Tips for maximizing reader engagement.
The dramatic prognosis is the calculation the audience makes about the hero’s chances of reaching the goal. You can examine the dramatic prognosis within your story in the planning stage or in the revision stage; it may be helpful in highlighting where the story is lacking.
The inciting incident is often misunderstood. Even seasoned writers sometimes make claims that there can be multiple inciting incidents or that it can occur before the story even begins. But I would argue that most of those claims are rooted in a misunderstanding of the role the inciting incident plays within a story.
Turning points are why scenes exist. So it’s essential to understand how and why they work within your story to propel both plot and character.
Writing “by the seat of your pants,” aka “discovery writing” works better for some writers than outlining does. Read about the rationale for pantsing here.
The idea behind subjective conflict is this: the reader can sometimes experience conflict even when the characters in the story don’t. This week’s article appears at DIYMFA.
Is your story’s conflict gripping readers? Not all conflict is created equal. Some creates tension; some doesn’t. And in fact, conflict isn’t the only way to create tension.
Sometimes, the main source of tension in a story comes from a lingereing “urgent story question” that nags at the reader. You should be conscious of your story’s USQs so that you can make the most of them and create a more gripping story.
The old writing adage of “show, don’t tell” is good advice, but it can occasionally get writers in trouble. Good writers sometimes fall prey to hyperdetailing–giving excessive description without serving the story.
Character arc (aka the internal plot) is essential for a satisfying story structure. You might have tension on every page and you might follow what you think is a winning structure, but if you don’t have a character arc, your story will fail to resonate with readers. Learn the key concepts for character arcs here.
The beginning has two roles: a structural one and a functional one. Here, I present a way of thinking about the first act’s plot points that may help you reconcile the need to hook the reader with the need to portray the so-called “normal world” of the story.
