Tea With Writing Wolves

This post was originally from a FAQ, but since the original link is now defunct, I am re-posting it here.

There are many things to keep in mind when naming the town or city in your novel:

1) Genre/Theme/Tone

It’s very important to consider the genre and theme of your story when choosing a town name. Take these names for example, each of which indicates the genre or theme of the story: King’s Landing (sounds fantastical) Cloud City (sounds futuristic) Silent Hill (sounds scary) Sweet Valley (sounds happy and upbeat) Bikini Bottom (sounds funny) Radiator Springs (sounds car-related) Halloween Town (sounds Halloween-related) Storybrooke (sounds fairytale-related) 2) Time/Place It’s also important to consider the time and place where your story takes place. For example, you wouldn’t use “Vista Gulch” as a name for a town in Victorian England. You probably wouldn’t use it for a town in modern day North Carolina, either. Vista is a Spanish word and would normally be found in places where Spanish names are common, like Spain, Central and South America, the southwest United States (including southern California), Cuba, Puerto Rico, Dominican Republic, and Florida. 3) Size/Settlement Type An isolated town of 300 people probably won’t be Valley City, but a sprawling metropolis of 30 million could be called Windyville, because it could have started out as a small town and grew into a large city. 4) Geography Words like gulch, butte,and bayou tend to be regional terms. You probably wouldn’t find Berle’s Bayou in Idaho, or Windy Butte in Rhode Island. Words like mount, cape, and valley are dependent upon terrain. Most of the time, you won’t have a town named “mount” something unless there are hills or mountains nearby. You wouldn’t use “cape” unless the town was on a cape, which requires a large body of water. 5) History Is there a historical person or event that your town might be named after? The Simpsons’ hometown of Springfield is ironically named after its founder, Jebediah Springfield. Chattanooga, Tennessee is named after the Cherokee town that was there first. Nargothrond, in The Lord of the Rings, is an Elvish town with an Elvish name. 6) Combination of Words

person name + geographical term = Smithfield, Smith Creek

group name + geographical term = Pioneer Valley, Settlers’ Ridge

descriptive word + geographical term = Mystic Falls, Smoky Hill

person name + settlement type = Smithton, Claraville

landmark + settlement type = Bridgton, Beaconville

Word Lists

Types of Settlements

Geographical Features

Place Words

Common Suffixes

Other Descriptors

Immortality and the origin of death is one of the most popular topics of stories from around the world, actually. Often immortality is or can be conferred on average humans by eating or drinking a rare and special kind of food or beverage.

In the Islamic world you have the four immortals, including Khidir, the Green Man, who drank from the water of life and became immortal. Khidir’s tale shares some factors in common with the story of The Wandering Jew. You can read more about him and the other immortals here.

In China you have the Covert Eight Immortals:

Immortal Woman He (He Xiangu),

Royal Uncle Cao (Cao Guojiu),

Iron-Crutch Li (Tieguai Li),

Lan Caihe,

Lü Dongbin, leader;

Philosopher Han Xiang (Han Xiang Zi),

Elder Zhang Guo (Zhang Guo Lao), and

Han Zhongli (Zhongli Quan).

whose power can be transferred to tools an used to destroy evil ro bestow life; as well as the Eight Immortal Scholars of Huainan, or the Eight Gentlemen, who aren’t deified or made supernatural in any way, as their “immortality” is a metaphor but I think that’s a fun play for fiction. As well as Emperor Qin Shi Huang, who famously spent much of his life searching for an elixir of immortality.

There are a fair amount of Native American tales that deal with this topic, too. The Boy Who Would Be Immortal is a Hočąk story, with analogues in Macmac, Menominee, and Potawotami, with their theme of fasting. If you plan to include immortals that blend with supernatural tales, Wendigo are certainly immortal (humans become Wendigo by breaking taboos or committing terrible crimes), as are Skin Walkers in Navajo legend.

In Vietnam, Hang Nga and Hau Nghe are made immortal by eating a special type of grass. Separate from this, you have the Vietnamese Four Immortals: the giant boy Thánh Gióng, mountain god Tản Viên Sơn Thánh,Chử Đồng Tử the marsh boy, and the princess Liễu Hạnh.

In both Hindu and Buddhist tales, the elixir of immortality is guarded jealously by the gods and Garuda, the mythological bird person, plays a very important role in these kind of stories in Southeast Asia.

Another linking theme is the Tree of Life, which many cultures have in common, from Yggdrasil to the Mesoamerican World Tree.

There’s a Yoruban tale about Oba Koso or Shango, who was forced to commit suicide by political intrigue but did not hang; The demigod Maui has many stories his quests involving immortality for himself and others in Tonga, New Zealand, Samoa, and many other Pacific Islands.

Also keep in mind, even if you’re going to allow Greek or Roman immortals to dominate your story-not all Greek or Roman immortals were white people. A notable exception is Memnon, an African (Ethiopian and/or Sudanese) king, who was killed by Achilles and mourned so deeply by Eos, his mother, that Zeus was moved to grant him immortality.

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We’ve seen an influx of questions about how to write stories based around characters of color, disability, non-binary, etc. when the author does not fall into these categories. Rather than have these posts take over the site, we’ve decided to compile a list of resources to help our fellow writers become more educated about writing what they do not immediately know. However, this list is not the end-all-be-all of knowledge; one should always try to learn from someone with first hand experience in any topic. The world is constantly growing and changing, and because of that, there will always be more to learn. The admins at Plotline Hotline want to help writers form respectful, informed, and realistic characters that broaden the narrow range we see in literature today. 

*Be wary that some of the topics listed below contain sensitive material. Reader discretion is advised.* 

As always, the links I found to be especially apt will be in bold. Topics are listed alphabetically, excepting the “other” section.

Culture

Appropriate Cultural Appropriation

What is Cultural Appropriation? [1,2,3]

Cultural Appropriation Is, In Fact, Indefensible

Voice Appropriation & Writing About Other Cultures

Diversity, Appropriation, and Writing the Other [List]

Disability

Writing Disibilities [1,2,3,4,5]

Guides to Writing Deaf or Hard of Hearding People

National Association of the Deaf - Resources [List]

World Federation of the Deaf

Using a Prosthetic Device

Prostehtic Limbs (Character Guide)

How NOT to Write Disabled Characters

A Guide to Disibility Rights Law (United States)

Timeline of Disibility Rights in the United States

Social Security Disability: List of Impairments, Medical Conditions, and Problems [List] (United States)

How to Write Disabled Characters: An Opinion Piece

Artificial Eye Resources [List][Various]

Adapting to the Loss of an Eye

Misconceptions and Myths About Blindness

Blind Characters: A Process of Awareness

Writing Blind Characters [List]

Types of Learning Disabilities [List]

Diversity

A Guide to Spotting and Growing Past Stereotypes

How to Prepare to Write a Diverse Book

The Diversity of Writing

Why Diversity Matters for Everyone

Writing a Driverse Book [1,2,3,4,5]

Diversity, Political Correctness and The Power of Language

Diversity Book List [List][Books]

Basic Tips To Write Subcultures & Minority Religions Better 

Basic Tips to Avoid Tokenism

Gender

GLAAD Media Reference Guide - Transgender

Creating Well-Written Trans Characters

A Few Things Writers Need To Know About Sexuality & Gender Expression

Trans (Character Guide & Bio Building)

A Non-Binary Person’s Guide to Invented Pronouns

Gender Neutral Writing [List]

Keeping a Trans* Person a Person  

Suggestions for Reducing Gendered Terms in Language [Photo]

How to Review a Trans Book as a Cis Person

Writing Characters of Different Genders [List]

Understanding Gender

Gender Spectrum Resources [List]

Gender History

Illness 

Writing Chronic Illness [1,2]

The Spoon Theory - Also pertains to disibility

About HIV/AIDS

Sexually Transmitted Diseases [List]

Sexually Transmitted Infections

Sex and Gender Differences in Health [Study]

All Chronic Illness Topics [List]

Coping with Chronic Illness

All Cancer Types

A Day in the Life of a Home Health Aide/Health Coach

Fiction Books With Chronically Ill Main Characters- Not Cancer [List][Books]

Neurotype (Including Mental Health)

Writing an Autistic Character When You Don’t Have Autism

Depression Resources [List]

What to Consider When Writing Mental Illness

Stanford Psychiatric Patient Care

Inpatient Psychiatric Questions and Tips

Don’t Call Me Crazy [Documentary]

(Avoid) Romanticizing Mental Illness [1,2]

A Day in the Life of a Mental Hospital Patient

State-run vs. Private Mental Hospitals

Mental Disorders

Mental Hospital Non-Fiction [List][Books]

National Institute of Mental Health - Mental Health Information [List]

Writing Autistic

What Causes PTSD?

Remember, Remember: The Basics of Writing Amnesia

ADHD Basic Information

What is a Learning Disability?

What is Neurotypical?

Race

Writing Race: A Checklist for Authors

Transracial Writing for the Sincere

Is my character “black enough”

White Privilege: Unpacking the Invisible Knapsack

Challenge, Counter, Controvert: Subverting Expectations

Writing With Color: Blogs - Recs - Resources [List]

Writing People of Color (If you happen to be a person of another color)

7 Offensive Mistakes Well-Intentioned Writers Make

Description Guide - Words for Skin Tone

Religion

Religion in Novels: Terrific or Taboo?

How to Write a Fantasy Novel that Sells: The Religion

Writing About Faith And Religion

From Aladdin to Homeland: How Hollywood Can Reinforce Racial and Religious Stereotypes 

Sexuality

Understanding Sexual Orientation and Gender Identity [List]

Writing Gay Characters [1,2,3]

American Civil Liberties Union - LGBT+ Rights

LGBT+ Rights by Country or Territory

History of Gay Rights

Gay Rights Movement

LGBT+ Culture

Gay Myths and Stereotypes

LGBT+ Studies Web Sites [List]

LGBTQ Youth Issues

LGBTData.com

Overview of Gay and Lesbian Parenting, Adoption and Foster Care (United States)

Other

How Doctors’ Offices—and Queer Culture—Are Failing Autistic LGBTQ People

Five Traps and Tips for Character Development

Developing Realistic Characters

I hope that this list will provide topics a writer may not initially think to research when writing. If there are any resources that you think would be fitting for this list, please let us know! We want to have as many helpful sources as possible to maximize learning opportunities. 

Stay educated,

Completely insane story. Long but worthwhile.

https://www.newyorker.com/magazine/2019/02/11/a-suspense-novelists-trail-of-deceptions

It was Mrs. Figg who suspected first.

She noticed many things, sitting on her side of her fence with her cats chasing butterflies and nuzzling her ankles, Mundungus and the other watchers dropping by for tea now and then.

Mrs. Figg noticed that Petunia was a nosy bit of work with insecurities hanging from her every harsh angle. She noticed when Dudley learned the word MINE– the whole neighborhood noticed that one. She noticed that Vernon glared at owls.

She noticed that when Petunia gave Harry a truly horrendous haircut one year, it grew back in at a normal rate. Harry was uneven and weird-looking for ages, hiding under beanies when he could.

When Mrs. Figg had Harry over for carefully miserable afternoons of babysitting, she noticed nothing moved that shouldn’t. He didn’t accidentally make flowers out of fallen leaves, or levitate anything during tantrums, or turn toys funny colors.

Mrs. Figg called up her mother, interrupting the wizarding bridge game she was winning against the nursing home staff, and asked her how she had known, decades back, that her youngest daughter was a squib.

When Albus Dumbledore received Mrs. Figg’s letter he wrote back a polite thank you and then went to talk with Minerva McGonagall, who inhaled sharply in horror when he told her the news.

Finally, McGonagall gave a gathered sigh. “I suppose we can ask one of the wizarding families to homeschool him,” she said. “We can’t have the Boy Who Lived not knowing about his own world.”  

“No, he’ll come to Hogwarts,” said Dumbledore.

“Hogwarts is not a place for–” Her voice fell. “–squibs, Albus.”

Dumbledore shook his head. “Harry must be taught.”

“Be taught what, Albus?”

But Dumbledore just sighed and offered her a lemon drop.

Years later, the owls and the letters came to 4 Privet Drive. The Dursleys ran, dragging Harry with them, and the letters and one stubborn gamekeeper followed– none of this would change with a magicless Harry.

When Hagrid asked Harry in that little cabin on that little rock in the middle of the sea if weird things always happened around him, Harry couldn’t tell him about vanishing glass and setting captive snakes free, about ending up somehow on the school roof, or growing his hair out overnight.  

“Strange things always happen around you, don’ they?”

“Um,” said Harry, racking his brain. “Well… I live in a cupboard under the stairs…”

Harry could tell him about how snakes sometimes talked back, because that had never been Harry’s magic, but when he did Hagrid just blanched and changed the subject.

Hagrid held out hope, even against Dumbledore’s quiet warning explanations, until they made it to Ollivander’s Wands. Harry marveled at Diagon Alley, got his hands shaken in the Leaky, pressed his nose up against shop windows. Hagrid watched the scant boy– looked at James’s messy hair, Lily’s eyes, Harry’s own wandering gaze– and he wondered how this boy could be anything but magical.

In the wand shop, Ollivander said, “James Potter, yes… mahogany, eleven inches. Pliable. A powerful wand for Transfiguration.” He said, “And your mother, Lily…  strong in Charms work, ten and… yes, ten and a quarter, willow, swishy.”

Harry picked up stick after wooden stick. They remained just that– wood with bits of feather or scale or hair. Harry wondered if the creatures who gave these offerings were still alive– if they were given or taken. What did it do to your wand when they died? He waved a maplewood wand (unicorn hair, eleven inches) and a gust from the door opening blew some receipts off the counter.

“Well, said Ollivander. “I think that’s as close as we’re likely to get.”

He sent them out with the maplewood. Hagrid bought Harry a snowy owl and a fudge sundae and tried not make it too obvious that these were condolence gifts. The next day the Prophet’s headlines read: The Boy Who Lived– A Squib? Various magical medical experts weighed in on how it might have happened. Fingers were pointed at childhood trauma, at his upbringing, at his family lineage.

Harry still met Ron on the train– Ron was still smudge-nosed and Harry still bought enough candy to share. When Molly had helped him through the platform entrance, her voice had been a little softer, a little more pitying– but it was still better than the laughter that had been in his aunt and uncle’s voices when they dropped him here to find a platform they didn’t think existed.

Hermione Granger dropped by their compartment, looking for Neville’s toad, but got distracted when she spotted Harry. “I’ve read about you! In my books, and in the paper,” she said. “You’re the Boy Who Lived, and you’re a squib.”

Harry sank down in his seat. Ron hid Scabbers under a candy wrapper.

“Squibs have never been allowed in Hogwarts,” Hermione announced. “According to Hogwarts, A History, squibs try to sneak in now and then– the furthest anyone’s ever gotten is to the Sorting Hat before they got found out.” At eleven, Hermione still believed in expulsion being worse than death. Her voice was thrumming with sympathetic horror.

“But they already found out about me,” Harry said, alarmed.

“It’s alright, mate,” said Ron. “You’re Harry Potter. Oy, Granger,” he added. “What’s this Hat? Fred and George were trying to sell me some story about having to fight a mountain troll to get your House…”

Harry sat back and watched the countryside rush by. Yes, he was Harry Potter– his aunt’s useless sister’s useless child, the boy in the lumpy hand-me-down sweaters who named the spiders who lived in his cupboard. And here, in new world, he was apparently useless too.

When they got to Hogwarts, Harry clenched his fists and stood in line with the other first years. He barely twitched at the ghosts or Peeves, just stared ahead and thought about how far he would get before they turned him around and sent him back to Vernon and Petunia.

They opened the Great Hall doors. They called the first years one by one. Harry clenched his teeth and walked up to the Hat when they called his name.

As he turned to sit down on the stool, he really caught sight of the Hall for the first time– the hovering candles, the big wooden tables, the black robes that swallowed the light. Translucent ghosts gossiped with the students beside them. The paintings on the far walls– were they moving?

Harry’s jaw had unclenched, falling open. His fists curled open, curving around the stool’s seat as he leaned forward to stare. If this was it, if this was as far as he’d get in this world, then he wanted to drink it all in. The candles were floating, in mid-air.

The Hat dropped down over his eyes and blocked out the light.

Well, said the dry voice that had been hollering House placements all night. What do we have here?

Ron had been begging for not-Slytherin. Draco from the robes shop had been scornful of Hufflepuff, desperate in his disdain. Neville had begged for Hufflepuff, sure he was not brave enough for Gryffindor.

Please, thought Harry. Don’t send me back.

Do you like to roleplay? Do you like to write?

I’ve been part of a play-by-post roleplay site for the past 10 years, but our community is very small and sorely in need of some new members.

If you’re not familiar with play-by-post rp, it’s basically a form of collaborative storytelling. You make a character and take turns with other players posting small snippets of writing on a forum.

It is NOT: -Like D&D (no dungeon master, no complicated stats, not combat-based, etc) -Fast-paced or very time-sensitive

It IS: -A relaxed, low-pressure hobby (most people only post a few paragraphs every few days) -Completely freeform (you create your own plots and interact with other characters however you choose, and HTML is enabled on our site so you are free to create beautiful custom layouts for your posts) -A friendly and supportive community - trolls and drama not tolerated -Completely free to join, no account needed (though this varies by site) -Welcoming of any writing level (though this also varies by site) -An exciting and enriching experience. In our community I’ve made some of my closest friends and been a part of plots that were more touching and well-written than a lot of published stuff I’ve seen -An opportunity for you to get to know your OCs better than ever before

Disclaimer: We are a horse rpg. We roleplay feral horses. WAIT DON’T GO YET. I understand that isn’t for everyone, but you only need to have basic knowledge of horses in order to join. Characters are allowed to talk and have all the same complex thoughts and emotions as people, so the fact they are horses is almost negligible.

Therefore, if you like horses… even better!

If you don’t like horses, but are interested in play-by-post roleplay in general, you can check out our advertising page to see what other RPGs are available. There is something for everyone: fantasy, wolves, paranormal, Harry Potter, Pokemon, regular ol’ humans, etc. Though it has dwindled over the years, the play-by-post community is HUGE and has been around a long time. There is something for everyone!

Click HERE to visit our site, or HERE to visit our advertising page to see what other RPGs are out there.

What if supernatural creatures don’t exist anymore? What if they did once, but through the years, they slowly mixed in with humans?

You can see the blood of fairies in the way a ballet dancer hovers in mid air before he or she hits the ground. You can see it in the way that middle school girl never forgets when someone makes her a promise. You can see it in how that one little boy in the kindergarten class seems more comfortable in the forest on that field trip than the others.

You can see the blood of dryads in hikers who never trip over roots. You can see it in that suburban grandmother never lets any of her garden die. You can see it in that one kid who climbs a tree faster than his friends, barely looking at the branches as he goes.

You can see the blood of naiads in the way a professional swimmer seems to command the water to help them. You can see it in how a cross country runner needs a water break more often than his teammates. You can see it in the way that one girl in your class always has a water bottle on her desk.

You can see the blood of mermaids in a surfer who can be tossed around underwater for a long time without drowning. You can see it in a teenage boy who doesn’t have to pretend to be unbothered by the pressure when he races his friends to the bottom of a swimming pool. You can see it in the little girl who wades into every stream she sees on a hike without quite knowing why.

You can see the blood of sirens in people who never have a problem with getting people to date them. You can see it in that soprano who can hit notes most of her fellows can only dream of. You can see it in the camp counselor who all the straight girls have a crush on, who can play guitar and sing better than any of the others.

You can see the blood of shapeshifters in the way an actor adjusts their personality to become their character with scary accuracy. You can see it in the subconscious, barely noticeable changes a tween girl’s eyes make to match her outfit better. You can see it in the way you always lose that one friend in a crowd if you’re not careful, because he’s just too good at blending in.

People who carry the blood of werewolves don’t change with the full moon anymore, but you can still see it in the way your best friend always knows something is wrong, though even they don’t know they’re smelling the changes in your body chemistry. You can see it in the way that one guy always seems to eat more than the reasonable amount of red meat at an all-you-can-eat buffet. You can see it in the way that one werido never has a problem when the teacher turns off the lights before a PowerPoint presentation because her eyes adjust quicker and better than yours.

Just the other day I was emailed by a relatively new indie journal looking for writers. They made it very clear that they did not pay writers for their work, so I figured I’d probably be passing, but I took a look at their Copyright policy out of curiosity and it was a nightmare. They wanted “non-exclusive, irrevocable, royalty-free, perpetual, worldwide license and right to use, display, reproduce, distribute, and publish the Work on the internet and on or in any medium” (that’s copy and pasted btw) and that was the first of 10 sections on their Copyright agreement page. Yikes. That’s exactly the type of publishing nightmare you don’t want to be trapped in. 

Most journals will ask for “First North American Rights” or a variation on “First Rights” which operate under the assumption that all right revert back to you and they only have the right to be the first publishers of the work. That is what you need to be looking for because you do want to retain all the rights to your work. 

You want all rights to revert back to you upon publication in case you, say, want to publish it again in the future or use it for a bookmark or post it on your blog, or anything else you might want to do with the writing you worked hard on. Any time a publisher wants more than that, be very suspicious. Anyone who wants to own your work forever and be able to do whatever they want with it without your permission is not to be trusted. Anyone who wants all that and wants you to sign away your right to ever be paid for your work is running a scam.

What if the publisher goes defunct? What if they get bought by another publisher who doesn’t care to promote or publish your work? You still can’t to anything with it, you don’t own it anymore!

For a thorough overview of what you should be aware of regarding your intellectual property and publishing rights, please read through this collection of post [https://kriswrites.com/business-musings/contracts-and-dealbreakers/] by Kristine Kathryn Rusch. 

If you feel that striking one specific word from the text won’t make the text any less nice and/or well-written, then you must strike that word.

On a related note, don’t use two words if you feel that one single word can replace them with no loss of text quality. (Unless you’re writing for NaNoWriMo, haha.)

Don’t use the same dialogue tag twice in a row. it stands out. Always. (Except for “said,” of course.)

If you’re including a long flashback, make sure that the readers don’t mind the main plot being stopped.

Your friends and your family can’t give objective advice on your writing. No. Listen to me. They can’t.

If your novel includes SF or fantasy elements, make sure that the occurrence of fantastical elements is made clear reasonably early in the story.

It’s not true that adverbs are inherently bad, but it is true that “he yelled” is better than “he said loudly.” 

When you’re using other dialogue tags than the usual “said”  or “asked,” make sure that there’s a need for the specific dialogue tag you’re using. Don’t have characters mutter their lines unless muttering is required specifically.

Alright so if you’re a writer then you’ve probably familiarized yourself with plot…and the structure it provides to a novel. There are countless articles online on “how to plot a novel” or the like. Which is fantastic for you writers because it’s at a fingers reach from us. Not so great when there’s about…a billion ways one can go about plotting a novel. It can seem daunting and overwhelming and more important confusing! 

I want to break down this massive task bit by bit. Starting with the very bare bones and working into more detailed parts. Making it more manageable.

 Now, I know some of you might roll your eyes and say I know all there is to know about plot. I was you. I went into every workshop and craft class thinking the same thing. And yet, when I started plotting my recent WIP ( The Cost of Defeat ) I realized I didn’t know jack. I thought every story I ever wrote would adhere to my system of structure because of sheer will and blunt force. Yeah wrong.

It wasn’t until just recently I started diving into the structure ( because I like pretty diagrams and being organized way more than I should) that I discovered there are a lot of different Plot Structures out there. No one bothered to ever teach me let alone discuss these things. My mind was blown. 

Some worked better for me than others. Some mesh better together than others. It’s all about experimenting and figuring out what works for you. And I’m hoping that this will also help others, or at least give a jumping off point. Now it’s not a whole list ( there’s a lot of elements that I could probably talk about by themselves) but it’s a good overview of the popular ones that reoccur a lot.

1) Freytag’s Pyramid

Freytag’s pyramid is the most basic plot structure I know. It’s the one we’ve all seen in school when we start learning about story structure and analysis.

This bad boy is the simplest plot structure used to dissect and understand Greek and Shakespearean Plays. 

Pros     x Simplistic. Makes it easy to understand      x Great for those just starting ( or those who want to understand film and literature analysis.     x Great for AP Literature/Comp papers

Cons     x It creates simple stories     x Not super awesome for modern novels or anything longer than about 25K words

Uses     x Children’s Literature. Picture books mostly. Children are still learning to understand things like conflict effect on characters and having such a long falling action allows for that.     x Short Stories. Since short stories are compact for punch, this structure allows you to get the most done without boring the reader in 25K words or less.   x Analysis. This structure is the easiest and most common to apply to plays, film, tv and even in classic literature. It’s a great way to dissect plot and events in order to better understand the pieces working parts 

Examples: Shakespeare's Hamlet and Romeo and Juliet                    Sophocles’s  Antigone                    Henrik Ibsen  A Doll House

2) Three-Act Structure

The Three-Act Structure is probably the most known. We all know this intuitively as storytellers. Everything needs a beginning middle and end, after all.

This structure is very similar to Freytag’s Pyramid but adds elements that beef up and create points of interest. Obstacles, for example, add conflict and build up suspense for the climax. It’s also important to note that the falling action and resolution is much more compact.

Pros    x  basic building block for all good stories    x  Roadmap-like so you can be systematic about things    x  Good “big-picture” visual

Cons    x  Pacing is super important for this    x  Bit rigid and formulaic

Uses     x  Literally anything. Because it’s versatile it works on  a plethera of stuff, let your imagineation run wild.     x Film analysis. This struccture is like the holy grail in almost any film class ( sometimes they call it the four act structure)

Examples:  Sir Arthur Conan Doyle Sherlock Holmes                    Alfred Hitchcock’s  Vertigo                    Jane Austin’s Pride and Prejudice

3) The Fichtean Curve

The Fichten Curve Is really unique in that it starts right with the rising action. There ain’t no time to build up or nice slow introductions, you’re dumping the readers right where it hurts. But you make up that lost time with the small bits of exposition

This is one of the most popular plot structures for modern novels.

Pros     x  A lot of opportunities to ramp up the stakes, bit after bit     x Good for pacing     x  Great for Overcoming Monster & Quest stories     x Translate over almost any genre

Cons     x Not a lot of time to slow down, breathe     x Not suited for Voyage and Return, Comedy or Rebirth stories

Uses    x Thrillers/Mystery novels. You need something to keep readers in the story, chomping at the bit. here’s the plot structure for you.    

Examples: Max Brooks’s World War Z                  

4) Plot Embryo/Hero’s Journey

The Hero’s Journey is also super common in the literature (namely western literature) With this plot the protagonist ( the hero of hero’s journey) undergoes a literal or figurative death-like transformation that changes him. 

The protagonist must venture from one state into another. To take it a step further there’s a variation called the Ploy Embyro. Dan Harmon takes the hero’s journey a bit deeper and modernizes. [ here’a great video on it by youtuber Rachel Stephen x] 

As you can see, the Hero’s Journey and Ploy Embyro are both cyclical. This baby comes full circle in both plot and character. They have similar plot points. But if I were to gush about this the post would be waaay longer than it already is. This is one of my preferred methods because it just makes sense for me and allows me to have some freedom and wiggle room while still adhering to the 3 acts.

Pros     x Character development holla, cause this is where it’s at.     x Visually appealing     x  Simple 8 point outline ( for those who might not enjoy long-winded outlines)     x  Works alongside A beat sheet ( if you use that sort of thing)     x  The holy grail for myths.

Cons     x Overdone ( but it doesn’t have to be a bad thing)     x Not suited for those who really detailed outlines

Uses     x Adventure Stories. It is all about the adventure and journey with this     x Myth Retellings. I mean it’s based on the myth structure of the Odyssey and the like so it makes sense

Examples: Harper Lee’s To Kill a Mockingbird                    Rick Riordan’s The Lightning Thief                   J. R R. Tolktien’s The Hobbit

5) In Media Res

A literal translation to “In the Middle”. This plot structure dumps you right in the middle of the story.  Think if you were to open a story on the second of third crisis/pinch point. there’s still a lot of upward trajectory to go before the climax.

Don’t confuse this with simply opening a story mid fight/action. Media Res starts well deep into the story itself, close to the climax but with enough room you can still build up to it.

Pros     x High Actions     x Simple and fun to play with     x A good use for flashbacks     x Hell of a hook for readers

Cons     x  Can be confusing for reader’s if not done right     x  No build up     x takes some finessing to get just right

Uses      x Mysteries. This is a great plot if you want to start a story perhaps where the killer has already committed the murder.    x Epic Poems. Maybe you wanna write the next epic poem, this is great for that.       Examples  John Milton’s Paradise Lost                    Homer’s Illiad                    George Lucas’s  Star Wars 

Now I could go on and on but this monster of a post has carried on long enough. If there’s a certain structure you’d like me to go into more detail about feel free to leave a comment on this post and I’ll be sure to add it to my line up!! As always happy writing/creating!

I just finished this book on screenwriting and have highlighted some amazing advice for novelists as well:

1. Save the Cat

This refers to a scene at the beginning of yoru manuscript in which the main character does something that makes the reader root for them them i.e. saving a cat.

This doesn’t have to be something altruistic - it can include smarts or humour or naivety - just something that will make the reader want to follow this character through the story.

Without this scene, you’ll probably end up with a boring character. And no matter how amazing your plot, you need a “followable” character to carry it.

2. The Pope in the Pool

This refers to a scene in which necessary exposition is given whilst the audience is distracted by something more entertaining i.e. having the Pope explain important backstory aspects whilst doing laps in the Vatican Pool.

This is the best way to give readers the information they need whilst still keeping them engaged. Something funny/interesting/moving should happen whilst this necessary exposition is provided.

3. Double Mumbo Jumbo

This refers to the mistake many writers make in asking readers to believe in more than one type of magic/miracle. This suspends reality too much and causes the reader to lose faith in the realism/probability of your story.

So, if you already have magical fairies, don’t throw aliens into the mix as well.

ONE magical element is enough.

4. Laying Pipe

Another error often made is writing a story that needs too much set-up. This means that so much backstory must be explored in the first part of the novel that your catalyst only occurs at page 100 or so.

This will cause readers to lose interest long before they’ve reached the inciting incident. If you don’t get the beginning right and move on the exciting stuff as soon as possible, it doesn’t matter how great your ending is, since few readers will get there.

5. Watch out for that Glacier

This is when the danger in your novel takes too long/perhaps the whole book to get to your characters/to threaten them. Therefore, the reader is aware that there is some eventual threat, but the characters aren’t affected by it throughout the story.

It’s a glacier coming for them rather than a missile. And it dampens the tension.

6. The Covenant of the Arc

Every somewhat important character in the novel should change, except for the bad guy. This is what will ultimately distinguish your good guys from your villain: moral change.

So, take a look at the journey of every primary and secondary character in your manuscript and ensure that they grow/experience some for m of change that is brought about by the events in the story.

7. Keep the Press Out

This is the tip I think should be used with the most circumspection. It’s for you to decide whether you want to follow this piece of advice or not.

This tip calls for leaving media coverage/the press out of your story. If some supernatural/extraterrestrial event occurs in a secluded neighbourhood and remains a family secret, it’s much easier for your reader to believe that it could really have happened than if the whole world is supposedly in on it.

Like I said, use with discretion.

These are all Blake Snyder’s tips (not mine) and are explored in greater detail in the book. So, if you would like more information and more great advice, I suggest grabbing a copy.

For a while I’ve been wanting to post an article on info-dumps, because they are so easy to do and so awful for a story. An info-dump is what it sounds like. A big ol’ chunk of info that a writer splats out into the middle of a scene. They can bring the pacing of a story to a grinding halt while the audience has to sift through more information than they care to know about X, Y, or Z.

Info-dumps can literally be about information and facts, other times they are whole backgrounds and backstories about characters, or the entire history of a setting or object. Often this happens because the writer is convinced the audience needs all of the information in order to fully “get” and appreciate the story and characters, sometimes it happens because the writer simply loves the information on a personal level, other times the writer “discovers” the information when writing a first draft and hasn’t bothered to fix it, and finally, it happens when the writer is a beginner and simply doesn’t know better.

Science fiction author Shallee McArthur wrote a nice article on info-dumps and also taught a class on it at a writing conference. So today I asked permission to share it here:

I am a nerd. As a kid, I spent my summers doing science experiments in my giant white science book. For fun. And to this day, I get excited about things like sea slugs that absorb plant DNA and become photosynthetic. I get weepy about the space shuttle’s last flight. It’s why I write sci fi– because I’m a nerd, and I love all that science stuff.

Here’s the thing about writing sci fi: there’s a lot of science in it. Which  means there tends to be a lot of necessity for explanation, which leads to a lot of potential info-dumps. This isn’t unique to sci fi, of course. Most authors have a lot of information to convey, and sometimes we have no choice but to reveal large bits of it at a time, potentially boring our readers just so they understand what the heck we’re talking about.

I had some trouble with info-dumps in one of my novels, and it took me lots of revisions to get it right. And some of the biggest lessons I learned were actually from the movie Inception. There’s a LOT of information they have to convey, but the movie never lags in its pacing. Here are the things I learned to apply in my writing. (Warning– there are a few small spoilers if you haven’t seen it before!)

1. Early in the story, weave as little information as possible to keep your reader engaged.

Inception doesn’t start with Leo DiCaprio’s character Cobb explaining the ins and outs of shared dreaming. We start with tension–he’s trying to convince Saito that he needs to train his mind to not be vulnerable to idea theft. Here’s the thing. We learn, in a few brief sentences of dialogue, that someone can steal your secrets through shared dreaming. And THAT’S IT. We don’t know how it works, or who can do it, or the history behind why it was developed in the first place.

We know just enough that when we learn everything we’re watching IS a dream, we get it. Maybe we don’t understand why Cobb gets dumped in the tub to wake him up, but we get it enough to be invested and intrigued. It’s the technique of weaving small bits of information into a scene so we get small bits instead of large chunks. And especially for the first 30-50 pages of a novel, that may be as much as you need.

2. Have a character who doesn’t understand what’s going on so someone can explain things to them– and the reader.

Enter Juno–er, Ariadne. She’s new to the team. She doesn’t understand any of the history or the hows and whys of dream sharing. The team teaches her all the ins and outs, and as she learns, so do we. This neatly evades the “maid and butler” dialogue of “As you know, your subconscious is represented by all these people,” and “Yes, Cobb, and they will attack us if they sense something is wrong in the dream.”  It’s natural for Ariadne to be learning it, so it’s natural for us to learn it too.

3. Don’t explain everything at once–use small chunks in addition to weaving.

The first time Cobb takes Ariadne into the dream, we don’t get all the information about how dream sharing works. We get small bits. We understand that the dream can be changed by the people sharing it, sometimes in fantastic ways, and that the subconscious of the person dreaming can become aggressive when it’s messed with too much. And, very briefly, we see again Cobb’s projection of his terrifying wife. We don’t learn much about the other parts of shared dreaming, such as the use of chemists, or about what on earth is wrong with Cobb’s deranged wife. These things are woven in later as scenes.

Which brings us to another point.

4. Information should always be revealed as part of a scene.

A.k.a, NEVER SIMPLY TELL THE READER. Paragraphs that say, “and this is the history of x, and this is how y works,” are the exact definition of bad info-dumps. In Inception, every single bit of information is worked in as part of a scene. In other words, it is not just giving you information. It’s developing character, deepening mystery, and furthering plot at the same time. It brings tension around the very information we’re receiving, and we’re so engaged, we don’t even recognize it as an info-dump.

I’ve learned this method years ago and I’ve been using it ever since. The zigzag plot creator starts like this: 

A crescent zigzag. 

You can have as many up and downs as you want. I’ve drawn six to keep it simple. Alright, this zigzag is your storyline and every corner is an important event that will change everything:

Every down represents a bad thing happening to your main characters, taking them further away from their goal. Every up is a good event, taking them closer to their goal:

So, when the zigzag goes down, something bad must happen. When the zigzag goes up, something good must happen. The reason why we drew a crescent zigzag is because every down must be worse than the previous, and every up must be better than the previous. As the zigzag advances, events become more serious and relevant. 

Let’s apply the zigzag method. My storyline is a detective trying to catch a serial killer in a futuristic city. Minutes later, this is what I’ve got:

Start: Detective, our protagonist, is just promoted

Down #1: Mass suicide happens in town, detective gets the case, the whole town thinks it might have been a religious suicide act, but detective suspects that someone single-handed killed all those people

Up #1: Detective finds clue about a possible killer

Down #2: A bigger mass murder happens, a true massacre, it’s a definitely a murder

Up #2: Detective finds the killer’s trail

Down #3: Thinking he is ahead of time, close to catching the killer, detective ends up dead in another mass murder

Up #3: Because of his notes and discoveries, the police is able to find the killer before they leave town

From this point on you can play with zigzag as much as you want. For example, changing the orientation of the zigzag for a bad ending:

Lots of ups and downs:

Or just a few:

It’s up to you (see what I did there?).