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.
The Hero’s Journey is the first plot type that I looked at when it first occurred to me that there was such a thing. I think it may have been the first one that appeared when I began a search. I feel like this plot type ends up in so many places, because it is so easy to recognize. Once I read about it, I immediately thought of Lord of the Rings. Joseph Campbell wrote a book called The Hero with a Thousand Faces. This book goes through all the stages of this plot type. Without further ado, here are the seventeen stages:
The Hero’s Journey: Stages
The Hero’s Journey
1. The Call to Adventure
As we’ve seen with Plotting: Freytag’s Pyramid, Plotting: The Three-Act-Structure, and Save the Cat Story Structure plots have a tendency to begin with a “day in the life,” The Hero’s Journey is no exception. Our hero starts out living their normal life, and then something happens, changes, or someone invites them to do something that starts them on their journey.
2. Refusal of the Call
This is also a typical moment. The hero doesn’t want to go on an adventure. They want to keep on living their life, but there are reasons that they cannot say no, or other forces that keep them from saying no.
3. Supernatural Aid
The hero receives some kind of otherworldly help in the beginning of their journey.
4. The Crossing of the First Threshold
This is where they take their first steps into the new world. They really begin their journey at this point.
5. Belly of the Whale
This stage represents the final separation of the hero from their known world and self. The hero is showing their willingness to fully immerse themselves in the unknown and change themselves for the better. The hero may have a minor setback at this stage, or some other struggle where they lose something.
6. The Road of Trials
The hero experiences a series of trials, usually in threes; before he is able to move forward in their journey. These are fluid and ambiguous. They will lose some and have to keep moving forward and gaining confidence in order to move successfully through the story.
7. Meeting with the Goddess
The hero meets someone who provides them with something that will help them later on.
8. Woman as the Temptress
Despite the poor name for this stage; essentially it’s about something that the hero wants, but shouldn’t have. It’s really about the differences between what should be and what is.
9. Atonement with the Father/Abyss
The point of the story that everything has been moving toward. This is a confrontation with an entity that holds the power of both life and death within it. The hero has to trust in the figure that they will be able to confront whatever it is they need to confront, and come out on the other end better/unscathed, etc. The thing given by the other figure earlier in the story will be helpful at this point. The two figures should be mirror images of one another.
10. Apotheosis
The hero reaches a greater understanding. They have learned the lesson that they needed to learn.
11. The Ultimate Boon
The goal of the quest was achieved. Whatever the hero set out to do, was done.
Photo by Luci
13. The Refusal of the Return
Having found success in the other world, the hero does not want to return to the ordinary world.
14. The Magic Flight
The hero may have to run with the boon, if they have angered the gods, or have made them jealous by winning it.
15. Rescue from Without
Just as they needed aids and helpers to begin their journey, the hero may need help getting back to the ordinary world. This is particularly true if they were wounded or weakened.
16. The Crossing of the Return Threshold
This one seems a bit overly complicated. The hero, not only needs to return to regular life. But, they also need to retain the wisdom they gained on their journey. And they need to share that wisdom with the people around them. That’s a little hard to fit into the last chapters of your novel.
17. Master of Two Worlds
In the end, the hero will be a master of both their inner and outer worlds. They will be happy in both.
So, those are the stages of The Hero’s Journey. Joseph Campbell’s book on the subject was published in 1949, so you will forgive a lot of outdated phrasing. However, you can easily see how any adventure story can fit into the stages. Campbell studies a lot of myths from a lot of different cultures to come up with the ways in which we tell stories across cultures.
This information is always good to know as a teller of tales, because, no matter what kind of stories you want to weave; you are adding to the tapestry of your own culture. You are putting your own mark in your way, making your own folklore if you will. Adding your own voice to the many that have come before you. And it matters. Allow your voice to be heard, remember that the way you see the world is important, your views are important. Your way telling of Beauty and the Beast or that incident that happened a couple of years ago that’s now family legend; it’s yours, and it’s important. I suppose that’s a post for another day though.
Save the Cat is a plot type where the different parts of the plot are broken into “beats.” All the beats have a particular percentage associated with them. Which allows an aspiring writer to understand how much of the story belong to each part. Without further ado, here is Save the Cat story structure.
Photo by Anni Roenkae
Save the Cat Story Structure Beats
Act 1
Opening Image (0-1%): A snapshot of the protagonist and their world.
Theme Stated (5%): A statement, made by someone else, not the protagonist. It hints at what the character arc for the protagonist is going to be. This is also referred to as a life lesson.
Set up (1-10%): This is what I call the “day in the life of.” This is where you see the protagonist’s world before things change for them.
Catalyst (10%): This is the inciting incident, the thing that happens that changes everything for the protagonist, and makes their old life impossible to go back to.
Debate (10-20%): A section where the protagonist debates about what to do next. This should show their resistance to change.
Act 2
Break into 2 (20%): This is the moment where the protagonist accepts the call to action, essentially they decide to take action in a way that moves the story forward.
B Story (22%): A new character is introduced that will help the protagonist along the way. This person will help the protagonist grow, and assist in resolving their character arc.
Fun and Games (20-50%): This is where we see the character in the new world, they are either succeeding or floundering. This section represents the “hook” of the story.
Midpoint (50%): The fun and games section culminates in either a false victory, or false defeat, and should raise the stakes and push the story forward for the protagonist.
Bad Guys Close In (50-75%): If the mid-point ended with a false victory, then everything should start to get worse. If it ended in a false defeat, then things should start to look up for the protagonist. Either way, the protagonist’s deep-rooted flaws are closing in.
All is lost (75%): The lowest point. Something pushes our protagonist to rock-bottom.
Dark Night of the Soul (75-80%): A moment where the protagonist reacts to everything that has happened so far. They should be worse off than they were at the beginning of the story. This is the moment right before they figure everything out.
Photo by Marco Comolatti
Act 3
Break Into 3 (80%): The moment when the protagonist realizes what needs to be done to fix the problems from Act 2, and also to fix themselves. Their character arc is almost completed.
Finale (80-99%): The protagonist enacts the plan that they came up with. The world is not only saved, it’s better than it was before.
Final image (99-100%): This is a mirror to the opening image, where everything is fixed.
If you have read some of my other posts, or you have some knowledge of plot structure, you will notice the similarity to Freytag’s pyramid, and to the three-act-story-structure. In reality, most plot types will follow the same trajectory. This is one is good if you need to know about specific things and when they should happen in your story to keep yourself on track.
The next time I discuss plot, we will look at a structure that is near and dear to my heart, the hero’s journey. So stay tuned for that, and thank you for reading and let me know if you have any questions.
Writing starts in your mind. In everyone’s mind, what happens is a strange question takes shape. A what if? Question, maybe. Or possibly just a thought about a character. The only difference between writers and regular people, is those strange little questions, or characters that flit through everyone’s minds–in the mind of a writer, those thoughts take root, they end up sprouting until we have to write them down–that’s where plotting: the-three-act-structure may come into play.
Even if you are a pantser (a discovery writer), you will need to keep some form of plot in mind as you spin your yarn. A plotter will have all of this figured out before they start writing, possibly. With the idea that plot is important no matter what kind of writer you are, we will go over the Three-Act-Structure below. You will note the similarities to freytag’s pyramid, which has been discussed previously.
Plotting: The Three-Act-Structure
Photo by Jill Burrow
Act One: Setup
The first act contains exposition (again, I’m going to go back to what I call “a day in the life of…”) When we meet the protagonist and most of the other characters, and we learn about the world they live in. This will also contain the inciting incident. The inciting incident is the thing that happens that starts the plot moving along, an example of this is: in The Stand when the military employee chooses to escape via the malfunctioning gate. The rest of the first act needs to introduce the question that the rest of the work will answer.
Second Act: Rising Action
The second act is where the protagonist tries and fails to answer the question raised in the first act. There needs to conflict and confrontation. There should also be character development, the protagonist, in their struggle to answer the question that arose in the first act, should grow as a person. We, as readers or audience members, should be rooting for them to win at the end of the day. An example: in The Hunger Games, we see Katniss go through all kinds of horrible things during the second act, she almost dies of dehydration, then she gets hit with a fireball, and she gets stung by tracker-jackers. All of this happens before the climax of the story.
Photo by cottonbro
The Third Act: Resolution/Climax
The third act is when the question is resolved. The climax should happen during the third act, it should be the most dramatic part of the story, and it should resolve the question posed in the first act. After which the story should be resolved quickly, and the ending should tie up any loose ends or subplots, without too much exposition. An example: at the end of The Shining, we get a brief moment with Danny, his mom, and Mr. Halloran; leaving the readers happy that they all survived the ordeal, all that the readers need.
That is a brief overview of plotting: the three-act-structure. There are many resources for looking at plots, because it is such an important part of the writing process. Just something to keep in mind while wandering through your story, think to yourself if it has the elements it needs to pull your readers along.
Finishing anything is kind of a big deal. So, when you finish your novel, short story, poem, blog post; anything. The first order of the moment is a (short or long, depending on the piece of writing) celebration. Then, it’s time to get down to brass tacks with revising and editing.
Photo by Marina Leonova
I will focus on novel editing and revising, because it’s the biggest, hardest thing to do. However, these can apply to other things. Most of the ideas here can be easily applied to any other thing. I will make a note about revision poems: they’re different. The things that matter for poetry don’t for other types of writing. So some advice may not be useful for budding poets.
Revising and Editing: Editing
Let’s start by talking about editing. There are several kinds of editing that can/should be done with a piece. The types of edits are: developmental editing, line editing, copy editing, and then proofreading.
Developmental Editing
This is the first edit, this is the meat and potato edit where you go through the entire piece and look at it with a critical eye. You will want to look at each part of the book and make sure that everything makes sense as you want it to. You can do this one of two ways, you can either read through the entire piece (hopefully with fresh eyes, meaning that you have put it down for a while, at least 2 weeks) and highlight each area in turn that you find you need to work on. Or, the other option is that you can read your piece several times, each time looking at each part in turn. The parts are:
Parts of a Story
Plot: check that the story you want to tell is making it on the page. Does the plot flow from points A to Z? Can you tell why the characters are acting the way that they are? Do you question anything, any weirdness–make a mark, come back to it later.
Structure: How you tell the story. Maybe it’s chronological, maybe it’s reverse chronological, maybe it skips through time and then doubles back. However, it does it make sure that it does it the way it’s supposed to. Wherever it gets confusing, make a mark.
Characterization: Do the characters act “within character” the whole time? If there are places where you have characters acting differently than they should or making choices that are strange, make a mark.
Pacing: How quickly/slowly does the action take place? Are there places where you are bored, places where everything is moving so quickly that it’s hard to keep track? Make a mark.
Viewpoint: The POV character should not be ambiguous. If you have a work where you have multiple point-of-view characters, it will need to be apparent whose point of the story is from within a sentence or two. If this is confusing, mark it.
Narrative Style: This ties into viewpoint, is the story told in first, second or third person? If it is in First, it shouldn’t switch. If the narrative style is unclear, mark it.
Tense: Is it in past or present-tense. If it is unclear, or switches tenses; mark it.
Mark it?
What do I mean by mark it, and why am I saying “mark it” instead of change it? The very first step in the editing process is to let the work rest. If possible, of course. When you come back to read the work with fresh eyes, then, instead of changing it right away, you will want to make marks on it. These marks could be highlights, they could be changing the color of the text itself. My suggestion would be to mark each item with a different color.
Line Editing
As the name implies, line editing looks more closely at sentences. This type of editing should be done after the developmental edits are already completed. Essentially, the idea is to start big. Start with those ‘big picture’ changes before moving to the smaller, more fiddly changes.
Line edits will look at style, voice and flow. They will look at poor word choice, character-voice issues, inauthentic writing. Other things to look for are poor metaphor choices, overwritten prose, repetition, and this is also where telling v. showing will come in. So, don’t worry about it until you get all the way to the line edit phase of writing.
Photo by Charlotte May
Copy editing
This is where you look at the formatting. The copy editing phase is where you would check the chapter sequencing, the spelling of proper nouns, all the grammar and syntax sentence level stuff, and the proper formatting of the document itself.
Sometimes the line edit and the copy edit are performed at the same time.
Proofreading
This is the last pass edit before a document is deemed “good enough.” This is where you look for any weird formatting issues that may have come up, along with searching for sentence consistency and any grammar errors that may have been missed. You pull up the work and make sure that it looks as good as it possibly can before either being sent off to agents or published.
Revising
Revision is the act of making the changes. So, while editing, you will make suggestions. Then, when you start revising, you actually make the changes. Revising goes hand in hand with editing, which is why they are typically mentioned together, although revising should be considered the act of the thing.
When you begin the process, it is perfectly okay to move as slowly or as quickly as you would like. There are people who will write a couple of chapters and then start to revise right away. Personally, I like to write to the end, without revision, and then go from there.
Revision may be its own post one day.
Let me know if you need any more information on revising and editing, or if you would like different information. Thanks for reading!
When thinking about plotting: Freytag’s pyramid is where we begin. We can apply it not only to novels, but to short stories, too. This imagery of plot could even be applied chapter-by-chapter in a novel.
Freytag’s Purple Pyramid Photo by Castorly Stock
There are several sections of plotting: Freytag’s pyramid. Outlined below:
In the exposition of the story, this is where world building takes place. This is what I think of as the “day in the life of…” section. In a movie, this is where we follow the main character as they go about their day, this is before everything changes. For example: At the beginning of Game of Thrones (the book) they are going to see someone get beheaded. This serves to build the world, and also shows us what life is like for the character.
With today’s audiences, we don’t want to spend too much time on exposition. It is always good advice to: “start as close to the end as you can.”
Inciting Incident
During the inciting incident, something happens that sets the main character on their story-journey. For example: in Harry Potter, Harry receives a letter from Hogwarts school of Witchcraft and Wizardry. The inciting incident can be anything, but it needs to be something that changes the main character, or starts them off on the way to change.
The inciting incident won’t be used if you are applying plotting: Freytag’s pyramid to a chapter in a novel that isn’t the first. This only happens once in a work.
Rising Action
Rising Action is where the meat of the story lives. Every chapter in a novel should raise the tension, bring on another conflict, or have some other complication for the main character and others. For example: In Gone Girl, we find out, about half-way through the book, that one of the characters has been lying the entire time. This effectively raises the tension and also acts as a kind of irony for the reader. We need to see our characters struggle, to fail. We need to worry that they won’t make it out of whatever jam they are in. The tension rises to a fine point.
Plotting: Freytag’s Pyramid Photo by Oleg Magni
Climax
The climax is the point where the tension finally boils over, and is resolved. This is the fight, the declaration of love that is reciprocated in a passionate embrace, this is the moment, near the end of the book/story where everything finally comes together. For example: in IT when the adults are able to finally beat Pennywise and stomp all of its eggs so that it cannot have any babies.
This plot device is used to check your writing. You can use it to plot out things, if you want. But there are many other plot options that you can use as a framework for the plot.
Thanks for reading, and let me know if you want more information about plotting: Freytag’s pyramid. I will be putting up other plotting things soon.
