Develop a Kick-Ass Plot!

Written by Lynette Rees


Continued from page 1

The theme of my story could be about ‘Loss’. The character best to tell this story isrepparttar heroine who has lost both her parents in a car accident. The message can be conveyed torepparttar 128470 reader via her dialogue and internal thoughts. She fears loss so much that she is unable to get close torepparttar 128471 hero.

You will be able to build on this by asking yourselfrepparttar 128472 following:

Who? Why? What? Where? When? How?

Who – Hero: Blake Carter, Heroine: Stephanie Dale

Why – They meet through work, he isrepparttar 128473 pilot, and she is an air hostess.

What – There is conflict between them when she finds out he isrepparttar 128474 man who humiliated her at a recent staff meeting.

Where – The action takes place on boardrepparttar 128475 airplane and in Britain and Australia.

When – The time span is duringrepparttar 128476 summer through to Christmas.

How – Although there is conflict, somehow they are drawn to one another.

Think of your romance plotline asrepparttar 128477 hero’s and heroine’s journey. The Hero’s Journey has been used in storytelling for hundreds of years. Both characters need to get from A to B. Place a few obstacles in their path for them to overcome during their journey. Make it an adventure. Then, just when all seems lost [the black moment], there needs to be a sacrifice made byrepparttar 128478 person who hasrepparttar 128479 most to lose. Finally, they are triumphant, a victory is won.

Think about your plot. What arerepparttar 128480 bare bones of your story? Think aboutrepparttar 128481 paragraph above…how can you send your hero and heroine on a journey together?

Word count should be somewhere between 500 and 1000 words.

N.B: This will be a synopsis or summary of your story written inrepparttar 128482 present tense.

* The above article was extracted from Lynette's e-book, CRAFTING THE ROMANCE STORY IN A NUTSHELL, [PDF format]. To purchase book click here: http://www.ebookad.com/eb.php3?ebookid=20996



Lynette Rees is from South Wales and has had many articles published online and in print publications. Her previous publications include: Writers' Forum, Vibrant Life, Writing for Dollars and Write Success. Her debut novel, 'It Happened One Summer' is due for release at Wings Press Inc., in May 2006. See author's website here: http://silverlady00.tripod.com/


It's All From the Point of View

Written by Theresa Chaze


Continued from page 1
Shifting point of view is one ofrepparttar most common mistakes writers make. Once a point of view has been established, especially in smaller works, it must be maintained throughrepparttar 128468 entire piece. Longer works can shift point of view as long as there is a definite break between them. Starting a new chapter isrepparttar 128469 most common way of shifting, however visual breaks within a chapter can be made with asterisks or other visual markers. Changing characters or getting inside other characters heads are also frequent errors writers make. Ifrepparttar 128470 writer chooses first person,repparttar 128471 reader can not be given any information that character can not see, hear or feel. Ifrepparttar 128472 character doesn‘t know it,repparttar 128473 reader can‘t either. In addition, unlessrepparttar 128474 character is psychic, there is no wayrepparttar 128475 main character can know whatrepparttar 128476 other characters are thinking or feeling. Choosing which character will tell your story will also influence howrepparttar 128477 point of view will be expressed. Physical and emotional traits will help directrepparttar 128478 attention not only ofrepparttar 128479 character butrepparttar 128480 reader as well. Point of view could helprepparttar 128481 writer tell more aboutrepparttar 128482 main character and how she/he reacts torepparttar 128483 environment. For example, if a character is always noticing other people’s shoes, they could be foot or shoe obsessed or they are always just looking down. In first person,repparttar 128484 reader could learn what shoes mean torepparttar 128485 character. Are they status or is it a compulsion? Do they look down because they are emotionally stunted and afraid to meet others’ eyes or is it a physical defect? The omniscient point of view would only tellrepparttar 128486 reader thatrepparttar 128487 character notices shoes. Inrepparttar 128488 third person,repparttar 128489 reader would not only learn why, butrepparttar 128490 difficulties, which arise fromrepparttar 128491 behavior. In addition to giving information, point of view can also create drama by restrictingrepparttar 128492 flow of information. In a murder mysteryrepparttar 128493 suspense in maintained asrepparttar 128494 detective unravelsrepparttar 128495 clues and solvesrepparttar 128496 crime. A story told by a child will be more limited than one told by an adult. Adults see more not only because of physical size but maturity brings awareness. Children, onrepparttar 128497 other hand, bring a fresh awareness and an amazement that gives a unique perspective. Character and story development can be helped whenrepparttar 128498 proper point of view is established and maintained. It can add a three dimension quality or limitrepparttar 128499 reader to a visual perspective only. By choosing correctly,repparttar 128500 writer can create drama and suspense or memorable characters that leaverepparttar 128501 reader satisfied.

Theresa Chaze is a fully dedicated Wiccan Priestess. Her first novel, Dragon's New Home--The Beginning of the Dragon Clan Trilogy is now available. It is based on her philosophy that all people can live together in peace as long as they come from respect. She invites you to visit her site at: "http://www.geocities.com/tirgana/Tirgana.html"




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