Now first, I have to say, that the plot you’re able to come up with in one day is not going to be without its flaws, but coming up with it all at once, the entire story unfolds right in front of you and makes you want to keep going with it. So, where to begin?
What is your premise and basic plot? Pick your plot. I recommend just pulling one from this list. No plots are “original” so making yours interesting and complicated will easily distract from that fact, that and interesting characters. Characters will be something for you to work on another day, because this is plotting day. You’ll want the main plot to be fairly straight forward, because a confusing main plot will doom you if you want subplots.
Decide who the characters will be. They don’t have to have names at this point. You don’t even need to know who they are other than why they have to be in the story. The more characters there are the more complicated the plot will be. If you intend to have more than one subplot, then you’ll want more characters. Multiple interconnected subplots will give the illusion that the story is very complicated and will give the reader a lot of different things to look at at all times. It also gives you the chance to develop many side characters. The plot I worked out yesterday had 13 characters, all were necessary. Decide their “roles” don’t bother with much else. This seems shallow, but this is plot. Plot is shallow.
Now, decide what drives each character. Why specifically are they in this story? You can make this up. You don’t even know these characters yet. Just so long as everyone has their own motivations, you’re in the clear.
What aren’t these characters giving away right off the bat? Give them a secret! It doesn’t have to be something that they are actively lying about or trying to hide, just find something that perhaps ties them into the plot or subplot. This is a moment to dig into subplot. This does not need to be at all connected to their drive to be present in the story. Decide who is in love with who, what did this person do in the 70’s that’s coming back to bite them today, and what continues to haunt what-his-face to this very day. This is where you start to see the characters take shape. Don’t worry much about who they are or what they look like, just focus on what they’re doing to the story.
What is going to change these characters? Now this will take some thinking. Everyone wants at least a few of the characters to come out changed by the end of the story, so think, how will they be different as a result of the plot/subplot? It might not be plot that changes them, but if you have a lot of characters, a few changes that are worked into the bones of the plot might help you.
Now list out the major events of the novel with subplot in chronological order. This will be your timeline. Especially list the historical things that you want to exist in backstory. List everything you can think of. Think about where the story is going. At this point, you likely haven’t focused too much on the main plot, yeah, it’s there, but now really focus on the rising actions, how this main plot builds its conflict, then the climactic moment. Make sure you get all of that in there. This might take a few hours.
Decide where to start writing. This part will take a LOT of thinking. It’s hard! But now that you’ve got the timeline, pick an interesting point to begin at. Something with action. Something relevant. Preferably not at the beginning of your timeline - you want to have huge reveals later on where these important things that happened prior are exposed. This is the point where you think about what information should come out when. This will be a revision of your last list, except instead of being chronological, it exists to build tension.
Once you’ve gotten the second list done, you’ve got a plot. Does it need work? Probably. But with that said, at this point you probably have no idea who half your characters are. Save that for tomorrow, that too will be a lot of work.
After you’ve plotted the loose structure of your novel from this, see my next post to work on character!
from hildegard of bingen - the woman of her age by fiona maddocks
Giuseppe Pennasilico (detail)
“I shall never forget the occasion when I was visiting a school as a writer and the whole place suddenly fell into an uproar because the school tomboy - a most splendid Britomart of a girl - had beaten up the school bully. Everything stopped in the staffroom while the teachers debated what to do. They wanted to give the tomboy a prize, but decided reluctantly that they had better punish her and the bully too. They knew that if, as a child, you do pluck up courage to hit the bully, it is an act of true heroism - as great as that of Beowulf in his old age. I remember passing the tomboy, sitting in her special place of punishment opposite the bully. She was blazing with her deed, as if she had actually been touched by a god. And I thought that this confirmed all my theories: a child in her position is open to any heroic myth I care to use; she is inward with folktales; she would feel the force of any magical or divine intervention.”
— Diana Wynne Jones (via joeyvermeil)
Cloudy day, windy
Your boss' makin a loss
But I told you I'd never eaten this kind of ice cream before
And now I'm back for a second helping
First day it was sunny and I was in a good mood
Today I got no such excuse
The word "smile" is overused by corporate and music that's gentrification misspelled
So I'll commit the greatest rebellion of the industry:
You just looked at me.
Desperate claws in a sunny smile I've trained to be a good customer to the service
I ask you if I should take a cup or cone, your opinion
Well, it's my choice
But you can give me a little more in a cup.
I laugh too loud. Answer too loud. You're making money, I'm spending money.
'i hope to see you again, miss.'
That's not part of the script.
They don't say miss here.
I think I should take a break from scrolling through the endless cacophony of bad
— Georgia O'Keeffe
Listen. Listen to me, okay? Your head is lying to you. You think of the future and no matter what you see it’s a void, there’s nothing, it's grey, and really not different from where you are now but I need you to know it’s a lie. I don’t know why, okay? I don’t know why your head insists on taking the life out of every idea and vision like it’s a conscious effort to destroy you but it. is not. Real. You move and no matter how you move, if you move things change. Even if you have no plans of changing anything, next year will be different. It’s a guarantee. So if you make ANY effort to change it into the direction you WANT it to go
universes will collide.
Andrea Gibson, Lord of the Butterflies
obsessed with mass market paperbacks. their pleasing rectangular proportions. how they fit badly in a hoodie pocket so you can drag them around everywhere with you like a temporary little buddy. the way they fit in your hand because they're MADE for human hands and not as bookshelf decoration. the way the pages feel when you riffle them gently with your thumb. How pristine and crisp they look when you get them and how creased and folded they look when you're done, even if you try to be nice to them. how that wear is okay, how that's correct actually, because they're made with the philosophy that books aren't meant to be PRETTY, they're meant to be read. that little ripple new ones get on the left side from where you hold them when you're reading, the way the ripple only goes as far as you've read, because u change stories by reading as they are changing you. how you can find thousands of these creased and folded and loved little dudes in every thrift store and used book shop and neighborhood library and you can instantly see the ones that someone carried around in a backpack for weeks or read to pieces or gave up on halfway through because they wear being read like fresh snow wears footprints. I love these poorly made, subpar little rectangles so much. truly the people's books.
(She/her) Hullo! I post poetry. Sometimes. sometimes I just break bottles and suddenly there are letters @antagonistic-sunsetgirl for non-poetry
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