Making a Story Plot

Creating a Story Plot

To find out how to start writing your story, click here. You may have noticed that I have used this a few times in creating ideas. You have to let them do more for it to have weight. It was Peter Pan who knew how to put things into a story. Contrary to what I once thought, the plot is not a natural result of storytelling.

Create plot part 1

So if you are one of those guys who write copy for a lifetime to make enough cash to back up your fictional typing efforts, then this set is for you. It started with hints on how to make a credible personality, and the next part discusses how to frame your novel.

Plots are the essence that gives your players something to do. They would be appalled at how many abandoned this move to make their story an action. You' ll create a great, well-developed persona with a person with whom everyone can sympathise, you will come up with a great background story and you will put the story into a wonderfully described, moving environment.

Charming players probably interact with other players, have discussions and do things in this exquisite place. There' s not going to be a single driver that drives history forward. Essentially, there will be no conspiracy. This is not a conspiracy. Your story's plot is what other folks would say your story is about.

This is a story about a lady who gets the shit thrown out of her. "This is not a legal conclusion of history, because it is not history. That'?s something that's happening in history. This is the plot that drives the whole plot.

So What Is Plot, Then? A story's plot can be more or less summarized in this way: He/she reaches what he or she has wished for or does not at all. That is the plot of almost every story. Capt. Ahab wants to capture the great black right now. It is understandable that the great black sea owl does not want to be captured, which stands in the way of the captain's objective.

The Ahab fail, the great whitewhale murders him. Nevertheless Robert reaches his destination. Shagadellelic is an idiot, which means he can't be a friend. BRIDGEGET can't get Shagedelic Chef but follows at getting another cute, thoughtful friend and mangle standards set body in the deal. Because of all the bad creatures in his way (Orcs, Ringwraiths, etc.), he cannot reach his destination by throwing the ring into the Cracks of Doom.

Have a look at your story. So what do your personalities want? When you find out what your character wants, you have to find out why they want it. Capt. Ahab wants to assassinate the great black right now. The great black right hand is on the edge of his head (he has one point). It will help the reader to know what drives the action of the character in your story.

You can either help your character in his search for whatever, or you can stand in his way. You think your plan is more complicated than that? The most confusing plot structure collapses to this point. Only exceptions (and it is not really an exception) are slots in which there is more than one player, in which case each of the players can have their own target.

As a rule, two strands of action in tandem agree that one individual wants a specific target and the other does not. Or vice versa, the players want the same objective, but for different purposes. One way or another, it's still the same plot: here's a short example of an action that seems confused, but it's not: in the Pride and Prejudice books, the readers have to deal with five nuns, a mom and a boyfriend of the mob.

Her girlfriend wants to feel good about her finances and doesn't even bother if she really cares about her man as long as she can reach this reward. They are SEVEN different guys in one story - and I haven't even bring the othersters. We have Elizabeth as our protagonist. Its fundamental aim is to be mentally fortunate, and it would make no difference to her to find a good man with whom this is possible.

Any of the other people in the script, each one of them, are only there to support Elizabeth's search for this in some way. Each and every one of Elisabeth's sisters and girlfriends who gets into a relationship of romance nourishes her comprehension of what she wants in a partner and brings her one stage nearer to him.

That doesn't mean that each of the other players is trying to help or interfere with Elizabeth. This only means that from an author's point of view they are contributing to Elizabeth's work. That they unconsciously help Elizabeth achieve her aims while they pursue their own is irrelevant. Anything that is cited in the script must in some way help achieve its purpose.

When there is a personality or circumstance that does not fulfill your core character's purpose, it does not fit into the story. So, ask yourself these and see how much more clear your story will be: So what is my protagonist's objective? Which are the aims of my side actors? What does the tracking of my side characters' objectives do to my protagonist's objectives?

When you can't just give answers to these quizzes, you have no character. Even worst, you have no plan.

Mehr zum Thema