main plot scenes

8

make me choose // anonymous asked:

oh my venus or she was pretty

Day 23: In which moment of the game would you like to see an extra illustration?

That one time Kero gave us a hug. It caught me so off-guard.

30 days in Eldarya Challenge

1 || 2 || 3 || 4 || 5 || 6 || 7 || 8 || 9 || 10 || 11 || 12 || 13 || 14 || 15 || 16 || 17 || 18 || 19|| 20 || 21 || 22 || 23 || 24 ||

heartlikethunder  asked:

I have a few questions about subplots: How do you weave them into your main story line? What are some ideas for subplots that compliment the story? How do you come up with an idea for a subplot? Thank you for all your hard work on this blog and the wonderful amount of information you have provided to the writing community.

You’re welcome! I never know what to blog about so your questions always give me great ideas :)

Plotting the Subplot

So I did do a post about subplots like a year and a half ago, but I’m going to use this opportunity to expand on the points I brought up in that post and hopefully add some additional comments (and try extremely hard not to use the word “plot” too many times). 

Dictionary.com definition of a subplot: a subordinate plot in a play, novel, or similar work.

Okay, yes, a subplot tends to be subordinate to everything else that’s going on, but I like to think that they also serve as diversions. They sometimes act as red herrings to keep us distracted from the main mystery of the story, and often times they appear insignificant when we first meet them. 

A good subplot appears innocent, unimportant, unassuming…until we reach the pivotal point of the story where it all comes together. 

Subplots can surprise us in the best possible way, because it’s often unpredictable yet totally, completely believable when we stop and think back to all the clues we might have glossed over before, because we were so focused on what we thought was the “real plot.” 

How do I find my subplot/subplots?

You shouldn’t have to look too hard to find a potential subplot. They shouldn’t just be “mini-plots;” they should be born from the main plot. You think about the narrative arc of your story, and you ask yourself, how can I enhance it? How can I deepen it? When it comes to the climax or the big reveal, what could help give it more clarity or believability? 

Let’s say you have a secondary/minor character sacrifice themselves for the protagonist in the climax of the story. A great subplot might follow an arc of that character that might explain why they’re able to make this sacrifice, or why they feel it’s necessary. A subplot also might explore the relationship between the two characters, so that this sacrifice is not only the climax of the conflict with the antagonist, but also the climax of their relationship. Without this character’s journey included in the story, this sacrifice might seem lackluster, or even convenient/out-of-the-blue. 

Telling this other character’s story does not necessarily mean you use their point of view. Subplots can be told from any POV; in fact, sometimes they work better from someone else’s. If we’re seeing this other character’s story through the eyes of the protagonist, it stays relegated to the subordinate, ensuring that we pay it little attention until the moment it finally steps into the spotlight. 

Basically, subplots should come organically. They should come to you as you’re figuring out the main conflict. Subplots are often the answers to side-questions that a reader might be curious to know more about, but the side-questions must have some kind of significance to the overall plot. Once you’ve chosen a subplot that stems from the main plot, you’re able to brainstorm ways to connect it more intrinsically. 

Harlan Coben wrote a YA mystery series featuring the character Mickey Bolitar, and his cunning, clever friends. In the third book of the series, Mickey has a mystery surrounding the guys on his basketball team, while his friend Ema is concerned when her online boyfriend suddenly disappears. Mickey’s plot seems more important, simply because we’re from his point of view, but when the mysteries are solved, we learn that the two plots were actually more interconnected than we initially thought. 

A subplot also might be the cause of something important later on, or it might serve as a parallel to the bigger problem the character must face down the line. 

There was a comment on my last post involving subplots, where @jackalediting briefly mentioned the importance of Quidditch to Harry Potter. Quidditch is unarguably a subplot throughout the entire series, but the first snitch that Harry ever caught playing Quidditch ends up playing a key role in the final showdown in the last book.  A smaller scale example sits compactly in the first book, Harry Potter and the Sorcerer’s Stone. Harry developing his skills as a Seeker served as a parallel to the task set before him beneath the trap door when he had to use a broomstick to grab one specific key out of hundreds. These are just a couple instances where a seemingly innocent subplot found a way to contribute to the climax of the story.

How do I incorporate them into the story?

If you’ve developed your subplot well, scenes surrounding the subplot should fit nicely into your chronology. You should be able to look at main events and think, “Well, this subplot scene needs to happen before this main plot scene, and you really need to understand this aspect of the subplot to appreciate its significance in this later scene.” 

Rather than two colleagues working independently side-by-side, they should be working together

If you’re at a complete loss for how to outline a subplot into a story, try writing your subplot independently first. Brainstorm all the scenes that contribute to the subplot, and then see how they might fit in to the rest of your outline. It might be more seamless than you think. 

-Rebekah

Hey kids, Narcian event coming tomorrow in Fire Emblem Heroes. Are we all ready to kick this weakling’s ass, yes or fuck yes.

SO, I will say, I was not expecting Narcian, of all people, to be the game’s first event, but I am pleased, because, haha, holy moly, Narcian.

For the uninitiated: Narcian is one of the Three Dragon Generals of Bern, serving King Zephiel in Fire Emblem: The Binding Blade (FE6). He is a Wyvern Lord who specialized in using swords. He carried a Runesword (1-2 range, HP drain effect, attacks as if it was magic, and thus, must be endured with Resistance), a Delphi Shield (makes him immune to the extra damage arrows deal to flying units), and a Blue Gem (which he drops in Normal, and that must be stolen in Hard).

However, that is not why he was memorable. Let me tell you about Narcian the Coward.

Narcian’s name comes from Narcissism, which SHOULD ALREADY TELL YOU ABOUT HIS CHARACTER: Self absorbed, cowardly, arrogant, and without the beef to back it all up, Narcian is a memorable boss for three things among Fire Emblem fans.

The first is his dialogue: He talked big, extremely big, and whined like That preschool kid we all knew when someone didn’t lend him a green crayon: Bitchfest. Oh boy, he whined. In a game where everyone had more or less tame dialogue in what concerned the main plot scenes (thus, not counting supports, which are pretty funny), This Guy was hamming it up like it was an Olympic sport.

The second is how devastatingly easy he was. He is, by far, the easiest boss in a pretty hard game. FE6 is also known as “the fuckhouse” among fans because it gets dire from the get go, it’s not an easy game. You expect one of the Three Dragon Generals to be a threat, especially since he has that Delphi Shield, the Sign Of A Hard Wyvern Boss in the series, yet, he goes down like sheet of wet paper that has been struck by a napalm bomb the moment you attack him. He’s the breather level in the game. Even the mooks before him are stronger than him.

And the third? His freaking faces.

There is an official FE6 manga, called Fire Emblem: Hasha no Tsurugi, released on 2002, and in it, Narcien makes the most absolute faces.

This has become a tradition, a “meme’ of sorts, among Fire Emblem fans. It’s notorious enough that it was acknowledged in official Fire Emblem art for Fire Emblem Cipher:

All in all, I hope you guys are as pumped as I am to whoop this boy’s ass.

10

Favourite ‘Agatha Christie’s Poirot’ episodes [2/10]: One, Two, Buckle My Shoe

Poirot’s dentist is murdered at his medical practice. The initial suspects are three of his patients who came for their dental appointments that day, but one of them goes missing and another dies of an overdose of anaesthetic.

anonymous asked:

Hi :) If you were to incorporate dream sequences into the plot, how would you go about it? Basically, my main character has been in an accident. He sustained a major head injury, and now he's bedridden. Sometimes, he would dream of a specific incident in his past, but most have a surreal quality about them. In and out of consciousness, he tries to weave the meanings of these dreams while figuring out why the friends and family who visit him refuse to talk/deflect questions about his accident.

Hello, dear :)  I would read something like that in a heartbeat, just so you know.  I love stories with slow exposition and psychological mysteries <3  I’ll be wishing you plenty of good luck and inspiration!

Anyway.  Dream sequences are done a lot of different ways, and none of them is concretely better than the rest.  It largely has to do with how often these dreams occur, how long they are, what POV you want them in, and where in the chapter they occur.  I’ll give you my personal opinion:

  • How often?  This will largely affect how your sequences fit into the plot.  More frequent dreams will create an episodic, clue-by-clue kind of intrigue– rare dreams will come more as surprise treats, and can be longer, revealing more information.  If they are a tag at the beginning or end of every chapter, you’ll have more room to flesh them out (and less chance of boring readers).  If they come maybe every five chapters, they can also be used for foreshadowing or help to resolve long-run mysteries/subplots.  It’s really up to you.
  • How long?  Obviously, if they’re less frequent, they can be a bit longer – but I wouldn’t make them too long, for fear of distracting from the main plot.  Just get in, make your point, and get out – if that’s difficult to do on your first pass, just write them and make them shorter with editing later.  Focus on certain details which tie them into the main plot (e.g. a key item he receives from home which triggers a memory).  Keep a strong theme and build up to a climactic moment, then cut it off – because really, don’t we always wake up at the best part of the dream?
  • What POV?  Even if your dreams are all for the same person, they may be third-person omniscient, third-person limited, or first-person.  It all depends on if you want to see things through your character’s eyes – if you want it to be like your character watching a movie or living in one.  Do you want to describe your character’s thoughts and feelings in the dream, or stick to what’s being seen?  How much involves the character personally, and how much is symbolic?  Remember that if you choose a different POV, you’ll need to put a marker (and probably different formatting – italics is a common method) to distinguish dreams from main prose.
  • Where in the chapter?  The previous factors will help you determine this.  If you’re writing short, frequent dream sequences from a different POV, it would be best to keep the sequences consistent and separate from the rest of the chapter – maybe right at the end or beginning.  With longer, less frequent dream sequences, you can afford to be less systematic, which may be better for your story.  You can even make them into their own chapters, if they have enough meat for it.

Lastly, I’d advise you to make sure these dream sequences aren’t used for “effect” or an unnecessary subplot.  They need to have substance, every time, or you’ll have to cut some of them out.  They also need to be engaging for the reader, so no one skips to the next main-plot scene.  Dream sequences must have an (eventual) effect on the main plot, because the protagonist, themselves, is also experiencing them.  And the dreams should have some sort of connection to each other – a common thread that links them all to the same subconscious, the same memories, the same story every time.

That’s all I have for you, but if you need more help, send in your questions and I’ll get back to you :)  Good luck, and thanks again!


If you need advice on general writing or fanfiction, you should maybe ask me!

To Break with Chaos

(A somewhat third part of this ongoing meta series where I happened to hit upon a theme I continue to find interesting and useful for analysing the show. This can definitely be read on it’s own though. Part 1, Part 2)

The Doctor this episode was extremely off kilter - from his untucked and unironed shirt to his hasty plans and frequent dead ends. Yes, the Doctor never quite knows what he’s doing, but he’s always got at least a little more of an idea or at least a more sure confidence in his ideas.

The pacing of the episode itself reflects this. The main plot scenes are hectic and the characters and ideas are only briefly sketched out before moving onto the next one, whereas the pre-simulated events in the lab has a much calmer and stead tone. Even though Erica’s colleague is hungover and making stupid mistakes, the pacing reflects that this was always going to go this way. Until, of course, the two plots intersect and the chaos of free will collides with the steady hand of fate. 

Free will wins, because it always does in Doctor Who, because chaos like the Doctor cannot be fully predicted by any simulation (particularly one with such poor random number generation). But free will also grants the Monks their victory. Consent is only consent when it is also free will, when it cannot be predicted by scaring people or by analysing their tactics. Love is free will, and love is chaos and only by harnessing chaos can the Monks truly take over the world. 

Of course, the Monks are unlikely to be the supreme masters of chaos in the universe, given their love of simulations. They’re stronger than before, especially given the power they appear to have over the Doctor in The Lie of the Land. Evidently the best option is to find the strongest source of chaos, the most outside-the-system people. What better time for a team up of Missy and Bill.

Not even the most perfect system will stand a chance.

shitsandreblogs-deactivated2017  asked:

Hello there, I was wondering if you can help give tips on how to write a subtle developing romance in a story where romance isn't the main point.

  • Make sure your characters put the main plot as their main priority.
  • Don’t put the romance factor in every scene.
  • Stay away from purely romantic scenes unless it helps develop character or the main plot (like if the characters discuss some of the main plot within that scene).
  • Try beta readers. They may be able to help point out when romance takes over the main plot or when it becomes “too much”.
  • Don’t deviate from the main plot too often. It’s fine to explore subplots, but once you go on for an entire chapter (assuming your chapters are at least three to four thousand words) without mentioning the main plot then you get off track.
  • Try making a timeline of important points in the main plot and the romance plot. If the romance line has more points or details than the main plot line, then you might want to revise.
  • Don’t start with the romance plot. The main plot should come into play before the romance.
  • Don’t end with the romance plot. The main plot should be the last thought for the reader, so put an emphasis on it.
  • Don’t give this subplot major points if you want it to be subtle. You don’t even have to give it its own scenes. Weave in the romantic moments within other scenes and let it exist without making a mini-story out of it.
  • Do the opposite of Twilight. I’m using Twilight because it’s a well known romance novel with more than one plot. There’s the main plot (the romance plot) and then the vampire tracker thingy plot. The romance plot takes up the majority of the novel, but there is still the underlying plot of Bella escaping those other vampires. However, the plot begins (for the most part) and ends with the relationship between Edward and Bella. So take what you will with that example and switch the plots.

anonymous asked:

Hi! I'm currently writing a story that has romance in it. The thing is, the romance isn't all that crucial to the main plot but is important character development-wise. How do I avoid the dreaded "romantic plot tumor" trope so the romance doesn't stray away from the main plot?

Remember - every scene has to, in some way, drive the main plot forward. This includes your romantic scenes. 

Be sure that when romance is happening, we - the audience - are directly seeing how that romance is affecting the character development, and therefore the plot, in your story. 

Also remember that when romance is a subplot, it’s okay to have a lot of stuff happen after the cut or behind-the-scenes. So long as the reader has enough information to draw conclusions about how the romance is developing, it won’t feel weird or jarring to them to see only the “big” moments without a lot of fluff thrown in.

Avatar: The Last Airbender did a pretty great job with its romantic subplot, in that you only see it on the screen when it’s showing the characters’ emotional states or mindset. You may get little teasers here and there about Aang’s crush, but there are really only a handful of big moments that relate to the overall romance (that finally comes to fruition only in the very last episode). 

Likewise with Harry Potter - even though Harry and Ginny get together in Book 6 (after Harry crushes on her for a little while), the most that we really see of their relationship is what pertains to the war that’s growing around them. (For example, Harry leaving her behind and realizing she’s at Hogwarts when the battle’s about to start.)

Blood Games

All the movies and books got it wrong. It was never out in the open or a secret that everybody knew about. It wasn’t commercial and advertised and swooned over because of piles and piles of cheesy movies in which love overcomes the thirst for blood.
In the real world vampires are an underground culture old as time that only certain people have the privilege of knowing about. In the real world vampires don’t sparkle, nor do they settle for human friendly animal blood. In the real world vampires are mobs and kings with underground kingdoms where blood is a currency and dirty deals are a type of game. Humans rarely survive for long, often sold, gifted or traded for not much more than their blood, and owned like walking personal meals. 
But there is nothing money cannot cover, so they remain in the shadows. Their crimes swept under the rug or blamed onto somebody else.
That is how the world goes ‘round, so better watch your back, even if there’s little you can do. 

Ella, much like the rest of the world, was blissfully unaware of what happened behind closed doors. She was sweet and young, still a student with a part time job in a gallery, never one to get into trouble. But her life was too much like the beginning of a novel and that is always boring until something happens and the calm ends and the storm rolls in. 
Truthfully, it was a shock she’d survived as long as she had. Her rather unique appearance was tied to rather unique blood. Blood often searched for and gifted in the underworld like a bottle of expensive wine. But somehow the tiny creature had managed to make her way trough life without disappearing mysteriously, until the day she herself stumbled onto something that wasn’t meant for her eyes and that ultimately was to be her downfall. 

Dark alleys are never a safe place for a young girl, but who really expects to walk into one and see what she saw. A girl draped in the arms of a man partially hidden in the shadows. Blank expression, halfway closed eyes, hair matted and wet where what remained of her blood ran in a line along her neck, the side of her face, staining her cheek. 
The smart girl she was, Ella stopped for merely a second, pale gaze lingering on the grotesque image for just a breath’s time, before she kept walking trying to pretend she’d seen nothing, so sure that she’d get away, that she’d be lucky enough to have slipped away without the man catching a glimpse of her. 
She had no idea that the scent of her blood dragged along the street and filled the air like smoke blown out candle, painting a path so easy to follow by someone in want of a fine little treasure. 

Her heart was beating, blood pumping trough her veins and yet her fingers felt numb as she tucked a lock of silvery hair behind her ear, trying to keep up her act of normalcy. She was afraid, terrified actually, but still smart enough to be able to piece together a simple plan of escape, weaving her way trough the streets in the most complicated patterns, slowly making her way towards her apartment, deliberately going the longest, most confusing route possible just in case anyone was to follow her. Silly girl naively thinking that would be enough to hide her.

@meekmatthew


3

Procrastination at its best. 

Rather than do an English essay I decided to finish my planning for NaNoWriMo. 
The top line is of the main overall plot. The lines below it are the developments and subplots for each character.