How to Write a Book PlotWriting a book plot
Writing a plotless history (and why not write it)
You can write a storyless film? In the end, it all comes down to your own definitions of a history. It' the most intuitively way into a storyline with the power to have it all: fun, great personalities, great writings and insight.
Whilst there are certainly good tales that get away with little to no action at all, the only ones worth remembering are those that reach complete splendour in other areas of history. These are not the tales I will tell you not to write in this article. It is like a Picasso without the Picasso.
What is the best way to tell a history without action? On the other hand, the trouble with these works (too many of which are published) is that their writers often do not even realise what they are creating is a storyline without action. If you' re really not, how can you think you're gonna write an action?
Cinderella, to cite Peter Pan's abridged version: It was Peter Pan who knew how to put things into a novel. This is not the same as a book with a coherent plot. Isn' this a conspiracy? Unfortunately, as funny and relatively simple as it is to write the music. No, it's not a plot.
The plot is not a series of coincidental occurrences, interesting or thrilling as they may be. Only part of this book that actually had an action was the beginning and the end. There are many different storylines that do not make up a whole plot.
They all have a common aim, which they pursue in every individual sequence. But here, too, perhaps only 25% of the shots are moving towards this target. In most of the sequences it's just about the fact that the players think (and maybe talk) about this beautiful target and all the danger in their way until they finally get to the mandatory big war.
Conspiracy talk isn't really a conspiracy. A plot is a forward motion to a certain end. In order for a set of occurrences to be qualified as action, they must meet all of the following conditions: But the beginning of the tale has to ask a simple one. And the end of the line has to be the same thing.
All scenes between beginning and end must be based on this issue. All scenes must be based on this response. Whenever there is a sequence, it has to give an impulse to the purpose of the narrative. All scenes must bring about a direct effect on the characters' relationship to this target. The forward dynamics and the changes in every single sequence do not necessarily have to be tragic either.
Consider the secondhand Lions where Walter the Great-Uncle buys a wild animal to chase, just to let a weary edentulous animal who won't get up at all thwart their expectation of an old wildlife outing. You don't have to make every sequence in your plot a drama. This is a conspiracy. That'?s a good one!
Did you ever try to write a storyless film?