s•u•n•s•h•i•n•e «§KENZ§»’s Comments (group member since Jun 23, 2013)

s•u•n•s•h•i•n•e «§KENZ§»’s comments from the Writing Help group.

I think it depends on the type of story you're writing. For screenplays, I often find I need to have it all outlined out, especially if it's one of those where the story is in the details and how they all fit together.

(See the first post, my dear.)

Does someone want to create a poll on this idea? Or what about a separate group attached to this one (except it would be private because I am paranoid about people stealing other people's ideas) just for sharing writing and getting feedback?

I haven't decided. What do y'all think about that?

Okay!

I don't think this is the best help for plot, but I think there are a few good things in here.

WikiHow


How to Write a Good Plot

A good plot is all about organizing ideas in a way that is appealing to the reader. It is also, and more importantly, the guideline that helps the author make sure he doesn't get lost on all of the ideas and characters that start to come up whilst the book is written. The following is a simple guide on how to create a somewhat original plot.

(1) Brainstorm. At this point, a good notepad may be the best way to get the ideas flowing. It's as useful to write long sentences, loose words, or entire paragraphs, because all can come in handy when you tackle the actual plot. Reading is also very important, as it is the main source of inspiration, although films, television, paintings, and even people can also inspire.

(2) Start connecting the concepts and ideas. Once you think you have enough ideas to start building the plot, you can join the ideas. Diagrams are of great use in this process. For example if you have pineapples and elephants, you could have an elephant eat pineapples.

(3) Get the outline of your characters. Characters at this stage are very simple, and are very much alike. You should not worry as much with their creation now, as to their function on the story. Who's the protagonist? Who's the villain? Does the story have a villain? If yes, is he truly horrific, or just a nuisance? Those are the questions that need to be answered at this point.

(4) Choose your type of plot. Although not publicized, some plots are non-linear, which means they can go back and forth in time without things like time machines being needed. If you choose to write such a plot, make sure that every excerpt is chronologically coherent with the rest. You don't wanna say that he was in the cave (in the future), and then get to that point, and leave him being in his backyard. In non-linear plots, it's better to leave time references out of the question until the end of the book, to avoid confusion.

(5) Imagine the setting. The plot will need to take place somewhere, and as such, the place you set it is as important as who features in it. If you intend to place your story on a already existing place, it'll be easier, as you only have to imagine little parts, and not have to focus on the big picture, as that is taken care by reality, and you can jump the next step. If by contrast yours is a story taken place in a entirely fictionalized setting, keep on reading.

(6) Creating your setting from scratch. In creating a new setting, it will require that you imagine every single detail. Don't oversee little things like where people shall work, or how people walk down the street, as those can be of great value in the future. You'll probably get much more details than you'll ever use, but as always it's better to get more than less. In science fiction and fantasy stories, things like the physics that control the world, society stratification, and the average person are all to be taken in account as serious matters.

(7) Finalize your characters. Here is where you truly create your characters, leaving no thing to be said. As in creating a setting, you'll get much more than you need, but that may come in handy if you then reuse the character later. Once again, a notepad will do greatly in getting the character as developed as possible. Ask questions like "What is the reason why he dresses this way?", and then get the answers down. Take in account also that a good character is one that evolves over time, so try to make them as flexible as possible (not overdoing it, or they'll seem not sure of their own choices). Try to imagine possible interactions between characters, and links like friendship or family. Get the best out of every character.

(8) Understand causality. Every action as a reaction, and as such no events are random (unless the point is to illustrate the randomness of it all, of course).

(9) Choose a conflict. By now you should have probably started writing, although it is not strictly obligatory, and as such you should get the main conflict, or in other ideas, what makes the characters do what they'll do. In the beginning no such guideline is needed, but it is required later on, for the progression to be logical.

(10) Get the hang of rising action. Rising action is the sequence of events that ultimately leads to the climax. It is normally longer than it's counterpart, the falling action, and shows development in the characters personality. This should be the portion of the plot you should worry most, as it is the one that leads to a weak climax, if not written correctly. As such, have your characters face several challenges, in which they can either be shown with their full potential, or even expand it.

(11) The Climax. This is the moment in which your characters will face their ultimate challenge. All fiction stories have a climax, at some point, except for somewhat humorous ones, which resolve in anti-climaxes (normally a resolution that is too simple, and thus sound unsatisfactory: "I faced the dragon with my sword, but it died out of breast cancer" please don't use one of these). Normally it involves all of the characters, and occurs near the end of the story (except if the plot is non-linear, by which case it can occur nearly anywhere, even in the first few lines) and is a moment in which the protagonist seems defeated, and suffers an almost miraculous recovery.

(12) The Falling action. Before the end of the book, if you feel like it, you should let the action smooth in a little, and tell the readers what has happened to the characters since the climax. This is where the things start to get into place once again, and life is calm again. Do not underestimate the importance of it though, as stories that don't have a proper conclusion can be the most revolting thing you'll ever see.

(13) So you've [come] this far. By this point, you should have the basic outline of the full plot. If so, it't time to get back to organizing your thought process (hope you've kept the notebook, because it does get handy a lot of times). If you're that kind of person, do sketches, maps, timelines, or even write poems about your story, as it gets you in the mood to fully love what you have developed. But don't think the job is done. You only have the basic outline, that is something easy to do. The part where the basic plot becomes the good plot, is at the next stage.

(14) Apply color. With color, I mean writing techniques which vary from clever plot twists, to known artifices like the Chekov's gun (when an object appearing to be insignificant later resolves the conflict) or the not so apreciated Deux Ex Machina (which is a resolution that appears to come out of the blue: "We were falling to our death, when a blue goat saved us and blasted the evil genius's balloon with its laser beam eyes"). With a combination of these and lot's of metaphors, similes, and personifications you'll get the best out of your plot.

(15) Rest a bit while looking at the finished outline.

(16) Get back to work. Now it's time to revise what you wrote. Make sure there are no anachronisms, incoherence's with your own rules and laws, and that your characters stay consistent (they may evolve in terms of personality, but have to stay consistent with themselves, as keeping the same hair color, or the same height). If you find a main problem, and find that it ruins your entire plot, don't be afraid to change everything. One error can be difference between a good plot, and a plot outline.

(17) If you haven't started writing, now is probably the time...



source: WikiHow

Katrina wrote: "What do you mean?"

Sorry, I thought I'd responded! My apologies! It's hard to explain. Let me see what I can find and let's see if that helps?

Tameri Guide for Writers : Plots and Stories (continued)


Prologue

Few current novels or films begin with a prologue, but it was once a common practice. Today, the first chapter might reveal backstory and serve as a prologue. Classic films, from the silent movies through the 1930s, featured opening “cards” with the backstory. This was a tradition from early novels — and even picked up in series books. A prologue sets the backstory through quick exposition.

Often a paragraph or two provides the information necessary. Consider any story set in a time of war: stating the period and location might be enough to inform readers. Additional backstory is dispersed throughout the story.

Catalyst/Inciting Incident

The catalyst of a story is the moment at which the primary character is thrust by circumstance into the action. The start of a war, a crime, winning a lottery, seeing “him” from afar — either good or bad, the catalyst is the event indicating our story has started.

For some reason, the primary character is starting to lose control. He or she has to regain power or a balance in life. In a romance novel, it is all about finding true love — especially in an unexpected way. In a crime novel, the reporting of the crime begins the chase.

Big Event

The big event relates to the catalyst and concludes the introduction of the story. A big event might be learning the perfect stranger is from the wrong family, as in Romeo and Juliet. The big event could be a murderer daring the detective to prove the case. The big event establishes the path of the story.

You seldom reach the main event without knowing the major characters, basic backstory, conflicts, and a bit of the psychology of the primary character. Some stories hold back a character or two, for drama, but hint at their existence. Readers do not want a writer to “cheat” however. A reader should be able to predict some events and at least guess at potential solutions to the story’s conflicts.

Pinch

The moment the main character decides there will be a showdown is known as the pinch. It might not be as simple as “I’m going to defeat the bad guy,” but it can be. More often, it is a decision to continue the quest for a solution, while admitting there is a risk. The decision to move ahead, to face conflict, is difficult and results in a “point of no return.”

In movies, the pinch situation and resulting decision might be the intermission. Plays often place the pinch on either side of two acts, so the audience can ponder the choice and wonder which path will be taken and why. Ideally, there is more than one possible choice — but all have consequences.

The “true natures” of various characters are revealed during the pinch. We see why the hero is heroic, and why the villain cannot see that he or she is wrong. The pinch reveals the psychological underpinnings of the story.

Crisis

Before the showdown, the primary character experiences a crisis of faith embodied by a crisis in the action. There is doubt, fear, and other troubling emotions. A great story has the reader or audience wondering if the main character will rise to the challenge. If there is not doubt of victory, there is no story.

Showdown & Resolution

The showdown is more than a battle between two people — it forces the main character to prove he or she understands any personal weaknesses and has overcome them. The resolution is not about the external victory as much as it is about the internal growth of a character.

Dawn

The end of a story as a dawn after the action concludes. Think of this as the start of the day after the conflict. In the last page or two, or the closing minutes of a script, there is a hint of future actions. This allows readers and audiences an opportunity to imagine what is not written.

Consider what happens after a romance. It’s “happily ever after… but…” and the reader can ponder all the possibilities. Maybe you show the criminal planning an escape from prison. Or maybe a new villain seems to have been created by circumstances. A good writer leaves a question or two unanswered, without undoing the story.

Summary

Because this guide deals only with mass market works, we make no claim that you can or should follow the “rules” above for all creative works. But, readers do expect the familiar plot and story structures. When you violate the expectations of readers, you risk alienating the audience. Literary works don’t aim to please everyone, which is why the can violate traditional models. In some ways, the author of a literary work makes an effort to violate standards.

Sources

Abrams, M. H. A Glossary of Literary Terms. 6th ed., Fort Worth: Harcourt Brace Jovanovich College Publishers, 1993. (ISBN: 0030549825)

Bickham, Jack M. The 38 Most Common Fiction Writing Mistakes. Cincinnati: Writer’s Digest Books, 1992. (Amazon.com)

Booth, Wayne C. The Rhetoric of Fiction. 2nd ed. Chicago: Univ. of Chicago Press, 1961. Reprint, 1983. (Amazon.com)

Dibell, Ansen. Plot. Cincinnati: Writer's Digest (Amazon.com)

Kress, Nancy. Beginnings, Middles & Ends. Cincinnati: Writer's Digest (Amazon.com)

Noble, William. Conflict, Action & Suspense. Elements of Fiction Writing. Cincinnati: Writer’s Digest Books, 1994. (Amazon.com)

Rozakis, Laurie E. Creative Writing. Complete Idiot’s Guide to, the, New York: Simon & Schuster, Alpha Books, 1997. (ISBN: 0028617347)

Straczynski, J. Michael. Complete Book of Scriptwriting, The. Cincinnati, Ohio: Writer’s Digest Books, 1996. 2002. (ISBN: 0898795125)

Trottier, David. Screenwriter’s Bible: A Complete Guide to Writing, Formatting, and Selling Your Script. 5th ed., Los Angeles: Silman-James Press, 2010. (ISBN: 1935247026)

source: Temari Guide for Writers

Tameri Guide for Writers


Plots and Stories

A plot is not a story, nor does every story have a strong plot. Good writers know the importance of both plot and story, especially before they dare to write a story with a “weak” or “thin” plot. Any plot can feature a love story; that illustrates the difference. Plots are events, stories reveal how characters react to those events.

Because the writers, editors, publishers, and producers with whom we work target mass market audiences, we make no apologies for what might seem a formulaic approach to story structure. Producers and publishers know that audiences have expectations writers need to meet. If you want to write literary fiction or experimental cinema, this guide is not for you. Also, once you have sold a work that follows the rules, it is slightly more likely that you can bend or break the rules.

Plot

Contrary to many general-purpose dictionaries, a plot is not the main story of a work. A plot is the series of events providing conflict within a story. The search for a murderer is a plot. Surviving a natural disaster is a plot. A plot can be summarized without specific names or settings. (Do not argue with teachers about this… plot is whatever they want it to be!)

The plot is sometimes called the “spine” of a story. The plot is the action, while the story is the emotions associated with the action. Yes, a plot can be caused by the emotions of characters, but the action is apart from the story. Plots are the results of choices made by the characters: the characters take action (or don’t) and events happen as a result.

Aristotle set the “rules” for modern plots: there is a beginning, middle, and end. The beginning is short, the ending shorter, and the middle is where most of the plot twists reside. If you write 100 pages, it might take 30 to introduce the characters and plot, 50 for the twists, and 20 for the ending. The beginning ends with the introduction of the primary plotline. The middle ends with a climactic showdown.

Many writers “plot” their plots, like a timeline. It helps to see where choices are made and actions taken, so you can pace the story. Pacing is important because most stories accelerate in action as they progress. While the beginning events might last days, the end usually occurs in hours.

Two Sentence Test

For mass market works, it should be possible to state a plot in one or two sentences. If a plot requires more than two dozen words to describe, it is too complex. The primary plot is simple; the story is complex. The more provocative, unusual, and thoughtful a plot, the more likely a reader or audience is to want to know the complete story. Shakespeare’s plots are simple, but the plays have wonderful depth. Tom Clancy spy novels are long and complex, but the plots are easy to state. Think about your favorite stories and how simple the primary plots are.

Conflicts Big and Small

The plot of a work is the basic conflict, either from which or alongside other conflicts are created. An effective plot contains one major conflict. We have a guide that discusses conflict in greater detail; this guide includes only an overview of common conflicts in mass market works.

Don’t gripe about our use of “man” — the list of conflicts is classic. We know it is outdated. Feel free to use “main character” or “protagonist” for a gender neutral list.

Generally, if you cannot state the plot in a 12-word sentence then you have no idea what the primary plot is. If you are the author, that is a bad sign. There are only three or four “simple plots” used in most mass market books or movies:

1. Man versus man.
2. Man versus nature.
3. Man versus self.
4. Man versus man’s work.

Remember that we are discussing stories for the mass market. Conflict is more complex than the four models listed, and many great stories include elements of several of these conflicts.

Man versus Man

A “man-versus-man” plot features a central character and an opposition character as the primary actors. The central character has a goal and the opposition is going to attempt to stop the central character before he or she obtains the goal. Stories of single-person conflict work well as plays or movies. Novels and larger story arches tend to have “groups” in conflict.

A movie in a series or a single chapter in a book might seem to be about interpersonal conflicts, but once you discover the entire story, it is often much more. Star Wars is not about Luke versus Darth Vader — it’s about a fallen republic versus a dictatorship, good versus evil on a much grander scale. Most authors use individuals to make a larger point.

Man versus Nature

A “man-versus-nature” plot features a central character against a natural event or other phenomenon that threatens the character or something important to the character. These stories are about a search for inner-strengh and confidence. Nature is not a “moral” entity — it simply is. To overcome nature requires something internal… a character must rise to the challenges faced.

Man versus Self

Generally not the source of a primary plot, internal struggles are commonly story elements we might consider “sub-plots” along the way. Since the most interesting character has some manner of internal flaw, an emotional issue to discover and conquer, there is an element of “man versus self” in great stories.

Man versus Man’s Work

It’s a cliché of sorts, but Frankenstein and most science fiction delves into the risks of technology without morality. When we create, we seldom think of the consequences. In modern stories, the “work” might be pollution or illness. These are morality plays, as the stories aim to caution readers against a complete faith in our creations.

Story

A story is built upon the conflicts created by a plot, unless the work is experimental or philosophical. A writer selects a setting for the plot and then throws in a few detailed characters. With a plot, setting, and characters, the story can begin.

Stories are plot-driven or character-driven. A plot-driven story captivates readers or audiences through the excitement of events. The characters are important, but the action takes precedence. Character-driven stories rely on interesting characters and their responses to situations. While the situations arise from the plot, readers or audiences remember the characters.

A story sits on a plot; it is the emotional reactions of and choices made by various characters or groups. The choices move the story to plot points, while each plot point creates yet another choice and the accompanying emotional issues. When we make a choice, there is some emotion involved. The choice results in more actions and reactions, leading to yet another choice. That is how life works — and how a great story works.

Story Theory

There is a theory that stories are written to unite a society and explain the social order to members of the community. We use stories to convey our values, morality, and social structure to the young, new members, and to reinforce the existing membership. Consider all stories “propaganda” if you wish, that is the extreme view of the theory. The plot serves as a way to carry the message, while the story depicts the message.

Ask yourself, “What is my lesson?” Are you illustrating a concept? An idea? Maybe a personal theory of human behavior. If a story lacks a lesson, even a cynical one, it lacks a coherent purpose. (It is possible to write a story without purpose, but rarely.)

Joseph Campbell

Joseph Campbell was a literary critic, philosopher, and anthropologist. His theories on story development, especially mythology, are recommended for all writers. Agree or disagree with his theories, Campbell managed to reveal common types of stories throughout the cultures and history. The Joseph Campbell Foundation maintains a website on his works and theories (http://www.jcf.org/).

Start Quickly, End Faster

Modern stories, in all forms, tend to start quickly and end even faster. The middle of the story is two-thirds or more of the work. As a result, there is ample opportunity to explore sub-plots and twists.

Start Quickly

Readers and audiences with some exceptions, expect stories to start quickly. Readers and audiences do not want to wait for a story to capture their imaginations; they want to interact with the story immediately.

Contrary to elite opinion, reading a book and watching a screen are often interactive. Most people try to guess how or why a character will act. The worst insult a movie can receive is, “It was too predictable.” Audiences like a challenge. However, they do not want to be guessing what the storyline is.

Effective stories introduce the apparent primary challenge as quickly as possible. This is the situation that ignites the plot. Most episodes of the television series Law and Order open with the discovery of a body. You can’t start much faster.

End Faster

Dramatic endings do not “drag” or feature lengthy commentaries. By the climax of action, any social commentaries are out of the way. Only a small number of issues remain unresolved, allowing readers and audiences an opportunity to enjoy the ride.

Scripts usually end faster than they start. A script with a 20-page beginning might end in ten to 15 pages. A novel starting over three chapters ends in one or two. Ending quickly leaves the audience excited, like a roller coaster ending with a steep drop.

Driving Forces

Most stories belong to one of two categories: character-driven or event-driven. Some authors favor memorable characters, while others concentrate on events. Your preference depends both on the genre and style chosen.

Character-Driven

A character-driven story relies upon the decisions and emotions of characters to advance the plot. The decisions in a character-driven story produce “chain reactions” and conflict. The events, regardless of how many people they affect, are triggered by characters within the story.

Villains tend to drive plots more actively than heroes. Heroes follow rules and tend to fit within traditional types. Villains are “free” to do as they (or authors) want.

Event-Driven

An event-driven story relies upon external events and circumstances to advance the plot. External events may be natural or human-initiated, as long as the initiator of the events is not a central character to the story. Natural disasters and wars serve as the foundations for many event-driven stories.

Consider stories set in World War II, which are often event-driven. The men responsible for the greater decisions are “off-stage” during the story.

Ideally, what do you want it to be? Nothing is set in stone, especially not yet.

...To improve our writing?

Let me look and see what I can find. I think you're talking about something a little different though...

Sure thing! I'll see what I can dig up on that!

You're welcome! What sort of stuff would help you, do you think?

An Excerpt from "The Art of Finding a Title" by Jacob M. Appel at Gotham Writers' Workshops and WritingClasses.com

By Jacob M. Appel

A good title meant everything in eighteenth century England, where the fate of would-be lovers often depended upon whether the gentleman was a duke or a baron. For the fiction writer of the twenty-first century, a good title of a different sort is just as essential.

Unfortunately, too many aspiring writers spend years perfecting their manuscripts—and then tack on uninspired titles as afterthoughts. I encounter this casual approach to titling in my own fiction workshops, where talented students undermine first-rate stories with second-rate names. Fortunately, this is one of the easiest pitfalls for the emerging writer to avoid. I urge my students to think of their titles as their first opportunity to stand out in the slush pile. After all, while we are told not to judge a book by its cover, when confronted with thousands of submissions, what editor won’t be drawn to a clever or alluring title? Devoting even a small amount of creative energy to naming your work can vastly improve your odds of publication.

My rule of thumb is that strong titles are distinctive, but not distracting. While Chekhov could afford to tack dull titles onto vivid stories—such as “Home” or “The Student”—modern audiences want something more memorable. At the same time, anything as complex as “The Effect of Gamma Rays on Man-in-the-Moon Marigolds” may draw attention to itself at the expense of the story that follows. The trick is to find a happy middle ground between the all-too-forgettable and the truly over-the-top. You want to choose a name that makes your readers think: What a fantastic title! Why didn’t I think of that?

Here are additional tips for naming your manuscript:

Great Titles Have Two Meanings

Most readers consider your title twice—once before they start reading your work and a second time after they have finished. Many successful titles gain additional meaning as they’re read, so that they pack an additional punch when reflected upon them for the second time. Noteworthy examples include Shirley Jackson’s “The Lottery” and John Cheever’s “The Swimmer.”

Don’t Forget Voice & Point of View

Every fiction writer knows that strong prose requires a distinctive voice and a consistent point of view. Far too many writers forget that a title should also have these characteristics—and that they should match those of the story or novel. If you are narrating a story in the 3rd person, do not call it “My Summer Vacation.” On the other hand, if your story is told from an unusual vantage point, you can use the title to announce this fact to the reader. Robert Olen Butler, for example, uses his title for exactly this purpose in the modern classic, “Jealous Husband Returns In Form of Parrot.”

Perform a Google Test

The easiest way to ensure you have an original title is to type the phrase you have chosen into an Internet search engine. Some great titles will produce matches, of course—but if you are the first person ever to coin the phrase you’ve chosen, then you know you have hit the “originality jackpot.” (While titles are not copyrightable, and in theory you could name your novel Gone With the Wind, doing so is unlikely to help your career.)

Maximize Your Choices

I tell my students to approach naming a story as they do seeking a mate: While some people meet their perfect partner during their teenage years and live happily ever after, the vast majority of us have to date lots of people before we find what we’re looking for. The same holds true for choosing a title. I suggest making a list of at least five different titles before deciding upon one. I also think there is much to be said for asking friends and family which of these potential titles they prefer.

Include Precise Nouns and Active Verbs

Computer programmers have tried for years to create the perfect algorithm for naming a book—for example, claiming that three-word titles sell best or insisting that the most marketable titles contain verbs. If this approach actually worked, of course, these programmers would be publishing moguls. A simpler technique is to select precise nouns and strong, active verbs. Eugene O’Neill’s Desire Under the Elms is far more compelling than Love Under the Trees.

Avoid Subverting Your Plot With Your Title

If you’re writing a mystery novel, or a suspense thriller, make sure you don’t give away the ending on the title page. I also strongly discourage my students from using either the first or last lines of their stories as their titles, as such “double duty” takes away the surprise of the opening hook or the dramatic conclusion.

Make Certain That Your Title Matches Your Story

This is the most important rule of titling, probably the only one that no writer can afford to break. Often we start off with a promising title in mind for our work—and assume, once we have finished writing, that this title still fits. Unfortunately, the human imagination does not always conform to our expectations, so it’s essential to ask yourself, once your manuscript is complete, whether the title you started out with still matches the story you’ve told.

Although these tips may make titling sound stressful, the process should actually be highly enjoyable. After all, any writer who has completed a story or novel realizes that titles serve one additional purpose that primarily benefits the author: Typing the title onto your manuscript is a way of patting yourself on the back and taking pride in a job well done.


This article originally appeared in Writer’s Digest



source: Gotham Writers' Workshop

F. Scott Fitzgerald

"Cut out all those exclamation marks. An exclamation mark is like laughing at your own joke."



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John Steinbeck

"If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech."



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Neil Gaiman

"Remember: when people tell you something's wrong or doesn't work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong."



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Anton Chekhov

"Don't tell me the moon is shining; show me the glint of light on broken glass."



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