How to Write a good PlotWriting a good plot
Writing good storylines
Four main plot strands exist: A never -before-seen turn, in which there is a abrupt change in the narration from nowhere. âThis is the kind of folly that Raymond Chandler referred to when he said that if a writer gets tight in a tale, they just have to have someone up at the front with a rifle.
A tricky turn of events in which no information is given to the public so that they can be "surprised". You' ll find this kind of twist often in the work of new authors who think a tale is all about the O'Henry Twin at the end. These storylines, in which the storyline is cast in a substantially different sense by chance or chance.
A specific action is defined for this kind and then tossed by an incident. It was the natural turn of events, in which everything the public experienced in the narration led to this point, but the public wrongly thought it would lead somewhere else. Just like the big turn in The Usual Suspects or The Sixth Sense, where you can go back through history and realize that all the information was there, you just couldn't put it together.
4 is the best guy, because he develops in time. You need to plan carefully, anticipate and write seriously. 2 is a cheaper ploy and usually just teases your audiences and thus has the opposite effect of what you want a two-way do. 3 is a part of any experienced writer's armory as it will help them prevent tales that just roll out.
What is the best way to write good storylines? as you write your own history or novel. And if the writer himself doesn't even know how his own history will end, if he writes it, how can the speaker now? You' re a good writer by using improvement as your main resource for inspiration and allowing yourself to be surprised by the results of such iterations.
And, of course. When it comes to typing, you have to be open to both the good and the evil. Also you must eschew being possessed by what the markets say, or what your visions of fame as a renowned novelist may look like, and be the kind of author who can get into typing something EXTREME good only.
However, all these things - and especially the improvised part - are of course not for the weak authors. You had Guy Pearce as Leonard and wanted an actress whose sole aim was to deceive the people. Why am I doing this?
Cause you can use the same principles when writing your own stories, whether it's a novel, a film or whatever. But the most important thing about an action is to write the whole storyline in such a way that it is evident in retrospect and makes good use within the historical ritual.
If you look at the whole thing through the lenses of disclosure, the readers should be nodding and impress. The storyline in Sixth is such a good one, for if you look back at all the previous sequences with the last bit of knowing the facts, it makes perfect sense. 6th is the first scene in the series. That'?s good for her.
You can do the most unfortunate thing by accident to jump on your readers. That'?s why Shyamalan's storylines are so terrible in later films. Likewise, to prevent you from accidentally jumping things on your readers, a skillfully placed Chekhov's weapon goes a long way. So, what is your favorite music?
You will find the kind of plot phrases in a mystery story will be very different than, say, fictional literature about grief after a divorce. When you write gender-friction, your storylines must generally be more exploding than when you write other things. As if it were a romantic, you can have the turn that the protagonist slept with the bad twins of the man she thought was with him, and that's okay.
No matter what kind of music you write, think of your audiences. I would suggest creating a checklist of possible plot tricks, one in which you write down everything that goes through your head, however stupid. Most of the time it's your job to know your own style, your audiences and your own people. If you let the kitty out of the sack and tell the readers what will be happening, it can make for much stronger storyline tell.
Traditional knowledge would demand that the author keep this tragic incident up his sleeves, but if he does, the surprises are over within seconds. When I write an action, why? Do you think the two-wheeler adds or diminishes the significance of the narrative? When your response to the first is that you write plot-twists just for the cause, you are probably on the wrongful track.
The simple addition of plot-twists for a low-cost effect may seem wise, but it probably isn't. When the plot relies on stupid deception or a delusion of ex-mâchina dissolution, the workmanship will be severely compromised. Only way an action works well is a true-to-nature structure that brings the storyline to a credible close.
Readers will probably appreciate your stories much more if they really think they are caught off guard and fascinated rather than deceived.