#writing plot

[tahbhie]

20 Alternative Losses Your Protagonist Can Face That Don't Involve the Death of a Person.

In one of my recent posts, I talked about losses as a core principle in driving a plot forward.

It's recommended in almost all guides. But here's the thing: someone doesn't have to actually die to create that emotional rollercoaster.

Here are 20 different losses your protagonist can face without losing someone to the cold hands of death:

1. Loss of a dream job opportunity

2. End of a long-term relationship or marriage

3. Betrayal by a close friend or family member

4. Financial ruin or bankruptcy

5. Loss of a beloved pet (The pet could go missing.)

6. Rejection from a prestigious program or institution

7. Injury or illness leading to the loss of physical abilities

8. Destruction of a childhood home

9. Loss of custody of a child

10. Failure to achieve a lifelong dream or goal

11. Being falsely accused of a crime

12. Natural disaster destroying personal belongings and home

13. Loss of a valuable family heirloom

14. Experiencing discrimination or injustice

15. Being forced to move away from a beloved community

16. Losing a significant competition or contest

17. Loss of memory or cognitive abilities

18. Falling out with a mentor or role model

19. Closure of a cherished local business

20. Loss of one's reputation due to scandal or rumor

Thank you for all of your support. If you love my blog, consider gifting me a rose. Val's here, and I hope your characters are ready to paint the town red.

Check out this printable template that helps you structure the nuanced parts of your plot you normally skip out on.

You also receive a free add-on that enhances your plot. It saves you time and helps you maintain quality.

[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.

[thewriteadviceforwriters]

The Five Types of Readers That Read Your Fantasy Book (For Writers)

As a fantasy writer, understanding your target audience is crucial for the success of your book. Knowing the different types of readers who are drawn to the genre can help you tailor your writing to their preferences and create a more engaging experience. In this blog post, I'll help you explore the five types of readers that are likely to read your fantasy book and provide insights into their characteristics and expectations.

The Escapist Reader

The first type of reader is the Escapist. These readers are looking for a break from reality and crave immersion in a rich and imaginative world. They are drawn to epic quests, magical creatures, and fantastical settings. As a writer, you can capture their attention by crafting a vivid and detailed world, filled with intricate plotlines and larger-than-life characters. Engaging their sense of wonder and providing an escape from their everyday lives will keep them hooked from the first page to the last.

The World-Builder

The next type of reader is the World-Builder. These readers are fascinated by the intricacies of world-building and the lore that shapes the fantasy realm. They enjoy exploring the history, mythology, and geography of the fictional world you create. To captivate these readers, focus on developing a well-constructed and cohesive world that feels authentic and believable. Pay attention to the small details, establish consistent rules of magic, and provide glimpses into the rich tapestry of your universe.

The Character-Driven Reader

Another important type of reader is the Character-Driven reader. These readers are emotionally invested in the journeys and growth of the characters they encounter. They want to experience the highs and lows alongside the protagonists, forming deep connections with them. To engage these readers, focus on creating well-rounded and relatable characters with compelling arcs. Develop their motivations, flaws, and relationships to evoke empathy and resonate with your audience on a personal level.

The Plot-Oriented Reader

The fourth type of reader is the Plot-Oriented reader. These readers are primarily interested in the twists, turns, and surprises that unfold throughout the story. They enjoy intricate and well-paced plots that keep them guessing. As a writer, you can capture their attention by crafting a narrative with unexpected twists, clever foreshadowing, and satisfying resolutions. Keep the suspense high and deliver a satisfying payoff to keep these readers engaged and coming back for more.

The Theme-Seeker

The final type of reader is the Theme-Seeker. These readers are drawn to the deeper meanings and messages embedded within a story. They enjoy exploring philosophical, moral, or social themes that resonate with them on a personal level. As a writer, you can captivate these readers by weaving thought-provoking themes into your narrative. Explore complex issues, challenge societal norms, and offer unique perspectives to stimulate their intellect and leave a lasting impact.

Conclusion

Understanding the different types of readers that are drawn to your fantasy book can help you tailor your writing to their preferences and create a more immersive experience. Whether you are capturing the attention of Escapist readers, captivating the World-Builders with your intricate lore, evoking emotions in Character-Driven readers, surprising Plot-Oriented readers, or stimulating the intellect of Theme-Seekers, knowing your audience is key. By crafting a story that resonates with these reader types, you increase your chances of creating a loyal fan base and achieving success as a fantasy writer.

Blow your readers mind. Happy writing!

[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.

[plotpointsworld]

ノㅤ　 ₊　 ㅤANGST ALPHABET DIALOGUE VERS. ：

A — “All this for nothing ?” B — “But you promised.” C — “Can’t you just leave me alone ?” D — “Does it even matter to you ?” E — “Every word you said was a lie.” F — “Forget it. I’m done trying.” G — “Guess I was never enough for you.” H — “Haven’t you hurt me enough ?” I — “I should’ve known better.” J — “Jokes on me.” K — “Karma won’t forget you.” L — “Love ? Is that what this is ?” M — “Must be nice not to feel anything at all.” N — “Nothing matters anymore. Not to me.” O — “Oh. So now you care ?” P — “Please. Just stop.” Q — “Quit pretending you ever loved me.” R — “Really ? That’s all I was to you ?” S — “Stop acting like you understand.” T — “This is what I get for trusting you.” U — “Until the end. I thought you’d stay.” V — “Very funny. Almost believed you.” W — “Was I ever enough for you ?” X — “Excuses” (Listen, nothing worked.) Y — “You thought I cared ? Think again.” Z — “Zero effort. Zero love.”

[yyprompts]

#47 🌙🤍🖤

Your child is very insistent on having their new bedroom be the attic, citing an interest in the single window with a view of the street. You agree because it's an innocent request at first, but when your child starts to forget everything around them and refuse to move from the window, their infatuation begins to cause problems. And you don't think it has anything to do with the view itself.

[stardustcasti]

I'll keep writing my story, I promise, lemme just...listen to the 4 hours long playlist I made for the main character real quick-

[rae-butter]

before you do a plot twist, ask yourself if it’s for shock factor or genuine consequences. You’re welcome.

[lemoncatssss]

Writing side of Tumblr, how do you personally like to plot your stories out?

[wlwnovels]

wlw plot ideas

★★★★★★

•(arranged marriage) both are the oldest daughters and princesses of powerful kingdoms and are arranged to get married in order to merge the kingdoms.

•(enemies to lovers) two rival cheerleaders in constant competition with one another slowly find out that their rivalry might be overshadowing their feelings for one another.

•(forced proximity) a girl at school on her last strike before she is expelled is forced to work with a goody two shoes nerd.

•(childhood best friends to lovers) childhood best friends who moved away from one another suddenly reunite at the place they least expected the other to be.

•(second chance) a girl wakes up in the middle of the night to knocking at her door, not expecting it to be her ex that she broke up with because of their long distance.

•(fake dating) two girls decide to fake-date one another to make their exes they still have feelings for jealous, but end up falling for each other.

•(forbidden love) a witch and a princess begin falling for each other as they write letters to each other as their only form of communication.

[valeriepaddy]

Me as a writer at 3pm: I have nothing to write about ...

Me as a writer at 3am: I am the master of Writing ...

[leoleolovesdc]

Anyone wanna listen abt my cowboy heathers au?? No? Okay then, I’ll talk abt it anyways

Heather Duke is in a gang-ish cowboy thing with the other Heathers. They scam people, rob banks and just generally do whatever the please as long as they get money out of it, but as Chandler always seems to find a way to get a bigger percentage of the gains than her and McNamara, this makes Duke grow bitter, so much so that she tries to get ahead and ends up stealing some money from Chandler (and by some I mean a LOT). Chandler finds out and obviously isn’t very happy about it, so now Duke’s on the run, trying to get as far away from them as possible, knowing that if McNamara, Chandler or any of their other goons catch her she’ll be a dead woman.

After days and nights of travelling through the country, Duke goes to a farm and pays the owners so they’ll let her stay for a few nights, rest and hopefully help the Heathers lose track of her, but that doesn’t work very well. Duke hears news that her former mates are on the town and packs her things to leave as soon as possible, but just as she’s about to go she finds a woman hidden in the farm. She doesn’t seem to know how to speak english and is clearly wary about Duke and her intentions, though she doesn’t seem to be much of a talker (especially in a language she doesn’t understand) she manages to tell Duke her name; Veronica.

The owners of the farm find the girls trying to interact and kick Duke out. She pretends to leave but comes back in the middle of the night to find the girl again, she finds out that the owners of the farm are basically forcing Veronica to work for them as payment for protection as she’s being chased by the mafia from her home country. Apparently Heather isn’t the only one who thinks she’s too good to resist the challenge of stealing from people she shouldn’t.

Duke breaks in the farm to free the girl and they get into a huge fight with the farmers. After a lot of bang-bang, she and Veronica manage to knock out one of the men, hop on Duke’s horse and run away.

The rest of the story follows them running away from both Heather and Veronica’s demons while at the same time learning how to speak and relate to each other. Heather eventually buys a dictionary to help her understand Veronica, and both get slowly better at communicating. With time what was one impulsive act coming out of some sort of white-knight complex of Duke’s becomes a genuine partnership, if not something more.

Veronica doesn’t plan on staying, though. Heather wants a peaceful life, she wants everything to settle down so she can finally get some rest, the only thing she ever wanted. Veronica on the other hand, lives for the thrill. She likes the adrenaline rush of stealing, having to run away, the feeling of having to free herself from the problems she had purposefully ran into.

She doesn’t want to stay forever. She won’t stay forever. But as long as Duke has a reason to run, Veronica will be running by her side.

After a especially violent encounter with the Heathers, Duke finds herself cornered by McNamara, who has a gun in her hand and is a movement away from blowing her former best friend’s brains out. Duke accepts her fate, she asks Mac for forgivness, says she regrets messing everything up and that she wishes it could have been different.

Duke closes her eyes. McNamara’s finger tightens around the trigger, but nothing happens. She can’t pull the trigger. She can’t do that. Not to Duke. Not to the only person she’s ever cherished and trusted as much a Heather Chandler. She lets her go.

After a long while without seeing the Heathers, they eventually come back. Chandler asks Duke to join them back. She says McNamara has made her see things through another angle and she’s willing to forgive her past mistakes and foolishness. Duke wants to go. She really does, but that’s when she remembers Veronica. She can’t leave Veronica all by herself when she’s being chased by half of the world. She refuses to come back. She says that’s the first time she’s ever had something she feels it’s worth caring for. She has a purpose when she’s with Veronica, she has someone to care for. Chandler stares at her coldly and leaves without another word. McNamara follows. She doesn’t seem to be just mindlessly going after Heather this time.

Veronica asks Duke why she didn’t come back with them. She had been offered forgiveness, she should have been ecstatically following Chandler back home like a puppy. Heather says that she couldn’t go because she’d never forgive herself for leaving. She knows that it wouldn’t be far to leave her friend behind. Veronica wouldn’t abandon her either.

Except that she would.

Everything Veronica ever wanted was a life like the one the Heathers lived. Free of rules, of judgement, just doing as she pleases. Running, but with a purpose, with people who share a similar goal. With a place to stay, cozy houses, people to sit and have dinner with, all of that without needing to ever give up the thrill she so desperately longed for. Veronica would have left anything, anyone for that.

Duke was stupid.

[novlr]

How to create an effective plot?

How to Quickly Craft an Effective Plot

Crafting an effective plot is no easy task. It's a delicate balance of character development, dramatic tension, and narrative progression that, when done right, can turn your story into an unforgettable journey. It’s easy to get lost and overwhelmed with plot development, so here’s a quick guide to help you quickly and easily craft an effective plot that will hit all the main narrative beats.

1. Start with your protagonist

Start by creating a well-rounded protagonist. Consider their strengths, weaknesses, aspirations, fears, and quirks. Each of these characteristics can be woven into the plot and will shape how your story unfolds. The most fundamental part of any character development is determining their goal, motivation, and conflict. It’s the backbone of any good story.

Goal

Your protagonist should have a clear goal they want to achieve by the end of the novel. This goal can be tangibly external (like winning a competition) or internal (like overcoming a fear). In fact, a well-rounded character should have both an internal and external goal.

Motivation

Your protagonist’s motivation to reach their goal will be the driving force of your plot. While a clear goal gives your character a direction, their motivation is what fuels their journey. Their goal is what they want, and their motivation is why they want it.

Conflict

Conflict is what prevents your protagonist from easily achieving their goal. It increases the stakes and propels your story forward. This can come in many forms, from a physical adversary to a personal flaw or external circumstances. Whatever the conflict, it should challenge your protagonist in a way that pushes them towards growth.

2. Establish the Ordinary World

Establishing the ordinary world is an essential first step in crafting an effective plot. You sety the scene for your readers, providing a glimpse into your protagonist's daily life before the main plot takes off.

The Ordinary World is the comfortable, familiar environment your hero inhabits, acting as a baseline for their normality. Use this stage to introduce the protagonist's routine, their relationships, their hopes and frustrations, as well as any prevailing societal norms or conditions of their world.

3. The inciting incident

The inciting incident is a crucial event that sets the whole plot in motion. It disrupts the comfort of the protagonists' ordinary world, bringing a problem or situation that makes them take action.

The incident you choose will depend entirely on the kind of story you want to tell and could be anything from a personal catastrophe to an intriguing mystery or an unexpected opportunity. No matter your genre, however, the inciting incident’s critical function is to permanently disrupt the status quo and set your protagonist on their journey. It's the spark that ignites the story

4. Build your story

With your set-up complete, you enter the stage of your story where you have the most freedom and can explore your chosen genre. Your characters will grapple with the challenges and obstacles that your story presents and forms the bulk of your story, spanning from the inciting incident to the climax.

During this phase, you want to introduce conflict to raise the stakes, increase tension and keep readers engrossed. As your characters navigate their way through these trials, they grow and evolve, adding depth to their personalities. It's in this section that your characters' motivations are tested, and their true natures are revealed. It's also where plot twists and turns come into play, and you can start developing subplots.

5. The crisis

The crisis, often known as the climax, is the most intense point of your story and serves as the turning point in your plot. It's a crucial moment where the protagonist confronts the main conflict head-on, and the tension reaches its peak.

The stakes are highest at this point, and the outcome is uncertain. It often forces your protagonist to make a critical decision or take decisive action, which will ultimately determine their fate. Whether that's an epic battle, a heartfelt confrontation, or a shocking revelation, the crisis should be a moment of high drama that pushes your characters to their limits.

6. The resolution

The resolution is where all loose ends are tied up, and your characters’ journey concludes. By the time your plot resolves, all your character’s initial goals, motivations, and conflicts should be resolved despite, or perhaps because of, the conflict and obstacles faced.

The resolution should provide satisfaction to your readers, offering both a sense of closure and an insight into what the future holds for the characters. Whether it's a happy ending, a tragic one, or something ambiguous, it's crucial that the resolution ties in with the story's overarching narrative and themes, and marked the end of your character’s personal journey.

[thewriteadviceforwriters]

Hiii, I just dicovered your acc and i'm loving it 🥰 I have this lil problem where I have in mind and write scenes but without a plot. And I'm very fond to the characters so I can't put them into a plot because I don't want them to suffer or a think if they do suffer it'll we forced and too much. Any tips for that?

How to Plot A Novel If You Only Have Characters & Scenes

So, you have a great cast of characters and some exciting scenes in mind, but you're struggling to put them together into a cohesive plot. Don't worry, you're not alone. Many writers struggle with plotting their novels, especially when they have a strong focus on characters and scenes. I have also been facing difficulties with this recently. But fear not, in this article, I’ll help you explore how you can plot a novel even if you only have characters and scenes to work with.

Why Is Plotting Important?

Before we dive into the how, let's first understand why plotting is important. A well-crafted plot is the backbone of any successful novel. It keeps readers engaged, creates tension and conflict, and ultimately leads to a satisfying resolution. Without a strong plot, your novel may fall flat and fail to capture the attention of readers.

Types of Plots

There are many different types of plots, but they can generally be categorized into three main types: character-driven, plot-driven, and hybrid.

Character-driven plots focus on the internal struggles and growth of the main character. The plot is driven by the character's desires, flaws, and decisions.

Plot-driven plots focus on external events and conflicts that drive the story forward. The characters may still have their own arcs, but the main focus is on the events and how they affect the characters.

Hybrid plots combine elements of both character-driven and plot-driven plots. They have a balance of internal and external conflicts that drive the story forward.

Understanding the type of plot you want to create can help guide your plotting process.

How to Plot A Novel with Only Characters & Scenes

Now that we understand the importance of plotting and the different types of plots, let's explore how you can plot a novel with only characters and scenes.

Start with Your Characters

Since you already have a strong cast of characters, it makes sense to start with them. Take some time to fully develop your characters, including their personalities, motivations, and flaws. This will help you understand how they will react in different situations and what conflicts they may face.

Identify Your Main Conflict

Every novel needs a main conflict that drives the story forward. This could be a physical conflict, such as a battle or a chase, or an emotional conflict, such as a character's internal struggle. Identify what the main conflict in your novel will be and how it will affect your characters.

Create a Story Structure

A story structure is a framework that helps guide the flow of your novel. It typically includes the beginning, middle, and end, and can be broken down further into acts or chapters. Creating a story structure can help you see the bigger picture of your novel and how your characters and scenes fit into it.

Map Out Your Scenes (High Priority) 🚩

Now it's time to map out your scenes. Start by listing all the scenes you have in mind, even if they are not in chronological order. Then, arrange them in a logical order that makes sense for your story. This may require some rearranging and tweaking to ensure a smooth flow of events.

Connect Your Scenes with Conflict (High Priority) 🚩

Once you have your scenes in order, it's time to connect them with conflict. Every scene should have some form of conflict, whether it's internal or external. This will keep readers engaged and drive the story forward. Look at each scene and identify the conflict present, and how it connects to the main conflict of the novel.

Create a Character Arc for Each Character

As your characters go through different conflicts and events, they should also experience growth and change. This is where character arcs come in. A character arc is the journey a character goes through, from their initial state to their final state. Create a character arc for each of your main characters, and make sure their actions and decisions align with their arc.

Add Subplots

Subplots are smaller storylines that run parallel to the main plot. They add depth and complexity to your novel and can help develop your characters further. Look at your characters and see if there are any side stories or relationships that could be explored in a subplot. Just make sure they tie back to the main plot in some way.

Use Plotting Tools

If you're struggling to put all the pieces together, consider using some plotting tools to help you. There are many resources available, such as plot diagrams, beat sheets, and storyboards, that can help you visualize your plot and ensure all the elements are in place. If you need help with scene structure use my new scene workbook here.

Real-World Examples of Plotting with Characters & Scenes

One example of a novel that successfully uses characters and scenes to drive the plot is "To Kill a Mockingbird" by Harper Lee. The main conflict is the trial of Tom Robinson, but it is the characters, particularly Scout and Atticus, and their reactions to the events that drive the story forward.

Another example is "The Hunger Games" by Suzanne Collins. The main conflict is the Hunger Games themselves, but it is Katniss' internal struggle and her relationships with other characters that keep readers engaged and invested in the story.

Final Thoughts

Plotting a novel with only characters and scenes may seem daunting, but with the right approach, it can be done successfully. Start by fully developing your characters, identifying the main conflict, and creating a story structure. Then, map out your scenes, connect them with conflict, and create character arcs. Don't be afraid to use plotting tools to help you along the way. With these tips, you'll be on your way to crafting a compelling plot that will keep readers hooked until the very end.

If you require assistance with developing your scene structure, you can access my Scene Workbook for Writers at no cost.

I am sorry to the individual who sent me this question. I have a lot of questions in my Tumblr inbox and have only recently come across this nice question. I apologize for the 4-month delay.

[imbecominggayer]

Writing Advice: How To Form A Plot

This not-so-little post will be a quick little rundown on how I start making my plots come to life.

How I go from daydreaming to actually having details

How I choose to eliminate what is going in and what isn't.

A) Find The Core Premise Of My Idea: What if?

By core premise, what I mean is the narrative device that will punctuate the narrative. What is the question that inspired this world. What is the world trying to subvert. What is the symbolism!

This will serve your prioritization. Basically, when you are daydreaming about the world there are no limits! But you need to have limits in order to understand where you want this plot and characters to go. The Core Premise functions as a sculpture. What do I need to prioritize? What themes and characters do I need to cut out because they don't serve the story?

For example:

Claude and Gabriel: This was inspired by the question "what if christianity was reflective of my values while still keeping the central themes of compassion, forgiveness, and love?"

Verne and Stanse: "What if everyone understood how an all-consuming desire for love and understanding can be monsterous?"

Yuuma and Jukka: "What if we didn't know who we were? What if we weren't that human? Could we still find love?"

Nonkosi and Yituing: "What if compassion was strength personified? What if Wrath was the weakest thing out there?"

B) Be Ready To Cut Things And Change Them Out!

Did you know that Gabriel wasn't originally an angel? He actually used to be a devil! But no matter how hard I tried I just couldn't get this characterization to work!

I took a step back. Looked at my christian inspiration and said "what if [UNNAMED CHARCTER] was an angel?"

I still kept some aspects of Gabriel's old devil origins. He acts a lot like a moral succubus but he definitely fits better into the world!

Did you know that Stanse wasn't Verne's love interest originally? Verne actually used to be in love with Edmund and Stanse was originally in love with Cident!

I realized later on that the themes that Edmund were diving into just didn't fit into the themes I was working on! Edmund was focused on regret meanwhile everyone else in the world was focus on the struggle with acceptance, love, and understanding!

After I brought Edmund down to the role of a good friend for Verne, I decided that Stanse's themes with understanding definitely fit with Verne. And that's how that love story came to be :3

What i'm trying to say is that sometimes your ideas suck. Sometimes they just don't work with the other aspects of the story. The themes are not lining up. In that case, stop trying to brute force it and start from scratch.

Before I was so heartbroken about having to start all over again that I just kept trying to make something work that was never going to. Trust me, you'll save a lot more time if you work with your themes and characters.

[plotpointsworld]

ノㅤ　 ₊　 ㅤ20 fluff dialogue plots ：

" I can’t help but smile every time I see you. "

" You’re my favourite notification. "

" Do you think we can build a fort and just stay in there forever ? "

" Is it okay if I call you mine ? "

" I didn’t know what love was until I met you. "

" You make ordinary moments extraordinary. "

" I had a dream about you, and it was my favorite dream ever. "

" I think I’m addicted to the way you smile. "

" If kisses were snowflakes, I’d send you a blizzard. "

" I could get lost in your eyes and never want to be found. "

" You are my personal ray of sunshine. "

" I love you to the moon and back, and then some. "

" When I’m with you, time stands still. "

" You’re the best part of my day. "

" I could listen to you talk forever. "

" You’re the reason I believe in love. "

" Do you believe in love at first sight ? Because I’m starting to. "

" I never want to stop making memories with you. "

" You make me believe in fairy tales. "

" Every love song makes sense now that I have you. "