Pattern of Story WritingSample of story writing
mistakes. Discovery & Continuation of Shape Patterns Stories. Please write short'Fortunately unfortunately' sample stories! Writing short stories is fun! There are already competitions for story-writing bots.
You can define plots as what happens in the story, the order of occurrences when the player tries to resolve his or her problems or achieve his or her goals. By the end of the action, something must have changed, either in your nature, in the situational or both. At the end of the story, if nothing changes, you have no story.
Imagine your personality in a relatively steady position, i.e. his lifestyle is good and uneventful. Now he has a solution to a dilemma or a target to achieve. Maybe something in his inner self is causing the circumstance; e.g. he chooses to resign his profession and look for something better.
Wherever you start writing, the beginning has several functions: And to tell us what the issue or objective is (or at least an indication of it). You' ve got to persuade him to study your story/novels and not the many others he can pick from. In order to satisfy the requirements of number 4, you must show the readers with interesting personalities and a vivid literary sense that it is rewarding to write your story.
That' s where the player is acting, trying to resolve his problems or succeed. You' ve done your work on characterisation so that you know which of its essential needs, feelings and characteristics are related to the situational state. So you know what kind of action your characters will perform.
This means that every tim the heroe tries to achieve his aim, he comes near. Every hitch he hits an obstruction, he's further away. Tales that have the same degree of dramatics are rather dull, and one of the precepts of writing is: In times of conflict your personality should be as far away as possible from the result you have for him.
This denouncement brings us back to the relatively steady initial state. However, keep in mind that the player is not where he started. It' either him or the whole thing, or both have change. She wants a stepdad for her eight-year-old Robbie. Robbie's begetter had not been powerful; he had been meek, and his meekness had caused his deaths.
On the job, Lynne sees Matt. Matt is a large, broad-shouldered and sporty builder. He would be the ideal dad for Robbie. She' s inviting Matt home. att and Robbie got on well together. att is teaching this kid how to run a baseball game. Soon after Matt and Lynne get married, Robbie begins to have crashes.
He is accused of being in danger of an incident. Goddard has more crashes, each more serious than the last. Not able to deal with the situa-tion, Matt goes. Angrily Lynne absent-mindedly lets a pan with hotpot lie on the cooker and fall as leep. Goddard makes the neighbours call the fire brigade, then break into the home and save his mum.
Matt and Lynne both know that their boy is powerful after all. The physician will help them to realise that his injuries were targeted. So they let him get away and get involved in the hard work Matt and Lynne wanted for him. Okay, now let's analyse the story. Lynne's choice to find a dad for Robbie.
As such an in-house activity is not a big tragedy and a certain amount of lapse of timeframe between her choice and her appointment with Matt, this would not be the best place to actually start writing. Lynne seems to be reaching her destination for a while. att and Robbie got along well, and Matt starts to teach the kid some of the things Lynne thinks she knows.
That is the centre of history where problems arise. Goddard starts having crashes. In between the crashes it goes right again, which leads Lynne to the finish. until Matt gives up and goes. She is furthest from her aim of finding a sire for Robbie.
Highpoint of the story is the fire. Goddard saves his mom, and Lynne and Matt realise that their boy does have power.