plot holes

"Anna’s "quirkiness" felt over-the-top to me. I’ve known several quirky people, and they weren’t NEARLY as awkward as she was. It also doesn’t make any sense as to how she ended up this way (upbeat, quirky, etc.) if she presumably spent most of her life locked up in the castle. Why wasn’t she allowed to leave? What was stopping her? How did being ignored by her sister for so long amount to her being a big ball of sunshine?"  

So the thing I don’t understand about the spoilers with Zelena is that there is no magic across the town line. That’s what happened with Chernabog. Even Rumple instantly became cripple again. If she was somehow disguising herself as Marion, why didn’t the spell break as soon as she crossed the town line. Like, we all watched Marion and Robin walk away from Storybrook on the other side of the town line. I’m just confused.

most reblogged question from this post is 

if the Hogwarts letter specified that first year students may bring

an owl OR a cat OR a toad

WHY WAS RON WEASLEY ALLOWED A RAT?

plot hole?

no.

i’ll tell you.

i’ll be dumbledore and answer this question with another.

have you read to kill a mockingbird?

if you haven’t, wtf? really? get on that.

if you have, you may recall this passage:

'Everybody who goes home to lunch hold up your hands,' said Miss Caroline, breaking into my new grudge against Calpurnia.
The town children did so, and she looked us over.
'Everybody who brings his lunch put it on top of his desk.'
Molasses buckets appeared from nowhere, and the ceiling danced with metallic light. Miss Caroline walked up and down the rows peering and poking into the lunch containers, nodding if the contents pleased her, frowning a little at others. She stopped at Walter Cunningham’s desk. ‘Where’s yours?’
Walter Cunningham’s face told everybody in the first grade he had hookworms. His absence of shoes told us how he got them. People caught hookworms going barefooted in barnyards and hog wallows. If Walter had owned any shoes he would have worn them the first day of school and then discarded them until mid-winter. He did have on a clean shirt and neatly mended overalls.
'Did you forget your lunch this morning?' asked Miss Caroline.
'Yeb'm,' he finally mumbled.
Miss Caroline went over to her desk and opened her purse. ‘Here’s a quarter, she said to Walter. ‘Go to eat downtown today. You can pay me back tomorrow.
Walter shook his head. ‘Nome thank you ma’am,’ he drawled softly.
Impatience crept into Miss Caroline’s voice: ‘Here Walter, come get it.’
Walter shook his head again.
When Walter shook his head a third time someone whispered, ‘Go and and tell her, Scout.’
I turned around and saw most of the town people and most of the bus delegation looking at me. Miss Caroline and I had conferred today already, and they were looking at me in the innocent assurance that familiarity breeds understanding.
I rose graciously on Walter’s behalf: ‘Ah—Miss Caroline?’
"What is it, Jean Louise?’
"Miss Caroline, he’s a Cunningham.’
I sat back down.
'What, Jean Louise?'
I thought I had made things sufficiently clear. It was clear enough to the rest of us: Walter Cunningham was sitting there lying his head off. He didn’t forget his lunch, he didn’t have any. He had none today nor would he have any tomorrow or the next day. He had probably never seen three quarters together at the same time in his life.
I tried again: ‘Walter’s one of the Cunninghams, Miss Caroline.’

Several things.

This was a first year teacher who had no class and who didn’t know these students.

Enter Minerva McGonagall, who is the epitome of class and who is also well acquainted with the wizarding families, having taught them for 30 years or so.

Four things McGonagall knew about the Weasleys:

  • red hair
  • loads of them
  • they belonged in her house
  • very, very poor

She knew that because everyone knew that the Weasleys were poor. The children would have robes that were too short, their books used and worn around the edges. McGonagall (and the entire staff, really) had seen Scabbers before, as Percy’s pet, but she had the tact and good sense not to say anything. She would have humiliated Ron by pointing it out, by questioning him or demanding that he send him back home or release him, and she knew it, so she let them be.

I really like old-y style (I guess borderline sexist probably) terms of endearment like dollface and babydoll. I don’t know why, I just imagine them being spoken out of the side of a mouth holding a cigarette (which I don’t find attractive but in this scenario I do okay) and yeah. This is probably Bucky Barnes’ fault, everything else is.

I was just watching some OQ scenes from season 3, trying again to see if I can get on board with it… And now I am noticing a moment I had totally forgot existed… Belle recognizes Robin Hood in the Enchanted Forest and they talk about how she saved him from Rumple back when he was another actor. So now I’m like… Yeah, A&E, this was sooooo not premeditated. Seriously, why didn’t they just leave that alone? Recasting happens all the time, they could have left it alone, damn it. This is going to require them to change so many things and there are going to be so many plot holes…. I can’t even.

https://www.youtube.com/watch?v=8dMed5Ezd30

Here is the scene. At around 20 seconds.

So either Belle can sense people’s souls, or there is no freaking way they can explain the “Robin didn’t look like himself in season 2” thing.

anonymous asked:

I tend to doubt that, if Posideon did come back, which would be sometime in december/january, that sally would tell Percy about it anyways. "Yeah i knew him for one summer and one really great shag on chirstmas day and thats how you were conceived." idk i just think that sally is not a reliable narrator on the subject when percy is the one who is being told about her relationship with Poseidon. The implication is there, but it is an annoying discontinuity.

I don’t think he would come back because it would risk Sally’s safety and it is a plot hole that haunts me.

Advice on Fixing Plot Holes

If you’ve finished the first draft of your novel, there are certain things you are going to check for first once you begin the editing process. You need to make sure your novel makes sense. You need to make sure your plot connects in a logical way and there are no plot holes. Having someone else read over your manuscript usually helps and they’ll be able to spot things you didn’t.

Here are a few tips for spotting and correcting plot holes:

Your story should have continuity.

Each event should connect to the next event or help tie your novel together in long-run. The order can change, but all the events need to fit together logically to form your novel. Again, this doesn’t mean you can’t have flash backs or events that happen in the future, but they need to make sense.

Characters shouldn’t suddenly know things.

Having characters know things without any logical explanation of how they learned it is a big no-no. If there’s a problem that’s been plaguing your characters for a while and then all of sudden someone knows how to solve it without any explanation, you need to rethink that situation. We need to understand and see the process that your character went through to overcome an obstacle. This also helps us see their character growth/development.

Do not write events that go against events that have happened earlier.

If you say something happened earlier and then contradict that event later, your story won’t make any sense. It’s helpful to keep track of what’s going in, especially if you’ve let your manuscript sit for a while. Remind yourself of what has happened already. You also don’t want to keep telling your audience the same information over and over again in order to ensure that they understand. Your audience is smart and they don’t need things mentioned several times.

Don’t be afraid to cut a scene if it doesn’t fit anymore.

A lot of authors get stuck on writing a scene even if it no longer suits their work. I know you might be excited about it, but you can always try reworking it or brainstorming for something different. Don’t be afraid to let go of a scene, even if you love it. Your story will change and will need some rearranging. You can’t get too attached to something.

Laziness is not an excuse for plot holes. Your readers WILL notice if something doesn’t make sense, so don’t think that people will simply overlook it. Take the time to understand your story and where it’s going.

-Kris Noel

I never screenshot posts but I felt the need to respond and making this a text post would have been pointless because Tumblr cuts those into links

  • Garth has been in every season since the character was introduced
  • the Antichrist’s powers didn’t manifest until Lucifer was let out of the cage, it’s logical to assume that they went away when Lucifer did
  • the colt needs special bullets that Bobby had to make by hand. They’ve acquired so many powerful weapons since then (Ruby’s knife, the angel blades) that it makes more sense to stop wasting time making Colt bullets
  • the rings are only good for opening the pit or gaining the power of that horsemen. putting on the ring of war, famine, or pestilence sounds like an epicly bad idea
  • Christo will make a demon’s eyes go black but doesn’t hurt them, holy water is always a better choice. In Phantom Traveler 1.04 when Sam said Cristo the demon ran and locked himself in the cockpit. If they’d been able to use holy water he would have been incapacitated long enough for Dean and Sam to grab him
  • John’s journal has been used in every single season, usually more than once(x)
  • it was confirmed in interviews that the handprint went away when Cas healed Dean at the end of Swan Song 5.22
  • Crowley knew that Sam went through Purgatory to rescue Bobby. Do you really think Crowley left that door open?
  • other monsters pop up all the time but angel and demon story-lines are fan favorites so they’re the main focus

after 9 seasons it’s hard to keep track of everything that’s happened and sometimes we think there’s a plot hole where there isn’t one. John’s Journal is a great example because it’s one of the most used props on the show and yet it made a fan list of things the show has forgotten

Plot A Month W4D2 - Fixing the Clutter Part 1: Plot Holes

So if you have your outline mostly figured out, it’s time to go back and fix it up. There’s a lot of things you can make sure you work on before you get to writing, organization being top, but let’s look at one that will save you a lot of headache: fixing plot holes.

A plot hole is a moment where something happens that is never explained, justified, or followed up. According to Victoria Grossack, there are different categories for plot holes:

  • Out Of Character: This is when the character does something they normally wouldn’t do because the Plot Demands It. A normally smart character makes an incredible mistake that the book shows she wouldn’t have made. The good guy decides to trust the bad guy who’s been trying to kill her the whole time after explicitly stating she will never trust him. I’m making these examples hugely obvious, but an out-of-character plot hole will piss off your readers like nothing else. They’re almost a betrayal; the reader has come to trust the character is a certain way. Why the hell would the author change that?
  • Communication Fail. If your plot can be resolved in five minutes with a simple phone call that nobody makes, you have a problem. Don’t base plot decisions on lack of communication! It may feel like an okay decision and it might fit the characters, but your reader is likely to spend the whole time wondering why he didn’t just tell her about the letter. It feels lazy, and you’re cheating yourself out of more creative and interesting ways to tell your story.
  • Strange timing. A lot of movies lately are based on the villain creating a convoluted plan that only hinges on things out of their control happening at exact moments of the plot. These aren’t moments of luck; they’re supposedly part of the plan the whole time. Or consider this: the villain knows exactly where the hero will be two days from now. How does he know that if the character doesn’t even know?
  • Convoluted Reasoning. I’m adding this one on my own, because it’s often the biggest weakness in villain plots. Your villain creates an elaborate plan just so the characters walk into his trap… why doesn’t he just shoot them? You’ve all seen this movie; Austin Powers made fun of it oh so many years ago. It’s not just the villains that fall into this track; your main characters can make stupid decisions while ignoring seemingly easier options. This isn’t as difficult to fix as it might seem; your characters just need reasons for why the easier way can’t be taken. The supernatural villain has to obey certain rules, the character is under a spell that prevents her from telling the truth, the phone lines have been cut/cell phone has been damaged.

Often these events happen due to that horrible fiction convention: Because the Plot Demands It. Your plot shouldn’t hinge on points to hit, it should flow with the characters’ actions and the world built around them. This can be unbelievably hard! And sometimes you’re not going to be able to figure out until actually writing, but for write now, look really closely at your outline. Be on the lookout for certain things:

  • Is there anything that happens that doesn’t seem like something your character would do?
  • Is there anything that hinges on people not speaking to each other for no reason?
  • Is there anything that relies on timing that makes no sense or can’t be explained?
  • If anything complicated happens, is there an easier way it could happen? What explains the characters/antagonist not doing that easier thing?

Grossack recommends you ask yourself ‘Why Not?’ to doublecheck for these plot holes. I’d invite you to raise the stakes and pair it with some ‘What If?’ exercises. Why did the train not come on time? What if it did? Why did the character not call the police? What if he did? You might be able to find your answers and make them stronger if you paired these two exercises.

Check out:

(Sorry for the late post!)

On Writing: Unasked Questions

If a book is to have a sequel, obviously you don’t want to give up all the information in the first installment.  There should always be questions unanswered, mysteries to be solved, plot lines that need continuing.  That is, after all, the point of a series.  I’ve no problem with that.

What I take issue with is questions that are unasked.

“How did her parents know to hide from the supposedly-benevolent government?”

“Why are all these kids being experimented on?”

“Who the hell thought factions would actually work?”

It is fine if the answers to these questions are left for a later book.  As long as the questions are posed, I know that they’ll be addressed later, I know that the author is aware that there is a question there.  If these questions are ignored, what assurance do I have that they’ll be solved later?  How do I know that it’s not going to remain a plot hole?

There are two things to keep in mind in this regard: every reader’s time is limited and perception is reality.  I can’t read every book out there, so I’m not (usually) going to going to spend it on sequels when the first novel feels lacking.  And, since I can’t read your mind and see that you plan to answer all my questions in a brilliant fashion, you have to let me know this is going to happen in the book I’m reading.  If I perceive the book to be full of plot holes, then it doesn’t matter if they’re going to be filled in later, because right now all I’ve got are plot holes and no hope.

Have your characters wonder about things.  Have them ask questions.  Turn your plot holes into mysteries.  Curious characters are your friend.

4

May the forced plots be with you.

In honor of Carrie Fisher’s birthday (Oct. 21), here is a loving takedown of “Star Wars.” These may not change how you think about the classic saga overall, but the glaring holes will definitely throw you off the next time you binge watch Lucas’ series all the way through. For more five more plot holes in “Star Wars” go here. 

"Um, hello? I still have my little Batman report?"

5 Movies that Cause Gaping Plot Holes in Their Own Sequels

#5. The Police Totally Should Know Who Batman Is at the Beginning of The Dark Knight Rises

This is Coleman Reese, the little turd in [The Dark Knight] who not only manages to learn Batman’s secret identity, but also tries to batmail him for millions of bat dollars. … The Dark Knight Rises opens eight years after the second film. Bruce Wayne has retired, and Batman remains the most wanted criminal of Gotham … because for some reason nobody thought to ask the guy who claimed to know who he was.

Read More

Editing: How to Sniff Out Plot Holes

Anonymous asked: Any tips or links on finding, fixing, etc.-ing plot holes and incongruities in your story?

Go through it once on your own, and then have a critique partner or trusted friend keep an eye out for plot holes when they read it.

As you’re going through it, every time something happens, just ask yourself if it makes sense. Is it realistic within the world of the story? If it isn’t realistic, is it explained in some way? Also, are there any questions posed by the story—such as introducing a mysterious character—that aren’t answered or otherwise resolved by the end?

Here are some articles with further tips on looking for plot holes:

Checking for Plot Holes: Does Your Story Add Up?

Ten Steps to Fill Plot Holes

How to See Plot Holes: Advice From a Developmental Editor