Basics of Writing a BookFundamentals of Book Writing
Fundamental plot for beginners
Dramatists have put this into them, but literary people often get away with fundamental instructions about what makes something drama. You can study and learn the basics of a good history. Protagonists must face a contradiction - with a different personality, a different social, natural, self or a certain set of things - and thereby transform themselves.
"Confrontation " is also referred to as "a big drama question". "Gotham Writers' workshop put it this way in her guideline entitled Fiction Writing: As a rule, the big tragic issue "is a simple yes/no issue that can be resolved at the end of the film. Is Elizabeth Bennet going to get married by Jane Austen's proud and prejudiced wife out of loving life, and will she or one of her sister get married well enough to keep the whole household from being financially humiliated?
Bennet is learning the danger of prejudices interfering with the judgement. At the end of the tale, both are more wise than at the beginning, even though this knowledge is expensive in Lear's case. From the beginning of the history to the fulfilment of the tragic issue, a history will meet various milestones.
It introduces the character, the settings and the key conflicts. Engage your character in this dispute as early as possible. Don't let them wonder why they read your novel or your tale. Had Elizabeth Bennet and Darcy liked each other immediately and their boyfriends and families immediately agreed, their relationship would have been much less satisfactory, and not much would have been learnt except that it is great to be able to fell in lov.
Notice how other authors create drama in this part of their work. What interests us about the end of the tale? As an author, it is also part of your growing career to develop a feeling for a winning arch of stories. This ascending plot culminates, the turning point in history, which in turn results in dissolution.
One way or another, the key tragic issue is being resolved. By Cunning & Craft by Peter Selgin is a good example: The highlight is the solution of the dispute, the point of no recurrence at which the destiny of the main character - good or poor - is averted. Romeo and Julia are suicidal....not because it is the most tragic of moments, but because he is sealing his destiny and determining its dissolution by stopping him and Julia from ever being happy again.
Both Elizabeth and Jane Bennet are living closely together. Firstly, much success in making fictions does not exactly adhere to these regulations. However, works like Virginia Woolf's wife Dalloway, which seem to be more geared towards speech than actions, also pose tragic issues to keep us aloof. Secondly, these fundamental components must not appear in the order mentioned above.
Ask why the author chose to tell the tale the way he or she did. Consider the tragic choices. In any case, try experimenting, but also spending some quality basic work.