How to Write a great Story PlotWriting a great story plot
So what then?
Literature lovers have a tendency to prevent action. We' re skilled in plot shots that focus on characters and their descriptions. You can' do your story without a plan. Action is suspense, action is tragedy, action is history. And what makes this even more difficult is that in most of the literature we like, the plot appears hidden.
They are so motivated and anxious and desperate that we disregard the incidents that push them to and from their path. Concentrate on their development and totally forgetting the plot. You have to be aware of the backstage incidents that drive these people.
It is important that we focus on the action and know WHAT is going on and WHY it is important. But if we go too far, if we have outside occurrences that are apparent and on our faces, we won't be so concerned with the people. So we stop worrying about whether this particular personality will reach their own needs and just worry about what happens in the end - does he get the one?
This is because we concentrate solely on the plot and do not invest in the charcter. Those tales don't stink, and they have a bunch of noisy storylines. That' s why a story is a real+good story. What do we give a damn that this outside incident occurred with this personality?
What do we want to know how the characters feel? So why do we give a damn whether the player reaches his destination or not? We are looking for the cause and effect, the "why" or the "because" of history. You have to combine action and personality to make a story that seamlessly resembles one.
Rather than looking at these story components as distinct units, we need to connect them. In order to make a Real+Good story, these items must be inseparably connected, coupled, united, merged, so that there is no possibility that they can coexist with the same effect on them. Whenever something happens that drives the action forward, write it down.
Are you looking for a good story to work with now? They can create a timeline of incidents, put them on Frytag's pyramid, find the inputs and faults, or distil them into the three-act structure. At every plot point from beginning to end, you should know WHAT is happening and WHY we do it.
You can write this as if you were sending a letter to a colleague about what happens. Describe what exactly happens in this volume, why the incidents have so much importance and why the readers should even bother about them. It just has to be a few phrases, or maybe a brief passage, because you try to distil the plot, to keep it apart from all the other great things that are going on in the story so that you can see them all.
Important note: I know you probably came here with the intent to find out your plan, but just wait a moment, PLEASE! It is a custom to pay heed to the plot when reading in the futures. It is especially important in tales in which the plot appears inaudible. And if you've ever seen a story you can't tell others - "This story is so great and it's about EVERYTHING!
"then you know the author has done a good work. They have persuaded you that the plot is completely innate and organically, and you believe that it is only an excerpt from daily routine that sums up to a transformational process. Obviously, that's not the truth. I have so many outside incidents driving these tales that I don't know how I've never known them!
After all, how could they make their actions unseen? To make the action connect with the characters, there can be not only outside powers working around the characters. When there is a storm AND THEN a current line drops on the home of your characters AND THEN they have to handle it AND THEN..... we loose interest very quickly.
It takes outside help to get your story off the ground. However, with only outside occurrences in the story, the player becomes passively and reacts easily to the area. It' simple to write signs that are inactive. We are the watchers of the whole wide underworld. we' re creating the conflicts, the outside occurrences that make a difference in history, but that's not enough.
And we want to see people who are proactive, people who have objectives and who take measures to achieve those objectives. Rather than having only outside powers to drive history forward, we need inside powers that are in contradiction with history. It' outside powers we've been discussing that bring a mad, tragic incident into the game that makes your character respond.
Externally, if something happens. Inner powers are the wishes and anxieties of your personality. That is what your personality wants, what their aims are, what they need to accomplish the transformations that history is about. It is the inner powers that really push your story forward. So, yes, if you're pinned down and need something to move the story forward, find an outside incident and toss it in there.
We' re looking for the aims, wishes and motivation of our characters that will help the story to make sense. We' re looking for the inner powers that power them, and we have to find out what they are. Their characters could avoid their aims, not recognize what their final aims are, or think their aims are something completely different.
That is the immersion in the sub-text, the topics, the core of what your story is about. Maybe your character's ultimative wish is xxxxxxxxxx, but they're going in the right direction. In order to find this out, define their deliberate purpose, and then continually and consequently ask why, until the real response revel.
That should extract back story, background, internal convictions, aspirations and many more. That gives your personality deepness and roundness. You' re planning this epiphony momento. And do you see how it is directly related to your character's wishes? Which were the character's greatest anxieties and wishes?
So what were their final objectives? How does the person think, what he wants and how is that compared to what the bigger topic, the "approximately", actually wants? How have they taken action to achieve these objectives? What was the situation regarding outside occurrences in relation to inside occurrences? You can also think about your story NOW.
As soon as the character's objectives are set, you can start playing with various actions that would influence their trip to that objective. That will NOT be your story, because without conflicts you would have no story. This is what your personality would do if he wanted to find real love:
And you could write that story, and a lot of folks have. Our real example of lovemaking could be outside occurrences that she doesn't like him, or that she appears at different moments or in the opposite places, or that she is matriarch. Ineffections may be that she does not believe in charity because she comes from a divorced couple, or she is not sure if it is him, or she likes two persons at the same moment and is not sure whom to vote for.
So what would it mean for the story if the characters succeed or fail to fulfill their wishes? We look at the general purpose of the story. How does the personality benefit if he achieves his objectives? How much does the player loose if he reaches his objectives? But on the other hand, what does the player loose if he doesn't reach his objectives?
How does the person benefit if he does not achieve his objectives? If our hero wants to find real excitement in our example of loving, what good is it for him to find it? Everlasting bliss and affirmation of the faith that real charity is there. If he DOES NOT find real affection, what does he loose? He' s got no one to fall in love with.
Maybe an interruption in the long-held faith that real charity is there. If he can't find real romance, what's in it for him? For me, the story that arises from these thoughts is what he will lose if he does not find them. That'?s where history is. Don't need to know everything about your story in advance.
Maybe you want to know everything that will occur before you write it (planner) or maybe you don't want to know anything and just want to see where the story leads you (fly). E.L. Doctorow proposes in his infamous quotation that you need to know a little about your story to get started, but you don't need to know everything.
Allow her to be in your story. Once you have recognized your character's wishes and the possible implications for success or failure, choose a way to write. Think about how your characters evolved throughout history - how did they get from here to there? Think about how outer incidents are forcing the person to face up to inner conflict.
Be aware of the causeality and how an incident must make the player respond in a certain way. You can do it for your own story so you know about where you're going. Leave your character's wishes to the drivers. One of the greatest things you want to keep when you write is your character's wishes.
You throw conflicts in their path to forbid them to reach them, but their wishes and needs are what really keep history going. The plot ends, that's why Writer's Bloc happens. The plot ends because the wishes stop. If you are confronted with a writer's death lock, go back to your character's wishes. Fill your characters with your plot for a powerful, astonishing story.
So what's the hardest thing about building a character-based action or an action in general? What makes you think we can stop us from conspiring?