I Want Everyone’s Best One Liner Writing Advise!

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

Follow my tumblr and instagram for more writing and grammar tips and more!

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.

NEED HELP WRITING? (a masterlist)

I have likely not added many that I've reblogged to this list. Please feel free to roam my blog and/or ask/message me to add something you'd like to see on this list!

Synonym Lists

Look by @writers-potion

Descriptors

Voices by @saraswritingtipps

Show, Don't Tell by @lyralit

Tips & Tricks

5 Tips for Creating Intimidating Antagonists by @writingwithfolklore

How To (Realistically) Make a Habit of Writing by @byoldervine

Let's Talk About Misdirection by @deception-united

Tips to Improve Character Voice by @tanaor

Stephen King's Top 20 Rules for Writers posted by @toocoolformedschool

Fun Things to Add to a Fight Scene (Hand to Hand Edition) by @illarian-rambling

Questions I Ask My Beta Readers by @burntoutdaydreamer

Skip Google for Research by @s-n-arly

Breaking Writing Rules Right: Don't Write Direct Dialogue by @septemberercfawkes

Databases/Resources

International Clothing

Advice/Uplifting

Too Ashamed of Writing To Write by @writingquestionsanswered

"Said" is Beautiful by @blue-eyed-author

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.

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 :)

Storytelling in Any Season

Incorporating the seasons into my stories is enjoyable. Not only are seasons a relatable life experience, but passage of time can be tricky to portray without them. The best part about adding the seasons to a story is that they have strong potential to aid the plot.

Seasonal details that are easy to add to create the scene and affect the plot.

CLOTHING; if I walk this path in winter, I have to wear huge boots that can handle slick mud. If I walk it in summer, the dead grass scratches my bare legs because now I am wearing shorts.

EXTREME TEMPERATURE; whatever we do today it better be indoors and out of this heat wave/blizzard. If the battle/heist/romance/etc. takes place in this weather, there will be consequences!

CHARACTER MOOD; autumn is Character A's favorite time of year! they gain a positive, upbeat attitude as soon as they see signs of autumn. Character B feels dread and becomes easily agitated during autumn. The two of them clash more in autumn than any other season.

EVENTS; holidays aside, some seasons may be busier for one character than another. I had a weekend job during summers and was rarely available. Weddings are most common in spring. Community events that affect traffic, shops, or social atmosphere can occur at any time of year.

TRANSPORTATION; some parts of the world rely on different transport for different seasons. A bicycle when it is temperate, a bus or train when it is miserable. A car for dry weather is replaced with a car outfitted for inclement weather. A regular trip to the grocery store may even need to be cancelled completely. And don't forget air and water travel!

HISTORY/TRAUMA; certain seasons in your story may be marked by pain. This is the season the war took many lives. This is the month unforgettable tragedy occurred. The upcoming season marks the anniversary of a huge mistake we'd all like to forget. Social and personal customs will reflect this memorial.

FOOD; in the modern-day US we are used to most foods being available year-round. This is not the case globally or historically. Seasons can be marked by what foods are or aren't available. This can include meat, produce, and dairy, but it can also extend to dishes and meals.

RESOURCES; like food, weather and climate affect access to many things your characters may need. Washed out roads halt shipments, but heavy rain is good for crops. Intense heat can damage perishable supplies, but dries out firewood fast. Natural disasters halt production while simultaneously increasing demand. Even a weather event in another hemisphere can affect your character's resources.

Whenever you think "How do I portray the changing seasons?" pay attention to the changes you have to make each season. Places you go, your personal habits, the items you carry with you, the events you prepare for, and all of these real-life details affect YOUR "plot" every day. Consider which ones would affect your characters, and use them to both set the scene and move the story along.

---

✩ This was written in response/addition to @writingquestionsanswered post Incorporating Seasons Into a Story. Please see their post for other important tips!

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Kris...?

Without eye highlights...

Some old notes on three-point lighting 💡

Random TCF Shower Thoughts Time:

do you think Cale would K.O. if he used Instant and Record at the same time?

How bad would Cale's records act up if he was trapped under some rubble somewhere for days during part 2, far from his family?

(longer idea inspired by us questioning Cale's third ability below)

Give me Cale with some sort of Survivor ability. Where Kim Rok Soo lives because he literally can't die. Where whenever he's on the edge of death, when his heart is about to stop, Survivor kicks in and goes above and beyond his limits to keep him from dying, be it by fighting or running away. Where during a battle Cale is fatally injured and his body stills for one second before immediately getting back up, forcing broken bones back into place and wiping blood from his face and gunning it towards the enemy like doom incarnate.

His family is screaming because "gods dammit Cale-nim/Unlucky bastard/Cale-nya/Human/Young Master/Dongsaeng you're bleeding out!!! you've done enough, stop fighting!!!" And something feels so Wrong about this and they don't like it one bit. But they can't place what's wrong until after the battle once they've forced Cale to lay down and realize he hasn't said a word and has been diligently listening to their demands that he rest and let them handle the rest.

His eyes are blank, not like when he uses Record, no it's worse somehow. There's nothing behind his eyes at all-Survivor is active and in control, not Cale. Cale's down for the count, deep deep down somewhere recovering because that attack did more damage than anybody realized and he's not waking up anytime soon.

Give me everyone losing their minds over this with worry and fear because there is Something walking around that looks like their beloved red head, Something that mechanically eats apple pie and drinks lemon tea but doesn't pet the kittens and give them a scammer smile. Give me the kids rambling about their days in his lap. Give me Alberu offering Cale golden plaque after golden plaque. Give me Choi Han quietly whispering to Cale in Korean while he guards him day after day. Give me everyone doing everything they can think of to get his attention and wake him up, only for Survivor to ignore it all.

Survivor is there to ensure Cale's physical wellbeing-to help him survive, not to help him live (because yes there is a difference)

subtle ways to include foreshadowing

one character knowing something offhandedly that they shouldn't, isn't addressed until later

the crow rhyme

colours!! esp if like, blue is evil in your world and the mc's best friend is always noted to wear blue...betrayal?

write with the ending in mind

use patterns from tragic past events to warn of the future

keep the characters distracted! run it in the background until the grand reveal

WEATHER.

do some research into Chekhov's gun

mention something that the mc dismisses over and over

KEEP TRACK OF WHAT YOU PUT. don't leave things hanging.

unreliable characters giving information that turn out to be true

flowers and names with meanings

anything with meanings actually

metaphors. if one character describes another as "a real demon" and the other turns out to be the bad guy, you're kind of like...ohhh yeahhh

anyways add anything else in the tags