Creative Writing Template

Creative Writing Template-51
Use simple, reliable tools to build a of your novel, then slowly fill out the detail, either as you go, or (if you prefer) upfront. But a structure strong enough to carry the entire book. Or – full disclosure – it’s what Let’s start simple. We’ll get there soon enough, but for now just think, Structure-structure-structure. So let’s say your name was Jane Austen and you had a great idea for a novel about a prideful guy and a charming but somewhat prejudiced girl. You just need to do the same with your book or your idea, and keep it really simple. (Oh, and we’ve called them sub-plots, but you can call them story strands, or story elements, or anything that feels right to you.)Subplot 1 Jane Bennet (Lizzy’s caring sister) and Mr Bingley fall in love, but Bingley moves away, then comes back. Subplot 2 Lydia Bennet (Lizzy’s reckless sister) elopes with Wickham. Subplot 3 Odious Mr Collins proposes marriage to Lizzy. Her more pragmatic friend, Charlotte Lucas, says yes. If you’re a fan of , you’ll know perfectly well that our outline so far still misses out masses of stuff.. There’s nothing to say on character development, subtleties, supporting cast, and so on. You must know your main character’s motivation and your story’s premise, no matter how complex a plot you ultimately create., for instance, is a story where everything’s evidently been built around Lizzy’s journey – and everything’s tied to her motivation as protagonist. But by getting everything else in place and putting a “girder needs to go here” sign up, the structure is still brilliantly clear. So if you were Jane Austen, and had a good handle on your story, you might put together something like this. It doesn’t say a thing about character relations, why each feels as they do. Too much on plot or character mechanics early on can confuse first plans, so try and simplify. Doing this helps you be very clear from the start what your story’s about.

Use simple, reliable tools to build a of your novel, then slowly fill out the detail, either as you go, or (if you prefer) upfront. But a structure strong enough to carry the entire book. Or – full disclosure – it’s what Let’s start simple. We’ll get there soon enough, but for now just think, Structure-structure-structure. So let’s say your name was Jane Austen and you had a great idea for a novel about a prideful guy and a charming but somewhat prejudiced girl. You just need to do the same with your book or your idea, and keep it really simple. (Oh, and we’ve called them sub-plots, but you can call them story strands, or story elements, or anything that feels right to you.)Subplot 1 Jane Bennet (Lizzy’s caring sister) and Mr Bingley fall in love, but Bingley moves away, then comes back. Subplot 2 Lydia Bennet (Lizzy’s reckless sister) elopes with Wickham. Subplot 3 Odious Mr Collins proposes marriage to Lizzy. Her more pragmatic friend, Charlotte Lucas, says yes. If you’re a fan of , you’ll know perfectly well that our outline so far still misses out masses of stuff.. There’s nothing to say on character development, subtleties, supporting cast, and so on. You must know your main character’s motivation and your story’s premise, no matter how complex a plot you ultimately create., for instance, is a story where everything’s evidently been built around Lizzy’s journey – and everything’s tied to her motivation as protagonist. But by getting everything else in place and putting a “girder needs to go here” sign up, the structure is still brilliantly clear. So if you were Jane Austen, and had a good handle on your story, you might put together something like this. It doesn’t say a thing about character relations, why each feels as they do. Too much on plot or character mechanics early on can confuse first plans, so try and simplify. Doing this helps you be very clear from the start what your story’s about.

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If you know there are areas that need improvement, do what you can to fix those things before you bring it to us.

A 17-video course that propels you right through every aspect of writing a terrific novel.

(Harper Lee herself was daughter of a small-town lawyer.) He’s fighting to defend a man accused of something he obviously didn’t do. Introducing that second, reverberating plot strand meant that Harper Lee’s novel had the heft to become a classic of world literature. that kind of thing always had its audience – but that audience had never encountered a frankly told lesbian coming-of-age story in that context, and the result of that shock collision was to produce a literary sensation. Whereas before the book had felt a bit like, “yep, gotta solve the mystery, because she’s a cop, and this is a crime novel, and that’s just what these books have to do.”Now it was: “We HAVE TO solve that mystery, because these bastards abducted our protagonist and, even though she escaped, she is still echoing with that shock.”Steel. Can you imagine Ian Mc Ewan’s have worked if no one had died? The novel wouldn’t work if John Fowles had planned it differently.

Targeted for who he is, rather than anything he’s done. Another way to complicate your plot is to throw action into a different genre – such as sci-fi, fantasy or crime. Looked at one way, that’s a pretty much standard issue romantic story, which, yes, could have sold, but could never have made the huge sales it actually racked up. Why was it that went on to get such gigantic sales across the globe? And, although we’ve listed out four methods for intensifying and improving your novel, there are a million more. It does matter that you do , for example, is narrated by a kidnapper and the girl he’s kidnapped. Still, neither character is the other’s subplot – both Fred and Miranda need their own story arc for this to work – and a plot for one will look differently to a plot for other in by Rainbow Rowell. Rowling) lets us into the mind of an anonymous stalker in . We grasp what’s at stake if Cormoran and Robin don’t find him. Be sure to read up on points of view, if you’re planning to experiment here – and use a plot template for each protagonist.

But Stieg Larsson rammed that basic story with an exotic character: Lisbeth Salander. The climax was rip-roaring (set on a trawler at sea in a force 10 gale.) But . We’ll even be frank with you about the odds of getting published, and answer all the questions you have about literary agents.

That woman had Aspergers, she was a bisexual computer hacker and rape survivor . boom – something totally new was born and vast worldwide sales resulted. Because we’ve helped hundreds of writers like you through the agent / publishing / self-publishing process, you can absolutely rely on the quality and professionalism of the advice we offer.

Its own structure of Initiating Incident / Developments / Crisis / Resolution. What that means for you, is that you use our basic template in sketch form to start with – a sentence or two per section.

So you may as well drop everything you have into the grid below.(If you want to adapt that grid a little, then do, but don’t mess around with it toooo much. Then you go at it again, and give each section its own paragraph.

Plotting a novel from scratch – imagining the whole thing in your head before you start – that’s hard. Get a sheet of paper or notebook and have it by you as you work your way through this post. If that seems a little harsh, then I’ll allow you 3 sentences for the “Developments” section: that’s where the bulk of your book is going to lie. In fact, it’s just like this universal unlocking device for pretty much any structural challenge in fiction. Status Quo Lizzy’s sister elopes, threatening the social ruin of her family. If you were Jane Austen you might, for example, start out by saying something like “Lizzy breaks with Wickham, because it turns out he’s a bad guy. In fact, the way we’ve done it here Subplot 3 (which happens in the middle of the book) comes after Subplot 2 (which comes at the end). Sketch your additional story material down as swiftly as neatly as Miss Austen has just done it. Nothing should be superfluous – and planning like this at the outset helps you be sure everything you write is significant. And out of (intelligent) action comes a better book.

Either way, the trick is to get the most basic structure of your plot sorted out as a first step. And that means, yep, that YOU need to start simple. So do this: Write down the following headings: Main character Status Quo Motivation Initiating Incident Developments Crisis Resolution Simple right? That means a maximum of 1-2 sentence for each heading there. Too much complexity – all that intricate plot detail – just gets in the way of finding the actual bones of your novel.(Oh, and I don’t want to digress too much, but that same basic template works if you want to build a scene, or write a synopsis, or structure a key piece of dialogue. Your plot template might look something like this: Character Elizabeth (Lizzy) Bennet, one of five daughters in Regency England. Lizzy agrees to marry him, deciding now that she loves him, after all. In fact, if you struggle to know everything that goes in the ‘developments’ section, you can even drop in some placeholder type comments. Notice that we’re not yet trying to mesh those things together. Taking one subplot above as example, Charlotte wants security through marriage to Mr Collins. Charlotte’s marriage reaffirms Lizzy’s romantic values and, crucially, also throws her in Mr Darcy’s way again later in the book.

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