My husband and I watched The Place Beyond the Pines on VOD yesterday after we came back from the US Open. 

When it broke into the third act for the third time, he said, “I think this movie is going into a fifth set.”

That about covers it.

Good conflict is when people want mutually exclusive, life-changing things.

GOOD CONFLICT:

Jenny’s father wants her to quit school so she can nurse her chronically ill grandmother and he can keep his job as a long-haul truck driver. Jenny wants him to sign a letter of consent for a prestigious military academy so she can learn to fly jets.

• Only one of them is going to get what they want, and it is life-changing in both directions.
• Each of them needs the other to back down so they can get what they want.
• Someone is going to win and someone is going to lose.

BAD CONFLICT:

Jenny’s father wants her to nurse her grandmother. Jenny wants to win a baking competition so she can open her own cake shop.

• They want different things, but they can figure out how to compromise.
• This isn’t the only way to open a cake shop. There’s not a lot at stake.
• There’s no timelock on it. Jenny can open a cake shop tomorrow or six months from now or next year. No tension.

Give good conflict to up your game.

BAD PACING:

There is an idea set up that something is going to happen, and then nothing dramatic happens. And that keeps looping.

GOOD PACING:

Something is about to happen. Something completely unexpected happens. Then, CAR! Then garbage cans are flying everywhere. New problem. And the lawn still isn’t mowed.

Credit: De Montfort University Leicester 

By Idha Valeur 

By using domestic waste plastic such as coffee cup lids and plastic bottles to create a new style of bricks, researchers from De Montfort University Leicester (DMU) proved a plastic waste brick could improve insulation by 10 times compared with traditional ones.

The university’s Senior Lecturer in Mechanical Engineering, Dr Karthikeyan Kandan explained that the inspiration came from nature, specifically from the nest of the Baya weaver – a bird found in the Indian subcontinent and Southeast Asia in general.

‘The Baya weaver bird’s nest’s ingenious construction gives it excellent thermal insulation and mechanical properties for inhabitation,’ Kandan said in a university release.

‘Inside there is a central nesting chamber, which makes it the ideal micro-climate for inhabitation. By replicating this structure, we have manufactured a brick that improves energy efficiency of modern buildings and therefore can reduce carbon footprint.’

The brick is 3D-printed and uses lattice architecture technologies, this include criss-cross strips of the plastic over each other to form a grid-esque structure in the brick.

To test the brick, DMU PhD Student, Saad Alqahtani, used a hot-box calorimeter to measure the brick’s U-value, a measure of the heat flow through insulating and building materials. A lower value means better insulation properties.

The bog-standard clay brick has a U-value of 2.94 Watts per Metre Kelvin (W/m²K), while Kandan’s new waste brick showed a value of 0.25 W/m²K.

‘This provides significant potential to not only improve the energy efficiency of modern building, but also to conserve space and reduce dead-weight in multi-story buildings,’ Kandan said.

booksandstarlight asked you:

Hello! I intended to write a story in one pov but I realized that there’s not one main character but two, and they are both equally important and relevant to the story. I’m doubtful about using two pov though, because I wanted the relationship forming between the two to be a surprise. I don’t know how I can manage it to still be a surprise if we see in both their minds.

It sounds like you’ve come to the point in your plotting where you have a fork in the road: stick with one idea and you end up with one story, or go with the other and end up with something totally different.

I definitely know this feeling. A good way to tackle this is to flesh out what each potential story might look like, then compare the two. A good way to get a clearer vision of the two stories is to map out the positives and the negatives of what could happen.

I only know what you gave me, but let’s make a hypothetical example:

This illustrates a better vision of what the two stories might look like, and if you fill a chart out like this, you can add various plot points that may be affected differently (the stuff that I don’t know). If you don’t have your story plotted out this far, then this can challenge you to really start thinking about it. Brainstorm those ideas. Look at them from the angle of all your potential story ideas.

Once you fill out your chart, you’ll end up with two very different stories (or three or four for those who have multiple ideas for their story). What you want to do after you map out the traits of both (or all) versions of your story is add in the answers to these questions:

• Can I combine any of these ideas? When I have multiple story ideas, sometimes I’ll look for a way to combine them if the end result is something cohesive and comprehensible. Sometimes combining story ideas creates something even better than the two (or three or four) ideas separately.
• What is the strength of both (or each) story? Think of pacing, twists, intrigue. Ask yourself if one POV is enough to carry the story. Ask yourself if the second POV affects the story enough to be included as a POV. Overall, find the points that make each story idea brilliant and map those out at the bottom of your chart.
• What are the weaknesses? Just as important, map out where each story falls short in comparison to the other idea(s). Unreliable narrators can create awesome plot twists when they come to realize something they didn’t know was happening – and this might not be as strong of a twist when a second narrator already knows this throughout the story. However, while the first aforementioned example creates one type of story, the second example can create something entirely different but just as interesting.
• How can the weaknesses be improved? Just because you find weaknesses in your potential story doesn’t mean those weaknesses can’t be improved upon. Sometimes it takes some tweaking, some rearranging, or adding some additional subplots or ideas.
• Which is the better overall story? This is a tough question and might require a five paragraph essay – but this part is your opinion. Your personal opinion. And, if you need to, you can always ask your fellow writerly friends for their opinions as well. If you do this, however, make sure you get lots of opinions, not just one or two. Then chart these as well.
• Which story do I want to tell more? The most important question of them all. Write the story that most excites you. If you’re excited, someone else out there will be, too.

As always, good luck!

perpetual-stories:

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:

1. Introduction:the status quo has been established and an inciting incident occurs.
2. Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
3. Climax: the protagonist can no longer go back, the point of no return if you will.
4. Return or fall: after the climax of the story, tension builds and the story inevitably heads towards…
5. 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:

1. The Ordinary World: The hero’s everyday routine and life is established.
2. The Call of Adventure: the inciting incident.
3. Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
4. Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
5. Crossing the First Threshold: first steps out of the comfort zone are taken.
6. Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
7. Approach to the Inmost Cave: hero approaches goal.
8. The Ordeal: the hero faces their biggest challenge.
9. Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
10. The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
11. Resurrection: a final challenge, testing them on everything they’ve learned.
12. 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:

1. exposition:the status quo or the ordinary life is established.
2. inciting incident: an event sets the whole story into motion.
3. 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:

1. 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.
2. midpoint:an event that derails the protagonists mission.
3. plot point two: the hero is tested and fails, and begins to doubt themselves.

Act 3: Resolution:

1. pre-climax:the hero must chose between acting or failing.
2. climax:they fights against the antagonist or danger one last time, but will they succeed?
3. 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.

1. the character is in their comfort zone: also known as the status quo or ordinary life.
2. they want something: this is a longing and it can be brought forth by an inciting incident.
3. the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
4. adapt to it: of course there are challenges, there is struggle and begin to succeed.
5. they get what they want: often a false victory.
6. a heavy price is paid: a realization of what they wanted isn’t what they needed.
7. back to the good old ways: they return to their familiar situation yet with a new truth.
8. 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:

• thefichtean 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.

1. 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)

1. 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.
2. Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
3. Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
4. Catalyst [12]. The inciting incident!
5. Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
6. Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
7. B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
8. 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.
9. Midpoint [55].Aplot 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.
10. 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.
11. 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.
12. 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)
13. Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
14. 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.
15. 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

1. 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.
2. 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.
3. 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.
4. 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.
5. 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.
6. 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.
7. 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

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