How to Develop a PlotDeveloping a plot of land
11/plot traps - and how to save your history from them
We were all there: We sunbathe in the glamour of a completed script just to see that something is not right with the plot. These are some of the most popular storylines and useful methods to rework them without having to start over. THINGS ARE NOT ORIGINAL ENOUGH. Type where you saw it in the margins.
Then, enumerate these paragraphs and write down for each of them how they might differ from their look. THE READER ALWAYS KNOWS EXACTLY WHAT WILL BE HAPPENING. You may have selected a plot point that is overloaded, or you may pass on the response in the foreground. The reader knows that the bad guy will flog a painting of the hero's kid and extort it by claiming to have abducted the little kid for showing him how to photograph the kid and drive him away from the high school.
IT' S ARE BORY. Use each page and visualize what different authors could do with the same action. As a child, would a playwright have befriended the taxi chauffeur and the bad guy with loose ends? Irrespective of whether these concepts match your history. However, often after you have thought of savage thoughts to make the tale more interesting, you begin to find practicable ones that are just as inspiring, but better matched to your work.
AND THE FRANTIC TEMPO STUNS THE READER. Allow your reader time out in your actions storyline from time to time. Check out your favourite real-life adventure stories. Listing them. If so, give your reader the opportunity to inhale their own manuscripts. THINGS ARE TOO COMPLEX.
Often, a complicated action can be streamlined by clipping out a few simple actions. Is there three reasons for your villain's vengeance? In order to find the disorder in your excessively complicated history, grasp it out loud. What? If you say, "Oh, hold on, I didn't forget to tell you...." then you probably need a plottrimm.
If you decide whether you want to make the plot easier or not, ask yourself again and again: "Why does she do it? "To make an act less complex doesn't have to make it any less intelligent. THINGS ARE TOO FLAT. We are sometimes involved in the actions as authors. We sometimes rid those abilities across the face of history and we sometimes lose sight of what's really important.
When you or your first reader (friends, relatives, representatives) complains that the novel doesn't feel important, back off and ask yourself these questions: So why do I bother to make this one? What influence did my favourite textbook have on me when I first looked at it? The reader has to buy into the real world, which is presented by what he reads.
With a plot point you can go too far or not far enough to prepare your crowd for that plot point. THERE ARE TOO MANY SIDE STORIES THAT MAKE THE PLOT TOO COMPLEX. Lists the side stories (shopkeepers with a swarm, neighbor's dogs tearing up the yard, accountants threatening to cancel every day), and then under each track enumerate all the paths that are necessary.
A subplot that is so important that it cannot be removed without breaking the novel remains nearby. When you think the order of your story's sequences or happenings isn't right, place each sequence on a different tab and put a query point in orange color on any map that doesn't really touch the history.
Draw a shortlist on the lefthand side of everything that is doubtful in your current premises. Then, make a playlist on the right about all the things that work well in the assumption of a similar favourite work. Look where you place the bets higher, the character more emotionally, the attitude more a part of the overall plot.
This should arouse your readers' curiosity. Again, type a position of what annoys you active your appraisal, and neighboring it, a position of what worked largely active the end of your choice book. Need to generate more excitement before giving your reader what they crave?
Is the bad guy supposed to be more angry or maybe repent? Are you not sure if your storyline is powerful enough to recruit an operative?