Things People Do After Having A Nightmare That Isn’t Crying

I despise Venion so much omg

Storytelling in Any Season

Incorporating the seasons into my stories is enjoyable. Not only are seasons a relatable life experience, but passage of time can be tricky to portray without them. The best part about adding the seasons to a story is that they have strong potential to aid the plot.

Seasonal details that are easy to add to create the scene and affect the plot.

CLOTHING; if I walk this path in winter, I have to wear huge boots that can handle slick mud. If I walk it in summer, the dead grass scratches my bare legs because now I am wearing shorts.

EXTREME TEMPERATURE; whatever we do today it better be indoors and out of this heat wave/blizzard. If the battle/heist/romance/etc. takes place in this weather, there will be consequences!

CHARACTER MOOD; autumn is Character A's favorite time of year! they gain a positive, upbeat attitude as soon as they see signs of autumn. Character B feels dread and becomes easily agitated during autumn. The two of them clash more in autumn than any other season.

EVENTS; holidays aside, some seasons may be busier for one character than another. I had a weekend job during summers and was rarely available. Weddings are most common in spring. Community events that affect traffic, shops, or social atmosphere can occur at any time of year.

TRANSPORTATION; some parts of the world rely on different transport for different seasons. A bicycle when it is temperate, a bus or train when it is miserable. A car for dry weather is replaced with a car outfitted for inclement weather. A regular trip to the grocery store may even need to be cancelled completely. And don't forget air and water travel!

HISTORY/TRAUMA; certain seasons in your story may be marked by pain. This is the season the war took many lives. This is the month unforgettable tragedy occurred. The upcoming season marks the anniversary of a huge mistake we'd all like to forget. Social and personal customs will reflect this memorial.

FOOD; in the modern-day US we are used to most foods being available year-round. This is not the case globally or historically. Seasons can be marked by what foods are or aren't available. This can include meat, produce, and dairy, but it can also extend to dishes and meals.

RESOURCES; like food, weather and climate affect access to many things your characters may need. Washed out roads halt shipments, but heavy rain is good for crops. Intense heat can damage perishable supplies, but dries out firewood fast. Natural disasters halt production while simultaneously increasing demand. Even a weather event in another hemisphere can affect your character's resources.

Whenever you think "How do I portray the changing seasons?" pay attention to the changes you have to make each season. Places you go, your personal habits, the items you carry with you, the events you prepare for, and all of these real-life details affect YOUR "plot" every day. Consider which ones would affect your characters, and use them to both set the scene and move the story along.

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✩ This was written in response/addition to @writingquestionsanswered post Incorporating Seasons Into a Story. Please see their post for other important tips!

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Got to love that the first thing Alberu decided to do after he realised that Cale wasn't joking about being a Slacker is to threaten him into doing things for him by using government positions and titles.

This man is the only one aside from Ron and the children that are actually able to get Cale to do things that he would normally protest against. Doesn't mean that he's going to make it enjoyable for his Hyung-nim, but still, he's figured out the secret to Cale's obedience very quickly.

Oh no! They're gonna die if they keep this up, please stop removing us, Kris! This is for your own good!

Funky whatevee

I think the reason Ralsei doesn't turn to stone in other dark worlds might not be because he's created by the Grand Fountain. I think...

...It's because belonging is at the very core of who he is. Kris wants more than almost anything else to belong, to fit in and not be an outcast. But to do that, they would have to discard everything that makes them themself. Ralsei is what Kris wants to be, but not in the way you might think. Kris wants to belong, and Ralsei is who they would have to be in order to belong.

He's a goat, like the rest of Kris's family. He's smart, polite, helpful, does whatever you ask him, and lets you walk all over him. He doesn't treat himself like a person. Everyone's always asking, why can't you be more like your brother? And now you are. And that's what Ralsei is.

The people in the light world would take him for granted, just assume he's happy, and not wonder how he really feels. Fortunately, however, Ralsei's friends are Kris and Susie. They're not like the rest of hometown. They just want him to be himself and learn and grow with them. They just want to be his friends.

Let me be clear: Ralsei is his own person. He's only just starting to figure out who he is, beyond what I've described above.

I just hope we can be friends with everyone some day.

I got the 'written animatic' idea from one of @blueteller 's stories so thank you for that-

This is pretty short btw

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You are my sunshine

A close up shot of Raon in Cale's arms. You're unable to see Cale's face, only the bottom half. Raon is looking up at Cale as Cale sings to him.

My only sunshine

The background is light gold colors, everything is just the slightest bit fuzzy. It seems as though they're in Cale's bed. Raon feels warm.

You make me happy

Cale begins to pet Raon softly on his head.

When skies are gray

Raon snuggles into Cale's arms just a bit more

You'll never know, dear

As Raon is closing his eyes, we see Cale's mouth begin to shake a little.

How much I love you

Cale brings Raon into his arms in an embrace, the point of view gets closer to them and we see Cale's shoulders begin to shake

Please don't take

As the point of view backs away, the warm and gold background slowly fades into a battlefield.

My sunshine away

We see Cale hunched over Raon, the indestructible shield covering them, they're in the middle of a battlefield with some of their comrades fallen next to them. Some fighting is still going on in the background as the screen fades to black

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Inspiration really does come to me in the weirdest of places-

I wrote this pretty quickly, please do keep in mind-

hey i don't know what writer needs to hear this today but you can have characters in your work who exist only to move the plot forward. you can create an oc for a fanfic who exists to ask a question at the right time and is never seen again. you can create a novel and have random characters that exist to move the story. characters are elements of narrative. not every single one has to have a whole backstory and a life fleshed out. sometimes they can just be there for a scene and then never be involved again. isn't that how life works? don't we meet people and then they vanish? aren't our lives simply moments spent to drive forward the plots of others? your character can be pointless. you character can exist in a moment. your character can take up space. your character can exist, even if you don't know their birthday and their mother's favorite song.

characters are not people. you do not have to make them into people unless you want to. you owe them nothing. use characters however you want in your story. develop them as is relevant. otherwise, it literally does not matter.

CANON 2x!!

Alberu: Please, I'm begging you go to a doctor.

Cale: I'm sorry is this 'OUR' stab wound? Stay out of it.

Story Structures for your Next WIP

hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.

everything in life has structure and storytelling is no different, so let’s dive right in :)

First off let’s just review what a story structure is :

a story is the backbone of the story, the skeleton if you will. It hold the entire story together.

the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.

1. Freytag's Pyramid

this first story structure i will be talking about was named after 19th century German novelist and playwright.

it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.

Freytag's Pyramid structure consists of:

Introduction: the status quo has been established and an inciting incident occurs.

Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,

Climax: the protagonist can no longer go back, the point of no return if you will.

Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...

Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.

this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.

2. The Hero's Journey

the hero's journey is a very well known and popular form of storytelling.

it is very popular in modern stories such as Star Wars, and movies in the MCU.

although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:

The Ordinary World: The hero's everyday routine and life is established.

The Call of Adventure: the inciting incident.

Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.

Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.

Crossing the First Threshold: first steps out of the comfort zone are taken.

Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.

Approach to the Inmost Cave: hero approaches goal.

The Ordeal: the hero faces their biggest challenge.

Reward (Seizing the Sword): the hero manages to get ahold of what they were after.

The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.

Resurrection: a final challenge, testing them on everything they've learned.

Return with the Elixir: after succeeding they return to their old life.

the hero's journey can be applied to any genre of fiction.

3. Three Act Structure:

this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.

Act 1: Setup:

exposition: the status quo or the ordinary life is established.

inciting incident: an event sets the whole story into motion.

plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.

Act 2: Confrontation:

rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.

midpoint: an event that derails the protagonists mission.

plot point two: the hero is tested and fails, and begins to doubt themselves.

Act 3: Resolution:

pre-climax: the hero must chose between acting or failing.

climax: they fights against the antagonist or danger one last time, but will they succeed?

Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.

4. Dan Harmon's Story Circle

it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.

the benefit of Harmon's approach is that is focuses on the main character's arc.

it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.

the character is in their comfort zone: also known as the status quo or ordinary life.

they want something: this is a longing and it can be brought forth by an inciting incident.

the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.

adapt to it: of course there are challenges, there is struggle and begin to succeed.

they get what they want: often a false victory.

a heavy price is paid: a realization of what they wanted isn't what they needed.

back to the good old ways: they return to their familiar situation yet with a new truth.

having changed: was it for the better or worse?

i might actually make a operate post going more in depth about dan harmon's story circle.

5. Fichtean Curve:

the fichtean curve places the main character in a series of obstacles in order to achieve their goal.

this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.

The Rising Action

the story must start with an inciting indecent.

then a series of crisis arise.

there are often four crises.

2. The Climax:

3. Falling Action

this type of story telling structure goes very well with flash-back structured story as well as in theatre.

6. Save the Cat Beat Sheet:

this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.

Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)

Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.

Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?

Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.

Catalyst [12]. The inciting incident!

Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.

Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.

B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.

The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.

Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.

Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.

All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.

Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)

Break into Three [85]. Armed with this new information, our protagonist decides to try once more!

Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.

Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.

(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)

7. Seven Point Story Structure:

this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.

this structure is about dramatic changes from beginning to end

The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.

Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.

Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.

Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.

Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.

Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.

Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.

(all information regarding the seven point story structure was copy and pasted directly from reedsy!)

i decided to fit all of them in one post instead of making it a two part post.

i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!

if you find this useful feel free to reblog on instagram and tag me at perpetualstories

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Life imitating art.