If you’re writing an ensemble cast, rather than just a single protagonist and antagonist, you may need to be able to write with multiple Protagonists, and understand what that means and how to do it well. However, an ensemble cast doesn’t necessarily mean you have multiple protagonists, you may have a large cast revolving around a single Protagonist. They’re only a Protagonist if you’re directly following their story.
“Pantsing” comes from the expression “fly by the seat of your pants.” If means to be making your story up as you go, and finding out what’s going to happen along the way. “Plotting” is where before you start writing, you work out who you characters are, key events in the story, what page count you’re aiming for etc in advance, and then you follow that plan as you work.
Writing effective and interesting prose is something we all have to work on to be good writers. Too much and it’s boring and tedious, too little and it’s too sparse and you don’t feel like you know the characters feelings or the environment they’re in well enough.
The Death Of A Mentor is a technique used in story to motivate the Protagonist, by killing the person who has taught them to do what it is they do.
Your first act is setting up what they want, the second act is where they start to pursue it, and the third act is where they’ve learned what they need to learn to go about getting it. Your midpoint comes at a point where your story pivots into a new setting or a new scenario.
A three act structure is like a framework for your story, and is how you move your plot along in a controlled way that keeps your story organised and making sense. However, as with most things there is fluidity to it and if a three act structure doesn’t work for your story that’s okay, but if it does work, and it does help you, then this is a good guide on how to implement it and why you might want to.
If you’re a reader who loves certain writers and is heavily inspired by them, how do you prevent those writers influencing your work so heavily you lose your own unique voice.
To explain how and why you use Narrative Triplets in your writing, I am referencing the film Spider-Man Into The Spiderverse, so this post does contain SPOILERS if you’ve not seen that film. I’ll cover key moments in the film and how these Narrative Triplets make the entire plot stronger.
Most of the time when you go into reading a book or watching a film, there will be a person who’s telling you the story, it might be the lead character who’s POV you’re in, or an actual narrator. That’s usually a person who you trust is giving you an accurate account of the events occurring in your story. However, there is such a thing as an “unreliable narrator,” and I’ll be explaining how and why you might use an “unreliable narrator” by referencing the book The Girl On The Train by Paula Hawkins.
Taking your characters from the mundane to the magical, a technique used in most fantasy stories, when you take your character from their normal life in their ordinary world that they’re familiar with, and into a magical world that’s new.