I often see writers on writer-dedicated websites confess that they don’t actually enjoy reading. The inevitable question becomes, “do I have to read to write well?” The answer is a resounding “yes!” However, I am here to provide a caveat, an exception. But first, let’s start with a question: what do you love? Or maybe, why do you want to write? Because there is a reason here, and normally it boils down to the love of the story. There are a lot of ways to tell a story, a full-length novel is just one of them. If a person wants to write, hates to read, but loves movies or TV shows or plays, then my suggestion, is to write what you love: screenplays…let’s talk about screenplays.
The difference between reading and watching
When I think about the many differences between screenplays and novels. The first big thing that comes to mind is: a person is going to act out the screenplay. The actions have to be realistic. Generally speaking, you are not ‘in’ anyone’s head. The point of view is not as tight; it can follow a person, but it will not be ‘inside the mind’ of a character the same way that a novel is/can be. Formatting is majorly different than novels.
Formatting
On this website: https://dramatify.com/american-screenwriting-standard, they go into detail about what a screenplay should look like. There is a very specific standard, just like there is for novel manuscripts on what they should look like.
Some highlights are that the screenplay should be written in 12 pt. Courier on US letter paper, the headings should be in ALL CAPS and should include only six elements these are: scene heading, action, character, parenthetical, dialogue and transition.
More formatting details can be found here: https://www.emwelsh.com/blog/screenwriting-format-rules. According to this blog post a page of a script is a minute of action in the screenplay. Another interesting thing is that when a character is introduced for the first time, their name should be in all caps. After that, their name does not have to appear in capital letters.
Thoughts on Story
While writing a novel “show don’t tell” is something that people will say a lot. This idea takes on a whole new meaning when writing a screenplay because all of the action is literally shown. There is a difference in the way that you write when the expectation is that the audience will see the subtle motion of the character’s face as they react to another character that they dislike, or the audience will see a character tucking something into their bra. These differences mean that the story becomes felt instead of read, it’s seen and heard and maybe not written as much.
I’m not saying that the writing in a screenplay doesn’t matter; I’m saying that the point becomes subtler.
I have discussed the basic elements of plot several times. Most plots have the ‘event’ that happens that causes the story to begin. Then, we have rising action, where the protagonist tries and fails to do the thing, and then we have the climax where the big confrontation happens, and then we have falling action, resolution or conclusion and then the end. If you can keep those things in mind, then you can write a good story. There are other things that make a story, right? Like, the ‘event’ at the beginning needs to be compelling enough to keep the reader engaged. The protagonist needs to have real stakes in the story, they can’t have just stubbed their toe. That’s not a reason for an adventure. Mysteries, however, are a whole other beast. Not only do they require to be a compelling plot with rising action, a climax and falling action, but they also need to have the mystery at the core that the reader should not be able to easily figure out. A mystery author needs to have the ability to keep their readers guessing the entire time. So that brings me to my question, what makes a good mystery story?
1-The Crime Must Be Interesting
Said another way, the crime that the protagonist is investigating should be something that the reader wants to understand. If it’s “who took my stapler,” maybe that will work, if all of the characters in the office are compelling and interesting and have reasons why they took the stapler. However, most readers of mysteries are used to murder being at the core of the story. If you don’t want to write about murder, then make the crime an interesting one. Make the characters (like I’ve already said) compelling, give them reasons why they could be guilty.
2-No One Should be too Innocent
Nothing is more upsetting to mystery readers than being able to pick the guilty person from the first chapters of the book. Or pages of the story, if it’s short. There should be some skeletons in everyone’s closet. There should be multiple possible killers or guilty parties.
If you are not a reader of mystery and you are looking to write in the genre, I would suggest that that is a bad idea, I don’t know if there is a finickier bunch of readers besides maybe sci-fi enthusiasts. If you don’t understand the tropes of the genre, or the things that have been overdone, then you aren’t going to be able to write a story that people are interested in reading.
3-There Should be Red Herrings, but not too Many
You should be able to write a story that leads readers in the wrong direction, but that also rewards careful readers. The point here is that you should use foreshadowing in such a way that when a reader gets to the end and finds out the who in the whodunit, they maybe are surprised, but they aren’t angry because they were tricked.
4-The Crime Should be at or Near the Beginning
Whatever mystery is occurring in your story, it should be right at, or near the beginning. This can happen as early as the prologue or in the first chapter. You can call the crime the ‘inciting incident’ if you want. For example in the Italian Job, the movie starts with a heist that goes wrong and one of the members of the group dies, while another one runs off with all the money.
Since that happens right at the beginning, the audience is hooked into the story and wants to get revenge along with the protagonist throughout the rest of the story. I don’t normally use movies as reference, but this one is a very easy to see example of what is meant when you’re putting the crime at the beginning. A book example would be in Cuckoo’s Calling, the very beginning of the book goes through a model dying by maybe jumping maybe falling off a balcony, and then it skips time to introduce the main character, a PI who the readers follow as he investigates the crime. In the book, the beginning leaves it ambiguous enough that the reader is unsure if the model jumps or is pushed.
We can’t have two, or three. I think at least four people that may or may not have done the crime is a good number. Just think, if you need to pick between two people, it’s a fifty-fifty chance, right? Put another person in there and it gets more interesting, but one more, and then it’s like okay…any one of these people has a reason to have done it.
I’m not saying they all need a lot of time, but well thought out reasons are good. Like, the person who was killed owed them money, or maybe there was an old grudge. Stuff like that.
6-The Victim Should be Interesting
The victim shouldn’t just be a victim. They should be a whole person. They should have an interesting life: friends, relatives, enemies. If they are an adult, they should have a job or a career. Maybe they are an addict, or they gambled. Interesting quirks or habits make them come to life (even though they aren’t alive in the book) and give you more to work with, as far as why someone didn’t want them to be alive anymore.
7-The Investigator Needs to be a Main Character
This happens in a lot of different ways. Maybe the person who is investigating is an amateur. Or maybe they are with an agency, or police, or a PI. But someone who is performing investigative work needs to be a main character. You could also have other main characters in the story. You could have the victim’s significant other, you could even do some POV from the person who committed the crime as long as you don’t give away who they are and spoil the ending for the readers. But mystery readers enjoy investigating along with the investigator, so knowing how the investigator thinks, or what they see that is unique and different from what other people see will help the story feel more “real” to the readers.
So that’s what I have so far. Let me know if you feel like there is something in the what makes good mystery story article that I missed.
Right now, I am around a level 40. I wanted to discuss a couple of things that happened between the Castle Morne experience and Stormveil Castle, but I feel like Stormveil ends up coloring everything else. I’ll try to go through everything.
First of all, I still get annoyed every time I think about going all the way through the Castle Morne quest, talking to Irina, delivering the letter to her father, and then she dies anyway? What kind of game is this, what kind of world is this, what is going on?
What is the Story of Elden Ring
Actually, to bring up another point. What is the Lands-Between? Is it Limbo? Are all the player characters dead, but have yet to be judged? Is that why religion plays such a large role in the game? The “lands between” is just such an interesting name. The fact that we are playing as a “tarnished.” What does tarnished mean, how did we get to be tarnished, what tarnished us? I know that all the big bosses are demi-gods. But why were they dead, and why do they now need to be killed?
What is the Lands-Between
Also, what are we doing for the world of the lands between? I’m hoping that these questions will be answered in gameplay. That the story will lay itself out for me to understand. Because right now, I feel like I could make up my own backstory for my character, how they came to be in this limbo, how they died why the lands between is in the state it’s in, and my own story would be just as valid as anyone else’s. However, I’ve heard that the story for the game is in the item descriptions?
So I may check out all the items I have and see what they have to say, what can I piece together. It is kind of intriguing to me to be placed in a game where the only bit of story that’s actually told is the very beginning. And I find it even more fascinating that a world-famous writer collaborated on this game, and there doesn’t really seem to be a scrap of actual story that I can find, so far. I wonder how may GRRM fans picked up the game, expecting political intrigue and to be told a story of a family or anything similar to his work, and then were disappointed when the game made them work for the story.
Stormveil Castle
Okay, I’m going to stop discussing my strange ruminations now. Onto Stormveil Castle.
I surprised myself by being able to beat Margit in one go. I didn’t expect to beat him on the first try and was shocked when it happened.
So when I went into Stormveil Castle, I thought that I was good. I figured I was going to be able to meet every challenge in the Castle, and it would be no problem.
Issues in Stormveil Castle
My first major issue was knight that is inside a door that gets shut behind you when you go in. It took me several tries to beat him. Then, after him, I missed a site of grace, so when I inevitably died, I was back at the outside of the castle again.
Then, the birds. The birds with the exploding barrels. I died to them so many times that my son started making fun of the sound of my character when she’s dying. But I kept on pushing. When I finally made it to the courtyard, I was able to sneak up the stairs and I didn’t have a huge problem with an area that was I really worried about going to.
The next thing that I didn’t realize I needed to be concerned about is the pots. I didn’t know how tough the big pots are when they start spinning. I didn’t die to any of them, but they were harder than I thought they would be to kill.
Another section I went to was the under-part of the castle. I was able to kill the rats just fine, but there was this weird like serpent dragon thing that I died to like three times before I just ran past, and I was able to touch the bloodstain to move Rogier’s questline forward and just leave the area.
I did also kill a giant like a bunch. He was a lot easier to kill than I expected so I did it a bunch.
Beating Godrick the Grafted in Stormveil Castle
When I got to Godrick the Grafted, I did use the warrior princess lady for help, along with my own summon. I was able to beat him after three tries. The first try I got pretty close, the second one he killed me right away, and then the third one I beat him.
At this point, I haven’t played in a couple of days. But the thing is, I looked up where I’m supposed to take Godrick’s great rune, and I have to go back through Stormviel Castle, and I’m just dreading some of those areas. I’ll probably try it out this weekend.
Final Thoughts
I feel like I’m getting better at some things, but I do want to learn more faith magics. One other thing is that I need to find an outfit that will allow me to stand out in battle, because I will get confused as to who I am when I’m fighting.
I am currently sitting around level 34 or so. After I spoke with Kenneth Haight, I decided to go ahead and check out this Fort he needed to be cleared out. I struggled with that a bit, but I was able to get Fort Haight cleared, and I got half of a disc thing.
I then decided to travel down the Weeping Peninsula. I wasn’t ready to take on Stormveil Castle yet.
I enjoyed the area. First, I fought a demi-human in some ruins and got her staff. Then, I went up a tower or two. After that, I was able to finish out a catacomb and fight the boss. This area helped me feel like I was getting the game, I was doing better, I was handling the enemies. Feeling like things were going well.
Meeting Irina near Castle Morne in Elden Ring
As I got closer to Castle Morne, I met a girl with a blindfold on, her name was Irina. She asked me if I’d deliver a letter to her father. I agreed. I hoped that her father would come to her quickly.
When I first entered the Castle, I came across a gigantic pile of burned bodies, with a bunch of feathered demi-humans dancing on their corpses. The demi-humans were not difficult to fight, thanks to the wolf summons that I’ve been using. I was able to kill them after a few tries.
Inside Castle Morne in Elden Ring
After I went up a ladder, things got more difficult. There were some of the demi-humans flying, and I wasn’t sure how to do a jump attack. I just had to make due. I was able to fight my way through. Once, at the top, I found Irina’s father. But, then I remembered that I needed to fight the boss before delivering the letter.
I was very nervous about the boss, because I’d heard that they are the “first real boss” but then other people say it’s not the first real boss. So I wasn’t sure exactly what the difficulty level was going to be. I did summon, and it took two tries, but I got it done. I was very proud of myself. But then, when I went to go back through Castle Morne in Elden Ring to give the note to Irina’s dad, I died like four or five more times, so I guess it all worked out.
Fighting the Boss of Castle Morne
The boss for the area moved strangely, and I think that the best way to go is to be aggressive. I’m finding that that is the way to win fights, to be aggressive, don’t hang back, get in there and swing. I’m sure it’s not going to work with everything, and I’m still figuring out how to get away, but it’s working better than hanging back.
What’s Next
Right now, I need to work on figuring out if blocking is even for me, or if I just need to get better at rolling, and I need to get better at knowing when to use my Ash of War, my heavy attack, my light attack, or my spells.
So that was my adventure working my way through Castle Morne in Elden Ring, I’ll update to discuss Stormveil Castle, but it may be more than one post because it’s a big area, and I’m worried about getting through it in one piece.
I’m definitely still in the beginning of Elden Ring. I’m currently at level 34, still using a samurai character. The last few times I’ve played, I’ve essentially gone around, killed some skeletons and talked to a bunch of NPC’s and I killed a dragon.
NPC’s
I talked to a guy named Kenneth Haight (he wants me to go to some unspecified fort and take it back for him), a girl that gave me Jellyfish ashes, and a pot, and Blaidd (he wants me to let him know if I see a guy somewhere, I forgot his name though). I also went to the Roundtable place and talked with several people there.
Normally, I am a player of linear one-person type games. I prefer horror games. I like to be able to play “intensely” for a few days, or several weekends in a row or whatever, and then be done with the game. But, Elden Ring, and all the NPC’s that are in the game, and just the vastness of the world makes it so that the idea of being done after a couple of weeks even is impossible.
Because I do play a different kind of game, normally, I think that this game may be one that I pick up and put down. One that I play while I’m in between other games, that kind of thing.
One thing, I know this has to be on the wiki or something, but how do I know what to do for each NPC? Like, I talk to a person, and then later I have something for them, but how and when do I know when I’ll have the thing. Does the game ever let me know, does it make the object for the NPC a different color or indicate somehow who or where that item should go?
Dragon
The other thing I’ve done recently is kill a dragon in Caelid. It was a dragon that was just sitting there, and it didn’t take anything from me but time. Now, I have a bunch of dragon hearts and stuff, but I don’t know where the dragon church is.
So right now in the game, I feel like I need to find the dragon church, and then the fort that the guy wants me to help him with. I know that Blaidd also will help or need help with something, but I don’t know what, exactly. I also would really like to get something that will allow me to use magic.
I’m a late to the game. As with most things, I’m late to begin playing Elden Ring. I just started the game last weekend, and after I started, I read about a journaling technique that is used to help you learn. So I thought it would be fun to journal my way through. To see if it helps me learn the game. So here I go, journaling my Elden Ring experience.
Journal for Elden Ring
Basic Info
I’m using a Samurai. I’m currently at level 17, and I don’t dare go near anything that looks like a boss of any kind. So far, I’ve talked with Varre (sp?) at the very beginning, and I found Blaidd today. I spoke to a guy who was a bush. I also have my horse, Torrent, my Ashes of War, and my summon. Furthermore, I was able to locate the temple that allows me to get the glorious physick today, as well.
Today’s experience playing Elden Ring
I died a bunch today from falling. I actually ended up leaving a bunch of runes behind because I kept falling in the same spot, and I got sick of getting the runes and then falling again. Generally, though, I am starting to feel a little bit better about fighting. But I don’t dare face anything that is on a horse, or has a name.
I also, when I was going under some ruins, heard someone that needed help. But, I looked and looked, and I couldn’t find them, so I will be going back to that area to see if I can find them. I don’t remember what they said their name was.
I also found the map for West Limgrave, and I got some kind of axe something. Not sure exactly what that is for yet. I was able to upgrade my weapon as well using a smithing stone.
I am trying to make it to Caelid so that I can beat up the white dragon that is sleeping so that I can get a bunch of runes and level up. I also want to make it to a spot that has a big ball that if it falls off a cliff, I get a bunch of runes for as well.
For now, what I would like to be working on, while I’m trying to get to Caelid is to get better at aiming at enemies, because I always forget to do that in the heat of battle. Also, rolling, I need to get better at rolling out of the way or blocking.
Final Thoughts
The other thing, is how do I decide if I want to upgrade Faith or Intelligence? Or Arcane? Or all of them? Do I just find a spell or a weapon that needs one, and then go from there? So many questions. Elden Ring is very big, and I have a lot of questions that I can only answer by going through the process of playing.
This post is the first in a series where we discuss each genre in depth, so that you can have an understanding about each genre and the expectations for each. But, before we do that, let’s think about why this information is important? Genres, what are they, and why is it important to know your genre and the expectations that the audience has when you write in it?
Starting with an example. Let’s say you want to write a horror novel, but you decide to subvert those expectations, and make it from the point of view of the killer. Totally fine, seems like a great idea. But, if you don’t understand that the genre has expectations to start the atmosphere of dread early on in the story, that you are supposed to be giving your audience that delicious rush of anxiety and adrenaline as they worry if their favorite character is safe; you may fall into the mistake of creating a happy atmosphere instead of one that stokes the dread in the story. Your killer may be excited about what they are doing, but that isn’t the right tone for a horror novel.
Let’s start with a list of the different genres and a brief summary of what each one is:
Before we dive into the genres, I am going to say that my list is generalized, and I will put as much information into each specific post for each genre, but this is a brief overview of the general genres.
Children’s Fiction
Literary Fiction
Historical
Young Adult
Religious
Western
Thriller
Action-Adventure
Comedy
Crime and Mystery
Fantasy
Sci-Fi
Romance
Horror
There are a lot of sub-genres for each genre. What I will do is go into each genre specifically. I will do an overview of what the genre expectations are for each genre. The general things to know are word count expectations, and then normal plot devices. For example, in a mystery, the readers expect that a person will die within the first chapters of the book, and then that protagonist will be tasked with finding the killer, and they will somehow able to do it when others can’t. A book is not a mystery if there are not several suspects running around with means/opportunity and motive.
Essentially, when looking to publish in any genre, you need to know not only the logistics of what will be acceptable, but you need to know what your readers will enjoy and pick up. There was the brief overview of genres: what are they? Please let me know if you have questions, if you would like to see something else, all of that good stuff. Thanks!
Recently, I realized while writing my current WIP, one of my main characters had an issue with their arc. After discussing it with a friend, I thought it may be a good subject to write about. Not only the issue at hand, but also how do we make character arcs that are compelling? Read on for more information about character arc, how to write it, why it’s important, and what kind of impact it has on the plot.
The character arc is the inner journey that the main character or characters go through over the course of the story. Usually, there is some important trait that the character(s) need to develop in order for the plot to resolve itself. For example: in A Christmas Carol the main character goes from being an old miser, who wants only to keep all of his money, to being a generous person. His inner journey is that arc. It walks hand-in-glove with the plot, all the elements that are happening on the outside.
How do you make one?
How do you make your character arc? Essentially, the first thing is to envision what you want the character to be at the end of the story. Do you want them to learn a lesson about being a better fighter? Do you want them to learn that it’s not good to be a bully? Whatever the story is that you are telling, you need to think about what you want the character to learn, and then you work from there. If you want your character to be harder than they were at the beginning, then make sure that they are soft when the story begins. If you want them to learn about kindness, then they need to be unkind.
How does this work into Plot?
It is, and it isn’t the plot, if that makes sense. The plot is the thing that the story lives on. The skeleton, or the roadmap, or whatever you want to call it. The character arc is the meat that goes on the bones, kind of, or the way that the story becomes believable, or maybe the way that the reader is able to suspend their disbelief long enough for the story to take place. The character arc is written into many plot points. There are moments where the character is able to learn a new skill. Or do something they failed at before. Those moments not only require that the character is at the right location at the right time, but that they have gone through enough mental growth that the moments are possible.
Character Arc Image
I don’t think I have one, do I need one?
Probably. Most stories involve some kind of personal growth. Even if that growth is learning a new skill (like going from being a down-on-their-luck paper pusher to being a CIA agent, or something). It is still mental and physical change, of some kind. Learning a skill will take not only practice, but also confidence building, and probably encouragement from someone the character admires. However, I will put a caveat here: there are some stories that don’t have a character arc, really long series’ like Janet Evanovich’s Stephanie Plum novels. In these, the character doesn’t change much over the course of a single novel; simply because the reader expects that they will be getting into the same kind of antics during the course of the next one. Because of that expectation, we cannot have the character change and get their life together every single novel, just to have it fall apart again.
Character Arc Conclusion
At the end of the day, when you make a character arc, the trick is to think about where you want your main character(s) to end up. Then, think about what kind of story you are telling. Where can those two things meet? If you want to write a horror story, and you want to end up with a character who has learned that it doesn’t pay to be a bully; maybe you start out with your characters as camp counselors, and your main character is making the younger kids feel bad. Maybe there is one in particular they are picking on. Then, the horror starts, and the main character has to take care of the kids and make sure they are okay, and the main character’s arc is getting the kid that he made fun of to trust him, so that he will survive the ordeal.
Even though I am what you would call a pantser or a discovery writer. These things, if you want them to come out right, they do take planning. You either plan before, or you change everything during a rewriter when you figure out it didn’t work.
Now that I’ve gone over the different plot structures here, here, here and here; I want to talk about types of plots. They say that there are only seven plots out there. That those seven plot archetypes can encapsulate all literature, and every story ever written.
Let’s go ahead and look at each of the archetypes in detail and what kind of story you would tell while using it.
Plot Archetypes
Overcoming the Monster
This one would be used when you have a character who has an issue that needs to be resolved internally. Maybe they are an addict, and the story is about their journey to sobriety. Another, more literal interpretation could be a fantasy story where someone is captured by some kind of monster, and they have to either befriend or defeat the monster in some way. The Princess Bride definitely has this plot type.
Rags to Riches
Easy enough to figure out this story. A poor person finds success. I would say that we see this one more commonly, where someone in the first exposition has everything; then they lose it, and they have to gain it again from nothing. Cinderella would be an example, although in more modern re-tellings Cinderella does get to gain her good fortune back, in the old fairy tales, she just waited for rescue in a more passive role.
The Quest
Our characters have to do something. There are usually pretty high stakes in these types of tales, it’s important to get the baby to the person because the world may end. The most modern example of this I can think of is Disney’s Onward. Which is, of course, a movie. A book that has a quest plot is really any fantasy book you pick up. The Way of Kings has some questing, Words of Radiance as well. Any story where the characters need to find something, and the stakes are high would qualify.
This is The Hero’s Journey. The characters go on a journey, and then they return home. The journey could be far reaching, it could take them into a whole other dimension–like in The Lion, the Witch and The Wardrobe, or across the universe like in: The Hitchhikers Guide to the Galaxy. The most popular example of this archetype is, I think, The Lord of the Rings.
Comedy and Tragedy
As they say, comedy ends with a wedding and tragedy, a funeral. When I think of these two types, I think of Shakespeare. There are so many examples of both in his works. The comedies normally revolved around a mistaken identity, while the tragedies dealt with all kinds of heavy subjects. A lot can be learned by studying the bard’s works.
Rebirth
The character is born anew. The Hunger Games books do this, do a degree. The Katniss we meet at the beginning of book one, and the Katniss that we end the last book with, are very different people. Although, whether that is due to her own inner thought processes, or simple PTSD is left up to the reader/audience to decide.
The Plot Archetypes are a mix and match bag of tricks for the writer to use. Use a Quest and a Comedy, or a Rebirth and a Tragedy. It’s important to know what kind of story that you are writing. One part of knowing that, is to understand what kinds of stories are out there. The only way to understand what exists in the world is to study it. I know it sounds boring, but it is important to know what you are doing.
Thank you for reading my post about plot archetypes, please let me know if you would like to see more of this kind of thing, or if you would like to know something else.
If you are a reader of contemporary fantasy, you’ve heard of the author Brandon Sanderson. Whether you’re a fan of his work, is a different story. I have recently finished one of his standalone novels, Warbreaker, and I would like to discuss it. Here is my Warbreaker book review.
The highlight of Sanderson’s work is always the worldbuilding. If you are a lover of fantasy, this is always a major component of the work. The audience of fantasy has certain expectations that they will step into a new world, alien from our own, and that want to be completely immersed in it. Sanderson does this better than almost any other author I’ve read. He always takes religion, commerce, trade, etc. and he weaves them into the story so that the reader understands the tapestry that the characters are build upon.
If we think of our story as if it’s a rug; then, Sanderson uses all of the browns and tans to weave the background into a rich landscape–with some greens and blues really making the entire thing a rich piece. And then, he takes the main characters and makes them bright colors (relevant due to the story I’m reviewing) that we want to see, but the whole picture is fascinating too. Essentially, what I am saying, is that Sanderson is successful at world building because he not only makes us care about the characters, he also makes us fascinated in the world.
Characters
Sanderson’s books are not character studies. They are books where there is action. Think Epic battles, in some of them there are literally world altering events and battles where everything changes. These are not books where you can figure out how to imitate the quiet psychological horror a woman feels when she realizes that she’s being stalked, or something. However, that is not to say that the characters are not interesting.
Having read several of his books, I do feel like he has some archetypes that he likes to go back to, for his characters. Which is totally fine, he is a really fast writer and the characters he likes to draw on more than one time, they tend to be background characters. Personally, I don’t feel like Sanderson is the author to emulate if you are a writer who is looking to write a book that takes place in one location and is mostly in a person’s head.
Sanderson has a lot of ideas about plot that are more complicated than I’ve discussed. Although I have discussed that basic plot structure, which doesn’t really vary all that much–I mean really, we begin, see our main character living their life, something happens, the hero doesn’t want to change, then they have to change, a bunch of trial and error happens, and then the big action scene happens where they finally are triumphant, and then the story ends. There are a bunch of different things that happen in the middle, depending on what kind of plot you are following.
Sanderson has a LOT of thoughts about plot. He has a tendency to notice a “heist” plot, and then want to mix it with a “romance” plot or an “overthrow the government” plot. I find it interesting that he labels everything like that. I suppose that they are all plots, but I think of the plot as the structure, and then the story itself is the meat. But, it can all be the plot.
Review
As far as the actual review of the story. Warbreaker is an interesting concept, and it is well-written. The plot of the story has more romance elements than other stories of his that I’ve read. This story is one about a girl who is unexpectedly ripped from her home, and has to adapt to a new culture. It’s also about sisters, and kind of about zombies, in a very small way.
For an aspiring writer, if you are looking to write in the fantasy space, all of Sanderson’s writing is important to study. Not as important as like Anne McCaffrey or J.R.R. Tolkien, maybe, but still important. Also, he is an author that engages with his fan-base, and he also puts a bunch of writing advice out. Sanderson, as a person, is admirable. He seems to be a genuine person who wants to give others a hand up. Also, Warbreaker is available for free on his website for download.
I also want to mention, that you can view differing versions of the book on his website, so like you can view his process and how it got to be the polished end product.
