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[writingquestionsanswered]

Trouble with Act III and Villain Motivation

feelingthedisaster asked: I have some issues with my current WIP. The basics are: a guy wants to be a "soldier" (not exactly, but I won't get into worldbuilding), but because he's an outcast he's blamed for the theft of an object that goes missing. He learns about a witch who can help him find the object and they go on a mission to find it, but he learns it was the witch who stole it because she was bored and accepted the job to hang out with people. Here are my concerns:

[Ask edited for length]

Issue #1 - I feel the witch's motivation is not strong enough. There is backstory explaining her loneliness and wanting to have friends, but stealing an object to go on a bogus mission and hang out with someone doesn't feel realistic.

You could definitely go a little bit further to bolster this motivation. Since you mention using Save the Cat!, and since the witch sounds like she might be a redeemable villain, have you considered. her "shard of glass" (psychological wound) that's driving her? What happened in her past that makes her feel like she isn't worthy of making friends in the usual way? Fleshing that out and building upon it creates a little more logic to why she would go so far out of her way just to get some companionship.

Issue #2 - My plot sucks. Act I - the solider gets kicked out, Act II - he and the witch go on the bogus mission and he finds out she's the true thief, Act III - I have no idea. It feels shitty, boring, and I wouldn't want to read this. Honestly, I just want to write my characters and made up plot so it would make sense, but I don't like the plot.

Well, looking at Save the Cat!, in Act III you need to solve the problems created in Act II. In other words, we need to look back at your story's midpoint... what was the false victory or false defeat? How did things get progressively worse or progressively better for the hero after that? In what way was the hero pushed to rock bottom? Based on what you've laid out for me, I feel like a good route to go (if you haven't already) is for there to be a false victory toward the end of Act II, perhaps where the witch--sensing that the hero is losing faith in her ability to help him find the object--tells him they're really close. They've almost got it. Then, as the "bad guys close in" moment, maybe (because they've grown close), she admits that she was the one who stole the object in the first place and promises to take him to it. But... ALL IS LOST! They get to where she'd hidden the object and it's gone! Now neither one of them have the object! At the end of Act II is the hero's "dark night of the soul" where he has to contemplate everything that's happened so far... getting kicked out, finding the witch and trusting her to lead him to the object, growing close to the witch, being betrayed by the witch (she's the true thief). And maybe he even really hurts her feelings by ditching her because he's so mad. This guy has hit rock bottom...

So, your "Break into III" is the moment where your character realizes what he must do to fix everything... First, realizing he can sympathize with the witch and forgive her, he must find her and accept her apology and apologize to her, too. Next, he figures out what happened to the object and how they can get it back. And finally, he realizes how he can get accepted back into whatever he was kicked out of without causing problems for the witch. So, Act III will be him realizing all of this, finding the witch, convincing her to listen to his apology and accepting her apology, telling her what he figured out about who stole the object from her--and how they can get it back, strategizing that plan, executing that plan, facing off against whoever took the object from the witch and getting it back once and for all, then returning the object to its rightful owners and proving that he didn't steal the object. (And, maybe they can blame whoever stole it from the witch to keep the witch from getting into trouble?) And then maybe the hero gets reinstated, or maybe he chooses to go off with the witch on more adventures. It's up to you. And it doesn't have to be any of this exactly, but hopefully it gives you some ideas for what else you can do.

I want to change the entire plot but I don't know how. On top of everything else, my chapters are short.

Well, hopefully now that I've shown you how much more your second and third acts can be, you won't need to change your plot. I think you already have everything here for a great story. You just needed to flesh things out a little bit more. Hopefully this helps you get there.

As far as your short chapters, I just answered another ask about that. Chapters are either a single scene or a group of 2-3 related scenes. So, when your chapters are too short, it's usually because your scenes aren't accomplishing everything they need to. This post goes into detail about that, so hopefully that will help!

Happy writing!

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[writingquestionsanswered]

Do you have any advice for coming up with titles? I'm having trouble with thinking of one that works, I'm thinking of having mine be like a word or a few that mean something else within the story, and you find it out later as you read. Something to do with the power of friendship/love, or following your heart. But I'm not very knowledgable when it comes to etymology, or even just made up words that could have multiple meanings. I don't want it to sound too cheesy or obvious either, something mysterious and poetic.

Coming Up with a Book/Story Title

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[writingquestionsanswered]

Hi! I am writing a story and planned the basic locations such as rooms it will be set, but I'm struggling with how to connect them. It will be set in a castle but I don't seem to be able to make a full map for the place, so I wanted to ask if you have any tip regarding this? For example how can I describe the scenery and scenes in a way people can imagine it, but don't have the problems when I say another newer information in connection to how something looks/placed which can destroy someones view completely that they'll need to reimagine it.

Fleshing Out Castle Layout

It sounds like you need to do some research on castle layouts. There are many castle layouts available online, but you may want to start with looking at real castles that match the type of castle you're imagining, then see if you can find a layout online for it. Knowing the proper names for different rooms and how they're usually laid out will help you tremendously.

Also, it's important not to get too bogged down with describing your location. Readers will never imagine exactly what you're imagining, no matter how much effort you put into the description. Your goal as a writer is to create a sense of place by giving them a few details that allow them to create their own interpretation of the setting in a way that works with what needs to happen. (See: The 3 Fundamental Truths of Description)

Happy writing!

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[writingquestionsanswered]

Question!!! But how do I integrate subtlety into my writing? Like I have a hard time picking up on it and I annoyingly have a tendency to tell not show, so I wanted to know if you have any advice!

Writing with More Subtlety

-- Getting the hang of "showing vs telling" is a great place to start if you want to integrate subtlety into your writing. Saying, "Moonlight glinted off the lake," is more subtle than, "The moon was shining."

Guide: Showing vs Telling

-- Learning to evoke emotion and ambiance with sensory description is another way to write with more subtlety. After all, saying, "The house was scary looking," is not as subtle as, "Thick fog curled around the decaying timbers of the once grand Victorian home."

Horror by Darkness Horror by Daylight

-- Knowing what internal and external cues can be used to illustrate your characters' feelings is also helpful, because, "Sarah was sad," is not as subtle as, "Tears pooled in the corners of Sarah's eyes, and she bit her upper lip to keep it from quivering."

Showing a Character's Feelings The Subtle Signs of Romantic Interest and Love

-- Learning to weave details into your story is also helpful, as it's more subtle to work details in naturally than to do a big info dump.

Weaving Details into the Story

-- Finally, learn to drop hints rather than declare something outright.

Dropping Hints without Giving Everything Away

I hope that helps!

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[writingquestionsanswered]

Hi so I wanted to ask, how do I write a confident character? (Specifically one in high standing, like a prince or a king)

10 Traits for Confident Characters

1 - Confident Body Language - Confident people display good posture (standing up straight, shoulders back, chin up), strong eye contact, and body language that appears positive and secure.

2 - Listening More Than Speaking - Babbling, interrupting people, and monopolizing conversation are signs of insecurity, so confident people tend to listen more than they speak.

3 - They Don't Seek Validation From Others - Confident people know who they are, what they can do, and know their own value, so they don't seek validation from others.

4 - They Don't Overthink Things - Confident people are good at evaluating a situation and making a decision rather than fretting over the different choices.

5 - They're Not Judgmental - Passing judgment and being critical of others isn't something confident people do, because they don't need to lift themselves up by knocking others down.

6 - They Speak with Purpose - Confident people are clear about their feelings and desires. They say what they mean and mean what they say. They don't tend to hem and haw or say things like "um" or "uh" when they speak.

7 - They Accept Responsibility for Their Mistakes - Confident people don't deny responsibility or blame others for their own mistakes. They own up to what they did wrong, apologize, do what they can to rectify the situation, and vow to do better.

8 - They Take Calculated Risks - When opportunities come along, confident people aren't afraid to take them, even if there are risks. They just analyzed the pros vs the cons first to make sure the risk is worth the potential reward.

9 - They Lift Others Up - Not only do confident people not tear others down, they actively lift people up and celebrate the people around them. They are fully aware of the contributions made by others and are happy to recognize them for it.

10 - They Ask for Help When Needed - Confident people know there's no shame in asking for help when it's needed, so they are able to ask for assistance without feeling bad, guilty, or ashamed. They also see the value in learning from others who may have abilities and skills they do not.

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[writingquestionsanswered]

I have the problem where I will come up with a theme, or a character, or a unique perspective to tell a story from, but when it comes to actual plotting, I can't seem to come up with one. Therefore I have a notebook full of ideas and never actually write anything. Where do I get a plot from?

Struggling with Plot

There are plots in all those ideas. You just have to know how to find them.

Look at the "unique perspectives to tell a story from." What story? What story does this character have a unique perspective to tell? The plot exists in that story.

Looking at themes... make a list of all the different ways you could illustrate that theme. For example, let's say a theme you wrote down is "pursuit of love." What are some ways you could explore that theme? What are some different examples of a person pursuing love? The plot exists in those ideas...

Looking at characters... consider where this person lives. What is their daily life like? Who is important to them? What are their hopes and dreams? What is a misbelief they have about themselves and/or the world around them and where did this misbelief come from? How does that misbelief hold them back in their daily life? What dramatic thing could happen that would turn their world upside down and force them on a path that ultimately corrects this misbelief? There's your plot...

Have a look at the following posts for a better understanding of how stories, plot, and story structure works:

Basic Story Structure Beginning a New Story How to Move a Story Forward Plot Driven vs Character Driven Stories Understanding Goals and Conflict Guide: How to Outline a Plot Guide: How to Turn Ideas into a Story Guide: Starting a New (Long Fiction) StoryGuide: Filling in the Story Between Known Events

Happy writing!

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[writingquestionsanswered]

How do I figure out what motions/handlings to write? (Hand gestures, moving in the scene, etc).

I am autistic and have never paid much attention to the way people move. I only do so now because I have been reading and noticed it was missing from my own writing. I never see anyone struggle with this, so I feel like I am missing some understanding on how to structure a scene

Guide: Working Body Language Into Your Writing

Body language is the process of communicating nonverbally through conscious or unconscious movements of the body.

Th four types of body language:

-- Facial Expressions -- Posture -- Hand Gestures -- Body Movement

Facial Expressions communicate thought and emotion using the features of the face, such as eyes, mouth, nose, and eyebrows. Some examples of facial expressions are:

-- an upturned mouth -- dimples -- a raised eyebrow -- flushed cheeks -- a scrunched nose -- rolling eyes -- gaping jaw -- eye signals (winking, narrowed eyes, twinkling eyes, etc.)

Posture communicates thought and emotion using the positioning of the body, head, and limbs. Some examples of posture:

-- sitting up straight -- slouching -- leaning toward someone -- hugging oneself -- crossed arms -- hands on hips -- slumped shoulders

Hand gestures communicate thought and emotion using intentional movements of the hand. Some examples of hand gestures:

-- pointing -- "face palm" -- waving -- beckoning with hand or finger -- thumbs up -- middle finger -- clenched fists -- covering mouth with hand -- placing hand over heart -- gesturing at someone/something -- clapping

Body movements communicate thought and emotion using bigger actions, like gestures using the head/neck or limbs, or moving the entire body. Some examples of body movements:

-- jumping up and down -- cowering -- flinching -- bowing/curtsying -- handshakes/hugs -- hitting/kicking/pushing -- taking a step back -- moving toward -- shrugging -- shaking head/nodding -- tipping head back -- dancing in place Choosing Body Language to Show Emotion

A character's thoughts and emotions can be conveyed using a combination of different body language signals. Every body language signal (such as a wink, smile, frown, shrug, wave, etc.) has a bunch of emotions it can be tied to.

For example, we all know that smiling is typically a sign of positive emotions like happiness, joy, satisfaction, triumph, and affection. Shrugging is usually an indication of indifference or not knowing something. However, we can also modify body language using adjectives. For example, a "nervous smile" or a "sad smile" tells us something very different from just a regular smile. An "apathetic shrug" clarifies indifference, whereas an "enthusiastic shrug" implies excitement about something but not having all the answers or facts.

Sometimes, choosing the right emotion to illustrate a character's thoughts and feelings is as simple as considering what you yourself might do in that moment. Or, perhaps someone you know who is like your character. Other times, it can be beneficial to research which body language signals are typically indicative of a particular emotion. For that, I would strongly recommend purchasing a copy of The Emotion Thesaurus by Becca Puglisi and Angela Ackerman. This handy reference lists a variety of emotions along with the body language that often indicate them, and it goes even further in that it also describes the internal sensations that often go with these emotions, which is handy when you're writing in first-person or third-person close/limited. The book is available for purchase in print and e-book, and you can find samples by searching for "One Stop for Writers Emotion Thesaurus."

I hope that helps!

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[writingquestionsanswered]

Hi! Questions!!

Trying to write a lengthy story, but I don’t know how to start. The plot is so messy in my brain, and I can't understand how to plan the outlines. I'm feeling really demotivated. It’s my first time attempting to write a novel/long fic. Sometimes, I imagine my characters and their romantic scenes, but damn! I just can’t seem to write. Another problem is that I'm writing the story in English (even though I've written many stories in this language before, it’s not my native language). I tried writing another story in my native language, but it feels like my mind is a blank slate, and I can't write anything.

Here are some posts to help you get started:

Guide: How to Turn Ideas into a Story Guide: Starting a New (Long Fiction) StoryGuide: Filling in the Story Between Known Events Guide: How to Outline a Plot Basic Story Structure Beginning a New Story How to Move a Story Forward Plot Driven vs Character Driven Stories Understanding Goals and Conflict Trouble Getting Started Writer’s Block Want to Write but Can’t Come Up with a Plot Have Plot, Can’t Write Deciding How to Open Your Book Finding a Story in Characters and Setting Finding a Plot to Go with Characters/Setting Where to Find Story Ideas Coming Up with Ideas and Plot

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[writingquestionsanswered]

Hi. I'm the person who asked for help with the enemy of the week type thing. I was wondering if you could explain the different types of writting? (fanfic, novella, all that stuff)

Different Types of Writing and Stories

By Word Count: *

Drabble: 100 word story Micro Fiction: 50 to 500 words Flash Fiction: 2000 words or fewer Short Story: 1000 to 10,000 words Novelette: 7,500 to 20,000 words Novella: 20,000 to 50,000 words Novel: 50,000 to 120,000 words Epic Novel: 120,000 words or more * (estimates vary)

By Type:

Poetry: literature using figurative language and crafted verse Fan-Fiction: fiction written by fans of existing canon material *** Diary/Journal: personal account of life experiences Travelogue: personal account of one's travel experiences Fiction: prose literature describing imaginary events and people Non-Fiction: prose literature about factual events/subjects/people Creative Non-Fiction: creative writing used in non-fiction narrative Play: a script for a story to be performed on stage Screenplay: TV/movie script including acting and scene directions Technical Writing: professionally written technical information Critical Writing: personal reviews of a product like film/food/book Expository Writing: provides facts and research about a given topic

By Fiction Genre: Fantasy Sci-Fi Adventure Thriller Romance Historical Fiction Contemporary Children's Fiction Dystopian Mystery Horror Paranormal

*** fan-fiction can be any word count/genre

By Non-Fiction Genre: Memoir Humor Travel Self-Help History How-To Motivational Humor Personal Development Cookbook Art Family & Relationships

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[writingquestionsanswered]

how does one cope when mid-way through they realize they are writing a tragedy and there is no possibility of a happy ending? especially when that was not the original intention? i'm absolutely gutted by this realization and i hate that i feel wedded to it.

Upset Because Story Went Off the Rails

You're a Writer, Not a Marionette - Long ago, I bought into the believe that characters and stories have minds of their own... that it was beyond my control if my character did X when I wanted them to do Y... that there was nothing I could do if my happy meet-cute story decided to be a dark tale of horror. It can be kind of fun (and freeing, honestly) to believe we're just helpless vessels through which some greater storytelling force speaks, but that's not the case at all. There's no magical entity pulling the strings beyond your control. If your character does X and you wanted them to do Y, you did that, not your character. If your happy meet-cute turns into a tragic horror, you did that, not your story. You're the writer, and you're in control of everything that does or does not happen in your story.

Does It Make the Story Better? - Human brains are incredible things, and sometimes when your character does X when you intended for them to do Y, it's because some part of your brain realizes that's the better choice. Maybe it's more believable or more natural. Maybe it just works better with what you're laying out. Maybe it's just more interesting. So, the trick is to look at the unintended thing that happened and ask yourself if it makes the story better. Make a list of pros and cons... what are the ways the story is better if you stick with X rather than Y. What are the ways it's worse? Ultimately, if the change truly makes the story better, it's worth following through.

Beware of Story Parasites - Parasites are organisms that invade and thrive inside a host organism, at the host organism's expense. When you're writing your WIP and it takes a massive shift in tone, genre, or direction, sometimes that's because a whole new story idea has bullied its way into this one and is now feeding off this story to survive. If the unintended thing doesn't make the story better and leaves you feeling upset about the direction things are heading, you've probably got a story parasite. In which case, the best thing you can do is write the idea down as generally as possible, and set it aside to work on another time. Treating this invasive idea as something distinct from your WIP can help you move on and keep your story on its intended path.

What To Do When the Change Has to Stay - Very rarely, you may find that story's original direction just isn't working, and that this new (and vastly different) direction makes for a much better story. In that case--if you're absolutely certain this is the right path--it's worth making a list of all the reasons this idea will be better. Try to imagine what the story will be like if you stick with the original plan, versus if you make the drastic change. Can you think of anything that excites you about this new idea? Can you find reassurance in the many ways that this story shines versus the original idea?

Ultimately, It's Up to You - If your story takes an unexpected and upsetting turn, and you're certain it's the superior course, and that there's no point in pursuing the story's original path instead, it's worth really taking a look at why it's so upsetting if it's the right thing to do. If you're disappointed that your original plan didn't work out, spend some time trying to figure out how to make the original plan work better than the new idea. If you're upset because this idea is too personal or triggering, set it aside and see if you can come back to it later. You're not obligated to keep working on a story if it shifts in a direction that makes you unhappy or uncomfortable. You can set it aside or figure out a way to keep it in your comfort zone.

I hope that helps!

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[writingquestionsanswered]

I'm writing a story with 6 main characters. For me, that means 6 POVs. Obviously, this is a lot, but I've read books like the Six of Crows duology and the Blood of Olympus series that are able to pull it off and do it well. Do you know what makes that possible?

Quick Tips for Successfully Pulling Off Multi-POV

1 - Multiple main characters doesn't mean each main character needs to be a POV character. You can have main characters who aren't POV characters and main characters who are. 2 - Multiple POV isn't about characters taking random turns telling parts of the story. POV characters need to be someone who has a unique or solitary viewpoint of certain events or moments in the story, and POV chapters need to be assigned according to which character has the best viewpoint of the critical moment or event of the chapter.

3 - POV chapters do not have to be evenly or rhythmically distributed. Doing so can provide nice symmetry, but you should never sacrifice good storytelling for good symmetry. If Character B needs to have two POV chapters in a row, so be it. If Character D needs to have only three POV chapters whereas other characters average between six and ten, so be it.

4 - Change POV characters only after scene breaks, section breaks, or a new chapter begins.

5 - At the beginning of each new POV section, make sure to include something immediately to let the reader know whose POV they're jumping into. This can be a labeled section, using the character's name or another identifying feature in the first sentence or two, or illustrating something in the first chapter or two that makes it obvious which character's viewpoint the reader is in.

I hope that helps!

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[writingquestionsanswered]

How do I plot a romance story?

Most advice and plot structures I have found seem to be focused on quest-type stories. Do you have any advice or templates that are mpre easily applicable to romance stories? Do I need to include another major plotline?

Basic Romance Structure

Like most stories, there are different theories and methods about structure, and you can find these by Googling "romance story structure." However, let me walk you through a basic romance structure to show you the differences and similarities with the kind of structure you'd use for something like a quest story or an adventure story.

Introduction/Normal World - Like most stories, romance stories usually open with a peek at the protagonist's "normal world" as a means of introducing who they are and what their life is like. And, as with other stories, this also introduces us to the both characters' internal conflicts. In romance, rather than resolving the internal conflict with growth in relation to the story events, the internal conflict will be resolved via change/growth in relation to the romance. [Example: Sandi is a florist with a four-year-old daughter, navigating single parenthood after her husband filed for divorce and ran away to chase a dream.]

The "Meet Cute" - This is essentially the inciting incident... the moment the two characters meet for the first time, or the first time in a long time. All in one moment, we see how undeniably right they are for each other, but due to their individual internal internal conflicts, they're butting heads big time.

[Example: Sandi meets Brent, the new flower supplier who is adorable, sweet to Sandi's daughter, but infuriatingly inept at doing things the way she likes them.]

Forced Proximity - After the "meet cute," something will inevitably force them to spend time together. They get partnered together on the same job, stuck together in the same place, keep coincidentally bumping into each other... whatever. All that matters is that they're forced to get to know each other despite their head butting.

[Example: they get roped into working together on the town's rose festival.]

Resistance/Rejection - Now that they're forced to interact for whatever reason, they're going to spend a lot of time resisting their mutual interest/desire for one another due to whatever obstacles exist, like being from warring factions or one being in the middle of a divorce. But despite this resistance, we can see the sparks flying between them, even if they can't or don't want to admit it.

[Example: Sandi wants to focus on running her business and raising her daughter; Brent just got out of a long relationship and isn't ready for romance.]

Waning Resistance/Giving Love a Chance - Eventually there's a breakthrough... the obstacle gives way... they have a really fun time hanging out at the Christmas market and almost kiss... they move past the misunderstanding between them... or maybe they just slowly get over their issues and start to fall in love. Either way, they decide to give the relationship a go.

[Example: as they get to know each other and bond through working on the rose festival, they can't deny how compatible they are and an unexpected first kiss gives Brent the courage to ask Sandi out on a date, to which she agrees.]

Three Steps Forward, Two Steps Back - This is essentially the first date, then another one, then another one... though it doesn't have to be actual dates. It just needs to be some interactive scenes when they're in relationship mode. Each of these interactions will deepen their feelings for one another while at the same time raising new obstacles or re-raising the old ones.

[Example: the first date goes well except that Sandi is preoccupied with the fact that her daughter is staying with a new sitter. The second date goes okay, except Brent is in a bad mood after his ex came to town to pick up the last of her things. Then they pull an all-nighter to make some final preparations for the upcoming rose festival, which leads to a philosophical conversation about the future, wherein Sandi says she sees herself getting remarried one day and having another kid or two, and Brent says he can't ever see himself getting married or being a father.]

This Isn't Going to Work - This is the midpoint crisis... the "all is lost" moment where one or both put on brakes and say, "I can't do this," citing whatever obstacle/s that now stand in the way of their happiness. Sometimes this follows their biggest act of intimacy yet, whether that's simply their first kiss or going all the way. It could even be the first declaration of love, being introduced to family, or some other important early relationship milestone. But then it all falls apart... maybe because one or more of the obstacles become too much, a fear-based retreat, or some other external force

[Example: the rose festival has arrived... Sandi is there with her daughter and parents, Brent is there with his mom and sister. Everyone meets, Brent continues to be great with Sandi's daughter... it's obvious Brent and Sandi belong together. But then Sandi's wayward not-yet-officially-ex-husband shows up and wants to get back together. Although she's ambivalent, seeing him interact with their daughter and her parents makes her realize giving him another chance is what's best for their daughter. Meanwhile, Brent witnesses this from far away, thinks, "I'm not good enough for a family like that," and he and Sandi go their separate ways.]

On Second Thought... - This is the moment when something happens that makes one or both characters realize they belong together... that the obstacles aren't real or don't matter... [Example: Brent finds a drawing Sandi's daughter made of the three of them together that makes him realize he really is worthy of their love. And Sandi sees that her husband hasn't changed, that he's still focused on chasing dreams that aren't what's best for their daughter... or herself, for that matter. ]

The Moment of Declaration - This is where the one character finds the other, or they find each other, and one or both declare their love and commitment to the other, despite whatever obstacles there may be. This is the run through the airport to catch the other before they fly away to a new life. It's the objection at the wedding before the other can go forward with the less-than-ideal marriage. It's the boombox on the shoulders, the kiss in the rain, the "I love, I love, I love you. I never wish to be parted from you from this day on" declaration in a foggy field at sunrise. [Example: Brent hears from a friend that Sandi's husband left again. He goes to the last night of the rose festival, finds Sandi, and tells her he wants all of it... her, the daughter, her quirky parents, the flower shop, marriage, more kids... he is ready to take on the world with her, and she couldn't be happier.]

The Happily Ever After or "HEA" - This is the story's denouement, where we flash forward a few days, weeks, or more and see the happy ending. This is the jump ahead a few months to see the happy couple living their lives together, the one year leap ahead to the wedding, or a leap ahead to a moment even further down the road when the couple is firmly established in their HEA.

[Example: two years later, Sandi and Brent have been married almost a year, and are at the rose festival with the now six-year-old and their newborn twins, Sandi's parents, and Brent's mom and sister, one big happy family.]

Now... like I said, there are a variety of different structure templates for romance as there are for other genre stories. Don't feel like you have to pick one, and if you do, don't feel like you have to stick to it exactly. Story structure is just a guideline to help make sure you hit the important points to help the story unfold.

Happy writing!

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[writingquestionsanswered]

This is probably silly, but how do I figure out a ending for my story?

Figuring Out an Ending

Not silly at all! :)

To figure out your ending, you need to:

1 - Understand your story's conflict. Stories are driven by either an external conflict, an internal conflict, or a combination of both. An external conflict is a problem in the protagonist's world that must be resolved. An internal conflict is a problem in the character's self that must be solved.

2 - Understand story structure. Basic story structure looks like this:

The exposition is where you set up your character's "normal world." The inciting incident is the moment where your character is confronted by the problem within themselves or their world and must make a decision about how to solve the problem (goal). The rising action is their struggle to solve the problem by overcoming the obstacles thrown at them by the antagonistic force--usually the force that caused their problem in the first place. The climax is where they face off against the antagonistic force once and for all. The falling action is the dust settling post-climax, and the denouement shows where everything ends up.

3 - Understand what's going to change. Stories are ultimately journeys of transformation, whether it's the protagonist who changes or the world around them--or both. In stories that are fully or partly character-driven (internal conflict), there's usually a character change arc, meaning the character changes as a result of the events of the story. In stories that are fully plot-driven (external conflict) there's often a static arc, meaning that the character's world or people around them change as a result of the story. And in stories that are both character-driven and plot-driven, you can have both.

4. Having a good understanding of #1 through #3 will give you a general understanding of what your ending needs to be. To figure out the specifics, remember the ending of your story should accomplish the following:

-- Provide a snapshot of your character’s life after all the changes brought on by the events that unfolded because of the inciting incident.

-- Let us know where the supporting characters ended up, if that’s not already apparent.

-- Illustrate how your character has changed, or how they’ve helped someone else change or changed their environment.

-- Mirror the opening in some way so that the reader is reminded of where things were at the beginning versus where they are at the end.

You may find that your ending doesn't come fully to mind until you write through the first draft. It may happen organically, or you may have to tease it out. Either way, having everything worked out ahead of time can help you get there.

Happy writing!

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[writingquestionsanswered]

Too Ashamed of Writing to Write

Anonymous asked: I've spent ten years thinking of stories, ideas, characters, magic systems, concepts, all that jazz, but when I actually have to write it down, I feel this overwhelming sense of shame and disgust. Just looking at what I write makes me feel bad. If I posted my writing in forums for serious writers, it'd immediately get torn to shreds. It's a constant downer and it dissuades me from wanting to write more. Is there advice for nervous nellies like me to overcome this fear that's a little sweeter than "grit your teeth and bear it?"

[Ask edited for length]

First, this is normal. A lot of writers struggle with it. The reason why, I think, is our society puts so much emphasis on finished products, we've collectively forgotten the reality behind what it takes to get to that finished product. We've forgotten that things take practice and time and polishing, and that to make good art, you first have to make bad art. If you can't learn to sit with your bad art, you'll never get good enough to make good art.

So, yes, unfortunately... though it may have a bitter taste, "grit your teeth and bear it" is the usual advice because it's true advice. If you can't grit your teeth and wade through the bad art to get to the good art, you'll never get to the good art.

Here are some things that might help. First, watch this:

Some links to previous posts:

Comparing Self to Others, Insecure About Writing Building Confidence in Your Writing Concentrate on Quantity at First, Not Quality Guide: Dealing with Self-Doubt & Impostor Syndrome

You will get there, I promise! ♥

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[writingquestionsanswered]

do you have advice on how to write genuine dialogue? i have a very severe case of when getting into the mindset of writing, and specifically writing dialogue, i only regurgitate whatever i have heard/seen from other media. it just seems unoriginal, ingenuine, and for aesthetic value only (i end up writing something out of a poem and not real people conversations). please help 😞

Writing Dialogue That Sounds Natural/Genuine

1 - Know Your Characters Well - One of the most important elements of writing natural/genuine-sounding dialogue is making sure you know your characters well. If you don't know who they are... their personalities, their experiences, what they care about, what they know and don't know... then you can't accurately envision what they'd have to say in a conversation. See: Making Personalities Unique and Keeping Them Straight

2 - Flesh Out Character Voice - "Character voice" is how your character's background, experiences, and personality affect what they say and how they speak. This isn't about quality of voice... it's about vocal personality. See: Giving Your Characters a Unique Voice

3 - Know What They're Going To Talk About - There's nothing that sounds more unnatural and inauthentic than characters having a conversation that has no relevance to anything. That said, it's super important to understand why you're writing this dialogue scene... what are you trying to accomplish with it? How does that move the story forward, move character development forward, or deliver important information to the reader? What needs to be said and why? Being clear on this can help you craft dialogue that sounds natural and genuine because it's relevant and serves a purpose.

4 - Balance Exposition, Action, and Dialogue - Overall, we want our stories to have a relative balance of exposition (explaining things), action (things happening), and dialogue. We want a relative balance of exposition, action, and dialogue in our scenes, too. What I mean by "relative" is you generally wouldn't want a scene that's all dialogue, very little action, and no exposition. (And I say "generally" because there can be exceptions... short scenes, scenes that serve a unique purpose, scenes with unique requirements, etc.) So, it's important to really think about the needs of your scene, what you're trying to accomplish, and make sure you've got a relative balance of dialogue, exposition, and action (as long as it works for the scene.) See: Exposition, Action, and Dialogue, and How to Pace Your Story

5 - Write Dialogue with Sensory and Emotional Depth - We never want our dialogue to be just words batted back and forth between two or more people. Dialogue needs to have depth, and we give it that depth in two ways.

-- Sensory Details in Dialogue -- Sight: what are the characters doing as they talk? What is their body language? Facial expressions? Hand gestures? How do they physically interact with their environment and others in the conversation? Sound: quality of voice (when characters voices get loud or soft, when a voice is gritty or raspy, when the speaker has an accent or speaks with a particular tone or cadence) as we as sounds like coughing, clearing the throat, or sighing... and sounds resulting from the character's interactions with the environment or others. Smell: bad breath or alcohol on the breath... or good breath... the smell of the speaker's perfume or body odor, the smell of a cigarette they're smoking, or a food they're eating.

Taste: there aren't many opportunities to include taste in dialogue, but possibilities would be tasting bile due to something awful someone said in the conversation, tasting food or drink sampled during conversation, or even "tasting" a smell associated with the environment during the conversation.

Feel: again, this will be more environmental... feeling a "chill" in the room when something cruel or scary is said. Noticing things felt due to the environment or interaction with the environment/others. Internal physical sensations felt during conversation.

*** And, it's important to note that I'm not suggesting that you include every sense or lots of sensory details. It's just adding a few that make sense can add depth and authenticity to the dialogue.

-- Emotional Details in Dialogue --

You also want to be sure to explore the emotional impact of the conversation as well as what characters are thinking as they participate in the conversation, and what they feel about what others are saying. As mentioned above in the "feel" portion of sensory details, you can explore the internal sensations caused by emotions felt as a result of the conversation. Stomach turning due to something unpleasant being said. Butterflies in stomach due to something exciting being said. Chill up the spine due to something scary being said. You can also explore emotions through visual emotional cues, which brings us back to things like body language, gestures, and facial expressions. Letting us know what characters are thinking and feeling (emotionally) during the conversation--or what they appear to be thinking and feeling if they don't say or we can't be inside their heads--adds depth and authenticity to the dialogue scene.

Happy writing!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[writingquestionsanswered]

IDK how many people are running the account, but if you or a member of the team running the account has ADHD, do you have any tips for ADHD writers, particularly when trying to get WIPs done? Outlines don't work for me like 99% of the time ;_;

Tips for Writing with ADHD

Here's what works for me, but your mileage may vary...

1 - Know What Outline Works for You - You say outlines don't work for you 90% of the time, but what type of outline are you using? Many people hear the word "outline" and imagine an academic outline with roman numerals and bullet points, but that's not what most fiction writers mean when they talk about using an outline. For fiction writers, outlines can be anything from a beginning to end written summary, to a scene list, to a detailed timeline. My post How to Outline a Plot has some different things you can try. Ultimately, there's no right or wrong way to outline your story. Anything that works as a "road map" to guide you through your story can help.

2 - Pants When You've Got to Pants - Some writers are "pantsers" or in other words, they prefer not to go off an outline. Some don't even plan in advance. They "write by the seat of their pants" and let the story take them where it may. For some writers, it depends on the specific story they're working on. Some stories might require planning, others might work better if you pants them. What works for me is understanding my needs (what type of story I'll usually need to plan/outline ahead of time, and what type of story I can pants) and then planning/pantsing accordingly. If I spent time outlining a story that I could easily pants, it would definitely take the wind out of my writing sails.

3 - Schedule Your Writing Time... Sort Of... - For me, I can't just rely on myself to write when the mood strikes me. If I did that, I'd never get any writing done. So for me, it's important to have a dedicated writing time each day. That doesn't even have to mean my butt's in the chair writing from this time to this time, it just means I'll do my best to write during whatever span of time. So, let's say this week you're home every day from 2pm until 6pm and some of that time is free time. That's going to be a good time to write, so you could say you're going to sit down every day at 3pm to write. Or, you could do 10-minute writing springs every hour, or every other hour. Or you could say you'll write when the mood strikes you, but definitely from 5:30 to 6 if you didn't get it done earlier.

4 - Try Random Writing Sprints - Writing sprints in general can be a good way for people with ADHD to write. You can schedule them or you could do them when the mood strikes. Get a timer and set it to whatever works for you... 5-minutes, 10-minutes, 30-minutes, whatever. Then just set it and go when you have time. Even if you don't feel like writing, getting into that habit will make it easier to write as soon as the timer comes out.

5 - Don't Give Yourself a Hard Time - One of the most profound things I ever heard about writing resistance is that it's often the product of writing feeling stressful. In other words, the idea of writing causes you stress, so your brain says, "Avoid! Avoid!" and you sit down to write and nothing happens. One of the ways we make writing stressful for ourselves is by giving ourselves a hard time when we don't write or don't write as much as we wanted. So, just do the best you can and congratulate yourself on small victories. Find ways to make writing fun and relaxing rather than stressful and like a chore.

Bonus - Sometimes the problem isn't ADHD but something else. My post 5 Reasons You Lost Interest in Your WIP, Plus Fixes! has some other things to consider.

I hope that helps!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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