#plotting tip

[deception-united]

Writing Tips Master Post

Character writing/development:

Character Arcs

Making Character Profiles

Character Development

Comic Relief Arc

Internal Conflict

Character Voices

Creating Distinct Characters

Suicidal Urges/Martyr Complex

Creating Likeable Characters

Writing Strong Female Characters

Writing POC Characters

Building Tension

Plot devices/development:

Intrigue in Storytelling

Enemies to Lovers

Alternatives to Killing Characters

Worldbuilding

Misdirection

Consider Before Killing Characters

Foreshadowing

Narrative:

Emphasising the Stakes

Avoid Info-Dumping

Writing Without Dialogue

1st vs. 2nd vs. 3rd Perspective

Fight Scenes (+ More)

Transitions

Pacing

Writing Prologues

Dialogue Tips

Writing War

Writing Cheating

Worldbuilding:

Worldbuilding: Questions to Consider

Creating Laws/Rules in Fantasy Worlds

Book writing:

Connected vs. Stand-Alone Series

A & B Stories

Writer resources:

Writing YouTube Channels, Podcasts, & Blogs

Online Writing Resources

Outlining/Writing/Editing Software

Writer help:

Losing Passion/Burnout

Overcoming Writer's Block

Fantasy terms:

How To Name Fantasy Races (Step-by-Step)

Naming Elemental Races

Naming Fire-Related Races

How To Name Fantasy Places

Ask games:

Character Ask Game #1

Character Ask Game #2

Character Ask Game #3

Miscellaneous:

1000 Follower Post

2000 Follower Poll

Writing Fantasy

[imastoryteller]

20 Plot Twist Ideas That Will Shock Your Audience

One of the most effective tools in a storyteller's arsenal is the plot twist. A well-executed plot twist can leave your audience reeling, questioning everything they thought they knew about your story. It can turn a good story into a great one, leaving a lasting impact on your readers or viewers. In this post, we'll explore 20 plot twist ideas that will shock your audience and elevate your storytelling game to new heights.

1. The Unlikely Hero:

Turn the tables by revealing an unexpected character as the true hero. This can be someone seemingly insignificant or even an antagonist who redeems themselves at a crucial moment.

2. The Double Agent:

Introduce a character who initially appears loyal to the protagonist but is secretly working against them, only to later reveal their true intentions.

3. The Long-Lost Sibling:

Uncover a secret sibling, separated from the main character in their early years, and use their sudden appearance to shift the narrative.

4. Time Travel Paradox:

Play with time travel to create a paradox that forces the characters to confront alternate timelines or unforeseen consequences of their actions.

5. The Mastermind:

The story's villain is revealed to be a puppet in a larger scheme, controlled by a mastermind who has been operating behind the scenes.

6. The Supernatural Twist:

Introduce a supernatural element, like ghosts or mythical creatures, that the characters and audience believed were mere myths.

7. The Doppelgänger:

A character's doppelgänger appears, causing confusion and chaos as they try to determine who is the real one.

8. The Reversal of Roles:

Switch the roles of the protagonist and antagonist halfway through the story, making the audience question their allegiances.

9. The Untouchable Hero:

Create a seemingly invincible hero who unexpectedly meets their match, forcing them to reevaluate their abilities and tactics.

10. The Forgotten Past:

Unearth a character's forgotten or repressed memories, leading to a shocking revelation about their true identity or past actions.

11. The Betrayal Within:

One of the protagonist's closest allies betrays them, throwing their entire mission into disarray.

12. The Hidden Identity:

A character is not who they claim to be, and their true identity is revealed, impacting the story's direction.

13. The Inception Twist:

Blur the lines between reality and illusion, leaving the audience guessing what's real and what's a dream or illusion.

14. The Time Loop:

Trap your characters in a time loop where they're forced to relive the same events repeatedly until they can break free.

15. The Shapeshifter:

Introduce a character with the ability to change their appearance, creating doubt and suspicion within the group.

16. The Truth About the Mentor:

The mentor figure, who initially seems wise and benevolent, is unveiled as the story's true antagonist.

17. The Lost Artifact:

The much sought-after artifact or treasure turns out to be a fake, and the real item is something entirely unexpected.

18. The Pseudo-Death:

Fake a character's death to shock the audience and later reveal they were alive all along.

19. The Prophecy Reversed:

Subvert the traditional hero's journey by defying a prophesized destiny and taking the story in a different direction.

20. The Unreliable Narrator:

Reveal that the narrator has been lying or misrepresenting events, casting doubt on the entire story's accuracy.

Conclusion:

These 20 plot twist ideas are just the beginning, and by incorporating them into your narratives, you can leave your audience stunned, shocked, and eager for more. Remember that the key to a successful plot twist lies in its execution, so take your time and craft a twist that seamlessly integrates into your story, making it an unforgettable experience for your readers or viewers.

---

+ If you find my content valuable, consider Support This Blog on Patreon!

[nondelphic]

your future readers are going to be so grateful that you didn’t give up on this story. keep going, you’ve got this

[incoming-wormhole]

the temptation to make stargate rings to go on my wheelchair wheels for Basingstoke is so high rn....

[literaryvein-reblogs]

Writing References: Plot

Basics: Plot Structure & Narrative Arcs

Basics: Plot & Other Elements of Creative Writing

Plot Methods: Save the Cat! ⚜ The Story Circle

Plot Development: The Transformation Test

Plot-Driven Story ⚜ Plotting a Novel ⚜ Plot-Planning Worksheet

Plot Twists ⚜ Types of Plot Twists ⚜ Subplots

Ten Story Genres ⚜ Elements of the 10 Story Genres

The 3-Act Structure: History & Elements ⚜ A Guide

The Shape of Story ⚜ The Shapes of Stories by Kurt Vonnegut

Tips

From Margaret Atwood ⚜ From Rick Riordan

Before Writing your Novel ⚜ Burying Information

How to Get "Unstuck" when Writing your Novel

Editing

Chapter Maps ⚜ Editing your Own Novel

Plot Holes & Other Structural Issues ⚜ Structural Edit

Self-Editing ⚜ Novel Editing

For Inspiration

Archetypal Narrative Arcs ⚜ Character & Literary Tropes

Snowflake Method ⚜ Ways to Generate an Idea

Writing References: Character Development ⚜ World-building

[luna-azzurra]

Twist Prompts

Reveal that a character thought to be dead is actually alive.

Have a seemingly minor character turn out to be the main villain.

Unveil a hidden talent or ability in your protagonist.

Introduce a plot twist where the enemy becomes an ally.

Have your protagonist discover they’ve been manipulated by someone they trust.

Reveal that a significant event was a dream or illusion.

Have a character switch sides unexpectedly.

Introduce a shocking family secret that changes everything.

Reveal that the protagonist’s memories have been altered or erased.

Have your protagonist realize they’ve been pursuing the wrong goal all along.

[helpful-writing-tips]

If your plot feels flat, STUDY it! Your story might be lacking:

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic Relevance- Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

credit:@cedar-west

[asurrogateblog]

genuinely cannot believe this isn't an event I made up in a dream

[thatsbelievable]

[novlr]

Three tricks to avoid plot armour

Plot armour can be difficult to avoid. We get so attached to our characters that hurting them in any way feels like a betrayal.

But plot armour is detrimental to any good narrative. Having your characters avoid harm, whether that be emotional or physical, means that there aren't any stakes. And without stakes, it's difficult for readers to invest.

There are three simple things you can use to avoid plot armour:

🔵 Injury 🔵 Sacrifice 🔵 Consequence

In every conflict, make sure the resolution contains at least one of these things.

If you don't want to injure your characters, make sure that they sacrifice something, whether that be someone, or an object. If they don't sacrifice anything, make sure there is a consequence. That consequence can be a loss, an emotional wound, or simply a blow to their reputation. The important thing is that your character doesn't remain unscathed by their experience, and they walk out somehow changed.

[coffeetank]

Opposing Qualities for your Characters!

I always advocate the concept of Traits and their Inverses when making characters. If you're familiar with my blog, you'll know that in one of my posts, I've told you to use opposing qualities when you make a character to make them real. Here's a link to that post if you haven't come across it yet so you can understand this better: https://www.tumblr.com/coffeetank/747126821111447552/build-characters?source=share ~ List of more opposing qualities to give your characters: persuasive :: manipulative (your character has a way with words and sometimes uses this to get away with things)

humble :: underconfident (your character does not have an ego at all, but they are in actuality always underconfident - show how this can affect their surroundings especially in a situation where others depend on them)

independent :: alienated (your character can do everything on their own and quite literally does not need anyone around, show how this can crossover over with alienation - dig into the emotional background of this supposed crossover)

curious :: invasive (your character has an appetite for knowledge, but they forget boundaries - show how this can get them into trouble)

daring :: reckless (your character has a strong spirit and isn't scared of taking risks, but this can always incline to the bad side and cause them harm - use this to especially add event and conflict in the story)

neutral :: retracted (your character prefers to see both sides before coming to a conclusion and stays neutral 99% of the times, but then when one side needs them more than the other they refuse to acknowledge that need and pull themselves out of that situation - show how this this can affect their relationships with other people especially on a moral ground)

emotional :: irrational (it's always good for your character to have emotional capacity, but it can hinder with their practical side for sure - show how this plays out)

unique :: aberrant (your character has a very solid personality but then some their quirks are too odd to be normal - this is good for revealing an undercover villain/agent/supernatural being later in the story as a twist)

optimistic :: unserious (your character is a positive person, but they take life too lightly sometimes - play with it!)

appealing :: deceptive (your character is absolute delight to be around and wins hearts in an instant - show how they use this power of their to deceive people for their own benefit)

hopeful :: expectant (your character wishes for the bright side - show how this can transverse into having unfulfilled expectations thus making them act out wrongly due to disappointment)

clever :: cunning (as obvious as it sounds, your character uses their intelligence for the wrong - bonus if you mix this with another set of opposing qualities to add depth and layers to your characters)

short-tempered :: violent (easy, simple and impactful; your character loses temper quickly but they damage things around them with every small/big outburst)

Feel free to use these as you'd like! I'll bring you more soon.

-ashlee

[deception-united]

Let's talk about pacing.

Pacing is crucial to consider in plot development. It refers to the speed at which events unfold in your story.

It's important to vary the pacing to keep readers engaged. By effectively managing it throughout, you can maintain reader interest, build tension, and create an overall compelling narrative.

Fast-paced scenes: Use quick, action-packed scenes during moments of high tension, such as intense action sequences or pivotal plot points. Short sentences and rapid-fire dialogue can help create a sense of urgency and keep readers on the edge of their seats.

Slow-paced scenes: Slow down the pacing during moments of introspection, character development, or when you want to build atmosphere. Take the time to delve into emotions, descriptions, and inner thoughts to deepen the reader's connection to the characters and world.

Transitions: Smoothly transition between fast-paced and slow-paced scenes to maintain momentum while allowing readers time to catch their breath and process information. (See here for more on how to effectively implement transitions!)

Avoid prolonged lulls: While it's essential to have slower moments for character development and world-building, be cautious of prolonged lulls in the story where nothing significant happens. Keep the plot moving forward, even during quieter scenes, by introducing new information, conflicts, or character dynamics.

Balance: have a balance between fast-paced and slow-paced scenes throughout your narrative to create a dynamic reading experience. Too much action without sufficient downtime can exhaust readers, while an excessive number of slow scenes may lead to boredom.

More writing help on my blog! ❤

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[icamefromadream]

°•°Habits to Give Your Characters°•°

╭┈◦•◦❥•◦ Constantly crosses legs when sitting

╭┈◦•◦❥•◦ Doodles when zoned out (if there's no paper around they could trace doodles like little hearts on a table or even on the back of their hand)

╭┈◦•◦❥•◦ Crucks knuckles

╭┈◦•◦❥•◦ Braids hair when their bored (or just generally plays with their hair)

╭┈◦•◦❥•◦ Stands way to close to people when talking to them.

╭┈◦•◦❥•◦ Avoids eyecontact when people talk to them.

╭┈◦•◦❥•◦ Clutches on to other's sleeves.

╭┈◦•◦❥•◦ Bites nails when nervous

╭┈◦•◦❥•◦ Raises their eyebrows when interested.

╭┈◦•◦❥•◦ Offers food to others, before taking a bite themselves.

╭┈◦•◦❥•◦ Scratches top of nails (like when you're scratching the coat of nail polish off your nails.)

╭┈◦•◦❥•◦ Whistles to ease nerves.

Follow @paranoia-art for more!

Do message me if you have anymore you would like to add!

[nondelphic]

my brain when i sit down to write: “i have no ideas.”

my brain when i’m trying to sleep: “here’s 50 plot twists and a perfect line of dialogue.”

[tlbodine]

Stuck? Try junebugging.

I don't know who needs to hear this, but we're 5 days into nanowrimo so maybe this will be helpful.

Do you want the safety and surety of knowing what happens next in your story but can't stick to an outline? Does knowing in advance what will happen suck the joy out of discovery writing? Do you try to wing it through plots but get tangled in plot holes or have a story that runs out of steam because you can't figure out what went wrong? Are you at your most creative when you have a little bit of guidance? Do you tend to under-write? Do you get ideas in your head for random scenes and snippets that drop from the sky without context?

If any of these apply to you, junebugging a draft might be for you!

What Is Junebugging?

Since you're on Tumblr, you might already be familiar with the concept of junebugging as it relates to cleaning. If not -- I think the idea was first introduced to me by @jumpingjacktrash.

The basic idea is that you tackle cleaning by way of controlled chaos. You pick a specific area you want to focus on, like your kitchen sink, and then wander off to deal with other things as they occur to you, but always returning back to that area. You end up cleaning a little bit at a time in an order that may not make sense to an outsider but which keeps you from getting overwhelmed and discouraged.

How Does Junebugging Work in Writing?

OK, so that's great, but how does this work with writing? Well. In my case, the general idea is to jump between writing linearly, outlining, and writing out of order. It usually looks something like:

Start free-writing a scene, feeling my way through it and enjoying the discovery process.

Thinking, ok, now I have this scene, did anything need to happen to lead up to it? Do I need to go back and add some foreshadowing? Does this scene set anything up that needs to be paid off? And then jump forward/back to make those adjustments.

I'll usually have a bunch of disconnected ideas of ideas that have popped into my head, so I'll write those down in a list somewhere and then try to figure out what goes in between them and what order it goes in.

I'll write what I call "micro-scenes" which is where I'll just sketch out a few essential elements of what's going on without worrying too much about details, description, etc. -- just he did this, she said that, the setting was this, real bare-bones script. Then I can come back through and flesh out each of those microscenes into an actual scene later.

Got a story that has a complex structure? No problem. Write through each storyline one at a time and then chop them up and weave them together afterward. Write all the B plot scenes first then come back through to do A plot and C plot. Move the pieces around like legos. No one ever has to know.

This method works for me because I can't "decide" story elements in advance. I have never been able to just sit down and "figure out" what happens in a story beyond a couple steps ahead -- I have to discovery-write my way forward. But at the same time, that gets really daunting. So I zoom forward with micro-scenes, roughing out the beats in the most bare-bones way possible, then when I run out of clear vision for what happens next I backtrack, flesh out those scenes, build in connective tissue, etc. and by then I will probably find more inspiration to jump forward.

It's basically folding drafting, outlining, and revising all together into a single phase of writing, which is chaotic and goes against everything people teach you, but if it works? then it fuckin works.

Anyway, sorry for the jumbled-up post, I'm dashing this off quickly while I heat up a pizza and I'm about to dive back into my WIP -- but I hope this was a little helpful. If nothing else, take this as my blanket permission that it's 100% OK to jump around, write out of order, write messy, outline sometimes, pants sometimes, and do whatever else it takes just to get through the story. You've got this. Good luck.

[literaryvein-reblogs]

Writing Notes: The Shape of Story

by Christina Wodtke 

Start with Conflicted Characters

The character needs a goal, a motivation and a conflict.

The goal can be alien to your audience,

but the motivation must be shared by them, and

the conflict creates struggles that increase engagement.

Paint a Picture

Details transport you into the story.

The world disappears and you have a story play in your head.

Even though there are no literal pictures.

But be careful—Too many details and the story gets bogged down.

Make the Protagonist Suffer

“Be a Sadist. No matter how sweet and innocent your leading characters, make awful things happen to them - in order that the reader may see what they are made of.” (Kurt Vonnegut, How to Write a Great Story)

And when it can’t get any worse, make it worse before it gets better

The two key moments that create the peak of excitement in a story is the darkness before the dawn, and the dawn. 

The climax is the moment when the protagonist is either rescued or rescues themself.

In older tales, we saw a lot of Deux ex Machina (the hand of god) rescuing the hero. A hero could be rescued by luck, a partner, another hero…but modern audiences strongly prefer stories where the protagonist helps themself.

Resolution is Boring, Keep it Short

Interest grows with every additional conflict, but once the hero figures out the solution, our fascination collapses.

Don’t natter on while the audience’s mind is drifting.

Also Consider:

You need a good inciting incident to move your protagonist to action.

A setting is more than a place, it’s a situation and a moment in time. A vivid place has details.

Modern audiences prefer “return home changed” to “return home the same.”

EXAMPLES: ARCHETYPAL PLOTS ALONG THE ARC

Boy Meets Girl

Internal conflict is always satisfactory (e.g., she believes love interferes with his career, he believes love interferes with his beer.)

The crises usually revolves around betrayal — lying, cheating — and the climax shows it was a misunderstanding or we get atonement.

The struggle is always about them being separated.

The resolution is about binding them more tightly together than ever.

The Quest

You seek things, and find yourself.

Return home changed and don’t pass go.

Common elements include companions, a mentor, great losses and extreme character arcs.

The Underdog

Even though they do not have a shot in hell, the underdog wants something. They want it so bad.

Common elements include an enemy who blocks their path, and a coach who helps them forward.

In this case, they do not return home changed but rather move into a new life that fits their changed self.

Coming of Age

Naive person has the world teaches them a hard lesson, and they become a better person for it.

Struggle revolve around life sucking and then sucking more.

The hero grows and becomes better because of it, and via new understandings becomes competent.

In some tragedies, the world breaks them.

They can return home changed, but more often they move to a new life they have earned.

More Examples. Justice & Pursuit:

Weaving Multiple Plots:

Weaving multiple plots together to make subplots can further increase tension.

Multiple plots woven together makes the whole story not only unique but very compelling.

Writing Notes & References