marycatelli: (Default)
So our underage hero meets up with two responsible adults who will do their best to help him and the three younger students he's (mostly) in charge of.

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marycatelli: (Default)
A bunch of supervillains with no need for a gun came crashing through the metaphorical door.

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marycatelli: (Default)
There's a shipwreck.  With my heroine and her companions on the ship.

Now, is it just before the story opens, or does it open the story?
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marycatelli: (Cat)
Ah, time for the faction sheet.

A useful sheet, like the character sheet, to help you keep track of what's going on.  There's nothing like multiplying the number of different things that characters want to make the story complex. (As long as you keep them clashing. It matters a lot less how strong the desires are than that they can't all get what they want. )
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marycatelli: (Galahad)
A new fledged superhero, the classic flying brick with flight, supersenses, invulnerability and strength, and I was meandering along and -- put him in a fight.
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marycatelli: (Rapunzel)
A bildungsroman has a lot looser weave in its plot than other stories.  Even if the heroine turns into a dove on occasion. . .

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marycatelli: (A Birthday)
Pondering a story, I realized I could move the inciting incident much earlier than I had thought.

But not to the beginning.  There was still some set up needed.

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marycatelli: (East of the Sun)
sigh

Two fairy tale stories.  One I begin when the hero is seven, and he meets up with a wild man of the woods, with consequences that rebound throughout the story -- but not until he's fourteen or so, except for the coldness it creates between him and his father.

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marycatelli: (Cat)
I had thought nothing of it.  The three students still on speaking terms with parents or guardian and not within easy walking distance got letters.

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marycatelli: (A Birthday)
One complication of an ensemble plot is sometimes you put in an event that affects them all.

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ensembles

Aug. 11th, 2015 11:37 pm
marycatelli: (A Birthday)
The opposite end of the Harry Potter situation where even the two most major characters barely get subplots is the ensemble, where many characters are important, sometimes leaving the main character role split up.
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marycatelli: (A Birthday)
Most military stories -- and non-fiction -- are about the front-lines.  That's where the drama naturally graviates.

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marycatelli: (A Birthday)
So I sit down with an outline and some scenes and ponder.  I have the characters, I know who they are, and I know they find themselves alone in the space station with odd lights glowing places, and no one else around.

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marycatelli: (A Birthday)
Series can be divvied up by how tightly connected they are. They can also be divvied up by how formulaic they are. Which is not in itself a bad thing. It can produce a difference like a poet's book titled Poems, and one titled Sonnets.

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stalling

May. 28th, 2014 11:28 pm
marycatelli: (A Birthday)
Sometimes you just know that the events of the story that you know about have to be farther off in the future.

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marycatelli: (A Birthday)
When in doubt, have a man come through the door with a gun in his hand. . . I may have given one the wrong gun.

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marycatelli: (A Birthday)
Patricia C. Wrede, in Wrede on Writing, wrote that you should not just throw action into the story just to have it.

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