Status Updates From The Plot Whisperer: Secrets...

Trying for perfection before you know what you are trying to convey commonly leads to procrastination, as we discussed in Chapter One.

Without cause and effect there is no plot.

Detach from the time, thought, and emotion that went into writing these scenes. If the scene does not carry enough weight to qualify for inclusion, cut it. Be ruthless.

Mahatma Gandhi - A man is but the product of his thoughts... https://share.google/U8Rxe5cwlgjlnLrqj

Thresholds Hold Tension

CHAPTER NINE: THE MIDDLE OF THE JOURNEY

THE WRITER'S WAY

⚜️

Appreciate that the right words do not always come out the first time. You cannot always convey what you imagine for your story the first, second, third, or even fourth try. Writing is a process. Get the words down. Later you can go back and be brilliant.

Thresholds Hold Tension

https://en.wikipedia.org/wiki/Cerberu...

Figure 10. Scene Tracker for the first few scenes of The Great Gatsby by F. Scott Fitzgerald

https://en.wikipedia.org/wiki/The_Big...

As long as you are writing, do not stop to research. First, finish the draft all the way to the end.

...
...

Wait until you have written your story all the way through to the end a few times before concentrating on the use of language, metaphors, and details.

Tune into the details of the natural world. The practice gets you out of your head and produces gems for the theme, mood, and nuance of your story.

...will write each scene: word choices in dialogue, tone of voice, facial expression, body language, spoken language, music, food, textiles, aromas, and physical objects.

Until you have written a draft or two or three and know the the-matic significance of the story overall, use the information you gener-ated in the thematic significance exercise you started in Chapter Four.
The smaller bubbles around the central oval reflect themes as they pop up in the writing of your story. Those themes and, ultimately, the overall thematic significance of your entire story determine how you...

Abstractions and generalizations lock a story at a surface level and keep readers at arm's length. Concrete and sensory details, on the other hand, penetrate to where emotion lies. They invite readers and audiences to think, to feel, and to actively participate in the story you tell.
Readers who believe you in the details up front will believe you in the bigger things to come.