On Creating A Wiki For Your Worldbuilding

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

Follow my tumblr and instagram for more writing and grammar tips and more!

Character Charts

One thing that always gets me excited to start a new writing project is creating a character. Creating a new character is a sure-fire way to amp your self up about your new story.

There is no write or wrong way to create them, you just do!

However, creating a new name and face for a story can be daunting, particularly when it comes to naming the character! I like to choose a name with a special meaning or connection to the story I have in mind.

I find it very helpful to refer to a ‘character development’ chart or ‘character features’ charts.

I'll post some helpful charts down below! I hope this helps :)

hey do you have any tips on how to write surreal horror (mostly short stories?) it's a genre that i've really been interested in trying to write, but i'm not too sure how to go about it (and thanks for providing such a useful blog :D)

I love surreal horror. 

Okay. 

Plot twists are your best friend. Do the unexpected. Do a 180 last second, turn everything around on the reader. Obviously it has to be believable with in the context of the story, but keep it a surprise.

False sense of security? Works wonders. Nothing is safe. Let readers think something is good/pure/innocent/calm/safe/helpful/etc when it’s not. Lure them into that trap. Let them believe and then rip it away from them. 

Invert things. Similar to the false sense of security. Take things that are usually strongly associated with one thing, and associate it with the opposite. Take something dark and make it the good thing. Take something bright and make it evil. Take something sweet and make it bitter. Take something healthy and make it deadly. If you do it right, you can make the reader curiously uncomfortable. 

With surreal horror you want to shock your reader. You want to make them feel strangely uncomfortable. You want to make them question things. 

Hope that helps :)

u know what, even if my writing isnt the BEST, i still made it all on my own. like there was a blank word doc and i filled it up with my own words, my own story. i took what was in my head and i made it a real thing. idk i feel like that alone is something to be proud of.

Writing Notes: Outline

Outline - a skeletal representation of the sequence of the main ideas in your essay.

The sequence of ideas/topics also serves as a guide for the reader(s) of your paper.

2 Purposes of an Outline

For You as a Writer (this is the “working outline”)

You may draft a working outline in order to organize the sections of your paper as you list the major ideas/topics you plan to discuss.

You may add minor topics and supporting details as your research continues.

In the research and drafting processes, you may need to revise the information included in your working outline as new information comes to light.

For Your Instructor (this is the “final outline”)

The most important aspect of the final outline is that it is truly representative of your actual paper.

If a topic is in your outline but not adequately discussed in your paper, revision is necessary.

To serve as a guide for the reader, the final outline must accurately reflect the content of your paper.

About the Working Outline

The working outline does not need to be written in any specific format.

It is for your own use, an informal rough draft of tentative information that you may use or discard later.

You may write a working outline in whatever form seems most helpful for you.

By the time you have finished your research and begun your paper, you should have a nearly complete outline to edit and use as your final outline.

About the Formal Outline

The standard format for a formal outline includes large Roman numerals for the main headings, capital letters for subtopics and Arabic numerals for the sub-subtopics.

To find specific information regarding correct spacing and alignment, consult your university's handbook.

Example

OUTLINE

Thesis Statement: There are benefits as well as drawbacks to purchasing a home.

I. Benefits of purchasing a home

A. Financial investment B. Personal privacy

II. Drawbacks to purchasing a home

A. Financial commitment B. Costly maintenance

Things to Consider About Outlines

Thesis Statement

Most outlines begin with the thesis statement, aligned to the left and placed directly below the heading (Title) of your outline.

Sentence Outline OR Topic Outline

Consistency is the key to writing your outline.

If your outline is in sentence form, all parts of it (major topics, minor topics, supporting details) must be in sentence form.

If your outline is written in words, and phrases, all of it must be in that form.

The main point to remember is that your outline will be one or the other, all sentences or all words and phrases, not a combination of both.

Paired Headings

If you have a I., you must have at least a II. If you have an A., you must have a B.

If you have a 1., you must have a 2.

There is never a division without at least two headings, although you may have several more than two.

Comparable Numerals or Letters

Like headings are also of equal significance to your paper.

The B or C following an A is of comparable importance to the A.

If the paired headings do not seem aligned, one being a minor point and the other a major area of discussion, you may need to move headings and subheadings around in the working outline to create smooth transition of ideas and information.

Coherence

Your outline will reflect the progression of ideas in each section of your paper, from major topics to minor topics to supporting details or further information.

In organizing your outline, you should find that you have grouped topics in a logical order, and you will be able to see at a glance if you have done so.

Source ⚜ Writing Notes & References

A Quick Guide to Foreshadowing!

Foreshadowing - a warning or indication of a future event. In literature, it is when an author provides readers with hints or suggestions as to what will happen later in the story. 

Foreshadowing can be used to create tension and set expectations as to how the story will play out. Can inspire reader emotions–suspense, unease, curiosity,

Types of Foreshadowing

Chekhov’s Gun The author states something that they want you to be aware of for the future - in the eponymous example, a gun hanging on the wall in an early chapter will be used later.

Prophecy  A statement to character/ reader about what will happen in the future. Although sometimes unclear at first, they normally become true by the end.

Symbolism  A more abstract way of foreshadowing, often shown through things like objects, animals, images and weather. Often foreshadows change in mood, luck or behaviour.

Flashback/Flashforward When the author needs the reader to know something that happened that doesn’t fit with the current timeline. Often there will be hints/clues for things that the writer wants you to remember/pick up on later.

Red Herring  A type of foreshadowing that deliberately misleads the reader. False clues such as a character finding another suspicious, etc., may lead you to believe one thing when, in reality, they will have done nothing wrong

Tips and Tricks for Effective Foreshadowing!

Don’t foreshadow too obviously - signpost rather than state! Arouse suspicion, but keep them guessing! 

If you make a promise, keep it!

The bigger the twist, the earlier it should be foreshadowed! Foreshadowing too soon is essentially a spoiler 

Keep foreshadowing in moderation 

Use beta-readers - sometimes our foreshadowing feels so obvious to us but it may not to other people who aren’t as close! 

“I’ve found most authors have the wrong mental picture of the process. Instead of a sprint, publishing is more like a marathon. Slow, steady and consistent action will get you your audience and success.”

— W. Terry Whalin

Hello, love. Do you have any advice on how to self-edit a short story after completing the first draft?

5 Tips for Editing a Short Story

1) Reconsider the First Paragraph

With short stories, it's even more important that the first paragraph starts off with a bang. You really don't want it to be exposition if you can avoid it. Instead, start when something is happening. In other words, start with action.

Exposition: The moon hung high in the star-speckled sky, turning the snow into a radiant white blanket.

Action: The girl crept out the door into the star-speckled night, leaving a trail of tiny footprints in the moonlit blanket of snow.

2) Consider Each Paragraph's Purpose

The limited length of short stories means it's all the more important for each paragraph to pull its weight. For each paragraph, ask yourself, "What is lost if I cut this paragraph? Will the reader still understand the story?" Get rid of paragraphs that don't need to be there.

3) Cut Unnecessary Details

In novels, we can take the time to add details that are only there to embellish the world or characters for the reader. In short stories, it's much more important for details to really matter.

4) Watch Out for Repetition

Make sure no details, ideas, actions, etc. are repeated unless they truly need to be. In a short story, you probably don't need to describe the main character's town as sleepy/charming/quiet more than once, for example.

5) Zap Some Adverbs and Adjectives

Adverbs and adjectives are one of those things we don't typically need...

With: The small girl crept quietly out the door into the cold, star-speckled night, carefully leaving a long trail of tiny footprints in the moonlit blanket of snow

Without: The girl crept out the door into the star-speckled night, leaving a trail of tiny footprints in the moonlit blanket of snow.

What I Zapped and Why:

Small - The reader will know she's small because her footsteps are later described as "tiny."

Quietly - The word "crept" already implies quiet.

Cold - She's walking in snow at night. It's obviously cold.

Carefully - Also implied by "crept."

Long - Not important, also somewhat implied by "trail." If she left a short trail that would be a noteworthy detail.

Best of luck with your editing!

•••••••••••••••••••••••••••••••••

Have a writing question? My inbox is always open!

Visit my FAQ

See my Master List of Top Posts

Go to ko-fi.com/wqa to buy me coffee or see my commissions!

Advice for planning your story

Plotting out a story is an essential step in bringing your ideas to life and creating a compelling narrative. Here are some valuable tips that I personally find helpful to effectively plot out new story ideas <3

1. Start with the basics: Begin by identifying the key elements of your story – the main characters, setting, and central conflict. Understand who your characters are, what they want, and what obstacles they will face. This foundation will serve as a solid starting point for your plot.

2. Outline the major plot points: Once you have a clear understanding of your story's foundation, outline the major plot points. These are the significant events or turning points that drive the story forward. Consider the introduction, inciting incident, rising action, climax, falling action, and resolution. This structure will give your story a sense of direction and progression.

3. Create a timeline: Develop a timeline or sequence of events that organizes the flow of your story. This helps you visualize the progression of events and ensures a logical and coherent narrative. Consider the cause-and-effect relationship between different plot points and how they impact your characters' journey.

4. Use storyboarding or visual aids: Visual aids, such as storyboards or visual diagrams, can be helpful for visual thinkers. Create a visual representation of your story's structure, mapping out the key scenes, character arcs, and plot developments. This can provide a clear overview and help you spot any gaps or inconsistencies.

5. Balance pacing and tension: As you plot out your story, consider the pacing and tension. Ensure that your story has a good balance of slower, introspective moments and high-stakes, action-packed sequences. Introduce obstacles and conflicts that keep readers engaged and eager to turn the pages.

6. Allow for flexibility: While it's important to have a solid plot outline, don't be afraid to deviate or adapt as you write. Sometimes, characters surprise you or new ideas emerge during the creative process. Stay open to these possibilities and be willing to adjust your plot if it serves the story better.

7. Revise and refine: Plotting is an iterative process. Once you have a draft of your plot, review it critically. Look for areas that may need more development, pacing adjustments, or additional conflict. Refine your plot to ensure it aligns with your overall story vision.

Remember, plotting is a guide, not a rigid framework. It's there to help you stay organized and focused, but don't be afraid to let your creativity flow and explore unexpected avenues. With practice and experimentation, you'll become more adept at plotting out your story ideas and creating narratives that captivate readers <3

Character is Plot

Character is plot. I mean that as, your main character’s arc is (literally) the main plot. If you think about arcs as something to put over or alongside an existing plot, they probably aren’t working very well. Or at least, you don’t have as much time or space as you need to fully explore both a good plot and a good arc. They are one of the same, so I’d even say throw whatever idea you have about plot out the window. They’re called arcs now. Congrats.

This also means if your characters aren’t working, the whole thing is going to fall apart. So I’m going to relay what was taught to me about solid character creation, and finding your arc!

There’s five critical things that go into character building: Goal, Objective, Unconscious Need, Disrupting Characteristic, and a Formative Event. They all work very closely together, so once you get one going, the others typically fall into place. (oh, and they sound complicated, but I promise they’re not.)

Goal and Objective go hand in hand, I’m sure you’re telling me right now that actually they’re the same thing. You’re right, they kind of are. The reason I split them up is so I make sure I always get not only a journey for my character to go on, but a meaning behind it. Action and intention. So:

Objective: the actionable (your character can work at it) objective of the story. What your character is physically doing throughout the story. Frodo taking the ring to Mordor is his Objective, Rapunzel going to see the lanterns in Tangled. Mulan protecting her dad by taking his place. Essentially, objective is what we’ve thought of as plot.

Goal: the intention behind the objective. Why is your character doing this? This is usually the emotional core of the story, where we tuck away arc and characterization. Rapunzel wants to see the lanterns to finally get out and start her life. Mulan wants to prove she’s worthy. Your character wants to make someone proud, or hurt someone who’s hurt them, or feel loved. This is the emotion behind their objective and cannot on its own be turned into an arc. One cannot ‘prove themselves worthy’ out of a void, that’s the goal, you also need an objective, ‘prove themselves worthy through taking their father’s place in the war’.

If you have these, great job! You’ve got a really solid foundation for your arc. What your character wants, and why they want it. However, if we just follow an objective and goal, your characters are going to feel very lifeless—so we need some additional depth:

Unconscious need: This will probably be the one you get stuck on the most. Good thing is, both of these words are hints on what to do here, Unconscious meaning your character doesn’t realize it, couldn’t put it into words, and Definitely doesn’t say it out loud. Need, is the start of how to answer this blank space. Your character needs to realize something they haven’t been aware of to achieve their goal. Or they need to realize a flaw in their goal. For example, a woman wants to run for president (objective) to make her mother proud (goal), but she needs to realize all her mother wants is to spend more time with her, and by using all her time to campaign for president, she’s actually splitting them further apart. Mulan needs to internalize that she doesn't have to be bigger than life to make her parents proud of her and bring them honor.

Your need is character specific, which means no one else should need the same thing. If your need can apply to multiple people, you probably didn’t get specific enough. Everyone needs to be loved, everyone needs to feel cared for. However, not everyone closed themselves off from relationships and needs to open up to people if they want to foster a connection. See the difference?

This step will directly influence how you write your climax, because it leads to a choice your character makes. They can either realize their need and adhere to it (Fine, I’ll take my name out of the campaign for president/call my parents/apologize to the people I’ve hurt) or continue with their objective despite it. Typically, characters that ignore their need after they realize it are considered to have tragic arcs. Getting your character to realize their need is the end of their positive arc, it’s what we’ve been working towards all along.

So it’s important. Don’t skip, yes?

Disrupting Characteristic: this one is fun. This step is adding a flaw to your character, specifically, it’s the flaw that’s holding them back from meeting their need. If there was nothing holding them back, wouldn’t they be satisfied already? So that’s the easiest place to start with this one, what they need, and what could possibly be holding them back from it. If they need to see their father as he truly is, maybe their disrupting characteristic is that they’re optimistic to a fault. This characteristic could be a thing the character does (idolizes their father, acts fiercely independent, etc.) or a belief they have about themselves or the world (self conscious, believes humans are inherently cruel, etc.) It’s the epitome of their internal conflict, they need something, but some ingrained part of them is keeping them from it. Evil? Absolutely. But us writers tend to be.

The disrupting characteristic is the internal arc your character goes through, they are working and being challenged throughout the story to overcome this characteristic. So in another example, a romantic character may realize their parents led them to believe they were undesirable (unconscious need), and that it has no merit, so they gain a new confidence and overcome their self consciousness (disrupting characteristic) to ask their ideal partner out.

You see what I mean why I say all these steps work together. Need and disrupting characteristic and goal are so intertwined that it can be difficult sometimes to voice them apart from each other, but they also can’t carry each other. A solid need and disrupting characteristic isn’t going to do much if you don’t have a very convincing goal. Make sure you can put them into words (preferably write them down) and voice them all as separate things from each other, and how they work together. If you can do that, you’re set.

Last but not least is Formative Event: this is essentially your beginnings of backstory. The formative event Is the (usually) singular event in a character’s past that made them to be who they are today—importantly, that developed their need and disrupting characteristic. Your character showed up to school in their new dress and was bullied, a mom left, or a dog died. The reason they are the way that they are. From this, you can build up the rest of their backstory. Moana is chosen by the ocean, her parents try to keep her away from the ocean, she grows up unsure about the idea of being the next chief. If you’re struggling with backstory, start here, build around it.

(Oh, and you don’t necessarily have to mention the formative event in your story, in fact most screenplays don’t. As long as you know it, you’re set.)

Speaking of backstory, it’s our invisible sixth step (or… first, really) because all of these things you come to know about your character is developed out of backstory (which makes it a pretty good place to start). It makes sense, really, if these steps are who they are, they’ve become that way because of where they’ve come from. I tend to start with family when I’m trying to discover backstory, given family is a large part of who we are—then education, then home/community, friends, interests, etc. But there’s no real ‘perfect’ way to do it. Just write, let your mind wander, add and take away whatever you want, and meet your new character for the first time.

So how did all of that give you your plot? It’s through how they change! We’ve created someone who wants something, and needs something else, and unless we take them on a journey so they can figure it out, we’ll never have a story. So that journey to help them realize their need? That’s your plot.

If you’re struggling with how to help them change, consider putting your arc into a logline (something screenwriters do, but I find it really helpful even in novel writing). A logline is essentially your plot (character arc) summed up in a sentence or two. It goes like this: A but B so C

A: Disrupting characteristic

but

B: Conflict (goal/objective meets antagonist)

so

C: Changed character

Loglines are a tool for writing (at least in the way we’re using them), so make sure you have your full story—ending, character change, conflict, anything you’d find helpful to keep you on track.

I’ll often write a logline for each major character I have. Here’s an older one about a character I’ll call “Mark”:

A: Obsessive

B: His death has been predicted

C: Opens up to the others, recognizes he only has a little bit of time left, and should spend it with the people he loves (that’s also his need!)

Logline: Private Mark Jackson obsesses over an unproven myth that promises the escape of his small life, but when his untimely death is foretold and every day drives him closer to his fate, he opens up to his friends to be content in a slightly different life than he had imagined for himself.

Loglines are great because they have it all!

Private (additional characteristic) Mark Jackson obsesses (disrupting characteristic) over an unproven myth (objective) that promises the escape of his small life (goal), but when his untimely death is foretold and every day drives him closer to his fate (conflict), he opens up to his friends (need) to be content in a slightly different life than he had imagined for himself (change).

You see how the entire story is right there in that sentence? This is a great place to start before we move onto officially outlining next week, so save your work, we’ll come back to it!

To get a good handle on all this, I’d recommend watching your favourite movies or reading your favourite book and filling out as many steps as you can, then creating loglines for each major character. Disney movies especially stick to this structure (thus all the examples) and typically have very clear arcs, but anything works.

Good luck!