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How to write your book step 226
Your book isnât written in stone.Â
Remember that itâs okay to change your story.
 You may have had a bad week, and kept writing your story regardless, then later on youâve thought about it and, actually you donât think the homicidal rampage scene you put in was all that wise after all. Remember itâs okay to change it. Itâs okay to change your mind, to think differently today than you did last week. You can change your first draft a thousand times. You have the power to go back in time and delete things you wish never happened in your story. You are going to change your book in your second draft anyway, probably. Donât feel bound to stand by the choices you made when you were sad, or angry, or tired. Just because it felt right then, doesnât mean you have to keep it in your book forever.Â
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Hey! Do you have any tips for people who've reached a block in their writing? I've been trying to plan out a plot for my book, but I've reached a point where I can't think of anything else
What to Do If You Get Stuck While Outlining Your Plot
Hi! Thanks for writing. Getting blocked can happen at all stages: Before writing, during writing, during outlining, in the idea stage, etc. But since you specifically said youâre reaching a block in your plot planning, Iâll address that :)
#1 Make sure your characterâs motivation & conflict are âbigâ enough
If your character doesnât have a book-length problem, you can get stuck trying to fill in empty space in the plot. In order to find more events to flesh out your story, you may need to make adjustments. Is their desire strong enough to fuel a book? Is the conflict big enough? Is their problem difficult to solve? If not, how can you make their problem harder? Or take longer to resolve?
You might need a combination of a fiercer desire, a bigger problem, more problems, more obstacles, and/ or a more stubborn antagonist to reveal potential scenes and events. For help with your characterâs motivation and conflict, check out the PDF âCreating Character Arcsâ in my Free Resource Library.
#2 Plot your story backwards
This can help you make sure you have a strong enough ending and open up new possibilities you might not have noticed while plotting forward. I have a post about it here.
#3 Use the but/therefore method
The but/therefore method is a great way to fill holes. It tests the cause-effect connections between your plot and character and almost always reveals gaps that need to be addressed with new or stronger scenes. Use this template for each scene or chapter:
Main character wants ______, but _______, therefore ______.
What comes after âwantsâ is the motivation for that chapter or scene. After âbutâ goes the conflict or obstacle. After âthereforeâ is the result or action the character takes, which leads into the next goal, and so on, and so on.
Chapter-by-chapter it might look something like this:
Chapter 1: Julian wants to ask Matt to the dance, but heâs scared of being rejected, therefore he slips a cryptic note into Mattâs locker.
Chapter 2: Matt doesnât see the note. Now Julian wants to get into his locker and retrieve it, but the principal sees him trying to jimmy open the lock, therefore Julian is given detention for a week.
You can also do this scene-by-scene. My suggestion would be to start with the chapter outline, see what it reveals, then move into the scenes if you still feel stuck.
#4 Ask questions
Classic un-sticking questions start with âwhat ifâ or âwhyâ? Asking questions can unlock new story directions you might not have noticed were there before.
What if the main characterâs ex-boyfriend came back to town? What if they didnât achieve that small goal back in chapter 4? What if they were hiding something? etc.
Why are they avoiding their sister? Why is it so difficult for them to apologize? Why havenât they quit their job if they hate it so much? etc.
#5 Consider creating a subplot (or two or three)
A book-length story usually needs a few side stories to flesh out the main one. Look for areas of your story that could be expanded, characters that might take the story down a related tangent, and conflicts that seem small but could be bigger with some digging.
#6 Take a break
Sometimes, you just need to give it a rest. Walk away from your outline for at least a week. When you come back, you may see things you didnât see before and be able to breathe new life into it. In the meantime, let your mind wander. Itâs amazing what creative solutions writers can come up with when they arenât âtrying.â
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The Literary Architect is a writing advice blog run by me, Bucket Siler. For more writing help, check out my Free Resource Library, peruse my post guide, or hire me to edit your novel or short story. xoxo
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Hey, me again! So, Iâm wondering is it viable to write separate story arcs that arenât part of the main books because I donât want to overload my audience with 10+ books. Also, how do you go about a multiverse story arc where all of my established characters from different universes come together to end a multiversal threat?
Youâve got two questions so Iâm breaking them up.
Can I writeseparate story arcs that arenât part of the main books?
Itâs not something Iâd really recommend.
A story that would get to the point of 10+ books due toextra story arcs likely has a lot of unnecessary material in itâand I think youknow that or you wouldnât call them âseparate arcsâ. Part of being a betterstoryteller is learning to cut out unnecessary things, particularly ones thatwould extend books to that level.
There are some authors who write âextended seriesâ muchbetter than others. RA Salvatore managed to keep an audience for what are over12 books of the Legend of Drizzt series, Diana Gabaldon is going pretty farwith Outlander, but those are successful authors who have a large following offans and they donât write âextraâ books. The material they write is extensiveand long as a single series, and there arenât things that are able to be tornfrom any of the books without hurting the plot.
Itâs not uncommon for authors to write spin-offs orextensions of certain parts of their stories, however those arenât written intothe main series for just any reason: theyâre written for extra money once the seriesalready sells and becomes popular. They arenât planned from the start nor arethey often the best qualityâthey just sell and are generally liked because theauthor already had a pre-existing audience to pull from. Itâs similar to how fanfictioncan be lower quality and still get readers, whereas published fiction is generallyheld to a higher scrutiny before someone is willing to pick it up (books meantto be âtrashyâ are the main exception).
So itâs not that you canât,but rather than itâs not the best practice to expand a series with unnecessarystories. If they were necessary stories, then you would have had to include itin the books from the start. What ismore viable is to not treat those separate arcs as âextensionsâ and rather asstandalone books that happen to take place in the same world. Those booksshould read as their own centered stories and not rely on any information fromthe âoriginal seriesâ for readers to understand. There can always be someâeaster eggsâ or tiny things that cross stories, but a reader should be able tojust read that book and have it be a quality and complete story on its own.
How wouldstories/characters come together for a multiversal threat?
Make sure each of those character stories are standalone.Not every book, but each series (or single book, if the character doesnât get aseries) should be an understandable and a complete story without info from theothers. A reader should be able to pickup a book/series of Character A and get a full story with conflict andresolution, same with Characters B and C. There can certainly be crossover elements,but none of that should rely on the reader knowing about the other seriesinformation.
That guideline still applies when writing that combo novelwith everyone. It needs to be treated like its own series that could also workas a standalone novel or group of novels, which would require re-introducingsome of that info that from the other books (but in a different way so it doesnâtread as copy-paste to readers who have seen it all). Yes, any reader that picksup the story at this multiverse combo point is going to not have the whole background,but you have to write it in a way that theyâre still able to understand theconflict, motivations, basic characters, etc.
What I find to be the biggest issue with any sort of lessexperienced combo story is a failure of cohesiveness due to a lack of chosen protagonist.You may have multiple protags fromdifferent series, but they canât all have the leading role and there need to betiered roles of importance. This is not to say that certain characters canâtget their own spotlight for some scenes or chapter, nor is it to say that thechosen protag has to drastically stand outâ there just needs to be someone thatthe story comes home to in the end.
Just look at Lord of the Rings. The Fellowship may havefunctioned as a group for the plot, but the ring was still Frodoâs burden tobear. There may have been numerous and wonderfully detailed âside questsâ thatgave the other characters bright spotlights and stole the show for a whileâ butin the end it was still Frodoâs role to throw the ring into Mt Doom. Frodo wasthe protagonist, but that doesnât diminish the spotlights on the other peoplelike Aragorn, and while the story definitely diverted from Frodo to explore theâgroup as the leadâ idea, it still came home to Frodo in the end. LOTR is areally good example of strong main characters working together, but it stillhad a focus underneath all that group dynamic. It still had a âhome baseâcharacter, even if he wasnât as âactiveâ as some of the others.
So you need a protagonistBUT you can also have one deuteragonist and maybe even a tritagonist if youârepushing it. The other two roles are similar to the protagonist, but theyarenât the character that the story âcomes homeâ to and their slightly lesserimportance helps keep a narrative balance while still letting the story exploreother very important characters. The protagonist does not have to be the mostimportant character at ALL times. In the end, yes, but not during every singlepart of the story.
(Note that there is a such thing as an âensemble castâ wherethe protagonist role switches, however that only works in sitcom-like stories wherethere are many complete mini-stories (episodes) in an entire series. You see itmuch more on TV than in written fiction because itâs much easier to pull off properlywith visual media run time. It would be possible for you to write a multiversecombo series with different protagonists for each book to imitate the âensemblecastâ idea without causing weak centrality.)
Good luck with everything!
Thinking of asking a question? Please read the Rules and Considerations to make sure Iâm the right resource, and check the Tag List to see if your question has already been asked.
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Candid shot in Murren. đ . . . . #bikelife #classicmotorcycle #classicmercedes #classiccars #editorialphotography #murren #bikersfamily #agameoftones #traveldeeper (at MĂźrren, Bernese Alps Switzerland) https://www.instagram.com/p/Bo0LyZ1AfB2/?utm_source=ig_tumblr_share&igshid=i8qxnvfx70au
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SUNRISE IN TRIER đđź
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