Articles about how to structure your story.
Most people have a friend. At least one. Someone they talk to and share their fears with, reflect on their options with. The same is true of your Protagonist. I’ll write about how to write a friendship that feels both real, and is also beneficial to your story.
I’ll be talking through things you need to include to write Chapter One of your book, and hopefully leaving you feeling empowered to make that step. The world needs more stories, let’s make yours one of them.
World Building is the technique of telling your readers what world your story is set in, whether the laws of nature match ours, whether there is magical lore they need to understand, and how the society functions. World Building is essential for most stories, other wise your readers won’t understand how your characters function throughout the story, but it can be done badly. I’ll write about how to World Build effectively, and mistakes to avoid.
One of the key ingredients to a successful story is for your characters to be well motivated. Your Protagonist, your main character, wants something and is motivated enough to after it, and you write that journey. But the conflict lock is what turns it from some random events into a real story.
Your story “continuity” is making sure that from one scene to another, nothing changes about the people or the environment they’re in, that wasn’t intended to change and tracked by the writer. In film and TV errors, continuity errors can happen due to wardrobes changing suddenly, placement of props on the set, or weather, but I’ll be focusing specifically on the written word because as a writer the story continuity is your responsibility to control.
If your book is too dialogue heavy, it can read like a script. You don’t get to know the environment your characters are in, or connect with their interiority in a way that you can relate to their emotions. However, if your book is too prose heavy, it can make it hard to get to know the characters because so much of how we ground ourselves in our characters is in how they communicate with each other. So, it’s important to strike a good prose to dialogue ratio.
Sometimes as part of your story, you’ll have information that needs to be delivered in order for the story to make sense. This could be rules of magical lore within your Universe, details of a quest your character goes on, world building about the environment they live in if you’re writing in high fantasy or sci fi, or politics of the time such as a war they’ve been engaged in or who is in charge. But, ultimately, either your audience, or both your character and your audience, need information to be delivered to them in order for you to tell your story.
If you are planning a series of books or films, then you need to write the first one in a way that will encourage your audience to come back for the second installment, and excite them to read further adventures with those characters. One way of doing that is with a cliffhanger, so you leave part of your story untold and end it at a point of tension that the audience hopes to be resolved next time. However, there are negative consequences to that decision.
Your character’s back story is their history and life prior to your jumping in point for this story. I’m going to be writing about how much back story you should give to your characters, how much you should make present in your plot, and how much you should pre-prepare rather than find out and fill in along the way according to what is useful to the story and character as you go.
In most of these pieces of writing advice, I reference the conflict, because there is no story without conflict. So what actually is conflict?