of your outline should provoke a question that the scene must answer.

Instead of: — “Chapter 5: Sarah finds a journal.”

Try: — “Chapter 5: What truth does Sarah find that complicates her next move?”

This makes your story active, not just a list of stuff that happens. Outlines aren’t just there to record, they’re tools for curiosity.

—

🪤 6. Beware of the Perfectionist Trap™. You will not get the entire plot perfect before you write. Don’t stall your momentum waiting for a divine lightning bolt of Clarity. You get clarity by writing.

Think of your outline as a map drawn in pencil, not ink. It’s allowed to evolve. It should evolve.

You’re not building a museum exhibit. You’re making a prototype.

—

🧼 7. Clean up after you start drafting. Here’s the secret: the first draft will teach you what the story’s actually about. You can go back and revise the outline to fit that. It’s not wasted work, it’s evolving scaffolding.

You don’t have to build the house before you live in it. You can live in the mess while you figure out where the kitchen goes.

—

🛟 8. If you’re a discovery writer, hybrid it. A lot of “pantsers” aren’t anti-outline, they’re just anti-stiff-outline. That’s fair.

Try using “signposts,” not full scenes:

Here’s a secret someone’s hiding.

Here’s the emotional breakdown scene.

Here’s a betrayal. Maybe not sure by who yet.

Let the plot breathe. Let the characters argue with your outline. That tension is where the fun happens.

—

🪴 TL;DR but emotionally: You don’t need a flawless outline to write a good book. You just need a loose net of ideas, a couple of emotional anchors, and the willingness to pivot when your story teaches you something new.

Outlines should support you, not suffocate you.

Let yourself try. Let it be imperfect. That’s where the good stuff lives.

Go forth and outline like a gently chaotic legend 🧃

— written with snacks in hand by Rin T. @ thewriteadviceforwriters 🍓🧠✍️

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

[the-most-humble-blog]

<div style="white-space:pre-wrap">

🧠 THE MANNEQUIN WITH POWERS — Why Character Comes Before Plot or Die in the Void A Blacksite Literature™ Transmission (If your protagonist couldn’t grip a reader’s soul in a blank room, you already failed.)

I. THE VOID YOU'RE WRITING INTO

Let’s get this out of the way first:

If your character can’t speak — not literally, but viscerally — to the reader’s insides without the crutch of explosions, lore dumps, or a “cool” outfit…

You are not writing a character. You’re dressing a mannequin. And no one gives a fuck what a mannequin does.

II. IF THEY FEEL NOTHING, YOU BUILT NOTHING

Who cares what city’s under attack? Who cares if they’re the Chosen One? Who cares about your twist, your map, your seven-act structure?

If the protagonist you’ve built:

Has no secret

Carries no weight

Evokes no response from a quiet, tired reader on a Tuesday night—

Then you wrote into the void.

Your reader wasn’t “dumb” or “impatient.” They felt nothing. And they left.

III. THE LIE OF “PLOT FIRST”

You’ve been sold a lie:

“Just make the story exciting and the characters will follow.”

No. Never. Backwards.

Character always precedes plot. Character is the plot.

Because if I don’t care who it’s happening to — Then nothing happening will ever matter.

A reader can forgive:

A slow start

A clunky scene

A cliché trope

But they will never forgive the crime of hollow company.

You gave them someone to follow —

And that someone had no soul.

IV. THE MANNEQUIN WITH POWERS

Let’s define the threat.

The Mannequin:

Has abilities

Has trauma

Has a goal

Has quips

Has a backstory

But no voice.

No contradiction. No shame. No private thing they would die to protect, not because it’s powerful — but because it’s theirs.

This mannequin does things. Big things. High stakes.

And no one cares. Because nothing human is bleeding through the plastic.

V. ESCAPISM ISN’T A LICENSE TO LIE

Yes, readers want to escape. But not from humanity.

They want to escape into:

A place where flawed people matter.

A place where pain has context, not just screen time.

A place where characters don’t just “get better” — they get known.

Escape into fantasy all you want. But if you’re escaping the imperfections of the human condition, then you’re not writing fantasy. You’re writing propaganda for emotional disconnection.

And your reader knows it. Even if they don’t say it. Even if they reblog it. Even if they finish it.

They know.

VI. THE SECRET THEY DON’T BRAG ABOUT

Let me give you the fix.

Give your character one thing:

A secret they don’t brag about.

Something they hide not because it’s cool — but because it’s raw, vulnerable, humiliating, or sacred.

Examples:

She used to believe in God, and now she can’t even say “grace” over her food.

He kept a voicemail from his brother the day before he overdosed.

She has two daughters, and hasn’t seen them since the custody ruling.

He talks shit to villains but goes home and reads old love letters he never responded to.

Do not announce it. Do not reward it. Do not let them monologue it.

Let it live. Quietly. And watch your readers form emotional attachments like animals recognizing kin.

VII. PLOT WILL NEVER SAVE YOU

You can worldbuild forever. You can twist the timelines, deepen the lore, expand the pantheon.

But if your central figure could be replaced by anyone and the story still works?

You didn’t build a character. You built scenery in a cape.

Plot is what happens.

Character is who we blame, who we mourn, who we root for in spite of ourselves.

And if you skip that? You skip the anchor. You leave your reader floating — no matter how pretty the setting is.

VIII. THE READER DOESN’T OWE YOU A DAMN THING

Let’s be brutally honest:

Your reader doesn’t care how much time you spent.

They don’t care how much of your soul you “poured in.” They don’t care how important your themes are.

If they can’t connect to a being — not a puppet — then they leave.

Because they’re not in your head. They’re alone. Reading. Tired. Wanting to feel something.

And if your protagonist doesn’t show up with emotional currency in hand?

They’re gone.

IX. THE ONLY TEST THAT MATTERS

Write this down:

If your main character was in a blank white room for five pages — with no plot, no action, no powers — would I want to hear what they think?

If the answer is no?

Start over.

Not from page one. From soul one. You didn’t give them a person. You gave them a vessel to carry your story — and no one wants to be ferried by a stranger.

X. THE REALITY YOU’RE TOO SCARED TO ADMIT

You’re not scared of writing bad plots.

You’re scared of putting real, flawed, mirrored, shameful, holy you into your character — because if it fails, it’ll feel like you failed.

So you keep them clean. You keep them plastic. You keep them “relatable” in all the ways that mean nothing.

But the only thing that ever makes a reader stay?

Is the feeling that this character was carved from a place they weren’t supposed to see.

That’s what creates emotional loyalty. That’s what earns tears. That’s what builds cult followings, not just fandoms.

XI. SO FIX IT.

Kill the mannequin.

Bury the empty badass. Silence the sarcastic automaton. Throw the trauma plot in the fire.

Build a person. A person with shame. A person with weight. A person who reminds the reader of a truth they’ve never told anyone.

Then throw that person into your plot.

And watch the story ignite.

XII. CONCLUSION: YOU'RE NOT WRITING STORIES. YOU'RE WRITING PEOPLE.

You think you’re writing entertainment. You think you’re building scenes. You think you’re plotting arcs.

But you’re not.

You’re introducing human souls to strangers. And the ones who do it well? They become immortal.

Every good story is just a person you didn’t want to say goodbye to.

If you don’t have that?

Then what the fuck are we doing here. </div>

📌 If this made your spine straighten mid-sentence — reblog it. 🧠 If it exposed a hollow character you once thought was “done” — save it. ✍️ If it reminded you why we write at all — read it again.

And if it hurt? That means it’s time to start over.

Bonus:

🧠 FREE WRITING LESSON — THE MOST POWERFUL CHARACTER DEPTH TRICK YOU’LL EVER READ.

[nondelphic]

sometimes the best writing happens when you stop overthinking and just let the words flow

[writers-potion]

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

[morallysuperiorlips]

A Short Guide for Writing Plot Twists (That Don't Come Out of Left Field)

They're cool. They're fun. They're spicy. They're absolutely terrifying to write. They're plot twists.

Regardless of what genre you're writing, every writer wants to ensure that their twists and turns blindside a reader without totally coming out of nowhere. Here's my short guide to help you tackle the monster that is A Good Plot Twist.

1.) I know it's cliche, but foreshadowing: You're probably gonna come at me with a bat because you've heard it a million times, but I'm telling you anyway. The groundwork to a solid plot twist is foreshadowing, because it allows you to lay down the breadcrumbs that lead to your gingerbread house of bullshit (I say affectionately). Check out my short guide for foreshadowing for more information on how to tackle this effectively.

2.) Red Herrings. Use them: Probably something else that you've probably heard before, but I do mean it! This ties a little bit into foreshadowing, but specifically for plot twists, Red Herrings can throw your readers off its scent and keep them guessing about what's to come.

3.) Make sure everything is within the scope of the world: Even if you're operating in some fantastical world, a plot twist loses its momentum and might subsequently feel like it comes out of nowhere if it defies the logic of your worldbuilding. If you've established that the inhabitants of your world can only use blood magic, and that no other magic type exists, don't root your plot twist in the idea that someone can now access fire magic. Keep your twist believable for your world!

4.) Overuse kills a good plot twist: Too many large twists can tire out a reader pretty quickly and lessen their blow. If you want to have a hard-hitting turn, but you're still keen on multiple twists, try to ensure you're using said twists to serve the final one. Time them so they're not happening back to back, and order them from least impactful to most.

5.) And most of all...give readers a reason to give a shit: You could have stellar foreshadowing and a perfect use of Red Herrings, but if readers don't care about the characters or stakes at hand, none of that means anything--and could result in a reveal that falls flat. On top of dropping hints and telling your tale at a good pace, you need to keep the reader invested in your characters, their relationships, and their ties to the plot and subsequent plot twist.

Now, go write!

(If you like my guides, prompts, writing, or art, consider supporting the blog today! All donations help me keep this thing up and running and all are appreciated <3)

[winthropsghostkitten]

Okay so I just did a really stupid thing* and I have to tell y’all about it:

TL;DR: Plot your story like the beats are episodes in a Netflix series.

So this story I’m writing, I only had the vaguest idea of what I want to do with it (other than smut smut smutty smut smut). On my way to lunch today I started thinking “hey if it were a Netflix series I’d have little summaries before the episodes”. Then I started thinking of episode titles and summaries, then…

Well shit, I now had summaries and plot beats.

The entire story, broken into two seasons, with ten episodes each. Titles and all. Done.

This has probably been mentioned by better people than I but I wanted to share it anyway in case it helps just one other person.

* that actually worked

[imbecominggayer]

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.

[verynichewritingadvice]

Hey, do you have any advice for overcoming perfectionism with writing?

I think the key is to just realize that the first iteration of a story is like the base of a recipe. If you obsess over all of the little details before you lay down the foundation, the story isn't going to be edible. If writing is a cupcake, it's like adding the sprinkles to the batter instead of adding the milk or eggs, then looking at your half-formed sludge of a creation and going "god this looks terrible'" and shoving into the crucible.

Putting it in the oven of your criticism before it's ready. When you take it out, it's not going to be an intact cupcake, and you'll feel even worse.

Convoluted food metaphors aside, a good thing to keep in mind is that good writing isn't what is perfect, which is something that can never be achieved.

Good writing is what works.

You're never going to able to articulture the exact picture you have in your head into words. Nor has any author in the history of ever. We were human, and our communication with each other and the outer world is limited.

If you are a perfectionist, your art is never going to live up to your expectations, because it can't. The emotional scene you write on paper might feel inferior to the majesty you've envisioned in your head. You might feel like there's something missing, that's it doesn't perfectly encapsulate what you imagined, and you might be frustrated by that.

But that doesn't mean its bad at all, just human. Most people underestimate how impactful their words are. Just because it's not an impossibly perfect replica, doesn't mean that the emotions and thoughts won't register with the readers. Oftentimes, we're biased against ourselves.

Remember that.

[choshashio]

Difficulty with plotting and staying consistent.

I don't know if anyone else has this problem, but I've struggled with it since starting to plot out my stories.

It doesn't matter if i have a prompt, or an idea, i always go off track. I have a hard time sticking to that prompt, plot point, or idea, and it drives me absolutely bonkers.

Recently, though. I have found a cool little trick that has helped me stay on track, and meet my word goals;

Whether you're writing a short story, a blurb, or a whole novel. Try to split it up into three parts; Beginning, Middle, and End.

Instead of the convoluted, and sometimes overstimulating plot line;

Splitting your plot into its three most important parts; Exposition, Climax, and Resolution. Is supposed to help you plan out your story easier, or in my case, lazier.

Beginning = Exposition | Middle = Climax | End = Resolution

Point of View

Next, think about what point of view you're going to write your story in. If you've already decided on what your pov, conflict, and genre are going to be, you can skip down to Plot Points, where i pick back up as splitting your plot.

1st person = from a characters perspective.

In first person, you're going to be using a lot of sensory words from the characters perspective; "I feel" - "I see" - "I hear" - "I taste" - "I smell" This point of view also means restricting a lot of information to your character.

For instance, if you're writing from the pov of a child. This child wouldn't know the cookie jar is on top of the fridge, because they're not tall enough to see what's up there. So, they would have to get this information in a different way. You could make them accidentally see the cookie jar, but then you have to consider; Do they know it's a cookie jar? Does it stand out enough for it to grab their attention? If no, you could introduce a secondary character, like a parent, who gets a cookie for the child. Now the child knows it's a cookie jar.

2nd person = Telling a story to the reader, and directly involving them in it.

In the second person, you're writing from the narrator's perspective, but you're also addressing the reader, or talking directly to them. In this pov, you're telling the reader how they should be experiencing the story, by using sensory words like; "You feel" - "You see" - "You hear" - "You taste" - "You smell"

Pov's from the second person perspective goes great with unreliable narrators. You get to choose what information you tell the reader, and what information the reader has to find for themselves.

3rd person = Telling a story about someone or thing.

In the 3rd person, you have a lot more creative control. You get to pick which character's you're observing, and sort of play with them like dolls in a doll house. I think this is the most popular point of view and is incredibly versatile, using sensory language like; "She feels" - "He saw" - "They hear" - "It tasted" - "She's smelling"

Genre and Subgenre

Now. Deciding your pov is as simple as deciding what you're going to be writing, and for this, i like to decide what my conflict and genre are going to be. Sometimes it's as simple as picking horror, then deciding you like the slasher trope, because you want to write about a killer on the loose. Now you already have your conflict; There's a killer on the loose, and so and so need to escape.

I like to do this by drawing inspiration from other creators; From that book i read yesterday, or that movie i saw, or i just really like this genre.

Once you have your genre, look into its subgenre's. In horror, you have; Slasher, Supernatural, Monster, or Zombie. The conflicts in those are pretty easy to discern, Slasher = Killer on the loose - Supernatural = There's a spooky ghost in here - Monster = There's a spooky monster trying to kill me - Zombie = It's an apocalypse and i need to survive.

Draw Inspiration from other Creators

But it's always okay to draw inspiration from other creators; Junji Ito, for example, has a book called Gyo. Its a horror story about fish growing legs and crawling on land. You can take that concept and create your own horror story about fish growing legs.

Once you have your conflict; There's fish growing legs, coming on land, and eating people. Try to ask yourself; What do i want to tell the reader? What do i want to say in my story?

For example, if i wanted to write a short horror story about fish growing legs, and coming on land, and i decided i wanted to make the reader be more conscious about throwing away plastic. I would probably have a better time writing in the 2nd perspective, because my short story is meant to address the reader, and make them uncomfortable about throwing plastic in the ocean.

Plot Points

Finally, after we've figured out our genre, conflict, and pov. It's time to go back to our plot columns.

I know that when it comes time for me to decide plot points, I'm always at my wits end. I HATE figuring out what i want my plot points to be. I'm awful at figuring out the big changes in my plot, and sadly, i don't really have a solution for that yet. But, all this stuff I'm telling you has made it a lot easier for me to work on this.

First, how do you want to start your story? No, not what scene you want to start on, HOW are you going to start your story? Are you going to start with a monologue? Are you going to start with a description? How about some dialogue? Or a flashback? A departure? A character description?

This can be one of the first things you can write in your beginning section.

For example;

Then, think about what you want to happen next. Write as many plot points in each section as you want, use prompts, or random scenes you've discarded in the past. Fill it up with as many prompts as you're happy with;

When you start writing, start from your first plot point, make a word goal for that specific scene, and write it. When you're finished with that scene, move onto the next plot point, until you've written all of them.

Once you're done writing your major scenes, go back and edit everything so they puzzle together. If you want to add more stuff in between scenes, now you have guidelines on where and how your new scenes should start and end, so you're technically just filling in the blanks.

[so-many-ocs]

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.

---------------------------

thanks for reading! hope this was helpful :)

tip jar | so what even is radio apocalypse?

[lunas-desks]

✎ 𝐖𝐞𝐥𝐜𝐨𝐦𝐞 𝐭𝐨 𝐋𝐮𝐧𝐚’𝐬 𝐃𝐞𝐬𝐤 —𝐰𝐡𝐞𝐫𝐞 𝐢𝐧𝐤 𝐬𝐭𝐚𝐢𝐧𝐬 𝐚𝐫𝐞 𝐛𝐚𝐝𝐠𝐞𝐬 𝐨𝐟 𝐡𝐨𝐧𝐨𝐫, 𝐩𝐥𝐨𝐭 𝐡𝐨𝐥𝐞𝐬 𝐚𝐫𝐞 𝐩𝐮𝐳𝐳𝐥𝐞𝐬 𝐰𝐚𝐢𝐭𝐢𝐧𝐠 𝐭𝐨 𝐛𝐞 𝐬𝐨𝐥𝐯𝐞𝐝, 𝐚𝐧𝐝 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫𝐬 𝐬𝐜𝐫𝐞𝐚𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐛𝐚𝐜𝐤 𝐨𝐟 𝐲𝐨𝐮𝐫 𝐡𝐞𝐚𝐝 𝐮𝐧𝐭𝐢𝐥 𝐲𝐨𝐮 𝐰𝐫𝐢𝐭𝐞 𝐭𝐡𝐞𝐢𝐫 𝐭𝐫𝐚𝐠𝐢𝐜 𝐛𝐚𝐜𝐤𝐬𝐭𝐨𝐫𝐲. 𝐓𝐡𝐢𝐬 𝐢𝐬 𝐲𝐨𝐮𝐫 𝐜𝐨𝐳𝐲 𝐜𝐨𝐫𝐧𝐞𝐫 𝐨𝐟 𝐜𝐫𝐞𝐚𝐭𝐢𝐯𝐢𝐭𝐲, 𝐲𝐨𝐮𝐫 𝐰𝐫𝐢𝐭𝐢𝐧𝐠 𝐡𝐚𝐯𝐞𝐧, 𝐚𝐧𝐝 𝐲𝐨𝐮𝐫 𝐠𝐨-𝐭𝐨 𝐟𝐨𝐫 𝐩𝐥𝐨𝐭 𝐛𝐮𝐧𝐧𝐢𝐞𝐬, 𝐪𝐮𝐨𝐭𝐞 𝐝𝐫𝐨𝐩𝐬, 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫 𝐭𝐡𝐞𝐫𝐚𝐩𝐲, 𝐚𝐧𝐝 𝐢𝐝𝐞𝐚 𝐂𝐏𝐑. 𝐖𝐡𝐞𝐭𝐡𝐞𝐫 𝐲𝐨𝐮’𝐫𝐞 𝐰𝐨𝐫𝐥𝐝-𝐛𝐮𝐢𝐥𝐝𝐢𝐧𝐠 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐚𝐬𝐡𝐞𝐬 𝐨𝐟 𝐫𝐞𝐚𝐥𝐢𝐭𝐲, 𝐧𝐚𝐦𝐢𝐧𝐠 ��� 𝐭𝐚𝐯𝐞𝐫𝐧 𝐟𝐨𝐫 𝐲𝐨𝐮𝐫 𝐡𝐚𝐥𝐟-𝐨𝐫𝐜 𝐛𝐚𝐫𝐝, 𝐨𝐫 𝐟𝐢𝐠𝐮𝐫𝐢𝐧𝐠 𝐨𝐮𝐭 𝐡𝐨𝐰 𝐭𝐨 𝐰𝐫𝐢𝐭𝐞 𝐭𝐫𝐚𝐮𝐦𝐚 𝐰𝐢𝐭𝐡𝐨𝐮𝐭 𝐦𝐚𝐤𝐢𝐧𝐠 𝐫𝐞𝐚𝐝𝐞𝐫𝐬 𝐬𝐨𝐛 𝐭𝐨𝐨 𝐡𝐚𝐫𝐝 (…𝐨𝐫 𝐦𝐚𝐲𝐛𝐞 𝐣𝐮𝐬𝐭 𝐡𝐚𝐫𝐝 𝐞𝐧𝐨𝐮𝐠𝐡), 𝐲𝐨𝐮’𝐯𝐞 𝐩𝐮𝐥𝐥𝐞𝐝 𝐮𝐩 𝐭𝐨 𝐭𝐡𝐞 𝐫𝐢𝐠𝐡𝐭 𝐝𝐞𝐬𝐤.

╰┈➤ ❝ [𝐂𝐨𝐧𝐭𝐞𝐧𝐭𝐬] ❞

╰┈➤ 𝐇𝐨𝐰 𝐭𝐨 𝐂𝐫𝐞𝐚𝐭𝐞 𝐚 𝐂𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫 𝐓𝐡𝐚𝐭 𝐅𝐞𝐞𝐥𝐬 𝐑𝐞𝐚𝐥 𝐄𝐧𝐨𝐮𝐠𝐡 𝐭𝐨 𝐒𝐥𝐚𝐩 𝐘𝐨𝐮 (𝐏𝐨𝐥𝐢𝐭𝐞𝐥𝐲). ✧

╰┈➤ 𝐇𝐨𝐰 𝐭𝐨 𝐖𝐫𝐢𝐭𝐞 𝐚 𝐂𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫’𝐬 𝐌𝐞𝐧𝐭𝐚𝐥 𝐈𝐥𝐥𝐧𝐞𝐬𝐬 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐓𝐮𝐫𝐧𝐢𝐧𝐠 𝐈𝐭 𝐈𝐧𝐭𝐨 𝐚 𝐂𝐢𝐫𝐜𝐮𝐬 𝐀𝐜𝐭. ✧

╰┈➤ 𝐇𝐨𝐰 𝐭𝐨 𝐕𝐢𝐬𝐮𝐚𝐥𝐥𝐲 𝐒𝐡𝐨𝐰 𝐚 𝐂𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫’𝐬 𝐓𝐫𝐚𝐮𝐦𝐚 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐎𝐯𝐞𝐫-𝐃𝐞𝐬𝐢𝐠𝐧𝐢𝐧𝐠. ✧

[yaralulu]

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