Writing Class: The Plot Thickens - or if it doesn't, it should.

Writing Class: The Plot Thickens - or if it doesn't, it should...

When first attempting a novel, many writers give a neat idea. They recognize how to get their story. They may recognise how they need it to end. It`s only the centre that is problematic - the 200 or so pages that claim the subscriber from beginning to finish. Most writers know they take a conflict, for battle is the fire of story.

There is a case with a need or need, and an obstacle preventing that part from fulfilling that need or need. Some common examples:Girl wants boy, but she is shy, and boy doesn`t know she even exists.Boy wants girl and is some to ask her out when he loses his job, and no longer thinks he`s worthy of her.A part of jewelry is stolen from a woman who wantsto see the thief and get it back, even though this may be dangerous.An athlete has his eye set on taking a specific race even though he`s lost months of training due to an illness, and his odds aren`t good. So far, all this data is contained in the set-up. But what happens next? To hold the reader hooked, you`ll generally ask to perplex the plot - to enhance the battle and gain the stakes. The above examples may appear like this:The more shy girl sees of boy who doesn`t know she exists, the more concerned in him she becomes. She keeps her feelings to herself, not even confiding in her best friend, Jane. Increasingly aware of his positive qualities, she decides to master her shyness and near him but just then Jane tells her that she`s noticed this guy (same guy, of course) she thinks is cute, and has decided she`s going to ask him out. Girl secretly hopes that boy will refuse, but fairly soon he and Jane are an item_Boy loses his job just before he asks girl out. Landlord puts his rent up so not alone is he jobless, he is likewise in debt. A decline in the economy makes finding another job particularly difficult. Girl appears more beautiful every sentence he sees her. Meanwhile, he knows for a fact that much of wealthy guys are asking her out. A casual meeting with her reveals that she is even kinder, sweeter and more sympathy than he`d ever imagined, and she takes up permanent abode in his head, but his debt is rising_The woman whose echo has been stolen is set to get it back because it was granted to her by her grandmother, and has a big mass of sentimental value. During the class of tracking the thief, she discovers that he is not merely a thief; he is also wanted for murder. In the meantime, she finds out that the pack is really worth a big mass of money_The athlete trains with perseverance and purpose and feels he only might be getting somewhere. But so he has a relapse and another precious week of education is lost. Meanwhile, he discovers that taking the speed will think a learning to a university, and is his only happen at tertiary education. He`s hopeful that with renewed perseverance he might bear a hope. Then he finds out that he will be racing against the formidable X, who has never ever missed a run_ In short, the obstacles become greater, the stakes higher, so that often is to be gained if the characters achieve their goals, and a big care to be missed if they do not. Of course, not every novel will feel like this, but most popular, commercially successful novels will. Generally speaking, giving your main characters a difficult time will elicit sympathy from the referee and engender respect when your characters finally overcome seemingly impossible obstacles to reach their goals. If you're editing a first draft, make sure you've complicated your plot, increased the obstacles, and raised the stakes. A serious head to ask yourself is this: Have I made things as hard for my role as I possibly could?