Short Story Plot LinesPlot Lines Short Story
When you fight with Plot, here's how to think of it differently
The term "action" is a misunderstanding that causes too many authors to concentrate on the wrongs. "In a way, the first designs are never done; where you stop to write is the end of the first design. Well, then it's retired and see what you've got.
I suggest doing this using the unusual, plot-free approach of the show. So what's this show I'm talking about? One is the recurrence and variety of a story's story elements, the refinement or degradation that generates the story's bow. For example, the repeats and variants of an item create a icon.
You can also see a show in a person's repetition and variation (or, if you like, their personality and change), creating a personality. is how a repetitive sentence becomes the work' philosophies and how a certain set becomes more important. All that is repeating and varying in your work is a serial.
However, in contrast to the term "action" - which essentially means everything that seems to be important at once - you can work with a film. As soon as you start searching, you will probably find that there are 10-15 sets in your work when you write a book-long bit of fantasy or non-fiction. Just think, you only work with one show at a while.
Let's say you want to put 9/11 in your story. "Let's see how September 11 is used before we reach a verdict. Your first introduction to 9/11 is the first one in this set. Initial iterations are like growing a semen. For the second case, when you refer to 9/11, your readership is entered more.
You will want to see what is different about the 9/11 allusion. This is the second one. You will want to modify either the contexts and/or contents of how and when you mention 9/11 in this and all subsequent acronyms. This modification is how emotions are created in a novella.
Considering a single session at once can be very useful if you also want to schedule your repetitions. For example, if you refer to 9/11 on page 7 and page 17 and only then again on page 297, you have generated a certain voltage through his presence.
Did you mean to or did you just miss an while? It can also help with beginnings, mids and ends. I suspect that this show we are debating (9/11: available on pages 7, 17 and 297) lacks a center. The" tension" that has arisen is probably because we have forgotten to fill in some gaps.
If you have a bundle of your range relatively clear in your head, you can design it like single strings. You want to call this a conspiracy, go ahead.