Hey guys, I know I haven’t been very active. Lots of college preparation is taking up my time. That being said my reviews and GIF hunts are now closed. I’m sorry, but I just need to focus on life at the moment.
A comma splice walks into a bar, it has a drink and then leaves.
A question mark walks into a bar?
Two quotation marks “Walk into” a bar.
A gerund and an infinitive walk into a bar, drinking to drink.
The bar was walked into by a passive voice.
Three intransitive verbs walk into a bar. They sit. They drink. They leave.
THANKS FOR TEACHING ME THINGS THAT ENGLISH CLASS HAS FAILED TO ACKNOWLEDGE
✤EMWATSONRPH HOW TO: WRITE A QUALITY PLOT
Alright loves, today Liv is going to teach you how to write a quality plot. We’re going to talk about academy rps, OC rps, and rps based off songs. If this goes well I’ll do a part 2 with more types of plots. Hope this helps!
We all know that plots are made up of beginnings, middles, and ends. Yet, as we all know, those three ingredients are too easy: A plot is so much more complex than that, so much more complex than that plot structure thing you’re taught in school; in reality, the best books are made up several falling actions and several rising actions and lots of bumps and blips in between.
If you want your book to be successful, here are several things to keep in mind as you’re plotting your manuscript.
- The hook. This is the thing that lures readers into your book to begin with, the first sentence, or even the first several sentences. You don’t want to open your book with a detailed description, or the setting, or with other characters that are not your protagonist. Your hook is about your character and your character’s conflict. The hook is your conflict. Describing something is not conflict. Introducing those other than your protagonist is not conflict. And opening with setting is not conflict. That first sentence, your glimpse into the conflict, should make readers want to continue reading just to know what happens. Look at all the first sentences of your favorite books. What is it about those hooks that made you want to keep reading?
- Characters. Within the first chapter, or your hook, readers should begin to develop a sort of relationship, one in which they care about what happens to your character. Your character should be flawed, should be faced with an intense situation that leaves readers wondering how the character is going to come out of said situation. Strengths and weaknesses should be shown through action and dialogue. Getting out of predicaments should not be easy, and defeating the antagonist shouldn’t be either, whether the antagonist is within the character or an actual person. That being said, your antagonist should be just as complex as your protagonist. Characters are the reason a plot exists. Even if your plot is so-so, memorable characters will make your book unforgettable.
- Conflict. Your conflict must be difficult, not easily resolved. Whether the conflict is internal or external, this conflict must be made clear to your readers. When you find yourself coming across calm moments that stretch on for too long, you need to break that and add in some conflict, which will ramp up the tension in your novel. After all, you want your tension to build, to keep pulling the knot on that rope so tight that it eventually snaps. The conflict, too, should be unpredictable to both your readers and your character.
- Sub-plots. A novel is more than just a plot, more than just character goes from point A to point B. A novel is a glimpse into your character’s life, and, in reality, people’s lives are not straightforward and never focused on one thing. In When Stars Die, there are several sub-plots outside of the main one. Here are just a few of them: Amelia’s desire to become a nun, Amelia trying to suppress her feelings for Oliver, Amelia grappling with the guilt of what she did to her best friend, and Amelia trying to hide her and her brother’s secret. Sub-plots shouldn’t overshadow your plot, but they are necessary to make your book more believable. Your plot should also begin to pull in the threads of your sub-plot and resolve them. (Not all sub-plots have to be resolved in a series.)
- Climax. Beginnings are hard to write, and so are climaxes. How tense is your climax? Have you created believable tension to lead up to this moment? Your climax can have twists (as When Stars Die does), but there need to be hints throughout the book that a twist was coming. Also, is there any other way the climax could have been resolved? If there is, use that way, because your readers are going to be looking at this climax more critically than anything else and wondering if there had been a stronger, more believable way to end it. There should only be one outcome.
- The ending. This is after the climax. This wraps up all loose ends (unless your book is in a series). This is the part where readers can breathe and absorb everything that happened. And this is the part that says that there is a life beyond the climax, even if it’s a bittersweet ending.
All right! You guys know what to do. Ask me anything about anything. Next post will be on writing a query letter!
yo yo yo under the cut you will find a masterlist of superlatives that can be used for highschool rpgs or whatever your heart fancies.
STEP ONE: Figure out why your muse isn’t cooperating with you.Perhaps it’s because you’re not in the right mood, or because you have writer’s block in general, because suddenly the muse for another character comes up and replaces that one, if it’s temporarily or for a while. Whatever the reason may be, figure out the root of your problem and solve it. If you find it? Great. If not? Keep trying. You’re bound to get something.
STEP TWO: Look at all the different things your muse enjoys and immerse yourself in them.You’ve chosen your muse for a reason! If you go through their interactions, their interests, their thoughts, their entire CHARACTER, I believe that you’ll reconnect with them again. Observe how they act around other characters, why they act a certain way, create headcanons for stuff you think would be reasonable for them. It should help make the muse interesting and fun once more.
STEP THREE: Find music which fits the character, look up art or fanfiction ( if your muse is the Canon sort ) and it could spark a muse.You may have lost the feel of your character because you think you don’t play them well, or because they’re just so far from your own personality that you can’t grasp them well. If so, listen to music that suits their general mood and search for other characters who are similar to them. You’ll almost certainly have a deeper understanding of who that character is and how they would react in certain situations. Again, if your muse is a Canon Character, research about them and their world, how they’ve grown and changed throughout their lives. Add in your own headcanons to give depth, and most importantly…
STEP FOUR: Practice, practice, practice.If you continue writing for them, you’re sure to get better. And when you do, it will be so much easier for the muse to cooperate with you because you’ve practiced their character! So keep with the muse(s) you’ve chosen to portray, and hopefully they’ll stick with you.
♛ LYDIA-RPH DOES A MASTERLIST -- -- OF CLIQUES.
This is my first ever masterlist so I hope I'm doing it right. I thought of writing a masterlist of FIVE popular cliques we encounter on our high school years and some facts about them. Please Like/Reblog if you find it helpful!
Oh, the dreaded in-character para sample. It seems as if every roleplayer out here is complaining left and right about these. Why is this? More likely than not, I find that it is because the person does not know what to write about. Here I have compiled a small list of para sample ideas that can work with any character, and a brief description of how to use each one. I hope this helps you when you experience that auditioning writer’s block in the future.