#plot crafting

[enchantingepics]

Story Prompt 37

In a realm far away, where castles touched the sky and rivers whispered ancient tales, there lived a ruler with a swagger that echoed through the kingdom. He wasn't born to a royal lineage, yet destiny had a peculiar sense of humor, bestowing upon him a crown that sat more comfortably than any noble bloodline.

One day, as the sun bathed the land in golden hues, the self-proclaimed king strolled through the market square. Merchants paused, and peasants hushed their conversations, feeling the confident aura that surrounded him.

His eyes caught a glimpse of a maiden with a twinkle in her eye, wearing a gown adorned with shimmering fabrics. The king, undeterred by social norms, approached her with a grin that could charm the grumpiest dragon.

"Ever danced with a king?" he quipped, extending a hand.

The princess, startled yet intrigued, hesitated before accepting the unconventional invitation. As they twirled and laughed, the kingdom watched in awe. The king's charisma was infectious, transcending the boundaries of royalty and commonality.

As the day unfolded, the unlikely pair embarked on a series of adventures, from crashing the royal ball to scaling the castle walls just for the thrill of it. The king's unorthodox approach to life and love shook the foundations of the traditional kingdom.

In the quiet moments, when the moon hung low, the king shared his philosophy with the princess. "Forget about titles and crowns," he said, staring at the stars. "Life's about seizing the moment, not waiting for someone to validate your existence."

The princess, initially resistant to the king's audacious ways, found herself captivated by the liberating spirit that enveloped him. Their escapades continued, challenging the norms and rewriting the narrative of their world.

[cygnetbrown]

Essential Steps to Crafting a Compelling Story Arc

If you want to start a story that readers will actually enjoy reading, It helps to begin writing your story by writing the major scenes first. These scenes are the basis for the story arc. In this post, I will share the components of the main plot arc. It provides the foundation upon which the rest of the story’s narrative is built. Before the Crisis This is the scene of what it was like for…

[yfere]

ok, the OTHER thing is that Tamsyn Muir's writing style is -- it's exactly everything I've ever wanted or loved. By turns insanely technical, rich, evocative, and also *deeply* irreverent. You have high level vocabulary and an obvious love for language and worldbuilding pressed right up against the memes and sex jokes. There's nothing better. and it's even better that it very much isn't one-note, that she has a strong understanding of character voice, which is *so* important in this story where souls are all possessing each other's bodies. I fell in love with Gideon and Harrow, but I was just as struck and pleased with Nona, so happy seeing the language pare down and simplify, as the tone of the story morphed perfectly to match Nona's own way of perceiving the world around her. what a writer

[thewriteadviceforwriters]

🧩 How to Outline Without Feeling Like You’re Dying

(a non-suffering writer’s guide to structure, sanity, and staying mildly hydrated)

Hey besties. Let’s talk outlines. Specifically: how to do them without crawling into the floorboards and screaming like a Victorian ghost.

If just hearing the word “outline” sends your brain into chaos-mode, welcome. You’re not broken, you’re just a writer whose process has been hijacked by Very Serious Advice™ that doesn’t fit you. You don’t need to build a military-grade beat sheet. You don’t need a sixteen-tab spreadsheet. You don’t need to suffer to be legitimate. You just need a structure that feels like it’s helping you, not haunting you.

So. Here’s how to outline your book without losing your soul (or all your serotonin).

—

🍓 1. Stop thinking of it as “outlining.” That word is cursed. Try “story sketch.” “Narrative roadmap.” “Planning soup.” Whatever gets your brain to chill out. The goal here is to understand your story, not architect it to death.

Outlining isn’t predicting everything. It’s just building a scaffold so your plot doesn't fall over mid-draft.

—

🧠 2. Find your plot skeleton. There are lots of plot structures floating around: 3-Act. Save the Cat. Hero’s Journey. Take what helps, ignore the rest.

If all else fails, try this dirt-simple one I use when my brain is mush:

Act I: What’s the problem?

Act II: Why can’t we fix it?

Act III: What finally makes us change?

Ending: What does that change cost?

You don’t need to fill in every detail. You just need to know what’s driving your character, what’s blocking them, and what choices will change them.

—

🛒 3. Make a “scene bucket list.” Before you start plotting in order, write down a list of scenes you know you want: key vibes, emotional beats, dramatic reveals, whatever.

These are your anchors. Even if you don’t know where they go yet, they’re proof your story already exists, it just needs connecting tissue.

Bonus: when you inevitably get stuck later, one of these might be the scene that pulls you back in.

—

🧩 4. Start with 5 key scenes. That’s it. Here’s a minimalist approach that won’t kill your momentum:

Opening (what sucks about their world?)

Catalyst (what throws them off course?)

Midpoint (what makes them confront themselves?)

Climax (what breaks or remakes them?)

Ending (what’s changed?)

Plot the spaces between those after you’ve nailed these. Think of it like nailing down corners of a poster before smoothing the rest.

You’re not “doing it wrong” if you start messy. A messy start is a start.

—

🔧 5. Use the outline to ask questions, not just answer them. Every section of your outline should provoke a question that the scene must answer.

Instead of: — “Chapter 5: Sarah finds a journal.”

Try: — “Chapter 5: What truth does Sarah find that complicates her next move?”

This makes your story active, not just a list of stuff that happens. Outlines aren’t just there to record, they’re tools for curiosity.

—

🪤 6. Beware of the Perfectionist Trap™. You will not get the entire plot perfect before you write. Don’t stall your momentum waiting for a divine lightning bolt of Clarity. You get clarity by writing.

Think of your outline as a map drawn in pencil, not ink. It’s allowed to evolve. It should evolve.

You’re not building a museum exhibit. You’re making a prototype.

—

🧼 7. Clean up after you start drafting. Here’s the secret: the first draft will teach you what the story’s actually about. You can go back and revise the outline to fit that. It’s not wasted work, it’s evolving scaffolding.

You don’t have to build the house before you live in it. You can live in the mess while you figure out where the kitchen goes.

—

🛟 8. If you’re a discovery writer, hybrid it. A lot of “pantsers” aren’t anti-outline, they’re just anti-stiff-outline. That’s fair.

Try using “signposts,” not full scenes:

Here’s a secret someone’s hiding.

Here’s the emotional breakdown scene.

Here’s a betrayal. Maybe not sure by who yet.

Let the plot breathe. Let the characters argue with your outline. That tension is where the fun happens.

—

🪴 TL;DR but emotionally: You don’t need a flawless outline to write a good book. You just need a loose net of ideas, a couple of emotional anchors, and the willingness to pivot when your story teaches you something new.

Outlines should support you, not suffocate you.

Let yourself try. Let it be imperfect. That’s where the good stuff lives.

Go forth and outline like a gently chaotic legend 🧃

— written with snacks in hand by Rin T. @ thewriteadviceforwriters 🍓🧠✍️

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

[wombywoo]

quinncent passports 🪪

[randomness-is-my-order]

i like that mdzs is actually not a tragedy. a tragedy would have ended at wei wuxian’s first life with no one but the antagonists getting some semblance of an happily ever after. but mdzs is unique because it gives a chance of healing and growth after the tragedy, after the heartbreak, after the soul-crushing grief. if wei wuxian had never come back to life, almost every character would have been worse off. jin ling would continue to be an angry teenager who’d become an angry adult while having authority and power he wouldn’t be able to handle. jiang cheng’s thirst for revenge would remain and worsen and become uglier and many more would fall victim to his animosity against perceived demonic cultivators. lan wangji’s mourning wouldn’t ever end. sizhui wouldn’t reunite with the man who’d he once thought of as a father and he wouldn’t reunite with his uncle and he maybe wouldn’t even learn of his true past until much much later. jgy wouldn’t be as easily exposed and lan xichen would remain blind to the wrongdoings of his sworn brother. maybe nie huaisang would still find his vengeance but it would have to be another way, a messier way. in general, the resentment of many people would continue to fester––there would be no reality checks for the cultivation clans as they did during the second siege (not that their collective shitty behaviour was corrected, but atleast there was some reckoning involved.) the history would still be the winner’s and the wronged parties would be continued to be vilified. but wei wuxian does come back and that kickstarts every single character’s journey once again. his resurrection throws a wrench into the complacency of tragedy and makes the characters hope again. i like mdzs because it is about second chances. because it doesn’t succumb to the absolute narrative of ‘why do good people always suffer?’ by giving the protagonists an ending that is not perfect but an ending that is rewarding, despite everything. i like mdzs because it is not trying to sell you a tragedy and deliberately play with your emotions but a story about hope, about betterment, about renewal. the second chance may seem like the one wei wuxian got, but in truth it is a second chance for every single character and some rightfully learn to be better and get better endings while some stick to their ways and for them, even a third or fourth chance wouldn’t be enough. i like mdzs because it tells you that yes, tragedies happen and yes they are allowed to deeply affect you but you can move on some day and you can find happiness again and you can live your life as if you were reborn, even if it’s just metaphorically.

[gummi-ships]

Kingdom Hearts 3 - The Caribbean

[moeblob]

I've been obsessively playing Fantasy Life i....

I might be a little bit too enamored with the angler hat (thank you for letting me use its appearance on any job i want without losing stats. that's a pro-fun move game. thank you).

[vivsinkpot]

Plotting vs Discovery Writing: Should You Plan Your Story or Wing It?

Ah, the age-old writer’s dilemma:

Do you map every scene like a tactician drawing battle plans — or dive in with nothing but vibes and a chaotic sense of adventure?

Here’s a breakdown of the pros and cons of both approaches — and why the real magic might lie somewhere in between. 🖋️

Plotting (Outlining / Planning)

Pros:

✔️ Clear direction – You know where you’re going. No getting lost in the woods.

✔️ Foreshadowing magic – You can plant clues, callbacks, and payoff arcs with confidence.

✔️ Fewer plot holes – A roadmap helps spot inconsistencies early.

✔️ Less panic during writing – You’ve already solved some of the hardest narrative problems.

Cons:

✖️ It can feel rigid – The story may resist your outline or outgrow it.

✖️ Planning fatigue – You might lose momentum before the writing even begins.

✖️ Less room for surprise – Characters can feel boxed in by pre-decided fates.

✖️ Too much structure can kill discovery – Sometimes the magic is in what you didn’t see coming.

Discovery Writing (Pantsing / Writing as You Go)

Pros:

✔️ Creative freedom – You’re exploring in real time. Characters can surprise you.

✔️ Organic pacing – The story flows from instinct and mood.

✔️ Emotional authenticity – Moments feel raw, fresh, and true to how they unfolded.

✔️ Writing is more exciting – You’re discovering the story as a reader would.

Cons:

✖️ You might write into a corner – Plot knots are harder to untangle without a plan.

✖️ Revision may be intense – You’ll likely need more editing to fix structure, foreshadowing, and pacing.

✖️ Themes may be muddled – Without direction, your story can lose its core.

✖️ Momentum stalls – Getting stuck is common if you don’t know what happens next.

The Hybrid Approach (A Little Bit of Both)

Plot the skeleton. Discover the heart.

Many writers outline broad strokes (major beats, ending, key twists), but leave space to discover the emotional or interpersonal journey as they write.

You might:

Write a chapter, then outline the next.

Plan major events, but improvise how characters get there.

Start as a pantser, then reverse-outline what you’ve done.

There’s no “right” way — just the one that keeps you writing and enjoying your craft.

Final Thought:

Plotting is a compass.

Pantsing is a storm.

Every writer’s ship sails differently — but the goal is the same: reach the end, and love the journey.

[fisheito]

... peace on planet bottom, then there's whatever this is

[bogkeep]

i keep running into comments saying the choices you make in pentiment don't matter very much, and i am Certain this is just a tragic case of "does not see character driven storytelling as a valuable form of storytelling" and i should just move on with my life, but... the themes... won't SOMEONE think of the THEMES...!!!

1) if your choices don't matter, then why do i agonize over them so? the story spans 25 years, and the things i say in act I ripples through all the way to act III. words i say can put someone in danger, or convince them to pursue happiness. every character in tassing matters to someone else and partakes in the community in some way, however small. wherever i point for the sword to fall, the void left behind is felt sharply. you're taking part in history.

2) and yet, many choices are out of your hands. andreas is a man, not god. did you not converse with illuminata about the restrictions of your circumstances? what choices do women have, besides marriage or the abbey? why do peasants dream of kingship? choices are taken away from you by those with more power. you can't prevent a death from occuring, only point the finger. is it not arrogant to think you alone could change the world? is it not a relief?

3) the Regret: none of the choices are more correct to make than the others, they are simply the choices you made, and the ones you must live with - and you do have to live. sometimes you were not given a choice, and still you must live. time will pass, and you must live.

[pasiphile]

Whatcha working on?

Um.

tvd2?

[thewriteadviceforwriters]

📊 How to Use Tropes Without Turning Your Story into a YA Checklist

You can tell when a book was written by vibes and TVTropes alone.

It’s got: ☑️ the reluctant chosen one ☑️ the love triangle ☑️ the mysterious brooding boy™ ☑️ the sassy best friend ☑️ the dead parents ☑️ the villain with daddy issues ☑️ the scene where someone says “you don’t know what I’m capable of” and walks away dramatically

And like… that’s fine.

Tropes are tools. But here’s the thing: they are starting points, not story goals.

If your plot reads like it was drafted by a checklist in a Pinterest caption, it might be time to recalibrate. Here's how to actually use tropes without turning your book into a YA Mad Libs generator:

─────── ✦ ───────

🧩 Tropes Are Patterns--Not Presets

A trope is a pattern, not a requirement. It’s not a law. It’s not a plug-and-play feature. And it’s definitely not your plot.

The “enemies-to-lovers” arc? That’s a container. What you put inside it, that’s where the originality lives.

The goal isn’t to avoid tropes. It’s to do something interesting with them.

→ Why are they enemies? → What does the “love” cost them? → What happens if they fail to become lovers?

Tropes don’t carry the story. The conflict does.

─────── ✦ ───────

⚔️ Complicate the Familiar

Here’s a trick: if a trope feels too easy, break it in half.

Examples: → “Reluctant chosen one” → okay, but what if they wanted it, and then hated it once they got it? → “The mentor dies” → cool, but what if the mentor fakes their death to manipulate the protagonist? → “Sassy best friend” → no. Make them real. Give them pain. Give them depth. No more walking punchlines.

Tropes are scaffolding, not shortcuts. Add weight. Add doubt. Add betrayal.

─────── ✦ ───────

🕳️ Interrogate Why You’re Using It

Ask yourself: → Do I love this trope or do I feel like I have to include it? → Am I doing this because I’ve seen it done… or because it serves my story? → Is this trope the only interesting thing about this scene?

If your answer is “because that’s what YA stories do,” delete it. Go deeper.

─────── ✦ ───────

💔 Tropes Aren’t Substitutes for Character Arcs

You can’t use “grumpy x sunshine” and call it development. Tropes are flavors, not meals.

Give us: → Choices with consequences. → Conflicting values. → Character growth that costs something.

Otherwise? Your grumpy guy is just a Pinterest moodboard with a pulse.

─────── ✦ ───────

🧨 Use Reader Expectations Against Them

You want to use a trope and not make it predictable? Weaponize it.

Example: → Start with a love triangle. Let the MC fall hard. Then have both love interests realize they’re in love with each other. → Use the “chosen one” trope… but make it about dismantling that myth entirely. → Introduce the “villain redemption arc” and let them choose to stay bad because it makes more sense for them.

Set up the pattern. Then snap it in half. That’s how you surprise a jaded reader.

─────── ✦ ───────

Final thoughts from your local trope goblin:

→ Tropes aren’t the problem. It’s treating them like a checklist instead of a narrative engine. → A good trope doesn’t make your story good. How you twist it does. → If a story reads like it was built from Tumblr quotes and nothing else—it’s gonna flop.

So go ahead. Use the trope. Then ruin it. Make it weird. Make it hurt. Make it yours.

—rin t. // story mechanic. trope thief. YA bingo card burner. // thewriteadviceforwriters

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

🕯️ download the pack & write something cursed:

[the-crooked-library]

one of the interesting things about writing original fiction is that eventually you develop a sense of what is meant to be on the page and what would fare better remaining inside your skull. it is a skill to take a pause and think to yourself - no. this would be misplaced.

and it's not even about purple prose or anything of that sort, it's just that some things are for the author to silently Know, and for fanfiction writers to pull from a bunch of sideline implications later

[sometimesanequine]

HA if you fell right into my mighty trap because if you keep drawing horses you WILL eventually draw a bazillion horses NYEHEHEHEHEH

this feels like a MTG card, o' villain of great might. thou shalt get thy way eventually perhaps. depends on if i ever reach enlightenment and remember my past lives. maybe i drew a lot of horses then too. and cheers to a billion more lifetimes where i will draw horses again

[ithseem]

It is absolutely CRIMINAL that the artists didn't give him an entire bakery

*singsong* Oh @ficoandleo, check this out~