Plot Writing TipsWriting tips for plots
The two tips that will make plottering easy
They are probably the simplest and most usable plot tips I have ever known. Your storyline is linked to each other, and how you link them decides whether they move the storyline or just show things that happen. When you can say "and then" between the sequences, they don't advance history.
When you can say "but" or "therefore," something happens that compels a dispute or a choice and history progresses. In The Shifter's first sequence, the main character steals the balls for breakfasts. She steals balls for breakfasts. She steals the balls for breakfasts, but she gets busted. There?
It has a target that is crisscrossed by someone else who is taking proactive against it. It could have looked like this if this dispute hadn't happened: She steals balls for breakfasts. That' s what signalizes and shows the dispute.
If this is not the case, the plot does not move in a way that arouses the reader's interest. So it is the selection of your characters that will set the next one. She steals the balls for breakfasts, but she gets grabbed. Toss a hen and run, but the guards chase them.
He tries to escape the watch, then he stumbles and cracks his ankles. Quick in there. He tries to escape the watch, then he stumbles and cracks his ankles. but he stumbles and cracks his ankles. She tries to act in a way that continues the history after this event.
But if you identify her, make sure what happens conflicts with the character's purpose or deed. It was Jami Gold's idea of whether every shot needed a gate. It' a great breaking down of the scenery and structural shape, and it says something near the end that really clicks with me:
"If you write, don't be worried if a passage is a sequence or a series. Thinking cause and effect, phrase by phrase, actions by reactions, sequence by sequence, and you'll never do anything wrong' in another way. Each act has a cause and an effect, and as long as things build on each other, keep the storyline in motion.
This is why this works and then in the center of my chickens. Nya's aim is not hindered by the stumbling of the guards, but it leads to her stopping, and his act of leaving her aim has an effect on her. It has sympathy for him, so it is helping him, which leads to conflicts for her purpose and eventually puts her in more strait.
It will determine how good your action is, and even if you obey all the "rules" to perfection, it can still smell. Somebody else can violate all the rulings, but their plot is captivating. That' s why it's difficult to give advices because it's so personal - and why these tips take so much away from the riddle.
When it doesn't concern them, it's useless for the plot. When it doesn't enforce a choice, it's probably not to move the storyline or watch the readers for what happens next. View your action and sketch a sequence using these technologies. These emotions may be the motivator for the connection, but they won't do much for the action, because action is what the player does, not how he feels.
When you write a great deal and then you know that you don't have enough conflicts and your character's objectives aren't undermined. You' re not really having a plot, just a string of sequences. If you find a great deal, but, so or so, then you can simply relax that you have an offense and it drives the game on.
Are you looking for tips on how to plan and write your novel? Suggestions and structure, a set of self-guided workshop that will help you turn your ideas into a novel. This is the first volume in her serial Foundations of Fiction, Plan Your Novel: