– I’d Hoard Jars Man // E.d.c.

My Personal Character Files: The 6 Box Method

This is for my science fiction WIP, so some things may need to be added/modified depending on your genre. I will also include a screenshot of an example at the bottom so y’all can see how I set it up in my Doc.

1. The Quick Ref

I use this as the first page of my “Character FIles” Doc.

I put all my important characters in a list, then add their height, age, and the page their complete file can be found on. This is helpful when I need to know if a character would have to crane their neck upward to look another character in the eyes. Comes up more than I’d have guessed.

2. The Individual Profile: 6 Box Method

I add and subtract stuff based on how important the character is. Without further ado…

Box One: Reference Photo

This is where I add in any actor, model, drawing, etc that I base the look on. When I don’t need one, sometimes I’ll put in a picture that represents the character’s style.

Box Two: The Introduction

Full Name

Nickname(s) 

Age 

Occupation 

Current home 

Situation: How do they enter this story?

Motivation: What do they want?

Favorite quote/saying

Biggest strength

Biggest issue 

Strongest trait 

Box Three: Behavior

Personality

Habits

Ambition/Short and Long Term Goals

Greatest fear(s)

Phobias

Biggest secret(s) 

Social skills

Interior talents

Box Four: Background

Home moon/planet

Important history

Family

Friends, Enemies, Acquaintances, and Colleagues

Finances

Education

Phys. Health/Mental Health

Religion

Romantic/sexual preference

Interests/Hobbies

Box Five: Appearance & Physicality

Height

Body type

Skin tone/Ethnicity/Species

Facial description

Prominent/distinguishing features

Dress 

Mannerisms

Physical talents

Box Six: Speech

Normal tone

Language & accent

Favorite phrases

3. The Example

Rey from The Force Awakens. Made in Google Docs.

Boxes 1 and 2

Boxes 3 and 4

Boxes 5 and 6

Best of luck on your writing journey!

how to use three act structure in your writing

Ah, three act structure! While I learned about this in a screenwriting workshop as a method for constructing screenplays, the model has worked wonders for every fiction piece I’ve written and just about any modern story is constructed in this way. If you’re struggling in finding the arch of a story, this outlines it very well!

First of all, let’s cover the structure itself: i. status quo: how things are at the beginning of the story, before things change. Doesn’t have to be included in the novel/screenplay/etc explicitly, but is the ‘before’ circumstances. ii. inciting incident: this is where your story really starts! It’s the thing that makes things change, like your protagonist finding out they have super powers or that their best friend is in love with them. iii. plot point one: this is where the story transitions from the beginning to the middle section. After the inciting incident, the character reacts to that change, and this is the reaction. It’s usually a decision made by the main character and their final goal is introduced. iv. complications: fairly straightforward. When a goal is set, there are complications that come along the way. A good model to follow is three main complications, though it isn’t so strict. v. midpoint: the midpoint is usually the most emotional point in the story, aside from the climax. It can be either an extreme high or an extreme low, dependent on the ending; a story with a happy ending has an extreme high in the middle, but a bad ending has a very low point. For example, a superhero story where the protagonist changes the world’s midpoint might be a montage of the hero rescuing civilians, while a more disappointing superhero story would show our hero in a funk where he’s unable to save anyone. In modern film, a lot of midpoints are montages, but that’s not a set rule. vi. more complications: don’t think our characters are getting a break just yet! Generally, three more complications will happen post-midpoint– usually either continuations of earlier complications, or problems that happen as a result of solving those. vii. plot point 2: circumstances change yet again! This time, a big decision is made to resolve complications. It can be thought of as the inciting incident of the climax. Transition from middle to end. viii. climax: the most intense part of your story. This is where every complication, including the main complication, comes to a point and either gets resolved all at once.  ix. new status quo: same as the status quo, it isn’t always directly shown. It’s the way things are now, how things settle down after the journey our characters went on earlier. Should be different from the original status quo.

As three acts this is:

Act One: Before plot point one. It’s the beginning of the story, when things are beginning to change but haven’t yet. Act Two: Between the first and second plot points. The middle of a story, where action is happening and the story is in rapid progression. Act Three: Post-plot point two. The end. Things are settling down into how they’ll be in the new status quo.

For an example, here is a basic love story told through three act structure:

i. status quo: character A and character B are best friends. ii. inciting incident: character A accidentally discovers character B is in love with them. iii. PP1: character A decides they have to make character B stop loving them. iv. complications: 1— character A doesn’t want to lose their friendship. 2— character B doesn’t know why A is being distant. 3— A isn’t completely sure of their own feelings, and is feeling intense jealousy in their attempts to set B up with someone else. v. midpoint: character A realizes they have a crush on character B, shown via a montage of closeness and internal panic of character A. vi. more complications: 1— character A doesn’t want to ruin their friendship, now for different reasons. 2— character B doesn’t know why A is acting so weird. 3— A struggles to hide their crush well, even though character B is completely oblivious. vii. PP2: character A has enough of this, and decides to just tell B everything they know. viii. climax: character A arrives and character B’s house and confesses everything; they kiss. ix: new status quo: characters A and B are happily together.

OR

Act One: Character A and B are best friends, but A knows B’s secret. Act Two: Character A decides how to deal with B’s secret. In the process of dealing with this, A discovers a secret of his own. Act Three: A confesses to B, and B’s reaction is positive.

A few things to note:

Status quo and new status quo’s difference.

How the inciting incident leads into PP1, same with PP2 into the climax— I’ve heard it described as the inciting incident/PP2 being the pulling back of the slingshot and PP1/the climax being the releasing of it.

PP1 and PP2 are both decisions being made by our protagonist.

The similarities between the first and second set of complications. Essentially: 1– character A doesn’t want to lose B. 2— B is confused. 3— A is also confused.

If you set up your story with this structure, there will be drama and change. The main problem I find in the structure of new writers’ works is that either there is insufficient conflict, the conflict is too short compared to the story, or, after the solving the conflict, everything is completely normal again. With this method, it’ll be very easy to prevent that; if your story doesn’t fit this, it likely needs altering. The structure can honestly be difficult to understand, but watch a few films or reference previous things you’ve watched/read and find the structure— eventually, you’ll be doing it subconsciously every time you consume any media it applies to!

On implementing it effectively:

All three acts shouldn’t be given equal screen time. Generally, the ratio of Act One:Act Two:Act Three should be about 1:2:1 (aka, in a 100k word novel, 25k Act One, 50k Act Two, 25k Act Three), but that could altered (like in the case I stated— 25k of intro? No thank you). All the time, though, Act Two should be at least as long as the first and third act combined. All three acts are necessary, but I’ve seen some films with less than ten minutes of Act One where it helps the story.

When your story’s introduction requires much explanation or backstory, such as building a fantasy world or even a vital relationship between characters, it might be on the longer side, while a love story between two characters who are only just meeting might take shorter— it’s extremely dependent on the narrative itself and requires you, as the author, to gauge the situation and decide how it should be. Even with a structure as formulaic as this, writing is still an art that can never have any general rules applied to fit all situations. 

Good luck in your writing! My DMs and ask box are both open!

WHAT THEY CALL GOD.

Cain sighs heavily, the cigarette held loosely between his fingers as he rests his forehead against my bare chest. “God, Dima,” he murmurs, his voice thick with self-loathing. “I fucking hate myself.” 

“Good,” I mumble, fumbling with the bottle of vodka. The bed is soft under me as I lift it up to my lips and take a long draught. My other arm goes around his shoulders and presses him to me. “You should. You’re a fucking asshole, Cain. You’re unlovable. No one loves you, and no one ever will. You’re lucky that I let you love me.” 

“I care for no man on earth, and no man on earth cares for me,” Cain quotes, almost dreamily, as he presses a kiss to my chest.

“Christ, I fucking hate you.”

taglist: @just-george-here​ @whorizcn​ @semblanche​ @emdrabbles​ @aepreall​ @sol-writes​ @agnodice-writes​ @farrradays​ @nallthatjazz​ @birdquils​ @latrantem​ @sunlight-and-starskies​ @vandorens​ @asherscribbles​ @romanticsrn​

Writing blessing

May your creativity never get lost and the words flow easy May your health be stable and give you no troubles  May your troubles be small and the joy big May the fire of creativity burn in you strongly the waters of speech make you eloquent the earth of the now keep you grounded so you can have your heads up in the air of dreams. May happiness and joy be with you and pain only be small when it finds you May you be a beacon of hopeful and inspiring light in these dark times May you find peace and freedom in what you do and people who support you the way you are. May you be loved and feel how valuable you are  

(Idk where to ask this so if you cant do you know anyone that can?) Im new to creating ocs and im overwhelmed w all the resources...I have basic appearance down but i feel i dont know my characters at all. I feel picking personality traits/background will be like throwing darts at random and wont come together like theyre an authentic, real person. Any advice? Thx.

This is a common thing for writers, artists, and character designers, so no worries! You’re completely on the right track! It can take months or even years to flesh out a character! I’ve found the best method of working through this is the use of OC interviews!

What are those you ask? They’re questionnaires made specifically for your OC’s to answer! It’s one of the quickest and easiest ways to start getting to know your characters. It’s like you’re asking them the question, and they’re answering. It gives you a sense of how they may talk, form their sentences, or even respond to such a question.  

Ask yourself one simple question when working on character personalities: Why? Why do they like this specific color? Why do they behave this way? Questions like these help the characters flesh out more. You need to ask yourself these questions because your audience will be expecting answers to them. 

A few more ways to develop characters: from experience, I found that roleplaying, making AU’s (alternate universes), and writing oneshots about them are the most effective!

Here are some resources for fleshing out character personalities:

Antagonist OC Interview

How to Write Diverse Characters

OC Interview: Through Another Character’s Eyes

5 Minute OC Interview

Foolproof Ways to Flesh Out Your Characters

8 Other Ways of Fleshing Out Characters

Character Profile Sheet

Character Traits

Archetypes to Avoid in Character Creation

Strong Female Characters: How to

Characterization Ask Game

Five Traps When Creating Characters (and tips on how to improve!)

Traumatized Character Profile

So you want to make an OC? (Masterpost)

30 Uncommon Character Development Questions

The Importance of Weaknesses in Your Characters

Qualities of Realistic Characters

Ultimate Guide to Creating Authentic Villians

If anyone has any more resources feel free to add to this list! I hope this helps you out! 

Hi! I was just wondering, what's the best way to make/write out a plot?

Guide: How to Outline a Plot

The best way to write out a plot isn’t the same for everyone, and sometimes it’s even different from story to story. There are lots of different methods, and most writers use a combination of them, so you just have to try different things to see what works best for you. Here are some of the most common methods:

1. Just Write

Some writers are what’s known as “pansters” meaning that once they have a story idea in mind, they prefer to “fly by the seat of their pants” and start writing without any planning in place. The key to making this method work is to remember that you’re only writing the first draft. Nothing you’re doing is set in stone, so don’t feel the story has to be perfect in one shot. Follow your gut and write the story to the best of your ability. Worry about tightening and polishing in subsequent drafts.

2. Synopsis

Some writers prefer to start by writing beginning to end summary of the story, describing all the important details and events in the order that they unfold. Summaries can be a great way to flesh out an idea for a plot, and they can also serve as a nice guideline if you want to “just write” your story but need a bit more structure first.

3. Old-Fashioned Outline

Do they still teach academic outlining in school? I don’t even know… when I was a kid, we learned how to do outlines with Roman numerals for the main points, capital letters for the minor points, and numbers for sub-points. If you’re good at outlining, this can be a great way to outline your plot.Edit: to clarify, it looks like this:I. Main Idea       A. Minor Idea            1. Sub-Idea                   i. sub-idea                  ii. sub-idea            2. Sub-Idea                  i. sub-idea                 ii. sub-idea     B. Minor Idea            1. Sub- Idea                   i. sub-idea        ii. sub-idea… … and so on. And no, I don’t mean the “seven step story structure outline.” This is an academic outline. It can be used for anything, including outlining a story. :)

4. Timeline

Creating a timeline for your story can be a great way to map it out. All you need is a beginning event, climax event, and end event. From there you can start filling in the events that follow and precede those events. Even if you don’t know the exact date for when a scene takes place, you can still mark it down in the right general place.

5. Scene List

If you have a pretty good idea of the scenes that need to take place, or at least a good number of them, you can start by writing out a scene list. It’s nice to do them in a table if you can so you can organize important details, like chapter, scene number, date and location, who’s in it, and then a short summary. Though, how you organize it is up to you. If you prefer, you can just write the scene number and then a brief summary.

6. Story Structure Map

Some writers like to map out their story according to whatever story structure they want to follow. They’ll pull up a graphic or chart of the structure, transcribe it onto paper or into a document, and then note each relevant event for each structure “mile marker.”

7. Subway/Tube Map

This is a new one I recently heard about. I haven’t had a chance to try it yet, but I think it’s fascinating. And there are even subway map creators you can use if you don’t want to draw it out. Ultimately, the goal is to map out the events of your story in the style of a subway/tube map. This method makes it easy to illustrate subplots and see how they relate to the rest of your story.

8. The Mind Map

Mind maps can be a fantastic way to get the most important parts of your story out on paper, and to start figuring out where other parts fit in and how they relate to everything else.

9. Index Cards

Some writers have luck writing out key scenes, moments, bits of dialogue (or anything else they have in mind) on individual index cards, which can then be laid out in order on a table, allowing for cards to be easily moved around, added, subtracted, etc. until a more complete story starts to emerge. Some writers even invest in giant cork boards for this purpose. Others use a dry erase board and draw out the “cards” instead. A lot of story writing software, such as Scrivener, even includes digital bulletin boards and index cards that you can use to visualize your story.

10. Method/Theory/Template

There are numerous methods/theories/templates dedicated to building/fleshing out plots. Some to look into:

- The Snowflake Method- Dramatica Theory- Save the Cat! for Novels- The Hero’s Journey

If one of the above doesn’t work for you, you’re sure to find even more ideas online. Try doing a search for “how to outline a plot” or “outlining a novel” to see what comes up. You might even try searching for your favorite author’s name plus “outlining” to see if they’ve done any posts sharing their own methods. You may also want to look into books, software, and apps/web sites that offer ways to help you plot your story.

Good luck!

I hate to break it to ya, guys, but

You’re all so creative and everything you wrote, drew and created made the world a tad bit more beautiful

Don’t ever stop, you little chunks of mess and fabulousness, because in this world today, we need every single drop of beauty we can get

Never mow the same grass twice — How to improve faster as a writer

One of the most important writing lessons I ever learned came, surprisingly, from my college trumpet instructor.

“Michael,” he’d say with a heavy sigh, pulling off his glasses and rubbing the lenses with the bottom of his shirt. “You know I hate to mow the same grass twice.”

It was a phrase he used a lot, in band and private lessons, whenever someone made a mistake he’d already told them to correct. Because in his mind, once he’d identified a mistake in your performance, you needed to do everything you could to keep it from happening again, for two reasons.

First, because as he said, he doesn’t like to mow the same grass twice. And second (and more importantly), because if you let yourself repeat a mistake, that mistake will start to become a habit.

A bad habit.

And the more you let yourself repeat that habit, the more deeply ingrained it becomes, making it increasingly difficult to fix and slowing your progress as a musician (or artist, or writer). So his suggestion was this: Identify what needs to change, and firmly commit to fixing it now.

Confession Time

So. I was a very average trumpet player. My instructor and I had a great rapport, but he had to tell me to mow the same grass twice, three times, and more often than he ever would have liked, because I just wasn’t focused or passionate enough about trumpet to fully commit to his advice.

But I was focused and passionate enough about fiction to commit to his advice when it came to writing. So I applied his mindset in my creative writing workshops, particularly when I started my MFA.

And I tell you what, everybody. It worked wonders — helping me improve enough in that first year alone to win our MFA program’s top fiction prize and to earn a teaching assistantship.

3 Steps to Quickly Improve Your Writing

With my trumpet instructor’s advice in mind, I put a 3-step process on loop throughout my time in the MFA:

Share a short story with your fellow writers. (A workshop is great, but online writing friends work too.)

Sift through everyone’s feedback to find one high-priority “bad habit” in your writing that they seem to be honing in on.

When you sit down to write your next story, commit to breaking that habit at any cost, even if it means making other mistakes because of it. (New mistakes are better than old mistakes.)

This is How it Went for Me

The first short story I shared in my MFA workshop had a clear issue: the narrator was passive and underdeveloped. One of my classmates called him a “window character,” someone through whom we could observe the other, more interesting characters who actually drove the plot. The rest of the workshop agreed, and looking back at some of my past stories, I realized that passive narrators had become a deeply ingrained habit of mine.

So the next time I wrote a story, I strictly committed myself to writing a more active narrator.

The Result?

A moderately active narrator. Not perfect, but better than I’d done in a long time. It was progress — me chipping away at the bad habit.

The next story I wrote showed much more progress. It had a highly active narrator, and so did the story after that. And that’s when a new, better habit formed: writing active narrators without even thinking about it. And that let me shift my focus to improve upon something else (such as making all my narrator’s actions stem from their core emotional struggle). And something new again after that (using more figurative language, loosening up my writing voice, etc.).

And that’s how you can improve, too. The goal, again, is to use peer feedback to identify habits in your writing you don’t like, and then to mentally commit to replacing them with habits you want, one by one.

It’s a slightly different way to approach feedback. We tend to primarily use feedback as a way to help us improve an individual story — but it’s also a fantastic opportunity to improve your future first drafts.

You’ll be surprised how quickly your writing improves when you do this.

The key, though, is to commit to tackling just one major habit at a time. Why? Because writing is hard, friends, and fiction is a complex tapestry of various techniques, all coming together at once. That means your attention is always inevitably split while writing, so if you try to fix multiple habits at once, you’ll likely spread your attention too thin to succeed.

So identify a single change you want to see in you writing. Make it happen the next time you write a story, no matter what. Then, before you sit down again to write the next story, find something new you want to change or improve.

You’ll love what happens to your writing when you commit to never mowing the same grass twice.

And when you do, far away, in a brightly-lit college band room in Minnesota, my old instructor will raise a hand to conduct a trumpet ensemble, pause — and smile.

— — —

For writing advice and tips on crafting theme, meaning, and character-driven plots, check out the rest of my blog.

And if you’re feeling discouraged, remember this: Every story has something wonderful inside it, including your own.

Plot Doctoring: 9 Steps to Build a Strong Plot

Like the main event itself, NaNo Prep is always better with an incredible writing community around you. Luckily, our forums come with such a ready-made community. Inspired by the Plot Doctoring forum, we asked Derek Murphy, NaNoWriMo participant, to share his thoughts on plotting, and he outlined his 9-step plotting diagram:

Here’s a truth: you must write badly before you can write well. 

Everybody’s first draft is rubbish. It’s part of the process, so don’t worry about it. The writing can be polished and fixed and improved later, after NaNoWriMo, during the editing stages.

What most writers get out of NaNoWriMo is a collection of great scenes that don’t necessarily fit into a cohesive story—and that’s a problem if you want to produce something publishable.

Nearly all fiction follows some version of the classical hero’s journey: a character has an experience, learns something, and is consequently improved. There are turning points and scenes that need to be included in your story—if they are missing it won’t connect with readers in an emotionally powerful way. And it’s a thousand times easier to map them out before you write your book.

Keep reading

hello i changed my nano wip pls support my terrible decision and equally terrible characters