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We aren’t all the same, which means some of our brains work differently and require some sort of a plan to get us through.







So the goal of 3 chapters was a bit optimistic. I did get 1 done though. Exhaustion has overtaken me today. I hope you all fared better than me.




Step one towards writing your novel is to determine which genre it is. By deciding this, you can create an outline and write a book that fits audience expectations.







Happy Valentine’s Day to all the out there & today! That last one would be me ❤️

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I wrote lots of words yesterday. Lots. I’m just hoping they’ll say more than this when I open the doc again this morning ... 🤔🤞🙀







This process gets rid of the mushy middle and sets you on a clear path to get this novel written. All is explained in this video:




Pffff....ready! Het werk voordat een boek geschreven wordt 😰 En nu.....schrijven! Time invested in a story outline is foresight gained for your novel







Happy Monday ! I hope you all have productive weeks. Whether you’re writing, , , or simply daydreaming of your stories, I wish you all good luck!



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hey writeblrs quick question

how do you outline? I’ve found that i need a pretty detailed outline or I just… don’t do anything, but for a new wip im working on i would like to try a new outline style. 

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#oldwork #outlining #video #ukartist #wip #unfinished #watercolor #watercolour .
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anonymous asked:

Any advice for writing a 13 year-old with flaws that aren’t connected to their age/lack of full maturity or aren’t just going to go away with age? What about a teenager who is kind of cold? I feel like tumblr tends to be like ‘oh sweet baby child’ and ignore any other aspects of that’s character.

I think one of the things that you’re sort of minimizing here is the fact that most people who read about someone as young as thirteen years old, will have the understanding that most things that a person feels and is as a child is temporary and due to their environment. Most thirteen year olds (like, 99.999% of them) haven’t gone through enough substantial life experiences to have formed personality traits and opinions and flaws that will last into adulthood. That’s why it is considered the developmental phase of their life. I can tell you that even as an older young adult, I look back at who I was two years ago and it’s like I’m not a completely different person, and I’ll probably feel that way in another two years. 

People are always learning and growing, sure, but teenagers and children are learning and growing at a much more rapid pace, which leads to their personality traits and trends in actions come in phases and pass very quickly. There’s a very fundamental reason behind why older people are extremely sure that everything you cling to and believe (although wholeheartedly, which they also are aware of) as a kid will come and go unless it’s deeply rooted in how your environment contributed to your development.

Getting to the point, lack of maturity or age doesn’t come with inherent flaws, but it leads to common phases of action and state of mind, and that’s important to remember. Being cold and distant isn’t a flaw of the personality. It’s a trait, and usually it changes, whether you’re a child or an adult. My advice is to be aware that you’re writing about a child, and not a fully developed human in a thirteen year old’s body. Flaws exist in everyone, but they’re subjective and in the case of children, they’re temporary and more likely the fault of someone else’s influence over how they think they should act or feel or think. 


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anonymous asked:

Do you outline and If yes how?

I am a pretty big fan of outlining. My basic method is to write out the story idea and follow up with a list of events that go from beginning to end. I don’t always fill them out in order, and usually leave spaces where the blanks need to be filled in- but by then the first draft is already started and I may not finish the outline before the manuscript is done.

Sometimes the points on an outline are really in depth, depicting most of the pivotal details of a scene. Other times it’s a short, choppy statement that gets the general point across. Outlines are just a tool you can use to help see where your story is going- it shouldn’t be this looming task that threatens to take over. If you feel like it’s sapping your energy, feel free to forego the outline and dive straight into the first draft.

Outlining

I’m trying to outline but I’ve honestly never done it before. I usually just go right in and write but I haven’t gotten any stories done with that method so time for change. I want to try a few methods but because of my lack of supplies I’m just bullet pointing scenes on a google doc. This is going to probably fail.

Writing Update - Week 4
  • I outlined chapters 3 through 5 of my novella-in-verse, specifying POV by ink color. My thought is that it’s too hard for my brain to switch between ten poem forms each chapter, so, when it’s all laid out, I can spend one week writing all the limericks, the next week writing all the cinquains, and so on.
  • I wrote one blog post for a future date.
  • I took a “currently reading” pic (but am just starting that book, so it won’t be posted anytime soon) and made a pic with a review blurb for my book.
  • Watched a ton of Forensic Files. And yes, I do count this as research, as I’m writing a mystery.

I haven’t been doing my goal of writing two things each week, but I have been going over my goal in other areas, so I think my newly stated goal will be “Outline something, write something, edit/research something, and picture something”, with the goal of doing two of at least one of those things a week. For example, last week I made two social media pics, this week I plan on editing two short stories, etc.

anonymous asked:

How long did it take you to come to your system of working on multiple projects at the same time but keeping each at a different stage (like you mentioned you wrote drafts of something else while revising IWWV)? I assume you didn't immediately begin working this way- what did you do to get to a point of being able to split your attention effectively, and are there any ways you hope to improve your methods in the future?

It’s hard to condense like ten years of writing development into a Tumblr post (or even to identify what the turning points were along the way) but at its most basic: when I was in college I realized I hadn’t actually finished a first draft of anything in years even though I’d started like two dozen different projects. So I decided to make a rule that I could only actively work on writing one draft at a time.Great rule. I wrote four books in four years. However, I also don’t have control over what snags in my imagination, when ideas take root, etc. And there was no harm in playing with new story ideas if I was being disciplined about what I was actually, word by word, writing. For me prose and plotting are two very different creative activities, and so I just naturally fell into a pattern of revising one project while I was working on the first draft of the next one and pulling together an outline for the next one after that. It wasn’t really deliberate or purposeful; it was just kind of the way it happened and the way it worked. And it’s been working pretty well so I don’t see much reason to mess with it. However, as my projects have gotten more and more complex and started to require more and more research (and because I’m working another job full time), it takes me much longer to get through a first draft now than it did when I was in college. As for what needs improvement, mostly what I’m working on now is work-life balance. I love what I do–and that goes for both of my jobs–but I have also turned into a person who does pretty much nothing but work. And it has led to me being extremely tired and stressed out all the time. So I’m learning to accept that writing is just going to take longer now than it did when I was nineteen, part of which is circumstantial and part of which is because I just have higher standards now and would rather take longer to turn out better work. 

I know kind of how I want to end this WIP, but there’s a chunk of the story leading up to it that I’m not sure about. I’m also trying to figure out how I want the missions/trials to work…..

Originally posted by giantmonster

I’m glad I’m outlining this WIP or else I’d probably get to these parts of the story, stop, and possibly never finish.

Just gotta keep working!

Originally posted by slk-t

The Four Act Story Structure (with Black Panther)

Part 1 - Orphan

  • Narrative Context: Set Up the story. In the first 20% - 25% of your novel, you will: Introduce the character (backstory, their stasis, their inner demons, their strengths), establish stakes (what the character has to lose), foreshadow the imminent conflict to come. 
  • Hook: The hook happens in the first chapter of your novel, the earlier the better. It grabs the reader, makes us empathize with the protagonist, and gives the reader something to bite into before the protag’s quest really begins.
  • Example: (Black Panther) Freeing kidnapped women from warlords to call Nakia back to Wakanda. 
  • Inciting Incident: Something happens to your character that incites the coming conflicts. This could happen as early as the hook, or could happen as late as Plot Point 1.
  •  Example: Klaw and Killmonger steal vibranium from a British museum.
  • Plot Point 1: At 20% or 25% in your novel, something big happens that alters the protag’s plans/status/beliefs, forcing them to respond. The first plot point defines the nature of the hero’s quest, and everything you’ve set up (stakes, inner demons, foreshadowing) has led up to this point. Imagine the first quarter of the novel as pulling back the plunger in a pinball machine, and the first plot point is when you let the ball fly. The antagonist is introduced, but their true nature will not be fully revealed until the midpoint. 
  • Example for Plot Point 1 from Black Panther: ~35m/123m (28%), Klaw’s whereabouts are known. T’Challa needs to go on a retrieval mission, putting his leadership as King to test for the first time.  

Part 2 - Wanderer

  • Narrative Context: Reaction. 25% - 50% of your story. Something big has just happened (Plot Point 1) and the protagonist is reacting to it, running from it, pursuing it without knowing what it is. There is a sense of indecision, or lack of knowledge. We don’t have all the answers. 
  • Example: T’Challa, Nakia, and Okoye are after Klaw, but they haven’t been fully introduced to the true antagonist, Killmonger. 
  • Pinch Point 1: The first Pinch Point comes in the middle of Part 1. A pinch point is a big moment that reminds the reader of the power of the antagonist.
  • Example: 59/123 min, 47%. Right when the gang thinks they’ve got Klaw, he escapes with the help of Killmonger. T’Challa sees Killmonger for the first time, taking notice of the ring he wears. Who is this man? T’Challa realises he doesn’t have all the answers, that there’s something bigger going on. 
  • Midpoint: One of the biggest points in the story, and a huge plot twist that reveals the true nature of the antagonist. It is like a veil is lifted, and the character sees more clearly what they’re up against, on an external, internal, and thematic level.
  • Example of the Midpoint: In Black Panther, the midpoint happens from 63 min - 67 min (~52%) in two scenes. First, we get a big plot twist. Killmonger reveals that he is of Wakandan blood, and that he’s going to the hidden nation. He kills Klaw and even his own girlfriend without hesitation. This lets the viewer know Killmonger’s goals and the danger he poses as an antagonist. In the second scene of the Midpoint, Zuri reveals what really happened to T’Challa’s uncle (and Killmonger’s father): he was killed by T’Chaka, leaving Killmonger fatherless. T’Challa realises that he’s going to have to pay the consequences for his father’s mistakes, and truly questions for the first time whether Wakanda’s tradition of secrecy is moral. 

Part 3 - Warrior

  • Narrative Context: Action. 50% -75/80% of your story. Again, something game changing has just happened (the midpoint), which suddenly clarifies the nature of the antagonistic force. With this new insight, the protagonist is able to go on attack mode, actively trying to solve the issue at hand.
  •  Example: Now that Killmonger has made himself known as the true antagonist, T’Challa has to face him and the mistakes T’Chaka made in the past.
  • Pinch Point 2: The second pinch point occurs halfway through the third quarter. Like the first pinch point, it is a reminder of the threat of the antagonistic force.
  • Example: 81 min - 82 min in Black Panther, or 66% into the story, Killmonger overthrows T’Challa.
  • Plot Point 2: The second plot point happens around 75% or 80% into the novel. It may be a characters realisation of what they must do to defeat the antagonist or a piece of information that allows them to face the bad guy. Whatever it is, no new information may be introduced after this point unless it is heavily foreshadowed. This is to prevent a deux ex machina.
  • Example: (98 min, 80%) T’Challa speaks to his forebears and realises that their actions were immoral. He says, “I must take the mantle back” and regains his power as black panther. He is ready to face Killmonger, and there is a sense that he now has a chance of defeating him.

Part 4 - Martyr

  • Narrative Context: Martyr. 75/80% - 100% of your story. This is the final battle, the end game. Often in a self-sacrificial way, the protagonist faces the big baddies and defeats them one by one. They are heroic, they are active, and they defeat the antagonist by their own strength. 
  • Example: T’Challa and his crew face Killmonger to stop him from sending Wakandan weaponry to other countries. Notice that each character, T’Challa, Shuri, Okoye, Nakia, and Ross do something heroic and self-sacrificing. Occasionally something comes in that turns the tides in the heroes’ favour (this must be heavily foreshadowed) like when M’Baku decides to join sides with T’Challa.
  • Climax: Close to the end, midway in Part 4, the antagonist is defeated and the theme is clearly splayed out.
  • In Black Panther, this happens at 115 min - 118 min (or 94%) when T’Challa brings Killmonger out of the vibranium mines to see the Wakandan sunset. Killmonger chooses to die rather than live in bondage. After this point, we switch to the resolution.
  • Resolution Scene: Everything is wrapped up after the climax. This isn’t necessarily one scene, but can be many. May be one chapter or several depending on how many plot threads need to be tied up. Whatever happens, we enter into a new stasis and see the effect of the protagonist’s journey both physically (how the world changes around them) and psychologically (how they have changed internally).
  • Example: In Black Panther, we find out that T’Challa has decided to make an outreach program for African-American youth. He learns from Killmonger and decides to use Wakandan technology and resources so that the future generation does not suffer like Killmonger did.

How to use the Four Act Story Structure

On a practical level, how can writers use the Four Act Structure? I would recommend using it both in reading and in writing:

When reading or watching a movie, look out for the major plot points and act breaks. Have you ever felt that a story feels unbalanced? Rushed in parts? It is likely because it does not follow the Four Act Structure.

You can also use this structure in outlining. It will prevent you from going, “What the hell is going to happen next?” and will help you create a story that is well structured. Another reason I like this structure is because it details how to plot the middle portion of a novel.

However, keep in mind that movies are paced differently than books, and that even all books aren’t paced the same. You will not die in writers hell if you don’t follow this structure exactly. Rather, it is good to understand why this structure works so that you can better structure your own novels. For instance, Harry Potter and the Philosopher’s Stone does not follow this structure like I’ve laid out (though many argue that the first book is unbalanced; Harry doesn’t get to Hogwarts until 40% into the book.)

If you’d like to read more in depth about the Four Act Structure, Larry Brooks writes about it in Story Engineering. But a word of warning: Brooks does seem to believe that you will die in writing hell if you don’t follow this structure, and he hates pantsers with a passion. It’s still an informative read, but please take everything he says with a grain of salt.