…you come to the end: then stop.
... So this one is going to have a different ending, with less world-changing drama but more character growth and life decisions. It required ...
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Begin at the beginning
... of a complete stranger who yanks the whole family to a new world). It can be something that’s been planned for, like moving back home to ...
Search again:Planning vs. story development
... Narrative Design and Matthew Salesses’ Craft in the Real World. Narrative Design is written in three parts: a brief overview, a ... feel interested. Matthew Salesses’ Craft in the Real World looks at approaches to storytelling that differ from the specific plot ...
Search again:Skipping Through the Story
... (tomorrow, next week). If the story is set in the real world, a character can say “It’s Wednesday. George won’t be back until ... on when things happen, but if the writer is making up the world, saying “Anarion won’t be here until Waterday” won’t mean ...
Search again:Crowds vs. Councils
... dialog would give the reader a better idea of what the world or culture(s) are like. “Council scenes” are more complicated, ...
Search again:Finding Beta Readers
... are realistic and consistent, but not whether their worldbuilding is inaccurate or unbelievable, and they certainly don’t want to ... need to explain what a beta reader is or what you mean by worldbuilding or head-hopping or infodumping. Other writers are also among the ...
Search again:Opening The Dark Lord’s Daughter
... are unexpectedly transported from the real-life, everyday world to the fantasy world of Zaradwin. The first issue in this sort of story is choosing exactly ...
Search again:Implicit description
... of the ballroom; they also imply some things about the world (it’s pre-central heating and pre-electric lighting) and the social ...
Search again:Description how-to tips
... Writers do this to create an atmosphere or mood, for worldbuilding or characterization (Mervyn Peake’s Titus Groan and E. R. ...
Search again:Backing into description
... is usually considered as a part of worldbuilding. This makes sense, because everything in a story is part of the story-world (whether that’s Alpha Centauri Three, modern-day Beijing, or a tiny prehistoric fishing village), and every part of the story-world tells the reader more about what that world is like. For some writers, ...
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