#plot points

[em-dash-press]

Tips for Writing Interrupted Scenes

Scenes don’t always happen from start to finish. When you need to write interruptions, use these tips to get more confident about breaking up plot points and stitching them back together.

Pick an Emotional Cliffhanger

When your character gets the phone call about the job that could change their life, they hesitate to answer it. 

A new chapter begins on the next page from another point of view. 

But what happened with the phone call??

Your readers will keep going through the next chapter because they were left on an emotional cliffhanger with a character they love. The break won’t seem as natural as others, like ending a chapter when your character goes to bed or leaves a venue.

Plot Your Scene Breaks

Write a rough plot line, even if you don’t normally plan any outlines. It helps to know where your story is going so you can insert the rest of the scene more effectively.

Picture your character—they’re running a marathon and they’re starting the final mile. Their focus gets interrupted by something in the treeline to their left. It’s the childhood version of themselves, hanging upside down from a branch and waving. They have to go find out what that is, so the protagonist interrupts their race by sprinting into the woods.

Although the rest of the story may involve spooky moments and weeks or months of drama, the race never gets finished. Maybe the protagonist runs the same last mile after the event is over, when it’s back to being a regular street. They conquer the mile after completing the lesson or purpose of the plot.

That’s much easier to keep track of if there's a rough plotline to follow. Using bullet points can help or try writing a one-sentence description of each big plot moment on a sticky note.

Add More While Editing

If you have multiple moments that get interrupted, like broken dialogue or plot points, you may not remember to tie them together or make the break essential to the plot. That’s okay!

That’s what editing is for.

While you’re re-reading, make a list of every moment when something gets interrupted and another of when those moments get completed or resolved. You’ll easily tell what’s left unsaid that would otherwise feel like a plot hole.

-----

You may not always have interrupted scenes in every story. When you feel like they’re necessary, I hope these tips help you feel more confident about writing and editing them. 💛

[capricorn-0mnikorn]

In defense of Shakespeare's Daughters

When students find out that:

Shakespeare has no living descendants (and that's why we don't have to ask "Which Shakespeare?" like we do with the Bach family),

That he did have a son, once, but that boy died when he was only ten years old, and

That son was named "Hamnet" (not a typo, BTW)

Those students who go on to become Shakespearean scholars can get a bit obsessed when it comes to themes of fathers, sons, and grief (particularly in that one play about a Prince of Denmark).

So I'd like to take this time to point out that Shakespeare was also the father to two daughters: his firstborn, Susanna, and Judith, Hamnet's twin sister.

And to help me make the point that the Father/Daughter relationship was important to him, and not just a consolation prize, here's a few of the plays that hinge on it (an incomplete list):

The Tempest: a father and daughter as the only humans on a tropical island.

Romeo and Juliet: The tragedy unfolds with exponential speed when Juliet's father decides that she must marry Tybolt immediately.

Much ado About Nothing: The comedy almost becomes a tragedy when Leonato rejects his daughter during the wedding ceremony.

The Winter's Tale: In the first half of the play, the jealous king rejects his infant daughter, wrongly thinking she is a bastard. In the second half of the play, we see the daughter as a teenager, and her relationship with her adoptive father, a shepherd; the play is resolved when she returns home, with her adoptive father, to her birth father.

Hamlet: Let's face it -- the whole play gets mired in schemes, secrets, and second guesses until Ophelia's response to her father's death unleashes a flood of action.

Merry Wives of Windsor: the "B Plot" is all about how the young adult daughter of Mr. and Mrs. Page successfully schemes to marry the young man she actually loves, instead of either of the arranged marriages her parents are hoping for.

[thewriteadviceforwriters]

Hiii, I just dicovered your acc and i'm loving it 🥰 I have this lil problem where I have in mind and write scenes but without a plot. And I'm very fond to the characters so I can't put them into a plot because I don't want them to suffer or a think if they do suffer it'll we forced and too much. Any tips for that?

How to Plot A Novel If You Only Have Characters & Scenes

So, you have a great cast of characters and some exciting scenes in mind, but you're struggling to put them together into a cohesive plot. Don't worry, you're not alone. Many writers struggle with plotting their novels, especially when they have a strong focus on characters and scenes. I have also been facing difficulties with this recently. But fear not, in this article, I’ll help you explore how you can plot a novel even if you only have characters and scenes to work with.

Why Is Plotting Important?

Before we dive into the how, let's first understand why plotting is important. A well-crafted plot is the backbone of any successful novel. It keeps readers engaged, creates tension and conflict, and ultimately leads to a satisfying resolution. Without a strong plot, your novel may fall flat and fail to capture the attention of readers.

Types of Plots

There are many different types of plots, but they can generally be categorized into three main types: character-driven, plot-driven, and hybrid.

Character-driven plots focus on the internal struggles and growth of the main character. The plot is driven by the character's desires, flaws, and decisions.

Plot-driven plots focus on external events and conflicts that drive the story forward. The characters may still have their own arcs, but the main focus is on the events and how they affect the characters.

Hybrid plots combine elements of both character-driven and plot-driven plots. They have a balance of internal and external conflicts that drive the story forward.

Understanding the type of plot you want to create can help guide your plotting process.

How to Plot A Novel with Only Characters & Scenes

Now that we understand the importance of plotting and the different types of plots, let's explore how you can plot a novel with only characters and scenes.

Start with Your Characters

Since you already have a strong cast of characters, it makes sense to start with them. Take some time to fully develop your characters, including their personalities, motivations, and flaws. This will help you understand how they will react in different situations and what conflicts they may face.

Identify Your Main Conflict

Every novel needs a main conflict that drives the story forward. This could be a physical conflict, such as a battle or a chase, or an emotional conflict, such as a character's internal struggle. Identify what the main conflict in your novel will be and how it will affect your characters.

Create a Story Structure

A story structure is a framework that helps guide the flow of your novel. It typically includes the beginning, middle, and end, and can be broken down further into acts or chapters. Creating a story structure can help you see the bigger picture of your novel and how your characters and scenes fit into it.

Map Out Your Scenes (High Priority) 🚩

Now it's time to map out your scenes. Start by listing all the scenes you have in mind, even if they are not in chronological order. Then, arrange them in a logical order that makes sense for your story. This may require some rearranging and tweaking to ensure a smooth flow of events.

Connect Your Scenes with Conflict (High Priority) 🚩

Once you have your scenes in order, it's time to connect them with conflict. Every scene should have some form of conflict, whether it's internal or external. This will keep readers engaged and drive the story forward. Look at each scene and identify the conflict present, and how it connects to the main conflict of the novel.

Create a Character Arc for Each Character

As your characters go through different conflicts and events, they should also experience growth and change. This is where character arcs come in. A character arc is the journey a character goes through, from their initial state to their final state. Create a character arc for each of your main characters, and make sure their actions and decisions align with their arc.

Add Subplots

Subplots are smaller storylines that run parallel to the main plot. They add depth and complexity to your novel and can help develop your characters further. Look at your characters and see if there are any side stories or relationships that could be explored in a subplot. Just make sure they tie back to the main plot in some way.

Use Plotting Tools

If you're struggling to put all the pieces together, consider using some plotting tools to help you. There are many resources available, such as plot diagrams, beat sheets, and storyboards, that can help you visualize your plot and ensure all the elements are in place. If you need help with scene structure use my new scene workbook here.

Real-World Examples of Plotting with Characters & Scenes

One example of a novel that successfully uses characters and scenes to drive the plot is "To Kill a Mockingbird" by Harper Lee. The main conflict is the trial of Tom Robinson, but it is the characters, particularly Scout and Atticus, and their reactions to the events that drive the story forward.

Another example is "The Hunger Games" by Suzanne Collins. The main conflict is the Hunger Games themselves, but it is Katniss' internal struggle and her relationships with other characters that keep readers engaged and invested in the story.

Final Thoughts

Plotting a novel with only characters and scenes may seem daunting, but with the right approach, it can be done successfully. Start by fully developing your characters, identifying the main conflict, and creating a story structure. Then, map out your scenes, connect them with conflict, and create character arcs. Don't be afraid to use plotting tools to help you along the way. With these tips, you'll be on your way to crafting a compelling plot that will keep readers hooked until the very end.

If you require assistance with developing your scene structure, you can access my Scene Workbook for Writers at no cost.

I am sorry to the individual who sent me this question. I have a lot of questions in my Tumblr inbox and have only recently come across this nice question. I apologize for the 4-month delay.

[the960writers]

Proper structure helps you deliver your story to the audience in a satisfying and familiar way. You wouldn't want to end up with the climactic peak hitting only ~36% into the story. That would make the story feel awkward and the remaining ~64% boring. (Talk about a dissatisfied audience.)

Contrary to what some believe, to me structure is all about organizing and/or timing. When stripped of all the details, beat sheets, and fill-in-the-blanks, it's a matter of organizing your content and timing the delivery of it.

This is one of the reasons you can find successful stories that don't seem to fit your favorite beat sheet. Even though that particular story may not be like others in its details, it can still deliver the content in a satisfying way if it organizes and times it properly.

Today's post is more about the timing.

___

great post by @septembercfawkes

[fixyourwritinghabits]

can you give me some advice? i always know exactly what i want to write for a cold opening/inciting incident and exactly what i want to write for an ending, but everything in between i just have no good ideas and have rewritten no less than forty times. any advice for coming up with a beginning and middle? i’m dying.

You're at a great point, to be honest - having the ending figured out is half the battle right there. For the rest of it, there's two pathways to consider

The Big Turning Points in the External Plot:

The Beginning - This is your world before, where you establish the status quo. You'll also establish what needs changing (an evil empire, a toxic relationship, facing the first day of school). The important thing to think about here is whatever you want the ending to resolve or confront will have its establishing roots in the beginning. If the main character ends with leaving his abusive home and finding comfort in friends and therapy, then we need to firmly establish that home in the beginning.

The Inciting Event - While this is where things change, it's merely the jumpstart of the change. The important thing to know is there's no path back to before the inciting event happens (joined the rebellion, slapped the abusive ex, passed out in front of your fifth grade class). The only path for the main character to take is forward.

The Middle (or Mid-Climax) - Your character seemingly finds the solution to their problem, but it backfires/makes things worse/leads to a bigger problem (saving the princess means the Death Star is tracking you down, leaving the state means your ex will ruin your reputation, the rush to get with the cool kids deeply hurts your best friend). One of the better ways of thinking about this is your character has been circling around how to fix their problem with solutions that don't work, and after the middle will have to turn down the path of finding what will.

The Climax - The big end fight, etc. We resolve the external plot (we blow up the Death Star!) because we've faced an internal crisis and beat it (believed in ourselves/the force). Or... this is a tragedy and the reverse happens. Either way, potential is realized, grasped, or lost.

The Ending - I think when you said you had an ending you might be thinking of the climax, but what I mean by ending here is just Wrapping Things Up. It's the final shot of the movie, it's the last chapter in finding out where our characters end up. It's the epilogue or sequel bait. Basically, you'll give your readers one last emotional ping to send them off on.

Now, it's easy to put those cards together, but how do you actually use them? I want you to switch gears and think about your story from a character standpoint. You have where your characters ended up - now what did they need to do to get there?

The Big Turning Points of the Internal Plot:

The Need for Change - The beginning is where you'll introduce your characters, their wants and needs, and establish what they need to accomplish even if they don't know it yet. Luke Skywalker is restless on his farm while the galaxy goes very wrong around him. We know what's wrong and what will need changed, even if he doesn't yet.

The No Return - The inciting event will yank your main character into your main plotline. Whatever happens will force them forward no matter how much they want to go back. A traumatic event, a witnessed attack, something that they can't run from, even if they try. Mirabel witnesses the house starting to fall about in Encanto. Even when no one else sees it or believes her, she knows she can't pretend it didn't happen.

The False Victory/Defeat - The path to the middle is best described as "the wrong way" in my book. The main character tries to fix the problem, but because they won't confront their own flaws or fears, they bungle it. They seek out someone else to solve the problem, or invest in the easy way out, and it doesn't work (or creates a bigger problem). The false victory is when things should have worked, but didn't. The false defeat is when things go badly wrong - but the main characters double down to fix it regardless.

The Road to the Climax - If your characters have been trying to fix things the wrong way in the first half of the book, the second is about fixing things the right way. Confronting fears, facing painful realizations, breaking out of toxic relationship - this part of the book will give your characters the tools they need to face the climax.

Weave these two together and you'll be able to find your footing. Get stuck in an action point (external plot), think about how it's affecting your character points (internal plot). If you already have an ending, sometimes the easiest thing to do is to work backwards. Good luck!

[ahb-writes]

How to Build Story Plot Points:

Look to your central idea. Identify the events or circumstances that define your central idea. What dramatic or emotional or surprising or conflict-oriented situation portends future intrigue?

Show desires and setbacks. Show desires, motivations, and setbacks. Clarity in either of these areas will help you maintain a sense of purpose when drafting the story's direction. May suggest thinking in terms of cause-and-effect storytelling.

Place major plot points well. Establish plot points at critical structural points to create hooks, cliffhangers, or revelations to create drama or suspense. Meaningful plots points at the end of chapters, in the heart of a big argument, or at the discovery of critical information, keep readers intrigued and develop the story at the same time.

Create points of no return. A strong point of no return is forward momentum showing a decisive action, often has an emotional component, and may imply a change in setting or environment. As a narrative device, points of no return remove reader skepticism and improve character agency.

Create a helpful summary. Outlines. Story timelines. Visual timelines. Note cards. Whatever you call it, conscientiously organizing your story's main plot points and how they flow together will make revising subsequent drafts considerably easier. Also, knowing the relationship between each plot point will make for more effective communication with beta readers.

[solar-tsams]

Obligatory Pinned Post

Solar here. Don't really have a channel right now and Earth suggested I make a blog. Guess I'll just be posting here for now.

Tags:

Q&A - Asks

Solar Speaks - Roleplay/Ramblings

Reblogs - Reblogs

Plot Points - Lore

Unnamed Interrupts - OOC Stuff, probably mostly headcanons

Featured Fanart - Art made by yours truly

Just some general information to get out of the way:

I go by he/him but they/them is okay too.

Name's no longer Eclipse. Just Solar, please.

Annd I'm sorta the mechanic, but since that's also Moon's job I'm the theater attendant.

The other Eclipse is dead and gone, I'm not him technically. I'm "the nice one".

Other:

Current Arc: Haven't even started using this blog yet lmao

Magic Anon: N/A

That's about it. Welcome to the blog!

OOC Below:

HIYA HIYA. UNNAMED HERE. aka @unnamed-idi0t I have another dca blog lmao but it's not tsams related and I also don't use it

I go by They/them

First off, some rules I have in place:

1. I am a MINOR. Do not send me weird asks.

2. I'm (almost) always willing to rp! I'm okay with small ones without warning but if it's going to last a while I prefer we discuss it beforehand. Don't worry! I will most likely say yes (THIS IS ESPECIALLY TRUE IF YOU WANNA DO A ROMANCE TYPE RP)

3. Discrimination is not tolerated. That means no racism, sexism, homophobia, etc etc. It will result in an immediate block.

4. And lastly, if you wanna join me and be specifically connected to this blog (As in we're in the same universe/household and stuff) Just ask! Newcomers are always welcome. I prefer you let me know though. (IF YOU WANNA MAKE SOMETHING DISCONNECTED TO THIS ONE YOU CAN!! I DON'T OWN THE RP BLOG GENRE JUST DO YOU THING!!)

Hope you enjoy your stay!!!

[james-spooky]

relistening to tma and realising I’ve missed out ten major plot points, confused three people, forgotten what is happening and STILL don’t know whether Jared or Gerard is speaking.

[author-a-holmes]

Hiya Arista, good luck on the 13k words. What's been the idea that has captivated you the most in your writing, what plot point?

Thank you lovely!

For Changeling, it was a scene right before the climax when Lizzy and Andric finally kiss.

And I know that sounds like a spoiler, but it's not the most important part of that scene. There's a lot revealed there about Lizzy. About how she's feeling, what she's thinking, and about who she is as a person, in addition to the culmination of the growing closeness between her and Andric.

For Darkling, I have a similar scene that's really motivating me to keep pushing forward. It's where a lot of secrets get reveals, a lot of emotions uncovered, and some of the tangled web I've woven gets straightened out.

But, it is very spoilery, so I can't say much more than that. ^_^

[lizziejlovesu]

i see you have a nancy drew oc, can you tell me anything about them? Thank you!

yeah I definitely can here's some basic stuff about her that I know, im kinda still developing her, but I have somethings down

her face claim is Madison Bailey because her playing Kiara in obx gave Nancy drew vibes for some reason

her names either gonna be cleo, or tonia(pronounced tanya)

she used to work at a restaurant called the crab shack which her mother owned

her mother died and after that her and her dad closed the shack and no ones bought it still

she started working at the Claw with the drew crew after that happened

she has known Nancy for a while, basically since middle school

harbors a little bit of resentment towards her for whatever happened with George and her

her and George are much closer than George and Nancy are

ace is definitely her endgame love interest

she is pansexual

she had a tiny crush on bess when she first met her

her mom and Karen were sisters, Karen is her aunt

and yeah thats about it so far, still figuring our last name and choosing between those two names

by the way I take feedback, so if you have any ideas, please feel free to let me know!

[theimperiumchronicles]

[em-dash-press]

Rising Action: Everything You Need to Know Plus 3 Examples

Action hooks readers and makes characters grow. You use it in every story, even when you don’t realize it. Here are a few things every writer should know about rising action and a few examples of how it affects various plot maps.

What Is Rising Action?

Rising action is the chain of events that moves your plot forward. It begins and ends with your full story, so it’s an essential craft tool every writer should feel confident wielding.

What Are the Types of Rising Action?

These are a few types of rising action that you can use in any story. They affect the plot and characters in ways that keep readers flipping pages because your story becomes more engaging.

Your Inciting Incident

The initial action in a story is typically the inciting incident. It’s one of the many plot devices writers use within their narratives because it kicks things off in a way that dazzles or stuns the reader.

It could be something as small as your protagonist making a doctor’s appointment (because the doctor is later revealed to be their long-lost mother). It might be as significant as Ursula shooting Hitler in Life After Life by Kate Atkinson.

Your Ongoing Crises or Actionable Choices

After your inciting incident gets your plot moving, the rising action keeps it going. This includes any ongoing crises that happen as a result of the inciting incident, choices your protagonist makes, or consequences of choices your protagonist doesn’t make.

The protagonist who makes the initial doctor’s appointment might notice that their doctor has the same unique eye color as them. They make the choice to research the doctor online. The protagonist finds their friends and starts integrating themselves into the doctor’s social circle to learn more about them.

They could also deal with crises, like if someone crashes into their car on the way home from a party where they find confirmation that the doctor is their long-lost mother. Maybe a natural disaster occurs or they experience a financial loss.

Everything that makes your protagonist continue to move toward your story’s resolution is part of your rising action. It could be physical events, unintended consequences, choices, words, etc.

Your Story’s Climax

Rising action also includes your story’s climax. Famous moments like these include Jack and his mom escaping in Room, or Romeo killing himself in Romeo and Juliet.

Stories can also have multiple climaxes—more on that below.

Internal and External Rising Action

Action isn’t always external, like with car crashes or fist fights. Sometimes it’s inner turmoil that makes your character take action or make decisions that aren’t typical for them. Internal action is incredibly compelling because everyone has their own inner struggles. When described in vivid, grounded ways, readers stick around for books like To Kill a Mockingbird and Turtles All the Way Down.

Rising Action in Different Plot Maps

Plots can have numerous shapes when mapped out. It depends on the story you’re telling and your confidence as a writer. Here are a few different plot maps and how rising action fits into all of them. 

Freytag’s Pyramid

Writers start with this plot map because it’s easy to follow and plan for. You have your inciting incident, the action propelling your story, the climax, and the resolution. It’s the most common makeup of short stories, novels, and everything in between.

The Three-Act Plot Map

Three-act stories have two subplots and one primary plot that result in three climaxes and three resolutions.

Going off my long-lost-doctor-mother example, here’s what it would look like as a three-act book:

Act 1 Inciting Incident: The appointment when the protagonist realizes their doctor shares their rare eye color and wonders if she’s their long-lost mother.

Act 1 Climax: The protagonist befriends the doctor’s coworkers at a company cookout by posing as a new hire in the clinic’s satellite office. They run into their doctor, who mentions she wanted to be a mother once.

Act 1 Resolution: The protagonist goes home, more determined than ever to get answers and potentially revenge.

Act 1 introduces the inciting incident for the entire book, raises the stakes, and sets higher stakes for whatever occurs in Act 2 by creating the expectation of potential revenge.

Act 2 Inciting Incident: The protagonist spends weeks researching the doctor’s history and pretends to become a member at the doctor’s church to directly befriend her where she feels safest.

Act 2 Climax: The protagonist breaks into the doctor’s home and rifles through her broken safe, ultimately finding paperwork verifying that she placed a baby girl for adoption at the same adoption agency where the protagonist came from.

Act 2 Resolution: the doctor comes home and the protagonist narrowly escapes undetected. She starts plotting her revenge.

Act 2 introduces a new form of tension with the break-in/escape. It also makes revenge a guaranteed future event, raising the stakes even higher. There’s also additional tension because the protagonist is unraveling into someone making purposefully cruel choices.

Act 3 Inciting Incident: The protagonist finds a news reporter downtown reporting live during the 5 p.m. show. They interrupt by calling the doctor out by name, saying she’s a fraud. She never actually got her medical license.

Act 2 Climax: The doctor gets fired because her employer checks with her various universities, none of which have any record of her being a student or graduating with them (likewise with her residency program). She returns home to find the protagonist in her kitchen. The protagonist used their cybersecurity background to delete all the files. They’re prepared for a screaming match after venting to the doctor, who ultimately only professes their love for the protagonist. They loved them too much to keep them while she couldn’t be a mom. 

Act 3 Resolution: The protagonist gets arrested for their various illegal activities, but the doctor visits them in jail/prison. They form a budding connection, which the novel leaves open-ended.

Act 3 makes the protagonist do something illegal and reckless. There’s a confrontation resolving Act 1’s inciting incident and the protagonist’s primary motivations (hurt from never knowing their mom). The novel ends in a much different place but leaves the reader to define how they feel about it all.

These types of stories are more complicated, so they’re often longer. However, that doesn’t mean they’re always better. You have to be good at plotting and developmental editing to carry the thematic weight and conflict through to the end. With practice and determination, you can tackle the three-act plot map!

The Seven-Point Plot Map

The seven-point plot map often outlines stories with superheroes and villains or forces of good fighting forces of evil. It can layer itself with a three-act story too, which is what you’ll get from well-practiced authors who have written many, many other books as practice.

The long-lost-doctor-mother example would go like this:

Inciting Incident: The appointment when the protagonist realizes their doctor shares their rare eye color and wonders if she’s their long-lost mother.

Introduction of the Antagonist: The moment when the protagonist vows to compromise their ethics to uncover the truth. (The protagonist is also the antagonist in this example.)

The Antagonist Makes Their First Move: The protagonist uses a fake identity to become friends with the doctor’s coworkers and a member of the doctor’s church, specifically to get the most information from where the doctor feels safest.

The Protagonist Begins Fighting the Antagonist: The protagonist starts to feel scared of themselves once they realize they let go of their morals and ethics to get revenge. Self-doubt makes enacting revenge more difficult, but they push on with their plan.

The Protagonist Reaches Rock Bottom: The protagonist finds proof of the adoption agency the doctor used at the same time they were dropped off there. They delete the doctor’s university and residency files, reports her as a fraud, and gets her fired.

The Protagonist Defeats the Antagonist: After breaking into the doctor’s house and having their verbal confrontation, the protagonist gives themselves up to the cops who show up after the doctor reports a break-in. The protagonist knows they’ve gone too far and need to be stopped before they spiral into doing something worse.

Comprehensive Resolution: The doctor visits the protagonist in jail and they form some kind of positive relationship, which is left up to the reader to define.

You can handle this plot map easily too, but set realistic expectations for yourself! This is a big one. You’ll need lots of time to plan your plot points, character arcs, and rising action conflicts that get you to each part of your map.

Of course, you can switch things up too. Your antagonist may win in the end if you want to write a duology or trilogy. You might also just want to write a story with a crushing defeat to make your theme work.

Writers take months or years to tackle stories like this. You can do it too, just go easy on your expectations to get there with your mental health intact.

-----

Rising action is the powerful tool that makes stories captivating. You can use it to make any type of plot structure work, depending on the story you’re writing and what you want to attempt next.

With practice and the courage to try new things, you’ll deliver the type of action that grips readers as they flip each page.

[slaanxsh]

Prev | Prev / Realm of Chaos, The Rings of Pleasure

The incursion into the Mortal Realms by the armies of Khorne had been far from unnoticed. Such was the consequence of the Blood God and his minions on the Great Game; rival powers would alter long-held plans, delay schemes, or quite simply get themselves out of the way and let more foolish daemons or mortals pit themselves as the daemon-iron blades of the Blood Legions.

The Order had come down from Slaanesh, on the swift and sure foot of his heralds: find the six-princes and order their return to the Rings of Pleasure immediately. One had already returned, which just left the remaining five, four of which were easily found and persuaded. Even as Slaanesh's offspring, the princes were rarely so audacious as to ignore a direct order from their father-mother.

Which made S'ríash's absence....noteworthy.

The most seasoned Heralds and huntresses could not find hide or hair of their Prince's child. Their godly spoor led only to dead ends and after a while, dead ends turned into dead daemons, victims of the Pleasure God's increasingly short temper. It was eventually concluded that S'ríash was no longer in the Mortal Realms, but hidden in the warp and away from the Dark Prince's prying eyes.

So Slaanesh had sent for the remaining five. And he had focused his attention on Ïéxiish, the last one to see the Six-Prince.

"𝐸𝑛𝑜𝑢𝑔ℎ 𝑜𝑓 𝑡ℎ𝑖𝑠 𝑐ℎ𝑖𝑙𝑑𝑖𝑠ℎ 𝑔𝑎𝑚𝑒, Ïé𝑥𝑖𝑖𝑠ℎ! 𝐼𝑡 𝑤𝑎𝑠 𝑛𝑒𝑣𝑒𝑟 𝑓𝑢𝑛𝑛𝑦 𝑎𝑛𝑑 𝑚𝑦 𝑝𝑎𝑡𝑖𝑒𝑛𝑐𝑒 𝑖𝑠 𝑎𝑡 𝑖𝑡'𝑠 𝑒𝑛𝑑."

" It is no game, sire." Ïéxiish was on her knees before the Satin throne, her siblings behind her trying their best to look uninteresting. " When the Red God came, I fled and S'ríash did not. The Heralds found traces of him in the aftermath of a great, bloody battle but nothing more."

Slaanesh, unsure what to make of it all, continued to pace and glare daggers at his daughter. He could scent no lies on her. On any of them. Whatever scheme had taken his child from him hadn't involved any S'ríash's siblings. D'ýosh came forward, catching the God of Pleasure's attention. He didn't dare look Slaanesh in the eyes, playing with his talons and fidgeting under his mother-father's gaze.

" I visited the scene with my fiends. Ïéxiish speaks true, but there was more there, underneath all the blood. Even your Steeds could have...overlooked it. But a Fiend's tongue is quite keen, my own are bred for--" D'ýosh caught the beginnings of irritation beginning to worm it's way onto Slaanesh's face, and quickly course-corrected from his bragging.

" Anyway. There was a malignity there. Nurglish in origin." D'ýosh explained.

"𝘠𝘰𝘶 𝘢𝘳𝘦 𝘴𝘢𝘺𝘪𝘯𝘨 𝘵𝘩𝘦 𝘜𝘳-𝘧𝘢𝘵𝘩𝘦𝘳 𝘪𝘴 𝘵𝘩𝘦 𝘤𝘶𝘭𝘱𝘳𝘪𝘵?"

D'ýosh nodded slowly, " They say he has created a new phage. One that can slay a god. And to my understanding, Nurgleth always tests his creations before releasing them. Yes, he has Poxfulcrum, but why kill his beloved phage-slave when he could slay an enemy instead? At least, that is my thinking."

Slaanesh's brow knitted. It wasn't totally farfetched...Nurgle had taken samples from them all in meetings past, in order to free them from the Malal induced malignity they had all caught. But, what could help could also be twisted and corrupted to harm. That was the way of the Nurglish.

A deep frown marring his beautiful, alien features, Slaanesh looked to his children, five where there should be six.

" 𝘐 𝘸𝘪𝘭𝘭 𝘥𝘪𝘴𝘤𝘰𝘷𝘦𝘳 𝘵𝘩𝘦 𝘧𝘢𝘵𝘦 𝘰𝘧 𝘮𝘺 𝘴𝘰𝘯. 𝘛𝘩𝘦 𝘳𝘦𝘴𝘵 𝘰𝘧 𝘺𝘰𝘶 𝘢𝘳𝘦 𝘧𝘰𝘳𝘣𝘪𝘥𝘥𝘦𝘯 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘭𝘦𝘢𝘷𝘪𝘯𝘨 𝘵𝘩𝘦 𝘗𝘢𝘭𝘢𝘤𝘦 𝘎𝘳𝘰𝘶𝘯𝘥𝘴 𝘶𝘯𝘵𝘪𝘭 𝘐 𝘥𝘰."

[thewriteadviceforwriters]

How to Write a Regency Era Novel | Short Guide

Introduction

Imagine yourself in a world of pride, prejudice, and elegance. A world where the rich and powerful are constantly seeking marriage arrangements, and where love can be both a beautiful and dangerous thing. This is the world of the Regency Era, a time period in the early 19th century in England that was characterized by a distinct social and cultural scene. Writing a Regency Era novel can be an exciting and rewarding experience, but it requires a deep understanding of the time period, as well as a mastery of the art of storytelling. In this guide, I'll help you explore the key elements of a successful Regency Era novel and provide tips and tricks for crafting a compelling story that will transport your readers back in time.

Section 1: Setting the Scene

The first step in writing a Regency Era novel is to create a vivid and immersive world that captures the essence of the time period. This means paying attention to the historical details that will bring the era to life, such as the clothing, architecture, and social norms of the time. Here are a few tips to help you create a vibrant and believable setting:

1. Research the era thoroughly: To create a realistic and accurate portrayal of the Regency Era, you will need to do your homework. Read books, watch movies, and immerse yourself in the culture and history of the time period.

2. Pay attention to the details: The devil is in the details, as they say, and this is especially true when it comes to writing a Regency Era novel. Pay close attention to the clothing, architecture, and social norms of the time, and make sure your descriptions are accurate and vivid.

3. Use sensory language: To truly immerse your readers in the world of the Regency Era, you need to use sensory language that appeals to all five senses. Describe the sights, sounds, smells, tastes, and textures of the world you are creating, and your readers will feel as if they are right there with your characters.

Section 2: Creating Characters

The characters in your Regency Era novel are the heart and soul of your story, so it's important to create well-rounded, believable, and relatable characters that your readers will care about. Here are a few tips to help you create compelling characters:

1. Consider the societal norms of the time: The Regency Era was a time of strict social conventions, and your characters should reflect this. Consider their social standing, their family background, and their education when creating your characters.

2. Give your characters depth: Your characters should have flaws, fears, and desires just like real people. Think about what motivates your characters and what obstacles they must overcome to achieve their goals.

3. Develop strong relationships: The relationships between your characters are just as important as the characters themselves. Create complex relationships that are based on love, friendship, and loyalty, and your readers will be invested in the outcomes of those relationships.

Section 3: Crafting a Compelling Plot

The plot of your Regency Era novel should be engaging, emotionally resonant, and true to the time period. Here are a few tips to help you craft a compelling plot:

1. Incorporate historical events: The Regency Era was a time of great social, political, and cultural change, and incorporating these historical events into your plot can add depth and richness to your story.

2. Create tension and conflict: Your plot should be driven by tension and conflict, whether it's a romantic conflict between your characters or a conflict between different social classes.

3. Use dialogue effectively: Dialogue is a powerful tool for advancing your plot and developing your characters. Use dialogue to reveal character motivations, advance the plot, and create tension between characters.

Conclusion

Writing a Regency Era novel can be a challenging but rewarding experience. By immersing yourself in the time period, creating well-rounded characters, and crafting a compelling plot, you can transport your readers back in time and create a world that is both captivating and memorable. So grab your quill and ink, and get ready to embark on a journey into the world of the Regency Era.

Copyright © 2023 by Ren T.

TheWriteAdviceForWriters 2023

[swimmingelectron]

What if in an alternate universe in bnha/mha,

things happened just a bit slightly out of order?

Aka, i have a fic idea going on in my mind for a while, and i need a place to compile it.

Villain izuku/vigilante izuku

Origin story

When izuku confronts katsuki about bullying a friend, stain passes by and notices the interaction. When the boys beat up zuku, he steps in.

Young stain makes the error of calling himself a vigilante. There are now two young boys with a great sense of heroism observing and learning his features.

Not having noticed this stain teaches izu how to punch and dodge properly.

When stain finally spots katsu's two lackeys running away, he tells katsuki to scram too.

Young katsuki may be a bully. But he's still smart. He is still stubborn. And he has a hero complex, too.

So little dynamight puts on his best hero face and his best fighting stance even as he shivers as izu had moments before.

Izu, on the other hand, has gotten out of freeze mode and has started thinking clearly. Well, as clearly as a scared child can.

He decides the best course of action is to distract the vigilante.

Police! Get Police!

He mouths to his bullies.

The lackeys run. Kacchan is frozen to the spot.

Kacchan is scared.

Little izuku starts talking to stain.

"How do i dodge?"

Stain trains him as best as he can and izu spends his time observing and analysing the man, trying to figure out his quirk.

"What's your quirk?" he blurts, not realising his mistake.

"Why, it's none of your business, Boy." Says stain. "Boy", just like "Deku".

"How about you try these new techniques on that one, there. Show me what you observed."

Izu turns to a still frozen kacchan and calls out to him.

If katsuki could, he'd move. He'd fight. But right now, he can only see. He can see this man with an overpowering aura dictating to deku some instructions that deku is following without error.

He can see deku scared beyond belief.

He can see that he is standing alone, deku and the vigilante on the other side.

He can see that deku is dealing with the situation bravely.

He can see that he is stuck and lost. He would have to take whatever this strange vile man tells deku to throw at him and be unable to fight.

He doesn't flinch. Even as the man tells deku to show no mercy. Even as deku cringes before throwing a truly good punch. Even as he gets beaten up by useless deku, katsuki holds his ground and doesn't fight back.

Even when Stain provokes him, katsuki stays where he is because that's what a hero should do.

When the lackeys finally show up with a pair of policemen in tow, stain escapes at the speed of light.

To stain's chagrin, the boys manage to give away picture-perfect details and volunteer to help the portrait painter, scars, and all a perfect match.

To be continued

[sardonic-sprite]

Y'ALL I FEEL LIKE I'VE CRACKED A CODE

Ok ok ok so maybe I'm just dumb for not processing this before but let me celebrate and explain because I've never felt this excited about like "planning" shit before.

Ok SO everyone has heard of character arcs, right? And I think most people understand that the arc and growth of the main character is directly tied to the plot beats of the story and vice versa, yes?

Now here’s the thing, bc for me, it just like... it wasn't clicking, this whole thing about "lies" and "misbeliefs" and "aha moments" and just how they interrelate. Honestly, now that I finally get it I really don't know how I was so confused or why I'm so excited now, but I still am excited so I'm continuing on and hoping maybe this helps someone.

But anyway, what FINALLY clicked and what literally slingshotted me into figuring out my character arc (the literal most frustrating thing holding me back lately) was that character arc and showing growth connects to plot and moving the story in your character's attitude about what they're doing.

Let me explain.

There are a couple of points in the story where your MC makes a huge, plot-driving decision. These points are roughly Accepting the Call to Adventure, the Midpoint, and the Aha Moment. Now, I was getting messed up how these differed and how they related to the character arc, until I realized it's about the attitude.

Take your protagonist at the very opening of your story. They're going about their daily life. Here comes the Call to Adventure. They probably don't want to do it at first, do they? So then Something Happens and they decide they really don't have a choice, apparently. So they Accept the Call and begin the quest or training for the death battle or whatever. They go along until BOOM Something Else Happens, something that makes the quest or the death match personal. (This is the Midpoint) Now they're the one driving the car, that Something that Happened at the beginning no longer matters, they will finish the quest or battle now even without that motivation. Except... they fail. Miserably. Fall flat on their fucking face. And probably the villain is laughing. So your hero despairs. What went wrong? They had every reason to succeed, the motivation, the training... and then comes the Aha Moment. MC realizes that they were going about the quest or the battle all wrong. And why is that? Well because of the misbelief they've had since before the story began! They realize that that’s what was wrong the whole time, say "AHA!" and pick themselves up because now they know the right way to fight the battle or right path to take on their quest, and this time they succeed. The bad guy falls, everyone is happy, the end.

That's like every story ever, right? Close enough anyway. But that pesky misbelief isn't corrected until the very very end so why the fuck was your character doong anything close to right before then?

Because it was not the motivation holding them back it was the misbelief, the methodology.

Here's an example.

Let's take Big Hero 6. For now we're going to gloss past the mini arc where Tadashi takes Hiro from botfighter to engineer and start after the fire. Hiro is living his life, day to day, and it is absolutely miserable. He is totally lost in his grief, he believes there's no end to this pain.

Something Happens. Baymax wakes up and finds the lone microbot, follows it, and they discover the microbot factory and the Masked Man. Now the game has changed. Hiro really does not have a choice, he has to Do Something.

So what does he Do? Goes to the police, and that's useless. So he takes a little more initiative and sets up Baymax's first suit, going to investigate again. But he's half-assing stuff.

Now More Stuff Happens. Masked Man attacks Hiro personally, as well as his friends, and tries to kill them. They also think they realize who he is, and that it must now be TRUE that MM set the fire and indirectly killed Tadashi. It's. Fucking. Personal. Hiro WANTS to take this guy down.

So with actual fervor they track MM to the island, confront him, and... fail. Because. Well a lot of reasons, but we're talking about character arcs rn so essentially the crucial reason they fail is because Hiro wanted to take revenge, to cause more pain. The others weren't ok with that, so MM/Calahagn gets away and Hiro and Baymax fly off alone. Here is your angsty "darkest moment" scene. And then, right on its heels and facilitated by Baymax and Tadashi, is the Aha Moment. Hiro comes to realize that he failed not because he wasn't skilled or wasn't motivated, but because he was going about it wrong. His methods were off. He was acting under the belief that pain doesn't stop. But now he can see that yes, it can, healing can happen, you can get better. So he makes a new plan, a plan acting on the new belief, the truth, that people can heal and lessen pain, and this time he succeeds because he fixed his method by correcting his misbelief.

That was a lot, but you see how Hiro's growth is shown not just by his actions, but by his attitude surrounding those actions. For him and for almost every hero, there's a journey that goes from

I'm living my life and I will do nothing (at the beginning)

To Something Happened and I must do something (accepting the call)

To Something Else Happened and now it's personal, so I want to do this thing (midpoint)

To Oh my God I Was Doing it Wrong, now I'm going to Do It Right (aha)

I guess basically what I'm saying is that your character's MOTIVATION to Do The Thing can be and often is very different from the character's ATTITUDE about doing the thing. And either one can make for a compelling character arc.

Hopefully some amount of that made kind of sense. I mentally said it far better in the shower lmao, but this was a huge Aha Moment for me so I wanted to share it in hopes that maybe it helps some you.