Turning An Outline Into Chapters

Drafting Your Creative Time: Your Guide to Planning a Year of Creative Writing

2024 is about to start. You’re going to venture into another year of writing incredible stories, but what will that practically look like? I feel more in charge of my creativity by planning rough writing schedules. Here’s how you can do the same without locking yourself into a too-strict calendar that leaves your writing spirit depleted.

Set One Writing Goal

Twelve months is a lot of time, but anyone can handle a single goal. Make the next year easy on yourself by picking one thing you want to accomplish (and let’s not make it “publish my novel” if you’re just starting the manuscript on January 1, given how it takes roughly 18 months of work after you get an agent) (and that can take a few weeks to a few years, depending on your querying experience!). 

Try picking a manageable writing goal like these:

I will write 10 chapters of my novel.

I will make a collection of 5 short stories I write this year.

I will submit a short story to at least 3 contests this year.

I will publish one new work of fanfiction in the next 12 months.

I will write one short story in a new genre.

Publishing a book can be a long-term goal, but your 2024 goal should be easy to break down into manageable steps you can accomplish by yourself. You’ll be more likely to reach the finish line and work toward another goal.

Establish a Stress-Free Writing Schedule

Creativity comes and goes, but your writing will never get done if you don’t form some kind of schedule. Your upcoming year could look something like this:

I’ll write every Wednesday night between 7-7:30 p.m.

I’ll use voice-to-text to get my story-related thoughts on virtual paper for five minutes every morning before school.

I’ll do freestyle writing for five minutes on Mondays and Saturdays to keep my thoughts flowing, even if I don’t find more time to work on my story that week.

Your schedule should be realistic, which means it shouldn’t stress you out. Make it match your weekly and daily routine. When do you naturally feel most energized? When can you carve out ten minutes for your craft? 

Remember, you can always (and should!) adjust this set schedule as time goes on. Your non-creative schedule most likely won’t look the same on January 1 as it will on December 31.

Save a Few Writing Prompts

You might have a few weeks here or there when you’re juggling life’s responsibilities and can’t get to your WIP. It happens to all of us!

When you’re busy, try answering a writing prompt in three sentences or less. Use your phone, a sticky pad, or whatever’s nearby. You never know if it’ll inspire you later when you’re free to write.

In the meantime, you’ll keep using the creative side of your brain so your writing abilities don’t feel so distant.

Check out these prompt apps if getting online isn’t your thing or takes too much time from your busy schedule!

Find a Writing Community

There are so many ways to build a writing community. Start a tumblr about it (guilty as charged) or join a Facebook group. Find an active Reddit thread about your favorite genre or join a Discord server with writers. 

You don’t even need to start talking to others and making friends if it makes you anxious. Read what people are saying to get inspired by everyone. You’ll naturally join in when you get excited about something they’re discussing and keep creative writing at the front of your mind.

Read Lots of Books

I always feel more connected to my writing when I’m actively reading. Artists of any kind need a source of inspiration to keep their creativity flowing. Keep an actively growing To Be Read list with apps like Story Graph (a Goodreads-type app that isn’t owned by Amazon and gives so much more information about your curated reading history!).

Visit your local library if you don’t have the money for new books all the time (who does?). As you get inspired by what you read, you’ll also pick up skills from authors you admire or note things you don’t want to recreate. Study each story’s structure and character development. You’ll return to your WIPs with renewed passion.

Embrace the Scary Editing Stage

Your first draft is your thoughts and dreams poured out on paper. The editing stage is where you refine and re-write your work until it shines. Set aside specific time for editing after completing a first draft of any story. Even if your editing phase doesn’t take very long, working on line edits and developmental edits will make your work so much better.

It’s also a normal form of frustration for writers, but one that happens no matter where your writing goes (on fanfiction websites, short story contests, a literary agent’s desk, etc.).

Schedule Your Rest

Writing might feel like a natural hobby, but your brain and body still need to rest after periods of intense focus/work. Schedule rest periods into your daily or weekly calendar. It’s time to recharge in whatever ways best suit your body, like:

Sitting outside

Walking in a park

Reading

Sitting in a hot bath

Going to the movies

Sleeping in

Keep in mind that sometimes you’ll need more rest than others. Extend some self-compassion by checking in with your physical and mental energy frequently during the next year. If you take time to rest, you’ll be less likely to burn out creatively.

-----

This next year will be full of growth, challenges, and joys in your writing life. Embrace every second by resting and writing in new ways.

How do you find a balance between “show, don’t tell” and “readers might not catch/understand this subtle concept or showing it would be too convoluted or more open to interpretation than it needs to be”? It doesn’t help that everyone encourages more showing even if it swallowing little details that are supposed to stand out. Basically, I feel like I overthink my showing as being too tell-y even when it already has several layers of meaning and is already too dense for average readers.

“Show don’t tell” resources & advice...

I think people often mistake the advice of “show don’t tell” as being in the interest of making one’s writing more literary; more “high art” than candid prose typically is. The advice is intended to help one recognize when their prose is becoming dull or unengaging to the reader. Showing is supposed to promote an organically flowing reading experience, rather than turn the writing into a flowery, pretentious, and unintelligible mess. Finding a satisfying way to deliver information in the text that isn’t “I felt” or “I thought” is important. It should never dilute the information. Clarity comes first, and then one can configure the sentence to add as much richness to the reader’s ability to immerse themselves as possible. 

If the desire is to show that the character is sad, writing that “she looked down at the floor and wrapped her arms around her own waist” is not going to be any less indicative of that information than “she felt sad”. That is the point of this advice. It is not a way for one to convert information into a code that the reader must analyze in order to comprehend the basic idea of what the scenes are about. This isn’t 1597, and nobody is asking anyone to be Shakespeare. 

Density of a piece of writing does not give it inherent worth. Ease of comprehension doesn’t always have to be the number one priority, but it should be a considerable factor when one accounts for their audience and their subject matter. If one is writing a young adult fantasy trilogy, the density of the writing should be adherent to the demographic’s ability to comprehend certain writing styles. “Show, don’t tell” applies to all writing, but different writers interpret it differently, often based on who they’re writing for. If the concept you’re trying to convey to the reader in a subtle manner is not coming across without blurting it out in the text, perhaps the problem isn’t the way you’re describing it, but the concept is weak in its current state. 

Easily misinterpreted meanings or concepts are often not the victim of descriptive style, but being underdeveloped sub textually. No important concept can be described once within a dense text and expected to translate as intended into the reader’s understanding. If it’s important enough to the bones of your story and meaning, it shouldn’t rely on the manner of description to shine through. Sometimes the density of a text is a product of too much intentional symbolism or motif. It’s okay to allow some things to be meaningful purely in interpretation. It’s okay to acknowledge that you allowed something that obviously implies meaning to be prescribed its implications by the readers. 

Here are some of my other resources on the topic that you may find helpful:

Resources For Describing Characters

Resources For Describing Emotion

Conveying Emotions

All About Colors

A Writer’s Thesaurus

Showing VS Telling in First Person POV

Using Vocabulary

Balancing Detail & Development

+ When To Use “Felt”

Showing Vs Telling

How To Better Your Vocabulary & Description

Describing emotion through action

Improving Flow In Writing

How To “Show Don’t Tell” More

–

Masterlist | WIP Blog

If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee, or pledging your support on Patreon, where I offer early access and exclusive benefits for only $5/month.

Some tips for using a few words to describe voices:

1. Tone Words: Use tone words to convey the emotional quality of a voice. For example, you can describe a voice as "melodic," "soothing," "sharp," "gentle," or "commanding" to give readers a sense of the tone.

2. Pitch and Range: Mention the pitch and range of the voice. Is it "deep," "high-pitched," "raspy," or "full-bodied"? This can provide insight into the character's age, gender, or emotional state.

3. Accent and Diction: Describe the character's accent or diction briefly to give a sense of their background or cultural influences. For instance, "British-accented," "Southern drawl," or "formal."

4. Volume: Mention the volume of the voice, whether it's "whispering," "booming," "murmuring," or "hushed."

5. Quality: Use terms like "velvet," "silken," "gravelly," "honeyed," or "crisp" to convey the texture or quality of the voice.

6. Rate of Speech: Describe how fast or slow the character speaks, using words like "rapid," "slurred," "measured," or "rambling."

7. Mood or Emotion: Indicate the mood or emotion carried by the voice. For example, a "quivering" voice may convey fear or anxiety, while a "warm" voice may express comfort and reassurance.

8. Resonance: Describe the resonance of the voice, such as "echoing," "nasal," "booming," or "tinny."

9. Timbre: Mention the timbre of the voice, using words like "rich," "thin," "clear," or "smoky."

10. Cadence: Highlight the rhythm or cadence of speech with descriptors like "staccato," "lilting," "rhythmic," or "halting."

11. Intonation: Convey the character's intonation by saying their voice is "sarcastic," "apologetic," "confident," or "questioning."

12. Vocal Characteristics: If applicable, mention unique vocal characteristics, like a "lisp," "stutter," "drawl," or "accented 'r'."

Creating Fictional Holidays

Every culture and society has holidays! They are often one of the most enjoyable parts of societies and bring people together despite all of their differences. For your story, they are a great way to take your worldbuilding to the next level and make everything feel that much more real. But, Ailey, why does my world even need holidays? Well, personally, holidays are so much fun to create. You can pretty much do whatever you want to do! And, holidays can often provide great opportunitiesfor plots and sub-plots in your story. Holidays can give your characters the opportunity to gather with family, remember the family they lost, get a great deal on a super cute maxi dress, go on a blind date, or go to an awesome costume party. We, as people, need holidays, and so do your characters! So here are some tips on creating holidays for your world. 

Basic Questions to Ask Yourself

What are the rituals/traditions of your holiday?

How long is the holiday (just a day, or a week, or a month)?

If the holiday is longer than a day, does it build up? Is there a most important day, and how does that look?

How does religion influence how your holiday is celebrated?

What food is traditionally served?

How do people decorate to symbolize the holiday?

Are there gifts exchanged?

Do people traditionally play games?

Getting Inspiration

The best place to get inspiration for the holidays in your world is by looking at the world around you. Maybe your family has a super cool and quirky tradition that you always wished was a holiday, tweak it a little to fit the circumstances of your world, and boom now it is. Those traditions are important to you for a reason, and often times, family traditions can eventually morph into a national holiday. Outside of that, I would look at the holidays of both modern and national holidays. Ancient Rome and Ancient Greek have plenty of holidays for you to get inspiration from, and there are so many cultures out there that have incredible traditions that you can most certainly turn into holidays! Almost every holiday is rooted in one of five things which we’ll get to next religion, a season, war, labor, and the government. Make sure that applies to your own world as well. 

 Types of Holidays

Religious Holidays: Your world probably has a primary religion or primary religions. Every religion has holidays that they celebrate to celebrate their god or gods and show their devotion to them. For religious holidays, sacrifice and atonement often play a huge role. Lots of religious holidays include fasting in some part of them. Maybe, there’s a holy person who founded the religion or did something super important and all the people love them. Well then they probably have a holiday or a feast of some kind in their honor. For example, in Catholicism, Saints have Feast Days! I don’t think anyone celebrates every Saint’s Feast Day because that would be like every day of the year. Some people, especially those who live in the Saint’s home town or an area which they are the patron of, have a parade or small festival in their honor on the Feast Day. On the Feast Day of my patron Saint, St. Francis de Sales, I normally will pray a novena which is a prayer you say for nine consecutive days timed so that it ends on his Feast Day, light a candle, say another prayer specific to him on the feast day and maybe bake myself a batch of cookies. 

Seasonal Holidays: Seasons are so important to our world, and lots of cultures celebrate them. Lot of important events rotate around the seasons: harvest, planting, fertility, hunting, hibernation. They mark our journey in life, year after year, and allow us to reflect on all of life’s changes. How your people celebrate seasonality is up to you. You could fashion it after holidays like the Summer and Winter Solstice or the Autumn Equinox. A holiday celebrating summer in my world takes some inspiration from May Day celebrations in England. The holiday could literally be as simple as a festival that celebrates the season’s arrival which could be really interesting if your world has different seasons than ours. Or the holidays could be more complex, tying in cultural values with the seasons. I, personally, would love to see a world with different seasons for a world that has more than four seasons because I think that could bring in some really cool holidays and festivals

War/Government Holidays:  There was most likely a war or a series of wars in the history of your world. People love freedom. It’s a core value for so many people and so many countries. Therefore, most countries like to have a holiday celebrating the day they won their freedom. Almost every country has some kind of Independence Day celebration. If your country has never had to gain their independence, they’ve probably still fought and won a war before. They may celebrate their victory and take the time to remember those who died during the war like many European countries on Victory in Europe Day to celebrate the End of World War 2.  Then you have your government holidays like Presidents Day in the US which isn’t really celebrated, but I do get a day off of school, so that’s always nice. Maybe the ruler of your country has decreed that their birthday is a national holiday in honor of them. Or going along with holiday’s celebrating independence, maybe the country celebrates the birthday of their founder every year in a national holiday! 

Labor Holidays: And lastly, we have our labor holidays, which are some of the best holidays in my opinion. Everyone needs a break at times. Labor holidays acknowledge that, and they give you the day off with absolutely zero strings attached. No church, no war to hold remembrance for, just a party with your friends, no school and no work. These holidays are not the best but also probably some of the most important. If the people in your world work five days a week (assuming weekends and a similar calendar schedule) without any long breaks, they are going to get burnt out. Burnt out people are easily irritable, and easily irritable people lead revolutions. Giving your people a holiday where they don’t have to think about anything else other than themselves is a great way to keep the people appeased! 

how to write relatable characters

writing relatable characters may seem like an easy task, especially when you’re constructing your protagonist. but what if you want to make your antagonist likeable? what if you want people to hate your protagonist but still root for them? all of this and more requires that your characters be relatable. they need to feel real, so how do you do that? here’s how:

- flaws: this is probably obvious. everyone has flaws, so we should give our characters flaws, too. this applies even if your character is non-human; they cannot escape the personification that we as writers or readers project onto them. we are humans reading, so we expect to see human qualities everywhere we look. if you’re having trouble of identifying your character’s flaws, here are some prompts for ways to think about flaws beyond a list:

what skills do they lack? what do they struggle with?

can their strengths be turned against them as a weakness?

what makes them react emotionally or impulsively?

are they aware of their flaws? if so, do they want to improve them or change them?

- quirks: these are what make your character unique or special, and no, i don’t mean purple eyes or unique physical traits. i mean: what makes your character authentically themselves? what traits define them that few others have? some ways to think about this are:

how do they react when nervous? do they have a tell? similarly, how do they react on behalf of any emotion?

what skills do they have that hardly anyone else has?

what obscure thing are they obsessed with?

do they have a unique outlook on life compared to their peers?

- values: these come from life experiences: where we were raised, our family and friends, our community, religious affiliations, etc. i suggest identifying eight to ten values that define your character and then narrowing that list down to five values that mark their core or essence. think about how these values influence their choices, decisions, and ultimately, the plot of the novel. here are some more prompts to think about values:

how do they react when their values are challenged? are they one to speak up or do they sit back in the shadows?

what, if anything, will change or shatter their values?

are their actual values misaligned with their believed values?

- stakes: what is at risk for your character? what is motivating them? stakes don’t need to be over the top or life or death; they can be as simple as maintaining a relationship or reaching a goal. unless there’s an outside influence (ie. percy’s mother being kidnapped in The Lightning Thief), most stakes—especially those relatable—tie back to values. even those influenced by outside factors can tie back to values: the only reason percy is motivated to get his mother back is because he cares for her and she is the one person who has always advocated for him and cared for him. he values family and riordan uses his family to motivate him and incite the plot. generally, there will be one overarching stake for your character, but throughout your novel, there should be several smaller stakes. these may not service the plot but should elaborate on your character nonetheless. some ways to think about stakes include:

how can i use internal or external factors to create convincing, relatable stakes that tie back to basic values?

why does the overarching stake matter to my character? why do they care?

how can i raise the stakes or introduce new ones that are relevant to my character and illustrate them as a relatable being?

- connection: even if your character is an introvert, they will still be connected to someone, something, or even an idea. we, as humans, look to certain people, pets, objects, and ideas to maintain our sense of reality whether we realize it or not. if your character prides themselves in having no attachments, think about the ideas or themes that mark the cornerstones of their reality. most human beings strive for some form of connection, so here are more prompts for thinking about your characters and connection:

what does connection mean to my character? how do they show how they value their connections or relationships?

how does my character’s behavior change when around different connections?

what connections define my character and their reality? how will these connections influence my character and/or the plot?

how will removing or challenging a connection change, influence, or motivate my character?

a good rule of thumb is to treat a character as a human, not a plot device. there is a time or place in which a character must act as a plot device, but if you’re wanting your readers to be compelled by your narration and the characters within them, you should strive to write your characters as human (aka as relatable). one of the greatest pleasures i find in writing is when other’s identify themselves in my writing.

you’re not just here to tell a story, you’re here to connect with others through the illustration of your characters. let the reader navigate your prose as a detective, to search for and identify the evidence provided by you. that is to say, show us how these things manifest in your character. don’t tell us.

happy writing! hopefully this post gave you some ways to start thinking about how to show the relatability of your character. if you have any questions about implementing these tools or about writing characters, our ask box is always open.

It’s very humbling when you’re reading a book —part of a trilogy, very acclaimed— and the only thing you can think of is ‘the fanfic I read the other day was better’

Story Structures for your Next WIP

hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.

everything in life has structure and storytelling is no different, so let’s dive right in :)

First off let’s just review what a story structure is :

a story is the backbone of the story, the skeleton if you will. It hold the entire story together.

the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.

1. Freytag's Pyramid

this first story structure i will be talking about was named after 19th century German novelist and playwright.

it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.

Freytag's Pyramid structure consists of:

Introduction: the status quo has been established and an inciting incident occurs.

Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,

Climax: the protagonist can no longer go back, the point of no return if you will.

Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...

Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.

this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.

2. The Hero's Journey

the hero's journey is a very well known and popular form of storytelling.

it is very popular in modern stories such as Star Wars, and movies in the MCU.

although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:

The Ordinary World: The hero's everyday routine and life is established.

The Call of Adventure: the inciting incident.

Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.

Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.

Crossing the First Threshold: first steps out of the comfort zone are taken.

Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.

Approach to the Inmost Cave: hero approaches goal.

The Ordeal: the hero faces their biggest challenge.

Reward (Seizing the Sword): the hero manages to get ahold of what they were after.

The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.

Resurrection: a final challenge, testing them on everything they've learned.

Return with the Elixir: after succeeding they return to their old life.

the hero's journey can be applied to any genre of fiction.

3. Three Act Structure:

this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.

Act 1: Setup:

exposition: the status quo or the ordinary life is established.

inciting incident: an event sets the whole story into motion.

plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.

Act 2: Confrontation:

rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.

midpoint: an event that derails the protagonists mission.

plot point two: the hero is tested and fails, and begins to doubt themselves.

Act 3: Resolution:

pre-climax: the hero must chose between acting or failing.

climax: they fights against the antagonist or danger one last time, but will they succeed?

Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.

4. Dan Harmon's Story Circle

it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.

the benefit of Harmon's approach is that is focuses on the main character's arc.

it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.

the character is in their comfort zone: also known as the status quo or ordinary life.

they want something: this is a longing and it can be brought forth by an inciting incident.

the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.

adapt to it: of course there are challenges, there is struggle and begin to succeed.

they get what they want: often a false victory.

a heavy price is paid: a realization of what they wanted isn't what they needed.

back to the good old ways: they return to their familiar situation yet with a new truth.

having changed: was it for the better or worse?

i might actually make a operate post going more in depth about dan harmon's story circle.

5. Fichtean Curve:

the fichtean curve places the main character in a series of obstacles in order to achieve their goal.

this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.

The Rising Action

the story must start with an inciting indecent.

then a series of crisis arise.

there are often four crises.

2. The Climax:

3. Falling Action

this type of story telling structure goes very well with flash-back structured story as well as in theatre.

6. Save the Cat Beat Sheet:

this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.

Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)

Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.

Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?

Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.

Catalyst [12]. The inciting incident!

Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.

Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.

B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.

The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.

Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.

Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.

All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.

Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)

Break into Three [85]. Armed with this new information, our protagonist decides to try once more!

Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.

Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.

(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)

7. Seven Point Story Structure:

this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.

this structure is about dramatic changes from beginning to end

The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.

Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.

Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.

Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.

Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.

Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.

Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.

(all information regarding the seven point story structure was copy and pasted directly from reedsy!)

i decided to fit all of them in one post instead of making it a two part post.

i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!

if you find this useful feel free to reblog on instagram and tag me at perpetualstories

Follow my tumblr and instagram for more writing and grammar tips and more!

Tips for writing an essay with executive dysfunction: do this.

Write out bits and pieces of the essay. When you get to a part you can’t/”don’t want to” write, put it in bold brackets. Get as much done as you can and come back in a half an hour or so!

If the executive function is still bothering you, take it one bracket at a time. Don’t delete the bracket until you’re done “filling it in,” so to speak. If you need to take more breaks or hop to the next bracket, you can do that too! Similarly, if you have a thought you want to get down but you aren’t sure how to word it, put it in bold brackets as well!

It may not “cure” the executive dysfunction or procrastination problems, but it makes writing the essay more like putting shapes in holes of the same shape. It can be a pain, but the process is a bit more streamlined and user-friendly.

I know this may not work for everyone, but as someone who has really bad executive dysfunction and problems focusing (thank you, ADHD!) this works REALLY well for me! I hope by sharing it it can help other people (with and without executive dysfunction/adhd) too! o/

reminder to worldbuilders: don't get caught up in things that aren't important to the story you're writing, like plot and characters! instead, try to focus on what readers actually care about: detailed plate tectonics

WEBSITES FOR WRITERS {masterpost}

E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;

Hiveword - Helps to research any topic to write about (has other resources, too);

BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;

Charlotte Dillon - Research links;

Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;

One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;

One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!

Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;

National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;

Penguin Random House - Has some writing contests and great opportunities;

Crime Reads - Get inspired before writing a crime scene;

The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;

Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;

QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);

Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;

Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;

I hope this is helpful for you!

(Also, check my blog if you want to!)