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The Pixie and the Tiara
The Pixie and the Tiara
This weeks writers prompt came from a tweet “There’s a girl on my flight carrying a very fancy tiara in a box.” I made it to 2000 words but I was a day late. Which means I’ll do a second story sometime this week. “This will be the most important delivery, you’ve ever made.” “What is it?” Fairy Godmother stepped back revealing what sat on her desk. Teeny gasped. “That’s not a wish.” Teeny was the…
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SuperHeros and Asses
This is my weekly writing prompt challenge. It fell short of my 2000 word minimum but I felt that it would get muddled if i added to it. The prompt was the first line:A powerful man has to have powerful enemies, baby girl… “A powerful man has to have powerful enemies, baby girl.” “If you ever call me that again, you won’t have to be worried about looking for powerful enemies, you’ll have one…
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Rainy night in the city
Rainy night in the city
Writing prompt week three. I made both the one day goal and my minimum word count. This photo was called The Storm. As they say “there are eight million stories in the naked city, this is one of them” Water splashed up from dips in the sidewalk, too shallow to be called puddles. Well, my new boots were ruined and I had no one to blame but myself. It wasn’t enough to make a dramatic exit, I had…
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Bored
This is my week 2 writing prompt. I didn’t quite make it to my 2000 wordcount minimum but I got it done in one day. “If I wanted to work late, I would have applied at a Mini-mart. At least there might have been some activity.”, Ava said, as she thumped her purse on the desk. “Quit your bitching, or you might find yourself there, yet.”, Brie said. She tossed her hair and began to pack her…
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And That’s What Happened to the Folding Chair… A few weeks ago I saw this random chair. It needed a story... “Aren’t sacrifices supposed to be virgins?
A Valentine's Story
Just a little story, my roommate pointed out that it would be good for Valentine’s Day
“So, I think I’m ready to start dating again.”
Sitting in the small café with my best friend, felt almost normal. We were sipping cappuccinos out of those tiny cups. Well she was having a cappuccino, I was pretending. Coffee was one of those things that I didn’t do any more. Not since Brad.
“Are you sure about…
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Not another vampire blog
A coworker once stamped her feet and exclaimed, “I was into vampires before Twilight. I bet these kids have never even heard of Buffy.”
I, of course, replied. “I was into vampires long before Buffy.”
She horrified me, by telling me that she had been in middle school when Buffy came out.
I can’t say what got me started. I remember growing up, loving all things vampire and werewolf. Everything from…
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Sword of Heaven and Hell
This is a short story introducing characters for a YA series—
The sun shining through a crack in the blinds, woke Logan out of a sound sleep. The soft whir of the air conditioner, was the only thing that broke the silence. It was summer and he’d done his best to be able to sleep in. He had even stapled the curtains shut but, every morning the sun found a way through. He suspected that his mom had…
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"Weekly" Blog
Actors always say that being themselves, is the hardest role to play. I think the same can be said for me. Fiction comes easy for me, as I slip into the mind of my characters. Getting into my own head however, is a completely different story. Every few months I decide that I really have too many things to say.
So I log into livejournal or wordpress and I try to get my thoughts organized. I sit…
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Writing Description Notes:
Updated 9th September 2024 More writing tips, review tips & writing description notes
Facial Expressions
Masking Emotions
Smiles/Smirks/Grins
Eye Contact/Eye Movements
Blushing
Voice/Tone
Body Language/Idle Movement
Thoughts/Thinking/Focusing/Distracted
Silence
Memories
Happy/Content/Comforted
Love/Romance
Sadness/Crying/Hurt
Confidence/Determination/Hopeful
Surprised/Shocked
Guilt/Regret
Disgusted/Jealous
Uncertain/Doubtful/Worried
Anger/Rage
Laughter
Confused
Speechless/Tongue Tied
Fear/Terrified
Mental Pain
Physical Pain
Tired/Drowsy/Exhausted
Eating
Drinking
Warm/Hot
Editing Part 5: The Structural Pass
Okay, by now you've nailed down how you want your plot, characters, and worldbuilding to be. If you haven't by now, it's a good time to format your document into manuscript format if you plan to move forward to publish in any form.
When it comes to structure, what you're really focusing on is readability. If the format of your book is a slog to get through, if your paragraphs are too long or your sentences are all the same. This will lose readers otherwise in love with your plot.
Dialogue
Dialogue heavy scenes are very fun to write, but pages of dialogue with no action can also be exhausting. Break up your dialogue heavy scenes with actions and descriptions. How does the character's body language reflect their feelings on the discussion? Can you give them a task (picking a lock, chopping onions) that allow you to add to the scene (fumbling when frustrated, dicing harder when angry)?
One mistake (that I've made plenty of times) is to have characters doing things for the sake of doing them. But this is an opportunity to add details that add to your plot (the normally awful cafeteria green beans are delicious, a clue to solving the murder!), character (an alien crewmember is trying to copy human expressions to seem more personable, but his many teeth just freak people out), and world-building and setting (Laura is ranting about her ex, but Tara is distracted by how soulless her rich mother's house seems).
Scene Lengths
Are your scenes running too long? Do they start in the wrong place? (Two paragraphs on making coffee instead of "She was making coffee when George burst in.") Tightening up your scenes will do a great deal to make your book better.
This is easy advice to give and harder to picture doing, I've found. Everything often feels essential to a scene. Try to tackle scenes with the following questions:
What is the point of the scene? (George tells Susan his wife left him for Keanu Reeves.)
Where does the action start? (When George burst through the door without knocking.)
What is the goal of the scene? (Susan starts to suspect George of murdering his wife.)
Where does the action end? (George leaves.)
Where should the scene end? - This answer depends entirely on what you need to happen next. Maybe you have another page and a half of Susan musing about her suspicions right there in the kitchen. But maybe this will be more impactful in the next scene, where Susan is snooping in the garden and happens to find something George's wife would never leave behind.
Varying Paragraphs and Sentences
Pull back and look at your pages. Are all the paragraphs the same length? Do you fall into using the same pattern of sentences over and over? (Guilty) Have you used the same word four times in a single paragraph to describe something? (Double guilty) Break those chunks up, what for those repeat words, and vary your sentences. This is going to help so much with issues you weren't aware of.
Chapters and Word Count
There are many ways to do chapters, but you want to keep an eye out for chapters that are going too long (giving your reader a visual break of a chapter ending can help shift the setting and tone) or too short (have you accomplished everything you need?) This is not a knock on either structure done on purpose - this is to catch something you may have overlooked.
When it comes to word count, industry standards are always a good baseline to go with. Your audience often approaches a genre with certain expectations, and while you can make a doorstopper of a romance, you will find more readers by sticking to the 80-100k range.
Pacing Through Sentence Length in Writing
You ever notice how a scene can feel like it’s dragging or speeding up based solely on the length of the sentences? Sentence length isn't just a technical detail—it’s a pacing tool. When used right, it can control the speed and tension of your story. Here’s how:
Short Sentences = Speed, Tension, Impact
Short, snappy sentences are like quick breaths, instantly pulling the reader’s attention. They mimic fast action, nervous energy, or urgent thoughts. They create momentum. Think of action scenes or emotional moments—often, less is more.
Example: The door slammed shut. His heart raced. She was gone.
In just three sentences, you feel the urgency, the chaos, and the emotional weight of the moment. It’s all about breaking up the narrative with these quick hits to keep the reader on edge.
Long Sentences = Build-up, Reflection, Depth
On the flip side, long sentences slow things down, adding complexity, reflection, or tension. They’re great for moments of introspection, world-building, or setting a scene in rich detail. These sentences create a flow, pulling the reader into the character’s headspace or the atmosphere of the moment.
Example: The wind howled through the narrow alley, carrying the distant sounds of a city that never seemed to sleep, never seemed to rest, and in that eternal hum, he wondered, not for the first time, if he would ever find peace here or if, like everyone else who tried to escape the shadows, he would simply become another part of the city’s endless noise.
Here, the length of the sentence mimics the complexity of the thoughts—heavy, reflective, almost hypnotic. It builds tension not with action but with an overwhelming feeling of being stuck or trapped in thought.
Combining Both = Dynamic Flow
The real magic happens when you mix short and long sentences. This creates a rhythm—suddenly, a break in the flow, a quick shock, and then back to a longer, more drawn-out moment. It reflects real life: quick bursts of action or emotion followed by moments of pause or thought.
Example: He reached for the door. It was locked. His heart pounded, each beat a reminder of how badly he needed this. There were no other options. There was no way out. The key could be anywhere. And he could not afford to wait any longer.
TL;DR:
Long sentences = build tension, create depth, set mood. Short sentences = ramp up urgency, show action, make an impact. Mastering this flow is a game-changer for pacing!
The Power of Silence in Dialogue
We often think of dialogue as something that’s just about what characters say, but let’s talk about what they don’t say. Silence can be one of the most powerful tools in your writing toolbox. Here’s why:
1. The Unspoken Tension
When characters leave things unsaid, it adds layers to their interactions. Silence can create a tension that’s so thick you could cut it with a knife. It shows things are happening beneath the surface—the real conversation is happening in what’s left unspoken.
Example:
“So, you’re leaving, huh?” He didn’t look up from the table, his fingers tracing the rim of his glass, slow and deliberate. “Yeah.” “Guess I should’ve expected this.” (Silence.) “You’re not mad?” “I’m not mad,” she said, but the way her voice broke was louder than anything she'd said all night.
2. Building Anticipation or Drama
Sometimes silence can heighten the drama, creating a pause where the reader feels like something big is about to happen. You don’t always need words to convey that sense of dread or anticipation.
Example:
They stood there, side by side, staring at the door that had just closed behind him. “You should’ve stopped him.” She didn’t answer. “You should’ve said something.” The room felt colder. “I couldn’t.” (Silence.)
3. Creating Emotional Impact
Sometimes, saying nothing can have the biggest emotional punch. Silence gives the reader a chance to interpret the scene, to sit with the feelings that aren’t being voiced.
Example:
He opened the letter and read it. And then, without saying a word, he folded it back up and placed it in the drawer. His fingers lingered on the wood for a long time before he closed it slowly, too slowly. “Are you okay?” He didn’t answer.
TL;DR
Silence isn’t just a pause between dialogue—it’s a powerful tool for deepening emotional tension, building anticipation, and revealing character. Next time you write a scene, ask yourself: what isn’t being said? And how can that silence say more than the words ever could?
Writing Description Notes:
Updated 9th September 2024 More writing tips, review tips & writing description notes
Facial Expressions
Masking Emotions
Smiles/Smirks/Grins
Eye Contact/Eye Movements
Blushing
Voice/Tone
Body Language/Idle Movement
Thoughts/Thinking/Focusing/Distracted
Silence
Memories
Happy/Content/Comforted
Love/Romance
Sadness/Crying/Hurt
Confidence/Determination/Hopeful
Surprised/Shocked
Guilt/Regret
Disgusted/Jealous
Uncertain/Doubtful/Worried
Anger/Rage
Laughter
Confused
Speechless/Tongue Tied
Fear/Terrified
Mental Pain
Physical Pain
Tired/Drowsy/Exhausted
Eating
Drinking
Warm/Hot
Writing Tips Master Post
Edit: Some posts may be deleted
Character writing/development:
Character Arcs
Making Character Profiles
Character Development
Comic Relief Arc
Internal Conflict
Character Voices
Creating Distinct Characters
Creating Likeable Characters
Writing Strong Female Characters
Writing POC Characters
Building Tension
Writing Grumpy x Sunshine Tropes
Plot devices/development:
Intrigue in Storytelling
Enemies to Lovers
Alternatives to Killing Characters
Worldbuilding
Misdirection
Consider Before Killing Characters
Foreshadowing
Narrative:
Emphasising the Stakes
Avoid Info-Dumping
Writing Without Dialogue
1st vs. 2nd vs. 3rd Perspective
Fight Scenes (+ More)
Transitions
Pacing
Writing Prologues
Dialogue Tips
Writing War
Writing Cheating
Worldbuilding:
Worldbuilding: Questions to Consider
Creating Laws/Rules in Fantasy Worlds
Book writing:
Connected vs. Stand-Alone Series
A & B Stories
Writer resources:
Writing YouTube Channels, Podcasts, & Blogs
Online Writing Resources
Outlining/Writing/Editing Software
Writer help:
Losing Passion/Burnout
Overcoming Writer's Block
Fantasy terms:
How To Name Fantasy Races (Step-by-Step)
Naming Elemental Races
Naming Fire-Related Races
How To Name Fantasy Places
Ask games:
Character Ask Game #1
Character Ask Game #2
Character Ask Game #3
Miscellaneous:
1000 Follower Post
2000 Follower Poll
Writing Fantasy
things people do after having a nightmare that isn’t crying
struggle to catch their breath
grab onto whatever’s close enough to ground themselves in reality
become nauseous / vomit
shake uncontrollably
sweat buckets
get a headache
things people do to combat having nightmares if they occur commonly
sleep near other people so they can hear the idle sounds of them completing tasks
move to a different sleeping spot than where they had the nightmare
leave tvs / radios / phones on with noise
just not sleep (if you want to go the insomnia route)
sleep during the day in bright rooms
things people with insomnia do
first, obviously, their ability to remember things and their coordination will go out the window
its likely they’ll become irritable or overly emotional
their body will start to ache, shake, and weaken
hallucinate if it’s been long enough
it becomes incredibly easy for them to get sick (and they probably will)
add your own in reblogs/comments!
Sites to Help with Writing
1 - [ https://www.yourdictionary.com ] I use this site for the thesaurus, It helps to find synonyms for words so you don't repeat "said" a thousand times in your book.
2 - [ https://milanote.com ] This one is very helpful for organising your ideas with story boards, though it's partially free it has a paid version where you can get even more features. I use the free version.
3 - [ https://inkarnate.com ] This site is very popular to create maps, and for good reason. It's free version gives you all the features necessary to create maps, but the paid version gives you extra features. I use the free version.
4 - [ https://www.behindthename.com ] I use this one for names. It has a database of endless names alongside their country of origin and meaning. Very useful, though I use it to make sure the names I come up with don't end the wrong way.
5 - [ https://www.pinterest.com ] Do I even need to explain? Ideas? Here. Visualisation? Here. Everything you'll ever need? Here.
6 - [ https://quillbot.com ] Heard of it from a beloved friend. This site is useful for tone checks, grammar checks, and more. I only use it to edit.
7 - [ Google Docs ] I only use this one for writing, its free and perfectly usable.
8 - [ https://www.artbreeder.com ] This one is essential for character creation. It has many features that allows you to visualise and create portraits for your characters.
Bonus:
I use [ https://tabletopaudio.com ] for background noise while writing, because i cant focus in silence.
That's all, I hope this proves useful :)
good traits gone bad
perfectionism - never being satisfied
honesty - coming off as rude and insensitive
devotion - can turn into obsession
generosity - being taken advantage of
loyalty - can make them blind for character faults in others
being dependable - always depending on them
ambitiousness - coming off as ruthless
optimism - not being realistic
diligence - not able to bend strict rules
protectiveness - being overprotective
cautiousness - never risking anything
being determined - too focussed on one thing
persuasiveness - coming off as manipulative
tidiness - can become an obsession
being realistic - being seen as pessimistic
assertiveness - coming off as bossy
pride - not accepting help from others
innocence - being seen as naive
selflessness - not thinking about themself enough
being forgiving - not holding others accountable
curiosity - asking too much questions
persistence - being seen as annoying
being charming - can seem manipulative
modesty - not reaching for more
confidence - coming off as arrogant
wit/humor - not taking things serious
patience - being left hanging
strategic - coming off as calculated
being caring - being overbearing
tolerance - being expected to tolerate a lot
eagerness - coming off as impatient
being observant - being seen as nosy
independence - not accepting help
being considerate - forgetting about themself
fearlessness - ignoring real danger
politeness - not telling what they really think
reliability - being taken advantage of
empathy - getting overwhelmed with feeling too much for other people
How to write a negative character arc
Here’s the simplest way to break down the building blocks of a negative character arc in your novel!
Here’s the A-Z on negative character arcs
It’s totally possible to pull off a negative character development, for ANY person in your story, whether that’s a side-character, villain, or the protagonist.
Here’s something no one tells you, but it’s actually fundamentally simple.
You can do this with a very easy formula. Typically, a positive arc means that you set out with one main character flaw/issue, which that character overcomes by the end of the story.
So all you need is:
a flaw your character NEEDS to overcome
a goal they WANT to achieve
For a positive arc, they’d succeed at their NEED. Then maybe their WANT as well. For a negative, they simply never fulfil their NEED.
This means they never overcome the flaw they are supposed to face. In fact, they ignore it so confidently, it becomes a PROBLEM. They will never truthfully own up to their mistakes.
This is where you can let it get worse, let it develop into fatal flaw, and let more issues arise from it. As for their WANT? They’ll usually put their external goal above everything else, and dig themselves even deeper into personal disarray, where they won’t recognize themselves any longer.
If you need a hand getting started on your novel, we have 3 coaches at The Plottery who can work with you intensively for 4 month to skill up your writing and help you finish your first draft.
Apply through the [link here] or below!
Where to start as a beginner writer
Are you new to the world of writing? Here are some pointers to consider when starting out your journey!
Define your purpose
A super important first step for any writer is to ask themselves why they are actually writing. What sort of message do you want to put out into the world, what types of stories are you going to tell? Do you want to make people cry, laugh, do you want to inspire them, do you want to shine a torch on important issues, do you want to thrill them or make them feel good?
Familiarize yourself with character arcs
Before plot, there is character! Character arcs are a great way to get yourself started on your writing journey. Learn about internal conflict, misbelief, positive and negative arcs, backstories... Once you know this, the plotting side of things clicks into place much easier.
Understand the basics of story structure
You do not need to be a plot-genius to write a good book. As long as you have a good grasp on your character arcs, and a basic understand of how a story is structured, you’re good to go! It’s great to read about 3-act, 5-act, hero’s journey, and other structures on examples of books you’ve read or films you’ve seen.
Read in your genre
Cannot stress this enough! Every writer should be a reader. It’s so important to read within and outside of your genre, because reading is the best way to learn and grow and improve.
Don’t be afraid to write whatever comes to mind
All writers get stuck into certain parts of their writing, and we all become victims of perfectionism or procrastination one way or another. Don’t let this be a thing to discourage you. What’s important to know about writing is that the more you do it, the more you will improve. So even if you’re writing something for fun, or you’re not entirely happy with the quality, know that actually writing it will help you more than avoiding it.
Did you know I have a free novel plan to get you started on your writing journey?
You can grab it through the [link here] or below!
Reactions to grief
Denial and Disbelief: Initially, a character may struggle to accept the reality of their loss. They might refuse to believe that their loved one is gone, clinging to hope or desperately searching for any signs of their presence.
Emotional Turmoil: Grief often brings intense emotional upheaval. Characters may experience profound sadness, despair, anger, guilt, or a mix of conflicting emotions. Their moods may fluctuate drastically, leading to outbursts of tears, frustration, or numbness.
Withdrawal and Isolation: Some characters might withdraw from social interactions, seeking solitude to process their grief. They may isolate themselves from others, finding solace in their own thoughts and memories.
- Physical Symptoms: Grief can manifest in physical symptoms such as loss of appetite, insomnia, fatigue, headaches, or other psychosomatic manifestations. These physical reactions can reflect the toll that grief takes on the character's overall well-being.
Immersion in Memories: Characters may immerse themselves in memories of the person they've lost. They might seek comfort in looking at old photographs, listening to recordings, or visiting significant places that remind them of their loved one.
Guilt and Regret: Characters may grapple with guilt and regret over things left unsaid or unresolved issues with the deceased. They may blame themselves for not being able to prevent the loss or feel remorse for any negative actions or words in the past.
Seeking Closure: Characters might actively seek closure by investigating the circumstances surrounding the loss or searching for answers. This could involve conducting their own inquiries, talking to people connected to the situation, or even pursuing spiritual or metaphysical avenues.
Attempting to Fill the Void: Some characters may try to fill the void left by their loss by immersing themselves in work, hobbies, or other distractions. This can be a way to cope with the pain or to create a sense of purpose in the absence of their loved one.
Rediscovering Meaning: Over time, characters may go through a process of reevaluating their own life's purpose and finding new meaning or direction. This can involve pursuing new interests, engaging in charitable acts, or dedicating themselves to causes that honor the memory of the person they've lost.
Healing and Acceptance: Eventually, characters may find a sense of healing and acceptance. While the pain of the loss never fully disappears, they learn to live with their grief and carry the memory of their loved one with them. This can lead to a renewed sense of purpose or a deepened appreciation for life.
Story Structures for your Next WIP
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so let’s dive right in :)
First off let’s just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag's Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag's Pyramid structure consists of:
Introduction: the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
2. The Hero's Journey
the hero's journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero's everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they've learned.
Return with the Elixir: after succeeding they return to their old life.
the hero's journey can be applied to any genre of fiction.
3. Three Act Structure:
this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.
Act 1: Setup:
exposition: the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint: an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax: the hero must chose between acting or failing.
climax: they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
4. Dan Harmon's Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.
the benefit of Harmon's approach is that is focuses on the main character's arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn't what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon's story circle.
5. Fichtean Curve:
the fichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2. The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
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How to write romantic tension
Here are some of my best tips to write a romantic build-up! (I believe all of these are inspired by a couple in my current project, oops!) Happy Valentine’s to everyone!
💜 Disagreements
Nothing shouts romantic tension better than when one of the characters is annoyed by the other’s habits or opinions. Usually this stems from a personal issue, or even form knowing they’re attracted to the other person!
If character A smokes, character B could be annoyed at them because they used to smoke themselves, but subconsciously the complaints are just an excuse to keep the conversation going.
💜 Arm’s length
Try to keep your characters at an arm’s length from each other, and experiment with the tension you can create at a distance. This will make any closer moments MUCH more impactful.
If character A is usually polite and respectful of personal space, but in an emotional moment they lean a tad too close, that strikes character B much harder.
💜 The turning point
What is the point where it becomes obvious to your characters that they like each other? You don’t have to immediately seal this in a kiss or a confession. Play with how this knowledge subtly changes their behaviour with one another.
Character A may get progressively flirtier or bolder when they realize character B is completely accepting of their advances. They may start to do “coupley things”, like hand-holding, or subtle comfort touches, without even having to talk about “where they’re at.”
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Tension vs. Conflict: What’s the Difference?
Good morning everyone! It’s my birthday today and because it’s my birthday I thought I’d post today (that’s kind of an obscure reference to Star Wars Guy and his girlfriend lol)!
Conflict and tension in literature help build drama and keep readers engaged through the end of the book. Learning the distinctions between conflict and tension will help elevate your writing and make your storylines more engaging.
What Is Tension in Writing?
Tension in a literary context is the sense that something ominous is right around the corner. Building a large amount of tension as a writer keeps your readers engaged up until the end of the story. Mystery novels are full of tension and foreboding, and they generally feature tense scenes from beginning to end. Working within the genre of mystery writing is a great way to learn how to layer tension into your narrative arc. Good use of tension makes a story worth reading and keeps readers guessing.
3 Tips for Using Tension in Your Writing
Learning to build tension is no easy task. Even the most seasoned professional writers have trouble maintaining tension from beginning to end. Here are a few tips for using tension successfully in your writing:
Foreshadowing: An important part of building tension is using foreshadowing to build dramatic tension and keep readers on the edges of their seats. In Harry Potter, author J.K. Rowling uses flashbacks and backstory to foreshadow the eventual major conflict that will unfold between Harry Potter and the villainous Voldemort.
Inner conflict: Sometimes inner conflict and self-doubt can be layered in through character development and used to build levels of tension. In William Shakespeare’s Hamlet, the main character wants to avenge his father’s death but is beset by self-doubt, paralyzing indecision, and mental strain. As an audience, there is a sense of tension in every scene as we wait to see if Hamlet will act on his inner desire for retribution or remain stuck in a place of indecision.
A time limit: One great way to build tension in your story is to place a time limit on an action your character has to undertake. By adding the element of a ticking clock, you build tension and increase stakes. This is a common technique used in thriller novels and films as well as action and adventure stories.
What Are the Differences Between Conflict and Tension?
While tension simmers under the surface, conflict is generally out in the open—it's tension realized. Tension might be present an unspoken rivalry between the protagonist and antagonist or in the audience’s awareness of an impending disaster.
Conflict, on the other hand, involves an active clash; maybe the protagonist and the antagonist engage in a firefight or a heated debate, or maybe a character fights off a pack of animals or works to prevent climate catastrophe. Even if the conflict is interior—a character battling low self-worth, perhaps—it still involves opposing forces struggling for supremacy.
What Is Conflict in Writing?
Conflict can come in many forms. Conflict in a story can be a physical fistfight or a passive-aggressive war of words. All that is required for conflict is a manifestation of disagreement or incompatibility between a character and something else. Characters can be in conflict with other characters, with natural forces, or with society at large.
Another type of conflict is internal conflict. Conflict is one of the fundamental principles of narrative and creative writing. In order to write a story worth reading, you need characters whose point of view is in some way challenged and to whom bad things happen. Without conflict, you won’t have a narrative or any meaningful character arc.
4 Types of Conflict and Tips for Using Them in Your Writing
The kind of conflict you use depends on what your plot and subplots are centered around and what your main character wants and needs. New plot points generally introduce conflict or advance existing conflict. Here are some types of conflict to employ in your writing and a few tips about when and how you migh
Person vs. self: An internal conflict is a kind of conflict that only manifests within a character’s head. Though we may see this conflict dramatized through narration or dialogue, or play out in the protagonist’s actions, it is an internal struggle within a character.
Person vs. person: The simplest and most common form of external conflict is when two characters are in conflict with each other. The first stories we are told as kids generally have a clear good guy and bad guy. These stories are early introductions to person vs. person conflict. Person vs. person conflicts are very common, and it’s rare to find a narrative without an interpersonal conflict present at some point in the story.
Person vs. nature: Conflict between a person and forces of nature is a good example of external struggle that can raise the stakes in a story. Some notable stories that included conflict between a person and a natural force include The Old Man and The Sea by Ernest Hemingway and Robinson Crusoe by Daniel Defoe. Consider using person vs. nature conflict if you’re interested in writing a story with one main character and few, if any, supporting characters.
Person vs. society: Conflict between a person and society at large is a type of conflict often found in science fiction. Some notable examples of this type of conflict are found in The Handmaid’s Tale and The Hunger Games series. In The Hunger Games, Katniss Everdeen finds herself contending with a dystopian and oppressive United States government that pits citizen against citizen in order to keep dissent down and quell rebellion. If you’re interested in science fiction or narratives about social justice, you might want to consider exploring conflicts that pit an individual character against society at large.
WEBSITES FOR WRITERS {masterpost}
E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;
Hiveword - Helps to research any topic to write about (has other resources, too);
BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;
Charlotte Dillon - Research links;
Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!
Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;
Penguin Random House - Has some writing contests and great opportunities;
Crime Reads - Get inspired before writing a crime scene;
The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;
Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);
Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;
Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;
I hope this is helpful for you!
(Also, check my gumroad store if you want to!)