Things Fall Apart Chapter 12-13

By Nicole Amanda on Tuesday, 10 September 2019 16:25:53 Category APARTMENT

Things Fall Apart Chapter 12-13

Things Fall Apart Chapter 12-13 -
Has this happened to you? Your plot outline is first-class and Special you've written half your e book in record time and yet you have this fearful of feeling it's not working.

Maybe your characters aren't behaving, or your big plot twist is more of a slight bend, or you've crammed in too many subplots ... whatever it is, you start to believe swamped and the big worry is that there may be too many problems to overcome.

I've experienced D) all of the above during the writing of each of my four books to date, and so these days I expect this kind of self-doubt. The only thing I have on some of you is that I've worked my way through it and am fairly self-assured of doing so Again I still experience strong self-doubt, though. Just ask my family.

So, remind yourself that it's quite normal for a novel to go through the disorganised mess stage. in fact, you can plan for it and even insure against it. Here's how:

First, if you have a major plot and several subplots, concentrate on writing the major plot scenes first. Leave markers in the text describing the subplot scenes and then skip over them.

Couple of Purposes One is Cognizance because you're sticking to the main plot and so it's harder to stray. Two is Layout because it's less demanding to observe the main plot arc if that's all you're writing. Three is complexity and word count: if you leave the subplot scenes till last you can drop an entire subplot if it doesn't work any more. You can add one other subplot if needed, and you can also work out how many words you have to play with to meet your target count.

Example: You're writing a 100,000 word novel and your main plot alone comes in at 75,000 words. If you were planning five various sub-plots you'll now be able to work out how many words you can spend on each. Suppose me, agents do not want to see sprawling 300,000 word novels from first time authors. Dropping subplots and characters after the fact is a lot more work than not writing them in the first place.

Next only write your protagonist's scenes. If it's a distinct viewpoint novel, just put summaries in your text for scenes from the antagonist and secondary character POV. Why? Because while you're writing the protagonist's scenes you'll keep getting ideas for the other characters, and you can just dump those concepts into your notes. It's also much more straightforward to get in character and write an official POV if you're not head-hopping every couple of thousand words.

A different reason for writing all of one viewpoint first: By of completion the protagonist's scenes you'll know exactly what the other characters have to do in their own scenes. No major rewrites and no wasted words. Again if you're heading for a massive doorstopper of a novel you can cut out some of the secondary character scenesa and write less for the rest.

When I started writing my first novel I begun at chapter one and tried to type the whole thing out sequentially, right through to The End. In the intervening time I'm sure that's the wrong way to mind-set the task. Look to the world of film for the preferable example: Remaining are usually shot out of sequence so that actors and sets can be employed for the shortest possible time.





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