To make a StoryIn order to make a story
So what does it mean to briefly express a long story?
A way to make sure your story is worth writing: Sending to the forest #AuthorToolboxBlogHop
With her story, her puppy, her great thoughts and her strong sense of hope, she breathed in that it was the right moment for me to do so. I' m the one who worked really well on a different novel, in which Gina should do a camera show and then get out of it.
Well, she didn't do it, wouldn't do it, so I withdrew her from history. The story hummed once again with glittering jokes, great times and surprising but consequential revelations. I have a story for you, she sang. Smile, split the whole story into a few words.
Do my issue ?and-?and continue back if I didn't know how or if I would ever find my way out. I had done this with other histories to scare off when the story is big enough, complicated enough, imperative enough to invest my energies, my craftsmanship and my best efforts. When I brought out John Yorke's Into the Woods, I shoebaked my own account of his attempt to turn a five-act trip into a story.
Whilst his style suits the famous hero's trip, Yorke uses five parts instead of the three. This is the working copy for my own story: Acts One: Common World....a call to adventures breaks the regular river. Act Two: Into the forest: Deep Into the Woods/A Glimmer of Light: Test heroines, cross another barrier, endure the final torture, receive the reward:
She is persecuted on her way back to the usual life, undergoing a transformation: From the forest into a new common world: Heroines cross the third barrier, is transforms through their evolution. She' s back with the bounty to help the common overworld. Whilst every act has a vital part to play in backing up the entire story bow, they are not identically length nor weight in the final story.
It had to go back further for the bright image the person first had with me to have a basis and make sence. I' ve squeezed out five pages, one for each act, and completed the scene and revelation in each act to see if the river was meaningful, if the right event took place at the right moment, and if each act was fully real.
Confusion and omission were immediately the need for a calmer side effect to take on a stronger part. When this frame was done, I knew what had to be done, saw opportunities for a thorough personality evolution and the possibility to show Gina instead of evading or overcoming the hard work.
Whilst there are many mighty story building schemes, my favourite way is to send my protagonists into the forest to make sure the story is really interesting to my time reading time and my time in the forest.