This lesson will be a challenge for me, because although I understand the concept, I’ve not used it as much in my writing. Subtext––is what’s really meant, not what’s said. Click to Tweet #amwriting #storyfixing
It’s all in the details. But there are so many of them. Which ones to include? What is necessary to the story, and what isn’t? Details will either help your story take wing, or weigh it down like an anvil. They’ll either lift your story or burden it. Click to Tweet #amwriting #storyfixing
We’ll finish this today. Hopefully, this series, though not scouring for every little detail of Deep POV, will give you tools to improve your skill at making your POV characters come alive. Click to Tweet #amwriting #DeepPOV
Last time, I surveyed what plotting systems could work for a “pantser” or a “No Outline Person.” (NOP). I’m using James Scott Bell’s Plot & Structure. #amwriting #plotting systems #plotsystems. What are you—an OP or an NOP? Click to Tweet
Let’s take a look at the various plotting systems outliners or Outline Persons use, from index cards, to headlights, to the Borg.
Last week, I talked about making promises to readers from Chapter 11 of Story Trumps Structure: How to Write Unforgettable Fiction by Breaking the Rules, by Steven James. Today, I’m going to talk about plot twists.
“Great plots have great characters. While this is not a book on character creation and implementation, we can’t let the subject of plot go without touching on at least one aspect of character work that is all important: character change.
We’ve all heard about “the middle” of a story and usually what we hear is that it sags, stalls, and slumps. It doesn’t seem to move the story along or go anywhere. James Scott Bell addresses this in chapter five of Plot & Structure.
The middle is typically known as Act II. In a three-act construction, which most stories, plays, and movies are structured, Act II is important because it must move the story along. “What you do in Act II, the middle, is write scenes – scenes that stretch the tension, raise the stakes, keep readers worried, and build toward Act III in a way that seems inevitable.” Pg. 79. How do we do that?