#writing advic

[scriptwriters-network]

If you are in difficulties with a book, try the element of surprise: attack it at an hour when it isn’t expecting it.

– H.G. Wells

[cemo-writes]

The Four Act Story Structure (with Black Panther)

Part 1 - Orphan

Narrative Context: Set Up the story. In the first 20% - 25% of your novel, you will: Introduce the character (backstory, their stasis, their inner demons, their strengths), establish stakes (what the character has to lose), foreshadow the imminent conflict to come. 

Hook: The hook happens in the first chapter of your novel, the earlier the better. It grabs the reader, makes us empathize with the protagonist, and gives the reader something to bite into before the protag’s quest really begins.

Example: (Black Panther) Freeing kidnapped women from warlords to call Nakia back to Wakanda. 

Inciting Incident: Something happens to your character that incites the coming conflicts. This could happen as early as the hook, or could happen as late as Plot Point 1.

 Example: Klaw and Killmonger steal vibranium from a British museum.

Plot Point 1: At 20% or 25% in your novel, something big happens that alters the protag’s plans/status/beliefs, forcing them to respond. The first plot point defines the nature of the hero’s quest, and everything you’ve set up (stakes, inner demons, foreshadowing) has led up to this point. Imagine the first quarter of the novel as pulling back the plunger in a pinball machine, and the first plot point is when you let the ball fly. The antagonist is introduced, but their true nature will not be fully revealed until the midpoint. 

Example for Plot Point 1 from Black Panther: ~35m/123m (28%), Klaw’s whereabouts are known. T’Challa needs to go on a retrieval mission, putting his leadership as King to test for the first time.  

Part 2 - Wanderer

Narrative Context: Reaction. 25% - 50% of your story. Something big has just happened (Plot Point 1) and the protagonist is reacting to it, running from it, pursuing it without knowing what it is. There is a sense of indecision, or lack of knowledge. We don’t have all the answers. 

Example: T’Challa, Nakia, and Okoye are after Klaw, but they haven’t been fully introduced to the true antagonist, Killmonger. 

Pinch Point 1: The first Pinch Point comes in the middle of Part 1. A pinch point is a big moment that reminds the reader of the power of the antagonist.

Example: 59/123 min, 47%. Right when the gang thinks they’ve got Klaw, he escapes with the help of Killmonger. T’Challa sees Killmonger for the first time, taking notice of the ring he wears. Who is this man? T’Challa realises he doesn’t have all the answers, that there’s something bigger going on. 

Midpoint: One of the biggest points in the story, and a huge plot twist that reveals the true nature of the antagonist. It is like a veil is lifted, and the character sees more clearly what they’re up against, on an external, internal, and thematic level.

Example of the Midpoint: In Black Panther, the midpoint happens from 63 min - 67 min (~52%) in two scenes. First, we get a big plot twist. Killmonger reveals that he is of Wakandan blood, and that he's going to the hidden nation. He kills Klaw and even his own girlfriend without hesitation. This lets the viewer know Killmonger’s goals and the danger he poses as an antagonist. In the second scene of the Midpoint, Zuri reveals what really happened to T’Challa’s uncle (and Killmonger’s father): he was killed by T’Chaka, leaving Killmonger fatherless. T’Challa realises that he’s going to have to pay the consequences for his father’s mistakes, and truly questions for the first time whether Wakanda’s tradition of secrecy is moral. 

Part 3 - Warrior

Narrative Context: Action. 50% -75/80% of your story. Again, something game changing has just happened (the midpoint), which suddenly clarifies the nature of the antagonistic force. With this new insight, the protagonist is able to go on attack mode, actively trying to solve the issue at hand.

 Example: Now that Killmonger has made himself known as the true antagonist, T’Challa has to face him and the mistakes T’Chaka made in the past.

Pinch Point 2: The second pinch point occurs halfway through the third quarter. Like the first pinch point, it is a reminder of the threat of the antagonistic force.

Example: 81 min - 82 min in Black Panther, or 66% into the story, Killmonger overthrows T’Challa.

Plot Point 2: The second plot point happens around 75% or 80% into the novel. It may be a characters realisation of what they must do to defeat the antagonist or a piece of information that allows them to face the bad guy. Whatever it is, no new information may be introduced after this point unless it is heavily foreshadowed. This is to prevent a deux ex machina.

Example: (98 min, 80%) T’Challa speaks to his forebears and realises that their actions were immoral. He says, “I must take the mantle back” and regains his power as black panther. He is ready to face Killmonger, and there is a sense that he now has a chance of defeating him.

Part 4 - Martyr

Narrative Context: Martyr. 75/80% - 100% of your story. This is the final battle, the end game. Often in a self-sacrificial way, the protagonist faces the big baddies and defeats them one by one. They are heroic, they are active, and they defeat the antagonist by their own strength. 

Example: T’Challa and his crew face Killmonger to stop him from sending Wakandan weaponry to other countries. Notice that each character, T’Challa, Shuri, Okoye, Nakia, and Ross do something heroic and self-sacrificing. Occasionally something comes in that turns the tides in the heroes’ favour (this must be heavily foreshadowed) like when M’Baku decides to join sides with T’Challa.

Climax: Close to the end, midway in Part 4, the antagonist is defeated and the theme is clearly splayed out.

In Black Panther, this happens at 115 min - 118 min (or 94%) when T’Challa brings Killmonger out of the vibranium mines to see the Wakandan sunset. Killmonger chooses to die rather than live in bondage. After this point, we switch to the resolution.

Resolution Scene: Everything is wrapped up after the climax. This isn’t necessarily one scene, but can be many. May be one chapter or several depending on how many plot threads need to be tied up. Whatever happens, we enter into a new stasis and see the effect of the protagonist’s journey both physically (how the world changes around them) and psychologically (how they have changed internally).

Example: In Black Panther, we find out that T’Challa has decided to make an outreach program for African-American youth. He learns from Killmonger and decides to use Wakandan technology and resources so that the future generation does not suffer like Killmonger did.

How to use the Four Act Story Structure

On a practical level, how can writers use the Four Act Structure? I would recommend using it both in reading and in writing:

When reading or watching a movie, look out for the major plot points and act breaks. Have you ever felt that a story feels unbalanced? Rushed in parts? It is likely because it does not follow the Four Act Structure.

You can also use this structure in outlining. It will prevent you from going, “What the hell is going to happen next?” and will help you create a story that is well structured. Another reason I like this structure is because it details how to plot the middle portion of a novel.

However, keep in mind that movies are paced differently than books, and that even all books aren’t paced the same. You will not die in writers hell if you don’t follow this structure exactly. Rather, it is good to understand why this structure works so that you can better structure your own novels. For instance, Harry Potter and the Philosopher’s Stone does not follow this structure like I’ve laid out (though many argue that the first book is unbalanced; Harry doesn’t get to Hogwarts until 40% into the book.)

If you’d like to read more in depth about the Four Act Structure, Larry Brooks writes about it in Story Engineering. But a word of warning: Brooks does seem to believe that you will die in writing hell if you don’t follow this structure, and he hates pantsers with a passion. It’s still an informative read, but please take everything he says with a grain of salt.

[writingquestionsanswered]

Portraying a self-centered character?

First, think about why your character is self-centered. Are they that way because of the environment they grew up in? Or is there an underlying personality disorder? Next, do some research on whichever cause you choose to learn how it develops and how it manifests. There should be lots of information online to help you research the various aspects. Then, figure out which specific aspects affect your character. How does it affect their daily lives? Their behavior? Their decisions? The way they view themselves? The way they interact with others? The way others see them? Fleshing all of this out will make the character come to life in your head and will make them much easier to portray on the page. Good luck! :)

[itslmdee]

There’s no RULE saying we HAVE to write a story in linear fashion. I’m not talking about non-linear structure, rather about the order of scenes we write. It makes a certain amount of sense — especially as we start out a writing project — to start with scenes we KNOW, scenes we are EXCITED about, scenes we really WANT to write. That gets the writing process off to a strong start. Good energy. Plus it’s more likely we tap into the essence of the story and our emotional connection to it. Obviously you need to write the interstitial scenes, the harder ones, the ones for which you may not have as much enthusiasm as for the ones you want to write, but maybe by getting charged up by the other scenes, you can bring some of that positive energy to bear on the rest of story’s content.

Scott Myers

[scriptwriters-network]

The cure for boredom is curiosity. There is no cure for curiosity.

Ellen Parr

[thewordriven]

No matter if you are just getting started or want to break into fiction writing, setting is a crucial element to any story. In order to create an imaginary world for your story, you’ll need to know the fundamental elements of setting first.

From here [X]

This excerpt comes from Between the Lines by Jessica Morrell

Fiction has three main elements: plotting, character, and place or setting. While writers spend countless hours plotting and creating characters and then imagining their character’s arcs and dilemmas, often too little attention is paid to place. This is a fatal mistake, since the place fiction is staged provides the backdrop against which your dramas ultimately play out.

But setting is more than a mere backdrop for action; it is an interactive aspect of your fictional world that saturates the story with mood, meaning, and thematic connotations. Broadly defined, setting is the location of the plot, including the region, geography, climate, neighborhood, buildings, and interiors. Setting, along with pacing, also suggests passage of time. Place is layered into every scene and flashback, built of elements such as weather, lighting, the season, and the hour.

The Fundamental Elements of Setting

Here is a list of the specific elements that setting encompasses:

Locale. This relates to broad categories such as a country, state, region, city, and town, as well as to more specific locales, such as a neighborhood, street, house or school. Other locales can include shorelines, islands, farms, rural areas, etc.

Time of year. The time of year is richly evocative and influential in fiction. Time of year includes the seasons, but also encompasses holidays, such as Hanukkah, Christmas, New Year’s Eve, and Halloween. Significant dates can also be used, such as the anniversary of a death of a character or real person, or the anniversary of a battle, such as the attack on Pearl Harbor.

Time of day. Scenes need to play out during various times or periods during a day or night, such as dawn or dusk. Readers have clear associations with different periods of the day, making an easy way to create a visual orientation in a scene.

Elapsed time. The minutes, hours, days, weeks, and months a story encompasses must be somehow accounted for or the reader will feel confused and the story will suffer from a lack of authenticity. While scenes unfold moment by moment, there is also time to account for between scenes, when a flashback is inserted, and when a character travels a long distance.

Mood and atmosphere. Characters and events are influenced by weather, temperature, lighting, and other tangible factors, which in turn influence the emotional timbre, mood, and atmosphere of a scene.

Climate. Climate is linked to the geography and topography of a place, and, as in our real world, can influence events and people. Ocean currents, prevailing winds and air masses, latitude, altitude, mountains, land masses, and large bodies of water all influence climate. It’s especially important when you write about a real setting to understand climatic influences. Harsh climates can make for grim lives, while tropical climates can create more carefree lifestyles.

Geography. This refers to specific aspects of water, landforms, ecosystems, and topography in your setting. Geography also includes climate, soil, plants, trees, rocks and minerals, and soils. Geography can create obvious influences in a story like a mountain a character must climb, a swift-running river he must cross, or a boreal forest he must traverse to reach safety. No matter where a story is set, whether it’s a mountain village in the Swiss Alps or an opulent resort on the Florida coast, the natural world with all its geographic variations and influences must permeate the story.

Man-made geography. There are few corners of the planet that have not been influenced by the hand of humankind. It is in our man-made influences that our creativity and the destructiveness of civilization can be seen. Readers want visual evidence in a story world, and man-made geography is easily included to provide it. With this in mind, make certain that your stories contain proof of the many footprints that people have left in its setting. Use the influences of humankind on geography to lend authenticity to stories set in a real or famous locale. These landmarks include dams, bridges, ports, towns and cities, monuments, burial grounds, cemeteries, and famous buildings. Consider too the influences of mankind using the land, and the effects of mines, deforestation, agriculture, irrigation, vineyards, cattle grazing, and coffee plantations.

Eras of historical importance. Important events, wars, or historical periods linked to the plot and theme might include the Civil war, World War II, medieval times, the Bubonic Plague, the gold rush in the 1800s, or the era of slavery in the South.

Social/political/cultural environment. Cultural, political, and social influences can range widely and affect characters in many ways. The social era of a story often influences characters’ values, social and family roles, and sensibilities.

Population. Some places are densely populated, such as Hong Kong, while others are lonely places with only a few hardy souls. Your stories need a specific, yet varied population that accurately reflects the place.

Ancestral influences. In many regions of the United States, the ancestral influences of European countries such as Germany, Ireland, Italy, and Poland are prominent. The cities and bayous of Louisiana are populated with distinctive groups influenced by their Native American, French-Canadian, and African American forebears. Ancestral influences can be depicted in cuisine, dialogue, values, attitudes, and general outlook.

Plus, read more daily writing tips.