#plot vs story

[vase]

Writing Tip #1: Getting Started, Part One - The Three Pillars

Getting started with a writing project can be intimidating, especially when one is self-taught or has no formal writing training. Not to fear, I've created this writing tip series to help out! Without further ado... let's get started!

In this entry, I'm going to cover what I believe to be the absolute basics of tackling a story. These pillars are commonly accepted to be: character, plot, setting.

Characters are, simply, the "characters" of a story (like defining the word "the", there's no better way to put it other than that it's... "the"). Characters are any living or personified being that move the plot and inhabit the setting. In essence, a character can be anything. For examples of non-human characters leading narratives, see the Warrior Cats series or Watership Down. There are also examples of non-living beings like towns being characters in a story (the names of these stories escape me).

A protagonist of a story is the character that the story is about. Usually, the protagonist of the story will also double as the narrator or something adjacent to it, but there are exceptions to this. For example, in The Great Gatsby, Nick is the narrator but Gatsby is the protagonist. Although we follow Nick through the story as he recounts the events of the story, the events focus around Gatsby, his life, and his choices. As presented here, a narrator is a character of whom the reader sees the events of the story through. A story can have multiple narrators (called colloquially "multiple POVs") or none at all (within the Third Person Omniscient point of view, which will be discussed next issue).

An antagonist is a character that opposes the goals or views of the protagonist. Base level media criticism harps on this fact (because base level media critics know nothing else about writing), but hero is not synonymous with protagonist, and villain is not synonymous with antagonist. While this is often the case, it isn't always. If a villain were the main character of a story, then the villain would be the protagonist and the hero would be the antagonist. Deuteragonists are the characters who are the second most important, second to the protagonist. Secondary and tertiary characters are characters that play varying degrees of supporting roles other than that of protagonist or antagonist, which generally becomes semantic to dictate beyond the secondary zone.

A dynamic character describes a character who changes throughout the course of the story (usually as a result of a character arc, but not always) and a static character is a character that doesn't change throughout the course of the story. Just because a character is static does not make them worse, both characters have a place in their respective stories or single story. Static characters often perform a certain niche or invoke change in other characters in them or their environment. Dynamic characters make for interesting and engaging stories that make it easier for a reader to like them over watching them struggle over long periods of time (unlike static characters, who are sometimes likable right off the bat).

When getting started writing characters, especially with no idea in mind, I heavily suggest using character forms. Forms like these, while sometimes heavily specialized to certains genres or fandoms, help exercise both general and specific details of a character. When creating characters for a story, it is important to consider how certain character archetypes and individuals will play into the message or type of story you're aiming for. For example, a protagonist in their mid-20s may not be best for a story about the firsthand horrors of old age. On the flipside, an elderly character may not be best for a high stakes action adventure. These could both be subverted ideas, but in general, throughout these tips, I'm going to preach the concept of learning the rules before they are subverted.

For fleshing out characters, writing character exercises is a good way to get to know the character that you will--most likely--end up writing a lot for a full fledged story. Putting your character in different situations and writing how specifically those situations are handled can help a character be uniquely understood beyond the confines of a form.

Plot is the events of the story in the order they are laid out to the viewer. "Plot" and "story" are stressed differently here, as plot refers specifically to how the story is relayed to the audience. Where the story is the complete list of all relevant events, the plot is what we as the reader are shown (for example, bathroom breaks are part of the story, because we're aware that they happen, but they aren't actually verbalized to the reader, so they're not plot). Plot also dictates the order in which events appear. Some stories have events appear in non-chronological order. In this case, the story would be all of the events in their chronological order, and plot would be the order in which they appear to the reader.

The most important element of plot taught in elementary school classrooms is Freytag's pyramid, attached below.

Exposition is the introduction to the foreign world that the reader is being introduced to--in terms of this post, exposition is when the reader is introduced to the characters and the setting. The inciting incident is a single event in which something of this world is tipped askew, leading to the events and conflict of the rest of the story. In the rising action, we are building up and up in conflict until the climax, in which all of the built up tension is released. In a fantasy story, this will be your final battle. In a romance story, this will be your first kiss. In a thriller, your killer is finally revealed. The falling action deals with the fallout of the climax and settles the story for the resolution. In Freytag's pyramid, the rising and falling dictates the level of conflict or tension arising from a story. It is important to note that it is absolutely possible to throw Freytag's pyramid to the wind. In smaller examples, a series of stories may skip the resolution in the end of its first book and will skip the exposition of the following books, because the story is not yet resolved and later books need no introduction to a world we were just in (however, series sometimes go to the exposition phase just in case, whether we were just with them or not, like in event of a time jump). In larger examples, stories may end with the climax or hack off different parts of Freytag's pyramid freely. Your story is yours to amalgamate, but again, learn the rules before you break them.

For more in depth ways of starting a plot, the 27 chapter method is a bit of a more fleshed out Freytag's pyramid that's easier to follow. The 27 chapter method, however, is meant to be used more as a "general guide" rather than a gospel.

Lastly, and frankly, often toted as least, is setting. Setting is simply the time and place that a story is taking place in. For now, I'm going to store away the topics of actually building a world (ie, Worldbuilding) for another day, and focus here specifically on the active role the setting plays in a story.

A story can be set anywhere, but just like the conversation of what characters best fit a story, choosing a good setting could better enhance a story. Any story written anywhere other than a believable place that humans could be is often referred to as a fantasy book, as creating this in-depth world often means that the protagonists will be exploring it, hence, "fantasy"-- ie. not real. It is theoretically possible to create a story in a fantasy world that does not harp on its existence in a fantasy world at all, but this would be... questionable, and probably not a good use of setting. Fantasy stories taking place in fantasy worlds are often called high fantasy, whereas fantasy stories taking place in our modern world is called low fantasy. On the topic of time, stories set before the piece was written are called historical fiction.

Setting builds the characters in our story, as our characters are all defined by their relationship to their setting. If a character grew up in the setting created, the setting itself will have an impact on who they are. If your character is an outsider to this world, then a lot of this character's personal conflicts may deal with being at odds with the strange world they've been put into. The setting also informs not only the genre and characters, but the status quo. In exposition, we are often being introduced to the ins and outs of the way this world works, as it will either inform the plot and characters throughout the story, or will be broken by the end of the story.

When starting a story, setting is not often what authors start with. Instead of giving places to start, like with plot and characters, I will instead advise the author to start with their characters or plot and work backwards. Looking at this character I've created, what kind of world would they come from? Looking at this plot I've created, what world would it take place in? I'm going to go more into worldbuilding in another issue, but for now, I will leave it at that.

Thank you for reading this far! I really hope this was helpful and enjoyable. I don't consider myself an expert but I do really like writing, and I want to share that love with everyone here. I'm going to keep this section brief because I've been typing up a storm, but thank you for all of your support. Hopefully, I'll be able to keep this up as a longer series.

[p1ctur3]

@octdl-lee

Random captive TDL au lore dump and some behind the scenes stuff since you asked so nicely :]

Dark in captivity

victim did use dark as a way to train and get the mercs and him used to the box

victim and agent (i would probably explore their dynamic in this au also, mitsi would haunt this narrative because yes)

some behind the scenes things

additional art

[rhapsoddity]

An impromptu meeting with Empire's Watcher council, surely Cuteguy can bring The Sheriff in right?

[grif-hawaiian-rolls]

Blue Team movie STORY night!

This week it's Junior's turn to be narrator

[helianthus21]

I think there's sth to be said about the first meeting of Marius + Armand vs that of Armand + Daniel.

Marius appearing to Armand as a savior when he lies half-dead in the brothel (I think Armand even says he thought for a moment it was Jesus Christ coming to answer his prayers) vs Armand appearing to Daniel as a nightmare creature. Marius carrying Armand out of a dark and bleak place vs Armand actively locking Daniel up in a cellar lmao. Armand being like "oh please would a monster give food and shelter to poor orphan boys?" when Marius calls himself a monster vs Daniel openly and affectionately calling Armand an evil bug who devours millions of lives.

sth sth seeing the sleek facade first vs. immediately being confronted with the ugly parts. sth sth a story of salvation turning into one of horror vs a horror story turning into a (gothic) love story.

[a-total-and-complete-nerd]

Brandon Sanderson: Fantasy vs. Sci-Fi

Almost all of BrandoSando's books straddle the line between the two genres, and after seeing @approximateknowledge's post here, I wondered how they would lay out on that chart. I was also inspired by this fascinating WOB about Skyward's genre. These are just my opinions, so let me know if you agree or what you think you'd change!

[gio-scrabbles]

“Shadow the Hedgehog vs the World” Poster Redux

Here is the final render of the poster that started it all over a year ago! This is for an AU I am still working on. I have a summary of the story and the original rough draft of the poster down below ⬇️

The story centers around Shadow the Hedgehog transporting himself to a new yet hostile world,

a world where GUN becomes corrupt,

a world where Black Arm/organic hybrids cause chaos within the umbra of society,

a world where Shadow died,

after Sonic is accidentally taken through a portal. Specifically in a Westopolis that will soon face the Promised Day.

Within the city, he is faced against a disgraced scientist as well as Sonic’s kidnapper named Dr. Kreo along with their hybrid experiments and their acquaintance, Doom’s Eye. In order to return him and Sonic to their own world, he must either follow every whim of the Doctor within the underground of Westopolis, or trek into the world to find the chaos emeralds. It won’t be easy to achieve the latter, however, as he is now a wanted suspect by gun due to stealing something, or rather someone, valuable to them as well as being a Black Arms hybrid, an ultimate lifeform, out in the open.

Will Shadow let humanity defy his destiny once again to save those he value, or will he face against the world to risk his powers and potentially his life in order to keep his newfound identity intact while protecting those in his own way?

Here is the original poster for reference:

[klanced]

you are so lucky to not have watched s4-8

people always ask me 'katie why did you only watch half of voltron??' and i'm just like guys i thought we all agreed that voltron was not a very good show 💀

[bobbie-robron]

History not forgotten but embraced…

[fischiee]

the best part abt rvb is how serious the creators were from the very start about literally everything EXCEPT the plot

they really just spent hours and hours recording and editing and producing and their plot was… people talk and then church dies and his gf shows up and then she dies

and it STILL launched a massive influential inspiring 21 year long show/company

[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.

[theriverbeyond]

i feel like Arcane is a 2 season show that ostensibly was always supposed to be a 2 season show, but somehow walked itself right into the "The Sequel Problem" just by virtue of season 1 being too fucking good. like s1 was THE perfect story imo, the plot was tight enough for good developments and resolutions, and left things open enough for fan exploration while ending in a place where u could easily imagine that this is The End Of The Begining, with all the characters eventually connecting to League of Legends canon. and then they make season 2 which comes out and is like.... a clipshow art showcase yuricocaine binge, which is fine if you're into that I guess, like don't get me wrong this is a technical and artistic banquet, but as a known Hater and Narrative Appreciator I can't help but sit here and be like: I know they "originally planned" this to be 2 seasons, but we are having The Sequel Problem. this just didn't need to exist.

[gertritude-art]

Lillie's development has been quite funny because she was originally supposed to be a very kind and sweet young girl, which is often a character archetype I like, but that energy with Mordred (in this specific dynamic) felt very tired + uneven. And so my unconscious response was to apparently move her closer and closer to fascism

[d8tl55c]

chosen watches the Cursor fly away. this time, it doesn't disappear at the top of... whatever must have happened during the fight. maybe from His perspective, the window was very small. that would explain the scale... and anyway, now, it must be fullscreen.

can ALAN see the whole world from out there?

the Cursor flies up, up, up, up, up and away to the little hole chosen poked in the IP address shell. hopefully ALAN won't be mad about that.

little colorful dots climb off of the Cursor, and hop back through the Wi-Fi tunnel.

then the Cursor starts to get bigger. whuh?

no, wait, it's getting closer.

shit. is He mad?????

chosen watches it fly back down, with that strange halting acceleration. going, going, GOING, and slow slow slowing. it takes only three swipes to return to sea level.

the Cursor hovers next to them. they feel themself being watched, but this time they can't watch back; only infer His perspective, from the angle of ALAN's sole limb in the digital world.

they can't help but turn to look where ALAN sees from anyway. empty air. creepy. but turning again, they see the Cursor wiggling gently. a little wave. disturbingly cute.

ALAN scoots the Cursor upward. brings it down. up, and down. up. up?

it takes a second to translate. of course, they can't hear each other, so they both have to infer from context clues.

"Do you want to come with?"

before they can think, they're already shaking their head. "no," i can't.

the Cursor scoots down, hiding much of itself below the cliff they're standing on, only the tip peeking over. somehow it still translates.

sheepishly, "please?"

it could mean several other things. "why not?" or, "okay," or, "im sorry." it could be another invitation to step on, and return to that sanctuary (PRISON PRISON PRISON PRISON PRISON PRISON) over the clouds. chosen doesn't know. they shake their head.

they shake their head, quick, several times.

they refuse it all.

they turn away from ALAN, and jump into the air, arms splayed in a maneuver they've done thousands of times before.

the fire doesn't catch right in their hands. it sputters, blasts too hard on one and not the other, and then shuts off completely.

they've been stupid, just now, and overestimated themself.

they're going to hit the water spinning out of control.

.

and then, they're not.

the Cursor has them by the back.

fear shoots through exhausted limbs. it flows, as it always does, from their core to their head to their fingers, and this time they...

...let it wash through them. excess stress chemicals stopper and fade. nothing is left behind.

the Cursor sets them so, so gently on their feet. they want to crumple and take a nap right now in the dirt, but they desperately don't want to offend His kindness.

still, their body is not cooperative at present, and it loses it for just enough time to trip their balance.

the Cursor is there again for them to lean on.

chosen is blindsided by anger.

why is He still here? shouldn't He be playing with His new pets??

chosen pushes off from the Cursor, hard, so they land a short distance away at the edge of the cliff ledge. they sit in the dirt, pull their knees in tight, and refuse to look at it any more.

waves sploosh against the rocks, one after the other.

the bay is a relatively calm offshoot of the local sea. too rough for normal swimmers; the perfect private spot for a pair of HI-PWR hollowheads.

green flashbangs fire in their memory. they squeeze their eyes shut, then open them, afraid of seeing something worse left alone with their imagination.

one after the other, waves sploosh against the rocks.

chosen peeks over their shoulder.

the Cursor is still there.

it doesn't fit into the landscape at all. it hovers with a distinct anxiety, too nervous to move a single pixel, yet aching to do something. as chosen looks back, it shifts a little closer- then quickly moves back to its original spot. the picture of, "nonthreatening." on another day, chosen would laugh at it.

they wave their hand in a repetitive motion. "shoo! go home."

the Cursor returns to peeking over the top of the ledge. it doesn't budge.

"GO HOME!" chosen gestures more sharply at the sky to the tunnel that leads to that place where no one would know where they'd gone and they might be (not not not not not not) safe. they feel nothing.

then He does something different. it's the same up, down, up, down gesture, but this time at an angle. chosen traces it along the cliffside, right to... the top. it's-

He's offering a ride to the top.

not all the way up to His domain.

just a lift to stable ground.

just to help.

a little nothing something.

just for them.

all thoughts leave their brain.

whatever this is, is

unfathomable.

they nod, once, outside of themself. why not?

the Cursor darts to attention- remembers itself- and moves in, slowly.

chosen gathers enough wits to stop it before it can click their back again.

to their relief, it complies.

they climb aboard its upper slope.

each movement is precisely calculated to hide signs of weakness.

it's warm to the touch on the black surfaces, like a rock under the sun. it's............

... nice.

when they're settled, ALAN moves the Cursor up the slightest bit - maybe ten pixels. "Ready?"

the way He treats them like such a fragile thing is starting to feel weird.

chosen grips the Cursor and spits a small burst of fire towards the loose rocks. "get a move on!"

and so, He does. He pilots the Cursor (smoothly, carefully) up over the cliff, then down, settling it as close to the grass as it can go without touching.

chosen slides off the slope.

the Cursor recoils back into the air. it hangs there, motionless, anxious again.

or maybe they're projecting.

whatever.

waves sploosh against the rocks, far below, quieter now. it's so quiet away from the trees. exposed. they should probably get out of here.

chosen stands on the cliffside.

the Cursor hovers in the air.

...

their peripheral vision detects it rapidly changing shape, and draws their head to follow the motion.

the Cursor is flipping between different Flash tools; Box, Hand, Line, Transform. it stops at, Text.

then ALAN types something into a floating text box.

[Im sorry]

so that is what he was trying to say earlier.

or maybe it wasn't, and this is only what he's trying to say, now.

or maybe

maybe chosen is far too tired for any of this.

they're tired, and they hurt, everywhere, and of course dark had to be late to lunch AGAIN for his stupid fucking secret surprise project, so chosen had to go fetch him, and now-

-is that-?

they reach up, and pluck ALAN's apology out of the sky.

the Cursor twitches, but doesn't intervene, as they tear it into its individual charset characters, piece by piece, and lay them in the grass.

when they're finished, they pick up the 's,' and stuff it in their mouth.

it's Times New fucking Roman.

a shot of savoury-sweet explodes on their tongue in singular taste, the way only charset can.

they eat both 'r's and the 'o' before slowing down.

the 'm' and 'I' are fine, but it's the 'y' that gives them pause.

they snap off its tail, and are left with a 'v.' TNR is nicely modular like that.

the 'v,' they hold up to ALAN (still lurking overhead).

the Cursor wiggles incomprehensibly.

chosen waves the 'v,' pointing at it for extra emphasis.

He scrolls back to the Text Tool, and chosen nods.

He summons a second 'v.'

chosen grabs it. now they have two 'v's: this is the moment of truth.

chosen holds up both of them, one next to the other, so they look like a-

ALAN types a 'w' into the text box.

chosen nods rapidly!

they toss the 'v's to the side.

then, they gesture at the 'w' - without taking it - and widen their hands, vertically.

it's quiet while ALAN thinks, in that unknown dimension outside of the screen.

He deletes the 'w,' and types a 'W' - and not just one, either. He summons a whole mess of them, overflowing onto several new lines of the text box!

chosen leaps at the wall of charset as though afraid it's a mirage. they crash through, landing in a pile of the things, and seize a 'W' from the air.

they bite from the left-hand leg where the ascender is thickest.

it's unspeakably delicious. it's been too long since they've had their favorite food. they've had a terrible morning, and a horrible afternoon, and it's all over and done with and noo- and ALAN brought them TNR again-

right now, He's copying ever more 'W's, pasting batches in the text box and chipping them off with the Cursor. it looks like manufacturing hard candy. chosen wants to laugh again.

they also want to cry, really, really hard.

later.

chosen chews their 'W' and hopes pathetic weeping isn't rendered on ALAN's screen.

and the Cursor works away, chipping, chipping, chipping, until a real pile forms in the clearing by the cliff over the bay.

...

eventually, the authorities will rise from their asses and come investigate the source of the explosion. the burnt trench leading directly from the brand new caldera to this cliffside, where a conspicuous amount charset is piled would be a dead giveaway of something going on. chosen will stash it somewhere under the trees or something, later. they don't care right now.

ALAN does.

[Will you be okay?]

it's odd.

chosen plucks out the extra 'W,' tosses it in their pile, and simply knocks down the rest so only, [okay] remains.

the Cursor sways gently. He deletes his message, then re-types, [okay.]

...

[If you need anything you can use The]- He halts, and carefully deletes the capital T.

[you can use the console again. To reach me.]

chosen nods, not knowing how.

[okay]

...

there's nothing left to say.

ALAN switches back to the Cursor.

chosen stands up from the grass.

He moves to leave.

they stay still.

He moves a little further, then stops.

wiggles.

waving goodbye.

waiting for their response.

what a strange creature.

chosen waves back, this time. so He'll go away.

[inksandpensblog]

Still fascinated by how much hate Mitsi gets for the whole "dead fem-coded loved one backstory" thing and all the hangups surrounding that when Purple's mom is arguably a much more egregious instance of the thing everyone is upset about Mitsi for but she ultimately got a pass because...idk, she was The First?