How to Plot a Story

Drawing a story

Yeah, that's right, the end. This creates a compelling, character-based storyline that drives your story. Is it possible for a story to function without structure? However, a structure itself is not an action. One structure is a Holiday Inn.

As one draws a story (even if plots scare you stupidly): 7 Sure Fire Ways

Is it possible for a story to function without structures? However, a certain texture is not an act. So, how do we find a conspiracy? An instinctual way is to begin with a powerful concept, an event or personality. This is still not a conspiracy. She pretends to be defining the ups and downs of suspense in a story, but only works in classic Grecian play.

We' re looking for a conspiracy. Begin to think about images! By chance, we'll begin with The Quest. It' will show you new ways to create an action in any kind of movie-style. That story goes from one storyteller to another, and back again, in a match the passport the ball.

The last part of this story is shattered. Every item falls back into a different design. The storyteller was untrustworthy! The last sequence strongly shakes the Kaleidoskop. The kaleidoscopic sight will make your readers breath.

The story alternates constantly between crises and reliefs, suspense and calmness - like the beating of a man's temper. You can keep the switchback patterns until the cats are found or not found or the number of words you want is reached. Did you see the design of a bowl of natilus, cut it in half?

Assign this to a story. Cleverly done, the Nautilus shell design can give a story great tension and sophistication. It is a concept I made up for a personality or event that occurs early in the story and recurs at accidental times, but seems to be (initially) immaterial to the plot.

This man seems to have no role in history, except as a soundboard, a tool with which the readers can understand what happens. Pink Thread is a useful tool if your action does not - completely - come together in the end. The meaning of the action now becomes clear.

History returns to its original point of departure after exploring many of its many avenues. Ned, the grower, says Alice wisely: "Cats like an occasional vacation. Round-robin patterns give a story an intrinsic oneness. A storyteller presents a story that shows another storyteller telling the story.

It is a framework within a framework. It ends when the first storyteller resurfaces and brings us back to the outside world with satisfactory end. Sharon, the girl, is the number one singer. The first framework is defined. Perhaps she has her head clipped and styled, and is telling the barbershop about the horrible times when her mom was losing her cats.

Its history is the second framework. Back to Teller #1. Sharon, her barbershop head of head is done now, tell the barber how the story ended. A value of the framework is that the first storyteller, who constitutes the external framework of the story, can describe the initial concept - with information that is not contained in the story - or at the end can provide a punch line.

In order to make a story topic work, we can inflict an almost endless number of designs - or images - on it. Snow flakes, mosaics, turret locks, mazes... You never have to ask yourself again how to plan a story. Do you think it could be a new story?

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