Cale Is Used To Being Without.

HOLD ON-

Is this an actual reason kids wanted to travel around the world with Cale??? Is this the culprit??

Because if that's so this is fucking adorable

When i first read the novel and in the future chapters On, Hong and Raon were telling Cale that they want to travel everywhere together i just went "Aw that's sweet, yeah sure" not questioning much of it because, well, Cale didn't either. And I'm a very trustful person, who didn't thought about our narrator being a lying little shit back then.

So rereading the novel now and seeing this gives me literal butterflies!

Just think about it.

Children, who never saw much of the world, whose thoughts before been only about survival, wanted to travel everywhere together and see everything, but not for themselves.

They thought that will make Cale happy.

On, Hong and Raon obviously love Cale a lot, he is literally their parent and the first ever person to show them warmth or care.

So it is understandable that they want to show this love to him in return and I'm like :,) MAN, i love this story so much ueue

Part 1

Cale sits on Alberu’s bed.

This… feeling, of his memories and feelings all contradicting. It’s a little disorienting.

His hands are dirty, but he knows they’re clean. He could lay down and roll around on the princes bed, but his memories show a blatant disregard for what the prince thinks about what he does, yet he knows that he has respected and cared about the prince for a long time-

So what is it? Does Cale secretly respect him? Is his disregard an act? No, it’s not. Disrespect is… a way to show respect? To hide his respect?

Cale develops a headache. There’s a lot of new information in his mind, rolling around like a thunderstorm, and it’s really starting to hurt.

His hand caresses the side of his head, and he aims his face into his lap, a frown forming. It… hurts.

It hurts.

Hopelessness drags on his new and good emotions. It hurts. He- he hates pain. His hands tremble.

Alberu watches Cale, unsure what could’ve happened to cause him to start crying. With a shaky mind, Alberu walks over to the frozen child sitting on his bed, making extra sure that his footsteps create noise. God, scaring a child? Scaring Cale? That would be a nightmare. He wouldn’t know how to handle it at all.

Despite Alberu’s desperate wishes, Cale is deep in his subconscious, overwhelmed by a self-induced headache.

So when Alberu reaches over for the boys shoulder (like how Cale would comfort everyone), Cale flinches. Hard. He throws his body to the side of the bed and pulls his arms up to his chest, staring up at Alberu’s figure.

Now, the Prince isn’t stupid. He knows what a flinch means, what it implies. Then why- he fumes- why is Cale of all people showing these responses? How bad did he have it in Korea?

So, while Cale lies on the bed and stares, Alberu decides that he’s too tired to deal with this. This is incredibly annoying. This is- fucking depressing. He hasn’t slept for two days and suddenly being forced into babysitting duty is grating on his nerves.

He walks away to order the nearest servant to deliver cookies to his room, while he starts to brew tea. When the boy on the bed has a clear head and Alberu has some more strength, he’ll consider asking what’s wrong.

Bringing the tea over to the bed, Cale stares at the cups.

“Dongsaeng?” Alberu sits on the bed next to Cale, who stops laying down. “Do you like sweet tea still, even when you’re like this?”

Cale pinches his lips together. Forgoing a verbal response, he nods his head to the question and starts to reach out.

‘Dirty’

‘Careless’

‘Irresponsible’

His hand freezes, and goes through a dozen calculations. Should he ask to grab the cup? He wouldn’t normally do that, no. Should he act more like an ignorant child, not as mature as he feels? Should he ask what he should do?-

Alberu watches the emotions that flit across the young face. They are all incredibly subtle, as if he’s used to being so insecure but hiding it underneath a layer of confidence. Alberu relates to it on an uncomfortable level.

He almost expects the kid to ask if he should take the cup, but Cale firms up his face and decides to disrespect the Crown Prince anyway by grabbing the cup and taking a big sip of it.

Good, Cale reasons, looking at Alberu’s face. He’s not mad, like he predicted. He’s learning the limits of the people he trusts because, while he’s in this different body and has this smaller mind, people will react unpredictably. Anticipate violence, prepare for rejection, and accept whatever he can get his hands on. His old lessons from when he was a kid float into his mind, and they provide a comfort that none of his older memories have given him yet.

They sit in silence, sipping on tea and observing each other. The other children are disturbingly quiet, but they aren’t crying or angry. They’re just… watching. Raon seems to be the most restless, while On and Hong wait from a distance.

Those three children recognize the signs of abuse the most. Ever since he opened his eyes, they could see it all. The hesitation. The fake confidence. The awkward tense-relax-tense game that Cale is playing in his mind. Like he’s trying to convince himself that he’s in a safe place, but it’s so hard to believe that he instinctively goes back to base one whenever he succeeds.

They’re going to launch their ‘attack’ in a few minutes, but only after cookies. A servant quietly brings in a tray, keeping her eyes very specifically on the desk she needs to leave it on. Raon still turns him and the kittens invisible for the brief time she’s there, but she looked so focused that she probably wouldn’t have seen them had they been sitting right next to the crown Prince. On applauds her in her mind.

Cale keeps his mouth shut. The last thing he should do right now is talk. He knows when he isn’t welcome, and while the (fond?) exasperation from the prince is not quite the same as Cale is used to, it’s close enough. He plans to stay quiet and do nothing. It’s dangerous to think about anything else.

What if he ruins his companionship with Alberu forever? That would be- bad. For when he’s able to be big again, of course. It would be… what’s the word?

Inconvenient.

Cale doesn’t feel 7 years old anymore. His mind has been growing, in a weird way. Like he’s subconsciously fighting against the curse by maturing his mind at a faster rate. He can think a little more clearly, analyze a little more precisely.

He finishes his tea and puts it down. He’s tired.

‘Dirty’

‘Disgusting’

‘Filthy’

He looks down at his hands. He turns his palm over, examining it. He sighs in relief. Clean. He’s clean right now.

He’s startled by a red ball of fur pressing its face into his open palm.

“Hong?” His voice is soft, open just like his palm.

Hong purrs, and Cale falls for the distraction. He sets out to pet the kitten who is so innocently asking for them.

All of a sudden he hears Alberu shout from his side and a flash of black streaks across his vision. He looks up, but then On has transformed into her human form and the 12 year old body is stronger than it should be, with how easily she grabs the 7 year old and throws him by the pillows.

Cale barely finishes bouncing from being thrown when he gets crushed by Raon.

“Human!”

Cale opens his eyes and looks up at the blue eyes peering down into his soul. “Raon…”

Raon cuts him off, resting part of his weight on Cale.

“We’re having naptime! Majority vote! You have to sleep, human!”

Cale frowned. He hadn’t had any cookies yet.

Raon interprets him wrong, and suddenly Cale is being thrust into Alberu’s arms. “Adults are always the best at cuddling! We’re leaving you to our most experienced member so you get the full package! Alberu, don’t let Cale go.” His words leave a chill in Cale’s body, and he resists the urge to shudder.

Then he realizes that Alberu’s arms had really tightened around him. Cale squirms, because, what? Why can’t he just cuddle with the kids?

The answer becomes abruptly clear. Cale, smooshed against Alberu’s chest, surrounded by two human cats and a dragon who insisted that he lay on top of the pile- discovers that, while Raon could use magic to restrain him, the human with long arms is just more effective at restraining people comfortably.

Cale pouts. He didn’t get any cookies.

Ron, Beacrox, and Choi Han arrive at the princes room. Ron was worried about him, while Choi Han was concerned that he wasn’t adjusting well. Does he feel safe? Has he eaten? Is the fact that they aren’t in Korea making it difficult? Meanwhile, Beacrox is just angry at a lot of things right now.

They found the demonic worshipper, but after torturing information out of him, they realized that Cale is in the Demonic God’s hands now. Killing the demonic worshipper doesn’t even break the curse.

They had run into Bud and Glenn while investigating, naturally. The merchant king had offered all of his resources to track down the culprit, which helped somewhat in finding him. Glenn offered them a quick teleport back to the palace, and they accepted.

“Young master-“

“Cale-nim!-“

“My friend! Sob!- um?”

Ron, Choi Han, and Bud speak all at the same time. They all pause however, at the sight of Raon glaring at them intensely. A transparent black shield covers a lump of bodies, and Glenn recognizes it as a soundproofing spell. He gets goosebumps at the mana swirling around the rest of the room dangerously.

Choi Han felt stunned. It has been a long while since Raon pointed his wrath at anyone in their family. What happened?

Ron then smiles, a chill covering the room instantly. “What are you covering, little dragon?”

Raon uncharacteristically stays silent. He looks like a real dragon at this moment, all cold glares while he drapes himself over his hoard.

Then Choi Han puts the dots together. The Crown Prince is missing, documents unfinished. The kittens can be vaguely seen on the side of the pile that Raon is laying on, and if he’s correct-

Cale is in the center.

Choi Han’s eyes sparkle at the opportunity in front of him. Bud takes a careful step away from him, but he’s not paying attention to that.

Choi Han loves small cute things. What’s more cute than a bunch of his favorite, small cute people (minus Alberu, who isn’t small, that he suspects is in the back) in a big cuddly pile?

Cale murmurs in his sleep, feeling an icy chill on the back of his neck. Someone’s plotting against him.

He becomes unsettled, pushing lightly against Alberu’s arms in protest to the sensation. Alberu, who has fallen into an incredibly deep sleep, just tightens his arms. Cale decides to ignore the feeling, after getting that slight ‘scolding.’

His mind, which had become around 9-10 in the short time that he had been thinking intensely, quiets. He allows himself to be comforted, and doesn’t notice the way his mind falls into that of a 8 year old during this nap.

He breathes softly, falls deeper into his sleep, and can’t feel the curse settle over his mind.

Choi Han fails in his attempts to sway the dragon to let him see. Raon, smarter than your average 6 year old, understands what Choi Han wants and what Cale wants, and that Cale should get what he wants right now. Privacy. Raon becomes even more determined to protect Cale while he’s in this younger state.

He’s vulnerable.

The dragon in him growls at this. Everyone in this pile has been abused. He doesn’t know much about Alberu, but he saw the understanding glint in his eyes, so Raon determines that the Crown Prince is also under his protection.

Do the people outside their bubble understand that? Do they think that his human just happened to land in the middle of the pile, blocked from the world’s eye?

Raon huffs at Choi Han’s antics, ignores Ron’s vague threat, and summons a second shield over the soundproof one, this one solid and not transparent.

The human told Raon that it’s okay to be selfish. He wants to hold their little group closer right now, and he doesn’t want to share.

Cale flinches in his new, deep sleep. Raon lays his head back down on the pile, using magic to keep his human the perfect napping temperature.

He curses that he can’t do more right now.

Tutorial - my cat wanted to share with you some tips and tricks. ———————————————– Originally from my Patreon, where there’s a little more to this. (Patrons get extra stuff and early releases)

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

5 Books to Read to Write Better Stories

The newest post on my blog discusses five books that I think are essential to helping writers grow. They break the craft apart in easy-to-read ways. You'll treat yourself to funny lessons and entertaining perspectives while strengthening your ability to write captivating stories.

Check out the post here!

Writing Theory - Conflict 101

THEORY

goal + obstacle = conflict -> plot

You may have heard that a story needs conflict, but what does that mean?

No, it's not explosions. Or murder. Or smut.

Your character wants something, that's the goal. Something is in the character's way, that's the obstacle. The way your character deals with the obstacle to reach their goal is what makes an engaging conflict.

You see this on a plot level as well as on an individual scene level: Character wants X, but obstacle Y, so they have to go do Z

Conflict is like the engine of the plot, so if it's missing in a scene, then it's likely to feel redundant, boring, as if the story came to a halt (because it did; the engine stopped).

The goal and obstacle pair generally appear in two orders, with a "reaction" element:

Character sets a goal, but an obstacle happens, so the character reacts by changing course

Something happens (obstacle), character reacts to it and decides on the next action (goal)

You can alternate between the two, then you get something like this: character tries to accomplish something, something gets in their way, forcing a new approach, character reacts to the changes and decides how to move on from here, sets a new goal, tries to reach goal, faces obstacle...

This can also keep your character active rather than passive. Even in a reactionary scene, your character is responding and making a decision, rather than being a puppet to external forces. It can be smart to not have too many reactionary scenes back-to-back, as this can also feel passive. The goal-obstacle-reaction type scenes don't really have this problem and you can intersperse them with reactionary scenes now and then for variation.

You can have one major goal and many smaller goals. The goal(s) can also shift over the course of the story.

If you struggle to think of an obstacle, ask yourself: what is preventing my character from achieving their goal right now? Why can't they walk up to the villain and defeat them? Why can't they pull their love interest into a kiss? Why is your story longer than two paragraphs?

Ideally, goals and obstacles (and conflicts) are interwoven with character development, theme, etc., making for a solid plot where all these elements form one smooth fabric together. As a beginner, it's alright to first pick one thing to exercise rather than trying to balance all these things at once. Learn to create these bare bones of a plot and then improve upon that foundation.

EXAMPLE: Revenge of the Sith

Anakin would like Padmé to not die. = goal; He doesn't know how to prevent it. = obstacle

Stop the Sith = goal; Not knowing who the Sith Lord is = obstacle

These form conflicts and they push the plot forward. There are several smaller goals, like defeating Dooku/saving the Chancellor, preventing Palpatine from dying, manslaughter, killing Obi-Wan...

A scene with the goal - obstacle - (reaction) order: Anakin wants to use Palpatine's knowledge (goal), but Mace Windu is about to make that permanently impossible (obstacle). Thus, Anakin needs to pivot from yelling to slashing in order to reach his goal.

A scene with the obstacle - (reaction) - goal order: Anakin, the superstar Jedi, has just helped a Sith Lord kill a Jedi master (obstacle/problem; goes against the bigger "stop the Sith" goal). This has an effect on him (reaction; "What have I done??") and leads to a decision: join Palpatine. This then sets him on his next goal(s): destroy the Jedi to prove he's worthy.

Here you see how those two "types" of scenes flow into each other.

EXERCISE

Write two short scenes - one for each type (reactionary and goal-obstacle-reaction). They don't have to be unrelated.

Now, write another two scenes, but this time make them successive.

See if you can do this in the form of a short story: write 5-10 successive scenes.

Celebrate that you've just written a story! :D

These techniques, like so often with writing, need practice to sink in. So write some fun short stories or wacky scenes, and you'll notice you get better the more you do it. Have fun!

How refreshing was it for Alberu, who lived his life being disrespected and ignored, to writhe in the fake-politeness of scammers, living beneath his third and second brothers, to fight so hard for respect-

To have his life then be manhandled into a position of power and have a guaranteed spot as the next in line for king, by a man who talks disrespectfully and becomes petulant at the slightest inconvenience

He’s not disrespectful because of Alberu’s political standing and he’s not whiny because he’s incompetent. He’s honest.

He’s disrespectful because- well, he’s just that way with everyone he’s comfortable with. If he acts respectful, it’s probably because he’s pretending in order to get something he wants.

He’s petulant, but only when it’s something that can be fixed. Oh your highness, can you pay my travel expenses? Oh your highness, can I have a gold plaque for my hard work?

The man wants money!

He’s not greedy for fame nor power, he doesn’t want a spot right next to the Crown Prince when he becomes king. He wants money, he wants to fix the problems that disturb his life, and he wants to be a slacker. The Crown Prince has all the resources to do those things! That’s his job. To create a peaceful kingdom that can still survive in war and chaos.

Cale just keeps dumping a bunch of resources on his head in order to do that.

Incessantly.

Like, he really doesn’t stop giving him information and allies.

Hah, but seriously.

He doesn’t stop.

He still hasn’t stopped.

Cale and Alberu are tools for each other. That’s their relationship. They use each other because what one person lacks, the other does not. Cale has information and connections, Alberu has influence and money.

It’s a ✨symbiotic relationship✨

I was gonna post this as a reply for this post by @he4d-banger but it got too long so I’m making it a separate post.

I have talked about this before but I’ll talk again because I love talking about Cale’s complex emotional state.

More than pushing them away, Cale completely ignored his grief which has made him completely emotional constipated. This has lead to many side affects which get glossed over most of the time since we read the novel from Cale’s pov.

Some that I can remember from the top of my head right now are: dissociation, selective memory, depression, anxiety, stress and tons of physical problems like eating disorder, etc. which I’ll get into more another time. His self destructive tendencies based on the decisions he makes are all because of his emotional constipation.

Cale’s denial over his own symptoms has become chronic over the years even tho it’s fairly visible from other peoples perspective. Some instances I can remember where we see Cale’s condition from other peoples pov are: moments when Alberu tells him he’ll definitely get his slacker life, everyone’s reaction to him smiling after crying, Choi Han meeting younger Cale, the villains’ reaction when Cale gets angry, everyone telling him he’s too weak and skinny, Ron and Choi Han’s pov during side story 7 after Cale dreamed about CJS and LSH first death anniversary, etc. Everyone can recognize that he’s not well.

And about the venting on destroying stuff, that’s exactly correct. Many times when we see the fight from the other pov of the villain, most of the dialogue is about how angry and terrifying Cale looks. Of course part of that could be due to the effect of Dominating Aura, but they specifically mention Cale’s expression and the look in his eyes a lot. That’s what truly terrifies them. Cale doesn’t recognize this but he’s really expressive, everyone says that he’s very expressive and lets his emotions slip through his face.

Another case when he couldn’t control his emotions anymore was when he cried. An interesting fact is that people who aren’t used to crying and/or hold themselves back from crying, once they do actually cry they can’t stop the flow of tears and are motionless and/or rather calm and quiet. It’s that silent unstoppable crying that Cale displayed. His grief finally exploded after meeting LSH and he couldn’t understand the sadness he was feeling at that moment because the meeting ended with consolidation and relief. All the pain over the deaths of his best friends finally released.

That is a complete contrast to his reaction in side story 7 after the first anniversary of his team’s death. When he arrived home he just collapsed on the floor expressionless. Not once did he cry. But the way he collapsed at that moment said a lot about his state at the time. All the stress accumulated in his body from holding back his emotions all day today affected his physical health to total exhaustion

Actually in my opinion SS7 is one of the best chapters about examining Cale’s emotional state. There are multiple visible of him suppressing his emotions like: keeping a neutral expression all day around, refusing to mention what day it was tomorrow even though everyone knew, not closing his eyes in front of the grave because the memories would resurface, the small panic attack shown by his shortage of breath, background silence and feeling of heaviness, and you can see how burned out emotionally and physically he feels. The only way he wouldn’t feel these things was by working, as it is noted multiple times throughout the story that he never took days off.

And my favorite moment was when we see Cale waking up from the dream and very clearly experiencing signs of ptsd and a panic attack. He was feeling cold despite the entire house being heated with magic, cold sweat running down his face, shortage of breath as soon as he woke up and a distressed expression as shown from Ron and Choi Han’s pov He also felt the need to hear noises and pet the kids to make him feel a sense of attachment with reality since the silence in his memories made him feel suffocated. Tho Cale himself couldn’t recognize these symptoms.

That side story also shows how he has grown emotionally throughout the novel now becoming more emotionally open with others.

I can also go on about his selective memory, anxiety, get more into his self destructive lifestyle and about his obvious signs of depression during his team leader days and early part of the novel while touching on his childhood trauma, but this post is already long enough so I’ll leave those for another day.

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!

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