Have any of you wrote something and didn’t realize anything
significant about your work until long
after? I have. They are symbols and messages I didn’t discover until a lengthy
time after writing the projects.
For instance, in my first book, “The Frights of Fiji” (formerly,
“From Frights to Flaws”), there are mermaid-like women, but with dolphin tails,
who sing certain songs as a way of informing others of their presences. Those songs
ended up relating to the situations they were encountering or leaving.
In my second book, “The Uncontrollable Curse” (formerly “Wizardry
Goes Wild”), my MC wants her dog to attack the antagonist, who is a skeleton. At
the time I wrote the story, I tied that dog vs. skeleton situation with historical
context—not because of the “dog-eating-bones” stereotype.
Another unintentional message I ended up making in that
installment was about history repeating itself. I’m not going to spoil anything,
of course (“The Uncontrollable Curse” hasn’t even come out yet), but the book
does tie a lot of Puritan and Salem Witch Trials content. My MC is cursed with involuntary
magic. When she does it, others misunderstand and become afraid of her. This
ties to how people during Pilgrim and witch hunt times were miscomprehended and
feared when they were just different. While people who were found guilty of
witchcraft were hanged and/or burned, the “witch” (my MC) is penalized for her
sorcery by getting detention at school, suspended, excluded from activities,
and more (I won’t give away anything else).
I have yet to discover any accidental messages or symbols in
my third book. But hey—it might happen.
Ah, characters: you’ve got to love or hate them—or have some
opinion on them. They also shouldn’t be perfect. The hero should do wrong
things and get disliked at times and the villain should get liked at times.
However, this is super-difficult—at least for me it is. I
have a tendency to protect my main character in my novels. I like her a lot. I
feel sorry for her. And because of those, I tend to make her hardly flawed. At
most, she may do a few wrong things
and at milder levels. The worst she has done in my book series was unauthorized
filming and lying about not doing it. That’s actually a serious offense.
Anyway, I’m probably not the only writer who has trouble making certain characters flawed. Of course, there are characters who are unfriendly, but not evil. And obviously, there is conflict in my stories. But I think I know why I have difficulty getting my protagonist to misbehave.
One: it wasn’t until the plot of my first book’s first
edition was nearly complete when I found out that protagonists should behave
badly or do wrong things. When rewriting my first book after removing it from
the market, I couldn’t make my main character more flawed as the major elements
had already been established. Two: I have recently become very uncomfortable
around conflict. Not just in real life, but also in fiction. Yes, I have
stopped certain books and movies because I loathed how the characters were being
treated. Now while writing my third book, I have no plans to make my MC do
really bad things. Yes, she won’t be perfect. In fact, she will have trouble controlling
her emotions. But I will stop there on that.
Writers fall in love with their heroes. They become attached
to them. So they may have trouble making them behave badly. However, someone
told me that the best books have characters who misbehave a lot.
Now if you’re creating children’s stories, there are limits
to how badly the characters can act. Of course, it would be acceptable (and would
probably engage readers) if the protagonists started food fights at school, got
sent to the principals’ offices, and were punished by their parents. However,
you could not have them do something that would be inappropriate. Not just
drugs or drinking, but also activities that could lead to death or serious
injuries. Otherwise, parents won’t want their kids reading your books.
Do you notice that lack of perfectly behaved characters in
fiction? Most likely. And that’s because people want flawed characters. In
fact, sometimes that’s essential to the storylines.
I’ll give a few examples from Disney movies. In The Lion King, when Simba talks to Scar about that shadowed area that his father forbade him to go, Scar says that only the bravest lions would enter. “Brave” is the big, main keyword. That was what encouraged Simba to check it out, and, of course, that led to conflict crucial for the plot. If Scar had said that only the dumbest lions would go there, Simba might not have gone because he wouldn’t have said, “Well, I’m dumb.” He was in too good of a mood to say such a thing. And then, there would have been a lot less conflict. And without enough conflict, the story would’ve been dull, and the film would’ve drastically failed—or maybe not have even been green-lit.
In Beauty and the Beast,
after the beast releases Belle from the dungeon tower, he leads her up to her
new room and says that she can go anywhere, except the forbidden west wing. Later
Belle is curious about the west wing and enters it, discovering the enchanted
rose and the portrait of the beast when he was a person. The beast catches her
and forces her out.
At the end, when the beast transforms back into a human,
Belle recognizes him from the painting. Then they live happily ever after.
If Belle had listened to the beast, or the beast had not
prohibited her from going to the west wing, then the ending might’ve resulted
in the prince re-explaining how he’d become a beast. Or—he might not have
changed into a better character. Therefore, Belle wouldn’t loved him, and he
would’ve failed to break the spell he and the servants had gone under.
So there you have it. Notice the pattern in both examples? Let
that help you.
Have you ever eaten cookie dough? I used to, even though I wasn’t supposed to. Luckily, I never got sick.
But there is a way to make cookie “dough”. And no, I don’t mean the mysterious stuff ice cream parlors use. I mean crushed cookies and cream cheese. That’s right.
You can use store-bought cookies. Or you can bake your own. I’d recommend the latter more. Why? Because homemade is always better, of course.
You could bake the cookies longer than instructed, although they may burn a bit. Or bake them soft and let them harden, which I wouldn’t suggest unless you don’t like soft cookies. There are people who prefer crunchier cookies. You might be one of them.
What I do is bake them soft. If I find them just okay or get tired of them after a while, they end up hardening. So instead of tossing them, I crush them, mix them with cream cheese, and roll them into little balls. Then I refrigerate them. Sometimes, I dip them in chocolate or colored sugars. And guess what? They taste delicious. They taste like cookie dough, except that they’re not raw.
So if you want to make your own cookie “dough” without getting sick or trying to find the strange ingredients ice cream shops use, just crush your hard cookies and mix in cream cheese. You can use a blender. In fact, that’s probably better because it expedite the process.
Your cream cheese and crushed crumbs should measure about the same volume. After you mix the two, roll them into balls, like the size of a gumball. Then refrigerate them for about a half hour or so. Then take them out and enjoy, or dip them in chocolate, sugars, sprinkles, nuts, or anything you’d like. Believe me, you’ll feel like you’re eating cookie dough.
Why is it so hard? Because it needs to be relevant to the
storyline, not offensive, and sound natural to the person speaking it, taking
their age, time, where they live, and other demographics in mind. You need to listen
to how people speak.
Yet, many people, especially those the ages of middle grade
characters, have said little to nothing in my presence. Yup—people watching is
tougher than you think, excluding the risk of those folks thinking that you’re
stalking them. You could watch movies too, but that doesn’t really help,
either. Another option is to read books and see how other authors write their
But the hardest challenge with dialogue, overall, is having
characters react believably to extreme situations, especially in fantasy. I
write fantasy and I cannot stress enough how difficult it is to make characters
react naturally to high levels of danger. No matter how hard I try, readers have
said that the characters’ reactions were muted, unnatural, and too accepting. It’s
However, I found a solution, besides receiving help from
editors. I print out the story and read the dialogue out loud. I was surprised
to discover how unnatural some lines were—just by reading them out loud. So I
changed the words.
Observing others is fine up to a certain extent. Also, a lot
of people are quiet in public. Many even put on faces in public and might behave
differently in their homes. Reading other books could work, as well. But I find
reading the dialogue out loud helps the most.
This process has been SUPER difficult for me. I meant that. For
two years, I couldn’t finish a single darn draft. Then, last year, I discovered
that I needed to start shorter and sloppier. I realized that my progress
differed from other writers. I needed to simplify things drastically. While
others write 100,000 words and have to cut, I will have to write 10,000 words and
then expand. But that’s another post.
Anyway, the first installment “The Frights of Fiji” is available on Amazon here. The second installment, “The Uncontrollable Curse” can be pre-ordered right here. The third novel is currently titled “Enchanted for Eternity” (which might change) and still has a ways to go. I am writing a synopsis for the current draft. I’m hoping that plot can work for the final draft. Really—I just want this project to be done. About 3.25 years of this WIP have passed and I cannot tell you how many times I wanted to quit.
Yeah—finding an exciting plot was sooo hard. Even recently, long after I completed a full first draft
from January to February last year (2018), I have gotten bored with some of my
plots. However, the one I’m working on actually sounds pretty exciting, even
though I’m not done with the synopsis.
But the idea has stayed the same. My main character, Alyssa,
is cursed with magic that she needs to learn to control and keep permanently. I’ll
release more information once the story’s pretty much done and nearing
publication, which might be early fall, as of now.
I’m an author and authors constantly write. However, I am
weak at multi-tasking, even with writing. For years, I could only work on one novel at a time. But that meant only
one publication every few years. And that is not very fair to fans or readers.
I’ve been doing research on writing more than one story at a
time. Many writers can do it. Some do it because they have too many ideas
floating in their heads. Others do it because they want to meet deadlines
sooner, especially if they have agents.
I’ve tried many times but have failed… until now. I am
working on two works at this time. Well, technically three as I am having one project
edited. But this is a huge milestone for me. It’s not easy. I am glad that I
started with a small step of only adding one extra project. There is a
technique I read about somewhere called drafting. That is when you work on one
story draft at a time with different projects. For example, you write a draft of
story a. After you finish that draft, you do a draft for story b. Basically,
you work on one story at a time, but go to another one after finishing a
certain draft rather than spending a long time on just one story.
I am not really doing that, though. I have been working on
my third novel for over three years, although the first two years were spent
trying to figure out the story. I am now working on the third book and the
first draft of my fourth book at the same time. Sometimes I am designating certain
days for one story. Other times I am working on whichever I feel like.
If you want to work on more than one story at a time, I
would definitely recommend you go for it. In fact, many big authors work on
more than one book at a time. If you’re serious about publishing, then I would
emphasize on this even more. If it’s traditional publishing, depending on the contract
you have with an agent or publisher, it may work. However, traditional
publishing takes longer, and you have no control over the process or time. If
you’re self-publishing, you have total control over your projects, when you
publish them, and the time it takes to publish. If you do Amazon KDP, you can
choose a release date up to three months (I think) ahead if you choose the
The reason I want to work on more than one novel at a time
and write faster is because I don’t want to keep people waiting. Plus, I don’t
want my final installment to be ready when I’m, like, 40. Not that I have
anything against publishing at that age (many authors are, at least, that age).
Plus, my writing will likely be more mature by then. I just don’t know where I
will be in life then. I’m only 25 after all.
My goal is to have my entire series published by my 30th
birthday. No, I am not looking to become the youngest author with a full
series. I just want to keep readers up to date more often. Plus, I have a
better idea of where I’ll be in five years versus fifteen. I know I can make this
I don’t know about you, but when I was a child, I was taught
to draw in pencil first. Then trace it in pen if desired. And you know what? I
think it was great advice. In fact, I still do that now these days… sometimes.
To be honest, I haven’t been drawing that much recently.
Anyway, you know that pencils come with erasers. If you make
a mistake, you erase that. There are also erasable pens. But I haven’t used those
since, like, fifth grade.
Yes, if you make an error with a permanent pen, you can’t
remove it. But you can put white-out over it. I’ve been doing that a lot these
What I like to do is draw the basic shapes with light pencil
marks. Next, I draw the main images with normal pencil marks. Then trace over
them with pens. I finish by erasing the pencil marks. After all, no one is perfect.
So pencil marks will still show unless you erase them.
I have drawn purely without pencils before as a child. That
was fine. But those were drawings for personal pleasure. Not for school. Plus,
I hadn’t received the full formal training for art, then. I took art classes at
school. But they were required for everyone, including those with little to no
Once I got the formal training in high school and college, I
don’t think I ever started drawing with pens voluntarily again. Sadly, these
days, my hands sometimes shake too much. And because I don’t have an authority
forcing me to start with a pen, I probably won’t return to drawing with pens
only for a long, long time. I will still trace pencil lines with pens, though.
There are three types of animation: hand-drawn or 2D, CG,
and stop-motion. Stop-motion is when an object is moved very slightly and then
photographed. Several photos are done until each object moves believably.
Usually, stop-motion animation is done with puppets. Examples
include those Christmas specials like “Rudolph the Red-nosed Reindeer” and “Santa
Claus is Coming to Town”. Then there are more recent examples, like “Paranorman”
and “Box-Trolls”. There is also another kind called Claymation, where the animators
use clay models instead of puppets. A couple examples include “Wallace and
Gromit” and “Early Man”.
While stop-motion films look fantastic, I notice there are
not too many. Why is that, you may wonder? I think it’s because they are extremely
Before CGI was invented, most animated movies were 2D and
drawn with pencil and paper. There were some stop-motion films, like “The Nightmare
Before Christmas”. Then, after the turn of the century, when 2D animated films were
dying out, and CG animation was booming, the number of stop-motion movies have
pretty much remained the same.
Stop-motion animation may involve lots of skills, patience,
and time, but I don’t know if they will increase the number of films, or
Yes, there have been advancements, like the use of special effects in movies, like “Paranorman”. And I’m sure that involves more work, therefore, more time.
Characters come in all shapes, sizes, personalities, and
much more. So do the ways they are developed.
Many writers base their characters of real people they know.
They also develop them like the folks they know.
Want to know how I develop my characters? Yes? All right.
Here I go. I often develop them as I develop my storylines. I get to know them as
I draft. I unconsciously develop them through other story elements too, like
dialogue and actions.
Now these are not the only ways I develop my characters. Sometimes
I plan their personalities, even if the characters don’t make it to the final
drafts. I also might base them off other fictional characters from other franchises,
sometimes myths and legends. For example, in one of my works, there’s a
character inspired by the Grim Reaper.
Unlike many authors, I never really base characters off
people I know. However, I do often develop
them like those in my lives. This was especially common in my earlier works,
when I was still learning how to develop my characters. I developed a couple
like my cousins at that time and one like my brother back then.
Remember, there is no one-size-fits-all way to developing
characters. It is, however, important to make your characters believable, round
rather than flat, crucial to your story, imperfect (they should have at least
some flaws), and change at the end of your tale. This is especially essential
for you main or major characters.
This technique also takes a while to learn. It took me,
like, seven years to discover my writing voice. A similar amount of time might happen
for you if you’re new to creative writing.
If you search for me on Amazon, you’ll see that I have published
five books, but only one is for sale. That is because the others weren’t
exactly the strongest. Except for one, I did pretest the others to make sure
they were good enough to please strangers. They were. But I felt the novels
could’ve been better.
So hang tight as you learn to develop your characters. If you
need assistance, there are character development worksheets you can find online
and use to answer questions about your characters. Sometimes I’ve interviewed
my characters, answered questionaires about them, or even wrote short stories
from their points-of-view. This might help you. Something will.
I’ve been studying the writing craft for years. It was seven and a half years ago when I learned the right rules of creative writing. It took about that long to hone my skills and mature my creative writing abilities to what they are now.
However, before I studied the craft, I wrote a bad novel
that I was dying to publish and convinced my parents to let me do so. When it
was published, there was no positive feedback. However, I do realize now that I
still included the classic plot structure, which I wasn’t aware at during that
time. I continued to use that structure in later novels where I studied the
What is the structure, you may ask? It starts of with the
inciting incident, where something greatly changes your main character’s
situation and sets him or her up on a rough road to achieve his or her goal. Then
there is a call to action, and the main character often refuses it at first. Then
he or she will accept it.
Next comes the first plot pinch, which sets your main character up for failure. Then there is the midpoint, which can be a major defeat or loss. That will push the protagonist’s struggle to achieve his or her goal even further. There will be complications and higher stakes, which will lead to an all-is-lost moment, where the antagonist wins at that time.
Then comes the climax, where something prepares the protagonist for the final battle (not always literally, though). There may be a ticking clock too, where the protagonist’s time starts running out. Finally, there is the resolution of denouement, where the main character has come somewhere satisfying. He or she may achieve his or her goal. If not, he or she may realize that the goal was not something he or she had wanted all along or something not right for him or her.
And no matter what story I write, usually novels, this plot
structures comes out into my writing unintentionally. I don’t know why, though.
It’s like my brain has somehow inserted the plot structure into its
subconscious or something. But that’s probably a good thing.
No matter where you are in the writing process, whether you are new or experienced, it’s important to know the plot structure. Any successful work, written or visual, needs to follow this structure.