Story Plot Planner

history planner

Create ideas to better develop your story. Consolidate your understanding of the core elements of history. Make sure you understand the story you are presenting. Every street or subway line represents a different story thread or a different story line. You can use this planner to help you get started.

To use a plot planner

Plot Planner is a graphical plotter that many authors, myself and myself, find useful for plottering literature, memoir, creative articles and scripts. It' a great learning aid for planing, pacemaking, tracking, debugging, repairing and fine-tuning an action. In this article we explain the advantages of using the Plot Planner, the styles in which it will appear, and how it applies to both the plot and the characters' evolution.

The Plot Planner will help you to visualise your story. Put your own idea and order of scene. Try experimenting with changes in the plot or narrative to increase response and interest. Gain an impression of how your story works. Work with others by showing them where you need help with your action.

Create your own stories by generating your own stories. Consolidate your comprehension of the key aspects of history. Make sure you know the story you're presenting. The most important thing is to use the Plot Planner to keep track of your story while you write single cuts. The emphasis is on creating a story that delivers your key messages to your readers and listeners in a convincing and expressive way.

Plot planner can be shown in two different file types. You can see in both of them how the line keeps moving upwards and builds up your story with increasing suspense and method. Every sequence provides more excitement and confusion than the previous one, with increased intensities at the height of your story. As I began to teach plot lines, I described the plotplanner as a waveform.

Usually the story is structured into a huge shaft in which a crises is the culmination of the story. This reflects Format 1.) Romance books, memoir, creative non-fiction and scripts have two highlights: the shadowy nights or crises and the ultimative highpoint. The second case, the crises and the high point are recorded as separated sequences.

There are no rulers here either; use the Plotplanner file size that best fits your story. A story's stream arises from the drama, the emotionally evolving nature and the meaning of the theme. The story is about things that happen to humans and the surrounding environment and therefore consists of it.

A story's power does not stay shallow, just as the Plot Planner line is not shallow. The story increases in depth, which is mirrored in a higher and higher line as the commitment and power of the story increases. Every loss the player experiences is more intensive and expensive and leads to ever higher levels of challenge to conquer, which is mirrored in the Plot Planner lineup.

Every big story has a female character pushing for something (her goal) while forcing both domestic and foreign attempts to frustrate her advancement. The battle between the protagonists and the opponents will send the power of your story upwards. There is a battle between the protagonists, who want something enough to go against all resistance, and the opponents or powers inside and outside the protagonists who work against them.

What does this have to do with the plot planner? In essence, the Plot Planner is just a line that divides conflicting and exciting scenarios (that appear above the Plot Planner line) from those that are either active, full of abstract and background history, or full of information (that appear below the Plot Planner line).

Most importantly, the Plot Planner line subdivides scenarios into those where the Plot Planner line has the antagonists' energies, powers or checks, which force the protagonists to respond (above the Plot Planner line) and those where the protagonists steer the directions of the actions or hold the powers above the antagonists (below the Plot Planner line).

Place your idea above or below the Plot Planner line to produce a graphical chart to analyze your story's crucial information, display flows, and overall story order vulnerabilities. They can also follow how the momentum of your story is rising and falling. Just like the ocean floor with its blank hats and ripples and swellings, the outer, captivating terrain is part of the drama when your character is out of hand, afraid, lost, bewildered or under the might of antagonist.

Any scene showing complication, conflict, stress, dilemma and excitement in which the main characters are pushed away from their aims belongs across the line. To sum up, those sequences that show actions in which the powers are somewhere else than the protagonists go beyond the Plot Planner line. Even scenarios that show an emotive evolution of your characters include using the Plot Planner line:

Sceneries that fall under the line show the pull: the inner, emotive area of the main part. A large part of the character's emotive evolution lies below the line, since the character's evolution is often disclosed through the character's self-observation. Every scene that slows down the story's momentum or in which the protagonists regain control of it belongs under the line.

The Plot Planner line includes scenarios in which the protagonists are more pro-active than responsive or decide on the best approach to achieve their objectives. Those sequences can contain the following: The Plot Planner line also includes scenarios in which the main character performs one of the following actions:

To understand the layout of a novel is crucial to get the most out of Plot Planner. As a rule, a story can be split into three parts: the beginning, the center and the end. First part of the story starts on page 1. Number one is about 25 per cent of your total story.

The first part usually ends with a turning point sequence or a group of sequences known as the end of the beginning. While most authors find it simple to create seventy-five pages with captivating opening sequences, they fight to maintain impetus beyond the end of the beginning. It is the longest part of the story - about 50 per cent of the whole - and contains the most sequences.

Many authors get a raw deal here. The second part usually ends shortly after the figure has reached the wrong climax on its ascent, the crises. It is the place where the power of history has reached its climax so far and where tensions and conflicts have reached their apex.

When she faces the greatest anxiety, the greatest sorrow or the greatest frustration or the most sudden shocks, betrayals or failures, the main character is compelled to see herself clearly for the first of all. Shall the main character disregard the alarm call? Will it also be growing and changing as a consequence of the economic downturn? Like I said in this section, if you are doing a story, the crises can be the highest point of the play.

There must be only one highlight in general in short novels. The story is not over in a novel once the main character has been struck by the crises - the crises are actually a wrong one. However, as soon as it reaches the point of crises, the real peak becomes apparent. Plotplanner's Format 2 dipping is the place where the story's power diminishes after the commotion of the crises and before the hero takes the highpoint.

This is the end of the story, the last 25 per cent of the whole story. There are three parts to the end: the construction to the high point, the high point itself and the dissolution. Build-up to the climax: At the end of the story, the main character is more wise after suffering the set-back of the war.

At the end, the aim she set herself defines the tragic events in the sequences until the highpoint. It'?s the highlight: Its culmination is similar to the one of the economic downturn, as it is another important turning point in theatricality. However, if the main character gets a clear picture of herself during the crises, the highlight is her ability to show if and how she has actually evolved, altered, learned und transform.

In the aftermath of the economic downturn, the main player could say with full confidence that she will never be the same again. After experiencing everything in the story, the highlight is a kind of activity that compels the main characters to show the readers who they are. At first, a player who has been brought into a conflictual and tense position will revert back to his old form.

He knows that the main characters have vowed that they have altered. But not all the side stories have to be solved by the end of the story, but the important ones. In Plot it's all about speed, drama and change of characters. They want to be anchored in history, they want to know who is who and what is what in history, and then they want something big to do.

There is a sensitive equilibrium between back story and front story, between inner dialog and open actions, between personality evolution and actions, which must always be kept in view. Only because you are writing your story in a certain order does not mean that the sequence or abstract or narrative will remain there.

Positioning and tempo are under your supervision, are indispensable for the plot and are best seen and interpreted against the background of a plot planner. Martha Alderson's step-by-step guide to plot, structure and scene.

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