Planning out a StoryPlan a story
So why less planning could mean more for your next story.
Which is a good way to plot a story?
Every writer prepares a course of action that is best suited to him. BUCH-TITEL:Book-Themen:Chapter 1: Fundamental one-line abstract of the whole section. Scenes one: The Fundamental one-line abstract of the first sequence. Date/Time/time or time of day in history. Where' s this goddamn thing going on? Signs:: What you want to communicate about the character.
Explain in detail what is happening and what is going on. Exploring things, personality sketches. When I have any of my characters' mysteries, background stories, premonitions or dialogues for the sequence in my head, I am adding them here so I won't overlook them in the first one. Scenery two:: Scenery three:: Scenery 4: Scenery 5: I' ve inserted 5 scenarios in each section and try to make each one 2 pages long, for 10 pages per section.
You can, of course, have more sections or more sequences in each section. The grouping can be created in steps. I' ll always begin with the 12 section reviews (bold) for a review of what is happening through the story. I then go back and fill in the one-line abstract (italic) of each one.
I then fill in the other information (underlined) and make the last few comments about the research and the people. There are many things I would like to know. I decide to put a great deal of detail for each and every sequence so that I don't have to go back and find out during the first design. There is no activity, which character hasn't been presented, how the sequences and chapter work and which detail is not there.
Scene can be shifted slightly. Use the structure to create a fundamental script synopsis. You' ll know what your story is about and you can tell your story to humans without going on a ring road. Frequently I start by writing the outlines of the end, then the beginning, and finally join the two in the center.
In this way, the story stream makes (should) make more sense with the plot at the end. As soon as it is ready, it is much simpler to draw up the raw design. It' all about written one section at a stretch, one sequence at a stretch. When your raw design is ready, you can check it against the design you made to see if you are on the right path.
Printout your completed sketch and stick it on your worktable /wall etc. so that you can refer to it while writing. I' m also making a casting of charusters design that looks something like this: Wise Man:(MAJOR) Anti-Hero:(MINOR) Caretaker:(MINOR) Trickster:(MINOR) Victim:(MINOR) Every Man:Benefits of this outline: 1. Each big and small player is portrayed with a story archetyp.
They have a base structure for each characteristic, which you can refer to later. Every player has a part and a goal: to existence. It' easy to see which of your players need more work. They can see which of your personalities have similar objectives or conflicts. They can see how many signs you have, need or do not need.
Use this silhouette to fill in vulnerabilities in your other silhouette. If you give targets to small players, you get one or two subplots.