The old adage of “show, don’t tell” is most applicable to third person narration, because it is here that writers most often make the mistake of reporting events in an especially monotonous fashion rather than illustrating them. Utilizing a variety of sentence structure, intentional vocabulary, and engaging pace/tone is the key to pulling your reader into the story rather than simply dictating a series of events. Third person point of view can make it difficult for a reader to connect intimately with the story, as the more objective voice or subtlety of the narrator’s bias can translate in a less personal manner than first person. It’s imperative to receive feedback on how well your use of alternative methods is drawing the reader into the story throughout.
Including Backstory & Context
Backstory is more convenient with third person POV, because you’re not limited to the knowledge of a single character. (Of course, this is assuming that you’re writing in third person omniscient, rather than limited. There will be a follow-up article all about limited POV in the near future, but for the purpose of this article, this focuses on omniscience.) You can utilize information, memories, and backstory of your entire cast or world, and furthermore give your reader insights into the characters’ actions or world building that they would not have in first person. Take advantage of this allowance to create a rich narrative with clear connections between characters, plot points, and information.
Developing Secondary Characters
The ability to further develop secondary characters is a major advantage of utilizing third person narration, because you are not so limited in the scope of information being revealed to the reader. You can shift the focus of the narrative to situations that solely involve characters other than your protagonist, and this offers the unique perspectives of characters outside or on the periphery of the main conflict. You can develop subplots more efficiently, offer the reader information your protagonist isn’t aware of to create suspense, and enrich your world outside of their limited perspective. This makes third person an optimal point of view to utilize when telling a particularly complex story or one that is set in a quite complicated world.
Distinctive Voice
When one is writing in the third person, it can be easy to fall into the habit of filling the pages with paragraphs of unnecessary description in order to achieve goals of length or in emulation of a particular writing style. This is often also the result of maintaining a needlessly objective narration. It is reasonable to write in the third person with a particular slant or bias. It gives the narrator their own voice, and makes the writing more engaging. Not just in the way of an unreliable narrator, where the bias in narration distorts or exaggerates the essence of the plot. You as the writer or narrator should have a voice that is just as distinctive as any character would have, although it’s generally agreed that a third person narration should be more subtle than a first person narration.
Practice & Adjustment
Third person point of view can be difficult to get accustomed to. It is a more impersonal style of writing. When writing about intimate or meaningful messages/events/characters, it can feel more natural to adhere to a first person perspective, even if third person better serves the story overall. It’s important that you actively practice if you’re unfamiliar with writing an entire story in third person. Getting used to approaching certain events or depicting certain emotions from a third person perspective is immeasurably helpful to the process of creating an engaging story. It can also help to practice thinking about events from that perspective if you’re prone to switching perspectives reflexively when you’re trying to articulate emotion or tone, which is a struggle I see often with new attempts at this POV.
Common Struggles
~ When dealing with multiple characters that have they/them pronouns, what’s a good way to keep the reader from getting mixed up? I assume that you would want to try and rely on a different sentence structure that allows you to clarify whom you’re referring to with context clues, rather than pronouns. It may seem less clear or accessible, but it’s very possible to write in a way where each sentence doesn’t start with “he said, she said, they said”. It’s also important that you master the way in which you write about each individual character. This will help your reader to correctly anticipate who you’re writing about and when.
~ When writing third person POV, how do you write multiple people’s emotions and perspectives at the same time? Focus on how they express their emotions rather than communicating exactly what they’re feeling and why. If the reader needs to comprehend the ins and outs of their thought process, perhaps third person isn’t suitable for the story.
~ And if lots of people with the same pronouns are in the same scene, what are useful ways to distinguish between the characters without using their names all the time? Clarify who you are referring to whenever “the camera moves”. When the focus shifts in space rather than subject, you must signal to the reader that this has happened. The use of dialogue tags is not an efficient way to do this, and many writers will often make the mistake of leaning too heavily on them. Instead, give your characters “stage business”, or an activity that they’re engaging with while dialogue is happening, and when they become the center of attention, refer back to the activity in a subtle way. Move the camera. Although, it is important to note that you rarely need so much dialogue in a scene to communicate information to the reader that you would get lost in the crowd of involved characters. Consider what you could better share through description and action, rather than dialogue.
~ How do you make sure you don’t use too many pronouns in a paragraph to refer to a certain character? Consider whether your descriptive style is too procedural. Natural writing flows without an abundance of clarifying pronouns, and if you start every sentence in a paragraph with “she did this, she saw that, she noticed, she heard, she felt” your writing will fall flat. Experiment with sentence structure, descriptive style, and perspective in your writing. At a certain point, your reader should be in a groove where they can keep up with who you’re referring to, even through context clues having to do with a large cast in the same scene.
~ How do I maintain momentum and clarity when writing in third person limited POV? For those who may not know, third person limitation is the narration of a single character’s perspective (at a time, if the story focuses on multiple characters). This point of view can be tricky because the limitation requires you to differentiate what each character knows and when they become aware of things that may already be known by other point of view characters.
The best advice I can give when attempting this is to be very diligent in keeping your characters’ stories and inner monologues straight. Keep track of who knows what, when they found (or will find) out, and refer to this timeline regularly as your story progresses. It’s also worth your time to strategize with your key pieces of information. If your reader has already learned this information through another character’s perspective, then reviewing this through the eyes of another must be illuminating in a different way, or the process of the other characters’ discoveries of what we already know must add to the suspense/emotional build/payoff. Pieces of information are the fireworks of your story, and you need to release or repeat them with great care for the greater show.
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In a lecture series on Youtube, #1 New York Times best-selling author Brandon Sanderson talks about the three P’s of plot structure: Promise. Progress. Payoff.
Promises are particularly important in the beginning of the story, as they draw in the audience.
Progress keeps the audience invested, particularly through the middle of the story. If there is no sense of progress, then the reader feels as if the plot isn’t going anywhere.
Payoff is what fulfills the promises of progress. It rewards the audience for sticking around, and if done properly, creates a feeling of satisfaction at the end of the story.
While all three can be tricky in their own right, many writers struggle to create a proper sense of progress, which can lead to saggy middles.
Luckily, Dramatica Theory breaks plot down into eight story points that essentially encapsulate progress.
If you apply them to your stories, your writing will always have progression through the middle.
1. Goal - Every story has a goal. It may be a goal of aspiration, such as becoming a top chef. Or it may be a goal of thwarting something, such as stopping a murderer. Whatever the case, a story’s goal is what enables us to measure progress. If there is no goal, then what one does, doesn’t really matter. We have no orientation or purpose, so there is no sense of moving forward or backward. The goal allows progress to happen.
2. Requirements-In order to achieve the goal, something is required. This can be broken down into two variations. In one, the characters must follow an order of steps, like following a set of directions. In the other, the characters must do or obtain things in any order, like a shopping list. The characters in Jumanji, for example,have the goal to restore the world to normal. The requirement is to win the game. But they must do this in a proper order–they can’t skip turns.
3. Consequences-Consequences are what happen if a goal isn’t achieved or hasn’t yet been achieved. In some stories, the protagonist is trying to prevent the consequences, but in others, the protagonist is trying to stop the consequences that are already happening. Consequences might be thought of as overall stakes. In Ralph Breaks the Internet, if Ralph and Vanellope don’t buy a new steering wheel for Sugar Rush, then its characters will be homeless.
4. Forewarnings - Forewarnings convey that the consequences are getting closer, becoming worse, or becoming permanent (depending on the story). If a dam is in danger of breaking, then a forwarning may be a crack that shoots out water. In Back to the Future, Marty’s family slowly disappearing from a photograph works as a forewarning.
5. Dividends-Characters will likely receive small rewards for little successes along the journey to the goal. These are dividends. For example, on her journey to fight in the war in her father’s place, Mulan is rewarded honor and a place in the military when she is able to retrieve an arrow from a wooden post that none of the men could get down.
6. Costs - Just as the journey may include dividends, it also entails costs. These have negative impacts on the protagonist’s well-being. In order to win The Hunger Games, for example, one must be willing to kill others, which also includes psychological trauma. In order for Frodo to get to Mount Doom to destroy the Ring, he must suffer a loss of innocence. This is a cost.
7. Prerequisites - There are often certain essentials one must have, to pursue the goal at all. These are prerequisites.Prerequisites on their own don’t bring the goal closer. This is why they aren’t requirements. In Interstellar, a spaceship, equipment, and astronauts are needed to travel space to find a new home (goal). But simply having those things doesn’t necessarily mean the characters are closer to discovering a liveable planet.
8. Preconditions - Preconditions do not directly relate to the goal. They are “non-essential constraints or costs placed on the characters in exchange for the help of someone who controls essential prerequisites.” In Karate Kid, a prerequisite is that the protagonist must receive extra lessons from a master, but the master adds the precondition of doing chores. One does not technically need to do chores to do karate.
Some of these points are more direct–like requirements–while others are more indirect–like preconditions. The direct points will usually be more intense than the indirect. As you apply these elements to your stories, you’ll create a sense of progress–especially through the middle, which will help make any story more satisfying.
Hello. We need to ask you something pretttyyy important.
So.
Right.
Ugh this sucks.
Right.
As you know the pandemic has proper knackered arts orgs and artists all over the shop and that, unfortunately, includes us. For the last 18 months, we’ve been unable to run our live events safely and, honestly? It’s left a huge hole in our beeswax. Add to the nightmare with the cowboy web developers and things at Writers’ HQ are a little on the precarious side.
Recently the Arts Council decided we weren’t allowed to apply for the Culture Recovery Fund because we asked for both too much and too little (we don’t understand either)*. We have absolutely maxed out all available credit and aren’t eligible for any of the other covid support packages and eeesh it has left us in a very bum-clenchy situation.
Since the beginning of the pandemic we have run hundreds of free online workshops and courses for writers stuck in covid hell and worked our little butts off to make sure no one missed out on the community they needed during the weird-ass timeline we forked into in early 2020.
Last year, we awarded over 20 bursaries to systemically excluded writers, ran 312 webinars and workshops and saw our writers rack up over 200 publications and 50 longlistings, shortlistings and competition wins. One longlist had TEN Writers’ HQers on it, and one anthology featured SEVEN of you writerly maniacs.
But it’s not just about the publications. It’s about DOING THE WORK and hoo boy have our writers worked their arses off. We’ve seen ‘em rack up those words, complete first drafts, fifth drafts, synopses, queries, collections, scripts, poems, a billion pieces of flash fiction, non-fiction, articles, journals, MA applications, podcasts, spoken word performances, self-published manuscripts, NaNoWriMo drafts and, most important of all, you’ve posted an endless stream of support and feedback on our forum, celebrating wins and rejections alike.
We love Writers’ HQ and we know it’s an important place for so many writers and we are determined that we won’t be scuppered at the final twist of the pandemic shitfight.
tl;dr: Writers’ HQ is really in the shits right now and if you have the resources to help us continue supporting writers across the world, we would very much appreciate it. We’re not a mega corp that can suck up the losses of the last 18 months. Writers’ HQ is a labour of love run by Sarah and Jo and Natalie (and Poppy and the rest of the amazing workshop team) from their living rooms because we believe the writing of stories should be accessible to everyone regardless of ability, class, neurodiversity or wealth, not just the rarified types normally allowed by the publishing gatekeepers.
So. If you can, there are three ways you can help us right now:
1. BECOME A MONTHLY MEMBER
Not only does your monthly sub give you access to like the best writing community and courses and workshops in the ENTIRE WORLD EVER PLUS ONE but it really is the best way to support us right now, and it helps us to continue offering plenty o’ free stuff for those who need the free stuff.
Don’t keep us to yourselves! We’re too good to be a secret! Tell everyone you know about Writers’ HQ and let them see for themselves what awesome-sauceome writerly goodies we have to offer. If you have a website, please consider putting a link on it pointing to us, or just spam your friends demanding they check us out.
Thank you thank you we love you love you love you x
Thought I’d post my old writing advice guides onto this blog since I deleted my old one. I hope it’s helpful!
::
Listen. I respect the hell out of teachers. The vast majority of them work crazy hard and most of the time, including the times they give you well-meaning ‘writing rules,’ only want to instill good and helpful habits into you.
That doesn’t change the fact that many of these rules are stupid.
Here are my top five ‘writing rule’ pet peeves, and five rules that should be followed.
✗ Don’t write ‘said.’
Okay, I know this is common knowledge by now, but it’s so important. The concept that you can never write ‘ so-and-so said’ is hurting novice writers’ narratives. Said is invisible. Said is powerful. Said is transformable. If every quote ends in a strong synonym, it is distracting. Sometimes, in an established repartee, quotes don’t need to be tagged at all. Or an adverb following ‘said’ might be better for the narrative than any single verb.
Eg. // “I hate the rain,” grumbled David.
“I love it,” Claire announced.
“You love everything,” he muttered.
“Including you!” she giggled.
versus.
“I hate the rain,” grumbled David.
“I love it,” said Claire.
“You love everything,” he said impatiently.
“Including you!”
✓ Don’t write ‘something.’
Cold hard truth, baby. ‘Something’ is a draft word. It’s what you write when you want to think of a replacement. I cringe when I see it in a sentence that would have been improved tenfold by a specific noun or descriptive phrase in its place. There are times when ‘something’ works or is the only option, but experiment by replacing that word with more description before deciding it’s necessary to keep.
Eg. //He pulled something shiny from his pocket. She craned her neck to see what it was. A metal flask.versus.A flash of light caught the metal he pulled from his pocket. She craned her neck to see what it was. A drinking flask.
Not the school subject, which I know nothing about (sorry to my chemistry teacher). I’m talking about love. But more than that, chemistry is the way two people interact, and usually it is referring to a romantic sense (though there can be friend, familial, or even antagonistic chemistry). So here are some tips on creating and maintain some of those sparks to make your readers care about the relationships in your story.
Make it Slow
It doesn’t need to be slow burn. Hell, it could even be love at first sight. It’s not about the falling in love, it’s about the relationship itself. In real life, we don’t know what a partner is like until a month, 6 months, a year, maybe even a decade after being with them. First impression you is not the real you. Let the characters develop themselves naturally and slowly, and the relationship will not become too fast-paced and unrealistic.
Give them Differences
We’ve all heard the saying “opposites attract.” And since everyone is different in some way, that is true. Now, your romantic interests don’t need to be polar opposites. In fact, something which I will talk about soon is that they should have some similarities. But a difference creates conflict—good conflict. Conflict that can mirror character’s internal conflict, that can mirror the plot, that can lead to surprising bonds. Make your characters’ differences complement each other, and that will lead to great chemistry.
Give them Similarities
Wait, what? You just said to give them differences.
Well, yes. Both can be true. In the same way that every person on Earth is bound to have something similar and something different with every other person on Earth, your characters should have some similarities to go along with their differences. What is a common trait, or situation, or part of their identity that they can bond over. What do they share that nobody else shares with them? Answering this question can also answer the key question: why do these two characters specifically work well with each other, and not with anyone else?
Focus on Each Separately
You can’t make a good relationship unless the characters that are part of that relationship are also good. So, before you jump into trying to create chemistry, make sure your characters are fully fleshed out first. They should be able to stand on their own with their roles in the story. Make them complex, with motivations, goals, and a key role in the story beforeyou pair them together.
Note: Take advice with a grain of salt. These are supposed to be educational, inspirational, and/or motivational. If you have any corrections, requests, suggestions, or anything really, shoot an ask! or a submission! or a DM!
To the people who were tagged, let me know if you’re uncomfortable having your post and/or blog mentioned here and I’ll make edits ASAP.
Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
One Stop for Writers - You guys… this website has literally everythingwe need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It’s FREE!
Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
Crime Reads - Get inspired before writing a crime scene;
The Creative Academy for Writers - “Writers helping writers along every step of the path to publication.” It’s FREE and has ZOOM writing rooms;
Reedsy- “A trusted place to learn how to successfully publish your book” It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
QueryTracker - Find agents for your books (personally, I’ve never used this before, but I thought I should feature it here);
Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It’s FREE but has a paid plan;
Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;
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:
Introduction:the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards…
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:
The Ordinary World: The hero’s everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they’ve learned.
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:
exposition:the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
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:
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.
midpoint:an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax:the hero must chose between acting or failing.
climax:they fights against the antagonist or danger one last time, but will they succeed?
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.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn’t what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
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.
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)
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.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
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.
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.
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.
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.
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)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
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.
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
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.
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.
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.
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.
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.
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.
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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Plot armor is when important characters seem to survive each and every treacherous obstacle that is thrown their way just for the sake of the plot. The readers know that your protagonist is important and won’t meet their demise because who else will defeat the bad guy in the end? This can result in underwhelming battle scenes, loss of suspense and an overall boring experience.
Here are some ways to avoid having your readers notice the plot armor (because let’s be honest, it’s there whether we like or not) or at least make it more realistic:
1) Injure your characters. Let it be known that no one is safe. During the heat of battle, the prized soldier loses his sword arm. The invincible superhero receives PTSD after witnessing a terrible event. Raise the stakes!
2) If they escape, make it believable. Did they sacrifice something to escape? Did a past experience give them the wits and knowledge to outsmart the danger? Justify your protagonist’s escape. Don’t make it an easy get away just because you need them out of the situation.
3) There are consequences. Every action sparks a reaction. Have there be realistic push back. Your character shouldn’t be immune to the rules and laws of your world.
4) Detailed Explanations. So, your character needs their limbs, their sanity and anything else you could strip them of. How do you make it seem like they’re not immune to everything then? Equip them with what they need (knowledge, weapon, confidence, etc) and really sell it to your reader on how they survived.
There’s no way a teenaged girl stakes a 400 year old vampire just by picking up a branch and defending herself. Equip her with some knowledge of vampires (fanfics to the rescue?), an ancient relic that she unknowingly wears around her neck and an insane amount of adrenaline… and maybe I’ll believe it.
5) Kill off other characters. Have their deaths affect the protagonist.
If you’re writing something that involves an aspect of life that you have not experienced, you obviously have to do research on it. You have to find other examples of it in order to accurately incorporate it into your story realistically.
But don’t just look at professional write ups. Don’t stop at wikepedia or webMD. Look up first person accounts.
I wrote a fic once where a character has frequent seizures. Naturally, I was all over the wikipedia page for seizures, the related pages, other medical websites, etc.
But I also looked at Yahoo asks where people where asking more obscure questions, sometimes asked by people who were experiencing seizures, sometimes answered by people who have had seizures.
I looked to YouTube. Found a few individual videos of people detailing how their seizures usually played out. So found a few channels that were mostly dedicated to displaying the daily habits of someone who was epileptic.
I looked at blogs and articles written by people who have had seizures regularly for as long as they can remember. But I also read the frantic posts from people who were newly diagnosed or had only had one and were worried about another.
When I wrote that fic, I got a comment from someone saying that I had touched upon aspects of movement disorders that they had never seen portrayed in media and that they had found representation in my art that they just never had before. And I think it’s because of the details. The little things.
The wiki page for seizures tells you the technicalities of it all, the terminology. It tells you what can cause them and what the symptoms are. It tells you how to deal with them, how to prevent them.
But it doesn’t tell you how some people with seizures are wary of holding sharp objects or hot liquids. It doesn’t tell you how epileptics feel when they’ve just found out that they’re prone to fits. It doesn’t tell you how their friends and family react to the news.
This applies to any and all writing. And any and all subjects. Disabilities. Sexualities. Ethnicities. Cultures. Professions. Hobbies. Traumas. If you haven’t experienced something first hand, talk to people that have. Listen to people that have. Don’t stop at the scholarly sources. They don’t always have all that you need.
I … LOVE reading the replies and tags for this post! I’m happy that, out of all my posts, this is the one that’s blown up so quickly.
I love the people who are a part of a minority, that are gushing about their favorite fics or books that seem to have done this and offer proper representation.
I love the people who are bringing up the toxic mindset that is very popular on tumblr, the “you can’t write about it if you haven’t lived it” ideology that makes writers feel guilty for providing representation.
Iespecially love the people who are mentioning how they should start doing this. I love the people who are probably young or inexperienced writers that are seeing this and thinking of doing this for the first time. I love that there are people who read this and then think to better their writing because of it.
Try changing your word document page background to black or brown and your font color to white or pink if your eyes hurt from looking too long at a bright screen when writing.
It is very important that the language in your novel reflects the time and place in which the story is set.
For example, my story is set in Italy. My characters would never “ride shotgun”, a term coined in US in the early 1900s referring to riding alongside the driver with a shotgun to gun bandits.
Do your research! A free tool that I found to be very useful is Ngram Viewer.
You can type any word and see when it started appearing in books. For example…one of my characters was going to say “gazillion” (I write YA) in 1994. Was “gazillion” used back then?
And the answer is…YES! It started trending in 1988 and was quite popular in 1994.
Enjoy ^_^
This is really important, especially because language can change in very unexpected ways.
For example, did you know that before 1986 people never said “I need to”?Instead, they were far more likely to say “I ought to”, “I have to”, “I must”, or “I should”.
Don’t believe me?
Anyway, most people won’t notice subtle changes like that. But your reader will notice and be confused when characters in your medieval world use metaphors involving railroads and rockets.
One of the things you can do besides use Google Ngrams is to read books or watch movies written in the time period you want to set your story. The key here is that they can’t just be set in that time period, they have to have been made in that time period.
Also, there’s a Lexicon Valley episode on this very topic which I highly recommend. It’s called Capturing the Past.
SEE ALSO Etymonline. Word origins and when they’re first recorded. So, say I wanted to find out when a “coffee break” became a thing – around the 1950s, as seen in magazine adverts – or characters might talk about more genrallly “taking a break” from the 1860s…
