When we end up with a “dud” of bad writing from a book we’ve purchased, what should we do? Should we treat it as a learning experience or just close the book? My answer has changed over the years, so let’s take a closer look at when we might want to slog through bad writing to try to learn what not to do—and when we wouldn’t.
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Most stories open with the protagonist on page one, but every once in a while, our story seems to work best if we start with another character. If we understand why the protagonist usually works best as the point-of-view character for the first page, we might be able to remake those exceptions into stronger openings.
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This is a crazy and chaotic time of year for many of us, and this stressful time of year can also bring out the worst in people. Luckily, we all have a superpower. We have the power to make someone else’s day better. Or at the very least, we have the power to provide a bright spot in their otherwise crappy day.
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The Black Moment is usually one of the most emotional sections of the story, so it can be difficult to pull together. If we read stories (or watch movies), we’ve seen this beat play out endless times, so we probably understand the plot point more than we may think. But let’s take a closer look and see if we can learn something new.
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Either plot events affect the character and the story, or they don’t. If we understand the difference, we can learn what to look out for and know how to fix any problems.
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In the real world, the cause of something happens before the effect. But in writing, we can put words into any order we want, which might leave the reader confused. If they have to reverse events in their head, they’re probably no longer immersed in our story. Not good.
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As I mentioned with the worksheet I shared last week, it’s often easier to work backward when we’re framing our story. At the very least, knowing the ending often makes it easier to see our character’s arc.
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When starting a revision, we often struggle to see the underlying issue to know how to fix it. Do we need to change the plot? The characters? Both?
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Every story beat or turning point scene—when events affect the main story question, conflict, or goal—needs to be included in a story. But what about non-turning-point scenes? How can we tell when to include them and when we can skip ahead?
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Our stories are filled with scenes where (hopefully) things happen, but only some of those events are turning points and belong on a beat sheet. So how can we identify our story structure?
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