plotting points

i want to make a list of movies/books/etc where a major plot point is “mom helps daughter kill a man who hurt her, or at the very least helps her hide the body” but in general that is never what the actual plot is about, so it’s huge spoilers, which is ACTUALLY KINDA WEIRD now that i am thinking about it. with dad movies it’s the whole plot of the things, SOMEONE HURT HIS DAUGHTER AND NOW THEY’RE GONNA PAY

but i read a book once that was entirely about a girl going back to her hometown after twenty years and trying to reconcile with her mother after The Incident. then they finally reveal 80% of the way through the book that The Incident was that protag thought she’d killed her date rapist and had been scared to come back because she’d somehow made it twenty years without consequences, but actually she’d only seriously injured her date rapist. protag’s mom had found the guy while looking for her wayward daughter, realized what happened, and ran him over with her truck and buried the body under her garden. she never said anything because of Mom Code.

there was no indication at any point prior to this that this was a book about a murder. it was a heartwarming coming-of-age story about a woman entering her middle years learning to better understand her mother. that just happened to include covering up a murder. protag thought her mom was just an obsessive gardener.

Beauty and the Lawyer

* John Laurens x Reader
* Modern Beauty and the Beast AU

    A/N: HERE IT IS! OK so…there’s no beast creature first of all, you’ll see the obvious change I made. This follows the new movie and CONTAINS SOME SPOILERS! If you haven’t seen the new movie then don’t read this yet as some plot points come directly from the new movie. It’s also really fucking long, so yeah. This took me about four days of writing every moment I could and listening to the movie soundtrack on repeat. (At least it’s pretty.) So I hope you guys enjoy!

    Word Count: 9,365 (barely 23 pages…)


    “You have a daughter, do you not Mr. L/N?” Henry Laurens asked the man across from him. Henry’s young son, John, sat aside merely watching the exchange.

    “Well yes. She’d be about the same age as your boy.”

    “You know, as a lawyer it’s hard to find a wife but it’s a good thing to have.” Henry mused as he stood and began circling the table, reminding his son of a hawk going in for a swooping kill.

    “What are you saying?” The other man asked.

    “I saved you in that lawsuit and I’m not even sure you were innocent.” Henry said with a soft laugh. “And now you say you can’t afford my prices. So I propose a deal. I’ll give you two years. Pay my fees, if not I’ll get the case reopened. If you haven’t raised the money, then your daughter and my son will be wed.”

    “That’s absurd!” The man shouted in outrage.

    “So was your case.” Henry snapped back. “You were warned that I have high prices. This is the fee.” Henry stopped at his side of the desk. “Go. You have two years.” The two men watched the other man go.

    “Why are you arranging a marriage?” John asked.

    “You know I’m not feeling well. This will be your firm soon. A wife makes a lawyer look more personable. And it’s hard to find one in this line of work.” Henry patted his son’s shoulder. “Come on, I have much more to teach you.”

    Two staffers, Alexander and Lafayette, stood by. “Monsieur Laurens is corrupting his young son. The John we used to know is slipping away.” Lafayette voiced.

    “You wanna stand up to Henry?” Alexander asked. He knew Lafayette was right. John was their friend at one point. It didn’t seem much that way anymore.

    “No, no one does. That’s the problem.”

    You walked through town. Your father would be back from meeting with the lawyer today and you wanted to make him a good dinner. There was a fresh marketplace and you knew your father preferred food from there. It was a bit more expensive but always tasted better. And definitely worth it to welcome your father home.

    Keep reading

    anyway how is junkrat a mentally ill stereotype In The First Place, actually. he’s got a manic laugh and his bio / a moment in crime video says radiation made him ~crazy~ and ~dangerous~ but. what has he, as a character, actually Done plot wise that points too “dangerous mentally ill man who doesn’t understand reality and is ~oooh so crazy~”

    because from what i recall his biggest symptom is being forgetful. he’s got a pretty good grip on reality. the only time he gets ~irrationally emotional~ is when the cops are staring them down with guns and one of them insults his friend. he doesn’t even try to kill them he just gets mad and yells about it. he doesn’t even get mad at the dude who tried to trick them for insurance fraud. he kills him and gets revenge but like… he’s an anarchist.

    he’s not motivated BY his mental illness, he doesn’t do unneccesary or cruel things because of it. he’s a dude who hates all suits. most of his in game voice interactions are stupid harmless stuff. he wants to go to the beach and take a look at your tech. he doesn’t even threaten anyone. Wheres The Mentally Ill Stereotype, please show me

    anonymous asked:

    RIP coco jumbo, best stand user, best jojos character 2001

    Hey now, nobody can defeat Coco, and tortoises live for a long time. It was a very mild plot point during the Grateful Dead chapters!

    The oldest living one is an estimated 184 years old! His name is Jonathan, and he’s a Seychelles giant tortoise.

    He can’t see or smell any more, but his hearing is good, apparently.

    Here’s a video of him getting his first ever bath.

    anonymous asked:

    Yooooo the same people who made Choice of Robots has another game called Versus where one of the main plot points is politics between humans, Binarians (sentient androids who view individuality as the root of all evil), and Multinarians (who pride themselves in diversity and want to imitate human individuality). And there's options for nonbinary, trans, and intersex main characters, and options for male, female, and nonbinary romances!



    Writing this (about the other continents and a possible ending for the torturous epilogue in RQ4)…..

    And for the first time, Mare knew she was making the right choice. She left Norta and the other hell-holes behind without looking back. She was leaving to a new place. A better place. An equal place without the hatred she thought existed everywhere. Without the divide.

    “Without Cal” Mare thought. She frowned, but only slightly. Her wounds were healing now.

    She told herself she would be normal again. Her travel to the New Lands would be the first transport there, and the last. No one would know. No one would need to know. She could be Red again. Not Mareena, not a newblood, not the lightning girl. Mare.

    Made me want to start a new fanfic or collabed plot points (doesn’t have to be actual written stuff) but I’m actually REALLY craving some New Land fan made stuff rn and….. *feelings intensify*


    Sometimes during development you have to redo things. This isn’t a major overhaul; I’m actually adding a small scene that expands some characters and aids later foreshadowing of plot points and characters. I just hope it doesn’t slow down the beginning too much. Guess we’ll find out when Demo V.1 launches this summer. Also, work is still trudging away on the art assets. Lack of power from the recent storms and being ill and preparing for a con are delaying me soooo much! ;__;

    But yeah a friend of mine did a Kh 101 panel giving a full overview of the series (she stuck to plot points related to the overall Nort plot and was somehow able to fit it into a 40 minute presentation) and she completely skipped Coded. Cause nothing really important happens in Coded. I mean even the ending as sad as it is tells us stuff we kind of already knew. 

    anonymous asked:

    Ok, once you explain more about their motivations it becomes easier to understand. Sorry if I was too harsh before, I was confused after reading through again and sometimes writers rely too heavily on miscommunication as a plot point. I don't think you're a bad storyteller at all, but it was a bit frustrating to read through. The things you mentioned, Teddy not willing to put his career on hold and Kaia's pride are excellent motivations, but it needs to come across more, in my opinion

    I’m glad you actually read my reply… and I'm glad their motivations make sense to you now. I appreciate that it’s difficult to understand whats going on in sometimes because i haven’t yet mastered the art of writing well enough that you can read between the lines.. but i’m working on it! I’ll try my best to convey that in the next few posts where they will finally confront what happened between them. Thanks for the feedback! 

    P.S- now im really dying to know who you are… am i bad at having anons? lol still no pressure loool. 

    pps. Im really glad you sent me that other anon, i had a feeling that some people would be confused by their actions and so it was good to be able to explain it! 

    anonymous asked:

    I love how the article claims that the Justice League trailer fails because it didn't provide us a good reason for why the team should get together, as if the first Avengers trailer made us give a shit about the plot outside of "Hey isn't it cool that Iron Man is being a snarky asshole to Thor and Captain America."

    Also trailers don’t need to give away plot points? There are many trailers that don’t give you concrete ideas as to what heroes or villains are doing and They work just fine. The Wonder Woman trailers haven’t given us anything like that. I firmly believe that trailers should be more about tone than plot.

    D&D: How to Use Character Arcs as a Dungeon Master

    In my previous post on character arcs, I talked about how a player should determine how they want their character’s arc to begin and end. It was from a player’s perspective. But how does a DM write an adventure that will make that player’s arc happen?

    First, get the information you need. Ask your players to each determine how their characters will begin the campaign and how they want them to change by the end of it. Then ask for copies of their character’s traits, flaws, ideals, and bonds. Note whether a player’s character is going to die tragically and if they are okay with that. With this information, you can give the players what I call a moral quandary, personalized for their own character’s arc. A moral quandary is giving the player two difficult options that the player must decide how their character would choose. The character should lean to one side of a moral quandary at the beginning of an adventure, but gradually start to lean the other way as their arc comes to completion. 

    For instance, a cleric might be presented with a choice to kill an evildoer or merely capture them. If the cleric is heading down an arc where their ideal changes from “all life is precious” to “evil must be stopped at all costs” in their character arc is going to make very different choices in that situation depending on where they are on their arc.

    Let’s figure out how we can use this info as a DM and where to put moral quandaries using a 9-point story structure. These are not an entire campaign, but you can use each point as a fixed point in the narrative; a story outline based on the characters’ arcs. Plenty of different stuff can happen between each point, but the points must happen to create a robust story.

    Call to Action

    The player is given an initial call to action. Essentially, a moral quandary disguised as a quest hook. Try to have a separate but related call to action for each player. Ideally, the players should refuse the call to action, as they haven’t been “changed” yet. If they play to their characters’ initial backgrounds and traits, they will refuse the call. You can even enforce this by loading your call with descriptions of how the character is feeling. “You are offended that someone would even offer something so morally reprehensible to you, despite the fact that you could use the money.”

    A good-hearted rogue is starting a tragic fall arc and is offered a chance to make millions from some morally questionable actions involving an evil regime, but decides it is wrong. An innocent paladin starting a coming of age arc could be offered a chance to rise against an evil regime, but values their own safety. A studious apprentice wizard starting a corruption arc is offered power in exchange for service to an evil regime, but decides they can get power on their own.

    Inciting Incident

    Something happens to force the player to action, whether they are ready or not. Try to come up with an inciting incident that involves all of the players, not just one. The inciting incident can act as where the adventuring party finally meets.

    The evil regime in the Call to Action ends up invading the players’ quiet suburb to enforce martial law. The players escape or fight back or else they and their loved ones die or are enslaved. The rogue decides to run from their debts by joining the party. The paladin has seen firsthand what the regime can do, and will now join the party to find someone else who can help them stop it. The wizard seeks out more power to stop the regime.

    1st Plot Point

    The players learn the first shreds of information about the overarching narrative of the campaign. After the inciting incident, some characters might not be convinced and want to turn back. This gives them a reason to continue onward together, as a team. There should be no turning back from the 1st plot point.

    Players learn how this evil regime has been spreading across the kingdom. It still holds many mysteries, but its power is great and threatening. Its power is centered in a capital city, which the players now opt to travel to in order to find the things they currently desire.

    1st Pinch Point

    A pinch point is the first real display of power from the antagonist or opposing force. In D&D this should be actual combat, though it doesn’t have to be. As long as the players see firsthand what the antagonist can do to their characters, this part will add the tension/drama that it should. If you want to have a 1st Pinch Point for each character, then this display of force should directly target the player’s character arc and spark the desire to change through a moral quandary. It’s an awakening. Create tension by ending a session with this pinch point.

    The players come across a thieves’ guild run by the evil regime. The rogue takes note of how rich, glamorous, and lawless the life of a criminal is to spark their tragic fall arc. The paladin realizes how deep the corruption of the world runs and sparks their coming of age arc as their innocence starts to fade. The wizard realizes how much resources the evil regime has, and wonders what sorts of power they had in mind for him sparking their corruption arc.


    More info is revealed about the antagonist and the perception of the characters change. They have an epiphany and decide to continue onward through their arc. This can, and most likely will, happen at different times for each character and their varying arcs.

    The players learn about the leader of the regime. They have been pushed to the breaking point by the regime’s forces. The rogue decides join the regime and start doing crime for the regime and acting as a double agent against the party. The paladin no longer cares about finding someone else to help them stop the regime, vowing to end it themselves. The wizard gets an unholy tome and decides to learn how to make a pact with the demon the regime mentioned to overpower the regime. They are all still heading to the capital, though now with severely divergent goals.

    2nd Pinch Point

    The antagonist reveals their full power and threatens the completion of the characters’ arcs. The entire party should, in general, be at their lowest moment and completely without hope. This should happen at the same time for everyone. Ideally, end a session with this pinch point to create a cliffhanger and highlight the hopelessness.

    The players reach the capital of the evil regime. The rogue is faced with a moral test, where they will be offered riches and allowed to live if they rat out their adventuring party. They choose to take the offer and are betrayed by the regime’s leader and sentenced to death anyway. The paladin comes face to face with the regime’s leader after being ratted out by the rogue. They fail the encounter and barely manage to escape with their life. The wizard is also defeated and their unholy tome is destroyed in the battle. The rogue is imprisoned and the paladin and rogue escape the leader and are being hunted in the capital.

    2nd Plot Point

    The last piece of the puzzle has come together in the second plot point. The characters finish their arc and learn how to overcome the antagonist. This can happen at different points and doesn’t have to happen quickly. For a tragic character, this is the part where they finally meet their end. Tragic characters fail to change or their change is self-destructive and they fail to overcome the antagonist of the story (tragic, isn’t it?). Think of this part as a moral quandary that characters’ finally “know the answer” to, as far as their character arc is concerned.

    The rogue tries to escape, succeeds, but heads back to the thieves’ guild instead of his adventuring allies, and they ultimately betray and kill him. The paladin’s innocence is shattered and they gather rebel forces over time to take on the regime’s leader, becoming a leader themselves. They also find an unlikely ally in the wizard, who has finally succumbed to evil. The wizard still doesn’t know how to summon the demon, but they have already gotten a taste of evil’s power by performing vile rituals on captured regime members and will now use their power for vengeance against the regime’s leader.


    The characters finally face off with the antagonist. The promise set out at the beginning of the campaign is fulfilled. The characters, having completed their arcs, are now changed enough to be able to defeat the antagonist. This should be the players at their most powerful and should be the most epic battle to take place in the campaign.

    The paladin’s rebel army and the wizard’s evil magic face off against the evil regime’s leader. The battle is long and epic, but the characters succeed, freeing the kingdom of the evil regime.


    The game shouldn’t abruptly end after the antagonist is defeated! There needs to be closure. The players’ characters find out the results and the aftermath of defeating the antagonist, for better or for worse. In the case of an ongoing game, you should now set up the next campaign here.

    The paladin and wizard regard each other as unsteady allies who no longer have a common enemy. The wizard seeks more power, even seeking to possibly usurp the void of power left from the regime’s defeat. The paladin and their rebel army gather in defiance of the wizard. The paladin tells the wizard to leave the kingdom and not threaten anyone with their evil, else the paladin will smite them down. The wizard, not having many spells left after the battle and not being ready to face an entire army, teleports away to parts unknown with a puff of green smoke. The paladin is placed in power, and the wizard now acts as a looming threat. Perhaps an NPC and villain for the next campaign?

    This character arc outline is not cut-and-dry. You should use it as a guide, not a rule. Some characters might abruptly choose to change. Some will reach different parts of the outline at different times or out of order. Some characters might waffle between two sides of their arc before deciding which side they want to be on. But the more you talk to your players about it, the easier it is to come up with a generalized plan for your campaign’s story. Heck, your story might even change from what you initially intended by the end of it (a character with a bad roll can still end up dying before even finishing their arc!) But hopefully this will aid you in making the players love their characters even more and have fun as they grow and change in your campaign’s world. That’s what it’s all about, after all.