Plot in Story Writing

Action in Story Writing

Transform your idea into a story. Transform your idea into an action. Insert your focus of action into a story sheet. Put the potential plot points you have devised somewhere on the arc and work either backwards or forwards. Here's what to consider.

Which is a plot? The Definitive Guide to plotting a Novel

What happens" is the plot in your novel. It' a succession of occurrences. You' re starting with A and finishing a few hundred pages later with Z. Simple, aren't you? You can set a plot as a succession of occurrences, but a succession of occurrences is not necessarily a plot. Each and every one of your days is a succession of incidents.

However, only a few or a few day of your lifetime, if any, were enough excitement for a plot in a novel. A piece of lifework that hardly anyone is interested in, however, escapes the attention of authors of short stories and experiments. As for the remainder of us, the action is the thing that appeals to the readership and keeps them up until the early mornings.

Prior to the 10-step plan itself, we need to take a look at the plot, beginning with a detailled plot defining. Which is an action? It is a set of incidents that affect a person who desperately wants something specific and important that will not be attainable.

It is hoped that the meetings will come to a satisfactory close. And so on, up to the end of incident B. Even A must trigger incident B. Even B must trigger incident C. And so on, up to the end of inc. C. Previously, if you could have done it without doing it first, then don't plan a novel so much as to cobble together a series of incoherent incidents.

Every episode in your novel, big and drama or seemingly banal, must have repercussions. When the story remains untouched by a certain incident and would have been exactly the same without it, this incident has no place in the plot. Well, let's just definition the plot. A story is a story of occurrences in chronological order.

An action is also a story of occurrences, with an accent on causation. "and then the queen," is a story. "and then the crown princess passed away with grief," is a conspiracy. "until it was found out that it was due to sorrow at the king's deaths.

" It' a conspiracy with a riddle. "His Majesty was killed and the Empress died" is a series of incidents. "of mourning' " is a consequence of incidents. It is the cause-effect character of the sequences that makes them an action.

When the first target of a military officer is to take out the guards surrounding the gate, his next target should be to take out the machinegun jamb at the door. Naturally, you don't want every individual occurrence in your novel to be "bigger" than the previous one.

It starts in the lower lefthand part of the story, where things are relatively calm and restrained, and climbs to the upper right hand part, where the excitement and excitement have increased to the full. A particularly intensive incident (a highlight) can be followed by a calmer incident (a trough).

An action is a set of occurrences that affect a person who desperately wants something specific and important that is not attainable. It is hoped that the event will come to a satisfactory close. An action is about a sign, and only about a sign. One is the relation seen through John's eye.

He is the main character of his side of history and his aim is to capture Maria's hearts. Secondly, the relation from Mary's point of views. She is the main character on her side of the story and her aim is to find her pretty best girlfriend, despite John's progress.

However you choose, you realize that the individual story is made up of two slots, just as a individual piece has two sides. When John is the main character and Mary's interest in her best girlfriend is more of a side story, draw the whole thing from John's point of view, then you end up dealing with the Mary side story as well.

So what happens if your lead doesn't want anything? Well, then you don't have a plan, it's that easy. One aim is therefore the catalytic converter for your whole action. However, giving your protagonists a target is the stake that brings you into play. Get back something they have misplaced - a abducted kid, misappropriated cash, their own luck. ii) The aim of the plot must be over.

That is to say, they must reach the target now. Others will not be so personalised. Nevertheless, it must be urgent (a mass murderer is at large and only the pensioned policeman can catch him). iii) The target must be important. They know your selected style best, so you are in the best place to determine how well your target will go against targets in similar fiction.

In general, however, the more your characters want to reach their goals and the higher the stake, the better. iv) The target must be hard to reach. Despite all this resistance, it is hardly a good aim to construct an entirely new novel (although it could work as an opening event).

When John is optimistic and Mary can't afford to sit and ask her out, it's great for the lucky pair, but desperate for the purpose of a thrilling storyline in a novel. When John is painful and Mary has just one eye for his beautiful best one, it will be anything but simple to win Mary. v) The aim must be specific.

Rjacking a gambling house is a specific target. To rob it by 5 million dollars to withdraw into a beautiful flat in Monte Carlo is even more specific. Cement is good! All these are specific objectives that result in the achievement of the wider, abstracted objective of seeking fortune. When your hero's purpose is abstracted, make it specific.

When it is already specific, use specific features to make it more specific. They will end with a much more interesting plot! At the beginning your lead comes to a target and chooses to react to it. They try to achieve their aim against the resistance in the central part of the story.

When there is no meaning in your novel, when it goes to waste before the problems are solved, you don't have a full plot. In this way you can achieve a proper and orderly end to the action in which the character goes into the setting sun after he has reached his destination.

One way or another, the questions you asked at the beginning of the novel - will the character reach his destination? Or, you can do something in the center (the character collapsed, but he got smarter on the way and realised that hunting wasn't such a clever aim at all).

If everything stays exactly as it was in the beginning, the readers will ask themselves what the meaning of the story was. Which is an action? It is a set of incidents that affect a person who desperately wants something specific and important that will not be attainable. It is hoped that the event will come to a satisfactory close.

Hopefully you have your own plot ideas in the back of your head and bring them to life. Phylloxera > Drawing a novel > What is a plot?

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