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TIP: Strong act breaks include event that impacts so much (emotionally or physically) that it changes the direction of the story.

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“The subplot character… provides another opportunity to define the hero through comparison and advance the plot.

The Anatomy of Story, by John Truby

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Character Lessons from Captain America: Civil War

Here’s one thing that made Captain America: Civil War work so well: Cap and Tony took stances I wouldn't expect them to take. I would've guessed Tony would be the "we don't need oversight" guy and Cap want good governance. Instead their views are reversed.

Characters arguing for something opposite their personality means you don't know where they'll end up, which is so intriguing. The key of course is compelling reasons for them to hold those opposite views, and I think Civil War nailed those.

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When describing something, try to find elements that everyone can relate to. Saying a drink is thick as ice cream will only relate to readers who have eaten ice cream. But if you can find elements that everyone knows—the drink was like thick mud—then no one will be left out in the cold. (Whoops. There's a metaphor that only works for northern hemisphere readers. Maybe instead: then no one will be left out of the meal?)

Jesse Koepke

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Are you struggling to balance work, family life, and writing time? Join the club. As a freelance editor, I edit manuscripts in the day, and I’m a superhero

I’ve been needing to start the second draft of my novel, but I’m getting married in two months and that understandably takes up a lot of time. But I like what Lynette has to say.

[E]very minute counts, and that a story will get written a few minutes at a time.

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[Without Tolkien, Lewis, and Chesteron,] I would not have understood that the best way to show people true things is from a direction that they had not imagined the truth coming, nor that the majesty and the magic of belief and dreams could be a vital part of life and of writing.

Neil Gaiman

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By making a habit of showing up every day to do the work, you build a resistance for those days when it's mundane, tedious, and not fun.

Shawn Blanc

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by Gabriel Storment (@SeaStorm24) It’s summertime, the unofficial season for sequels and reboots. And in sequels, everything gets amped up, or at least it should. The budget is bigger, the explosio…

Angela nails it with these four points. If you’re writing a sequel, these are great things to keep in mind. I could just quote the whole article, but if I had to pick one that stands out, I’d choose:

2. Previous Villains are No Longer Threatening.

Example: raptors in Jurassic Park, or Terminator. They started out as the bad guy but then became cool, lovable characters.

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Screenwriter David Magee ("Life of Pi," "Finding Neverland") takes viewers inside his creative process in an exploration of where ideas come from. Subscribe ...

Another great look into the storytelling process of a fantastic writer. I really like how David uses post-it notes. I’m working on the second draft of my novel and I think I may give that a try.

I also liked what David said about feeling like you’re not as good as other writers, and instead telling yourself:

I have to keep doing it until I become that good.

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With a 'Die Hard' prequel in the works, we ask: Are these be-kind-rewind movies death blows?

Sequels and prequels are the name of the game these days in Hollywood. While there is a way to tell these stories right, there often is something inherently not compelling about those stories. David Ehlrich explains why in his article, and especially hits the nail on the head with this line:

[J]ust because you can imagine what might have happened before a film began doesn't mean that it's part of the story you should be telling.

Storytelling rule number #1.

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A good storytelling rule of thumb, and good argument against most sequels and prequels: Tell the most important story in your hero's life.

Steven D. Greydanus

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Don't ask what the world needs. Ask what makes you come alive and go do it, because what the world needs is people who have come alive.

Howard Thurman

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In our goal-oriented culture, it's easy to focus our stories simply getting to the goal. But there is validity, and value, in simply being a place. Inhabit your spaces as your write.

Jesse Koepke, inspired by Nerd Writer’s Ghost in the Shell: Identity in Space

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We don't always need to be inspiring, lovely or triumphant. We need only to be faithful.

Sarah Cabalka

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