1. Read in different genres. Ok, I know you’ve probably heard this advice more than you can count but did you ask yourself why it is so important ? You probably wonder ‘‘How reading some historical fiction will help me writing my sci-fi novel ?’’ For that simple reason my friend : they meet different purposes. You don’t know how to describe a castle ? It’s okay, historical fiction got your back. Because it aims at something more realistic and accurate, it would tend to be more specific and detailed when it comes to describing clothes, furniture, places and so on. Why ? Because, most of the time, THEY ACTUALLY EXISTED. Take a closer look at how it is done and draw your inspiration from it (but please avoid plagiarism it’s bad - and illegal)
2. Take notes and CLASSIFY them. To make reading somehow useful, you have to actually make it concious, which means you have to write things down to remember them. When I come across a description I like, I tend to takes notes of the figures of speech that are used and class them, so when I have to write a similar scene, I have an idea of what have been already used, and weither or not it achieved its goal. I am NOT talking about COPY another author’s style !!!! It’s about finding inspiration and new approaches. I also tend to take notes of the new words I wish to incoporate into my writing. The thesaurus is my new bestie.
3. Rewrite the same scene from different POVs. First of all, it’s fun. And it’s a really good way to spot quirky formulations. For instance, if you describe a ship, the captain’s POV should be different from that of a simple observer. The first one would be naming each part princisely whereas the other would only be admiring the surface without knowing anything. If the caption is the same for both POVs, maybe you should consider write your passage again (or have a good reason, like a strong amateurism for the mere observer). It’s go hand in hand with coherence - but it would be an essay for another time (maybe).
4. Read your text aloud. I put major emphasis on that one because it’s as underated as reading books for various genres. You have no idea how much we DON’T speak the way we write. Even dialogues are crafted in our stories - so make sure to give them proper attention. (i even read my email aloud but-). I KNOW how cringey it might be as I am doing it MYSELF but the benefits are worth the 35-minutes shame I endure from my own mess. Before you can shine, you have to polish (shout out to the one who said that first if it’s not me).
5. Take a step back. I strongly advice you to let some time pass before reading your text again and profreading it. It will cast a new light upon your work and with fresh eyes you’d be more likely able to spot what needs to be erased or rephrased.

• 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.

• 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.

• 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.

• 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.

• 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.

• the fichtean 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.

• this type of story telling structure goes very well with flash-back structured story as well as in theatre.

• 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]. A plot 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.

• 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.

• “ you can stay here, if you'd like. “
• “ please don't go. “
• “ why don't we stay at your place tonight? “
• “ can i get you anything? “
• “ let's be pathetic together. “
• “ are you crying? “
• “ i'm glad that you're here. “
• “ you're not doing this alone. “
• “ i don't have anyone anymore. “ “ you have me. “
• “ are you sure [about staying]? “
• “ you didn't force me. i volunteered [to be here], remember? “
• “ you are what’s important right now. “
• “ it’s okay, you know. if you need to vent. “
• “ are you sure? it's quite heavy [of a topic]. “ “ i've got all night. “
• “ tonight is about you. you can make it up to me some other time. “
• “ i've got nowhere else to be. “
• “ you said you needed a distraction. “ “ so... where is it? “ “ you're looking right at it. “
• “ why don't you come here for a second? “
• “ wanna talk about it? “
• “ i can't talk about it. not tonight. “
• “ you need to distract me. do something, anything. “
• “ i just don't want to be alone tonight. “
• “ i'm tired of thinking. let's just... make out, or something “
• “ i feel like shit. “ “ you look like it, too. “ “ hey! “
• “ it’s okay to cry, you know. “
• “ you’re a little hurt, that’s all. “
• “ anything you want me to get you? “
• “ nothing a good [drink] can't fix. “
• “ let’s get you cleaned up. “
• “ this is you thinking rationally? “
• “ you're really all i've got. “
• “ c'mere. let me give you a hug. “
• “ and you're absolutely sure this is what you need? “
• “ you don't need this right now. “
• “ how long are you gonna sit there? “ “ all night, if that's what it takes. “
• “ what's it gonna take to make you smile? “
• “ if you're not ready to talk about it, let's not talk about it. “
• “ wanna play some mario kart? it'll give us both a reason to cry when you beat me. “
• “ how about we stay like this, holding each other? “
• “ i don’t know what’s wrong with me. “
• “ i can’t stop crying. “ “ i'll be strong for the both of us. “
• “ i didn’t know where else to go. “
• “ the door's always open, you know that. “
• “ i thought you were leaving town. “ “ i can't leave now. “
• “ there's that smile i know and love... “
• “ stay with me. “
• “ hey, what’s your favorite snack? “
• “ i’m not leaving. “
• “ just let it out. “
• “ you're stronger than you think. “
• “ how about i make a quick run to the store, get you some aspirin? “
• “ grab a burger or something on your way home. “
• “ you were always there when i needed you. let me repay the favor. “
• “ i don't mean to bother you. “ “ you're not. “
• “ hey, listen to me... “
• “ you’re not a burden. “
• “ aren’t you tired? “ “ this isn't about me. “
• “ you’re going to be okay. “
• “ hey, look at me… “
• “ i don’t know what to do. “ “ we’ll figure it out. “
• “ you’re not alone. “
• “ hey, hey, hey, it's okay... it's okay. you're okay. “

“To the ones who still believe in dreams: Chase them. Chase them until you’re out of breath. Then, keep running.”

“If you’re lonely, bored or unhappy, remember you are young. There is so much time to meet new people and go to new places.”

“Shoutout to myself because after everything I’ve been through, I still have a good heart”