{"title":"Fiction book writing","prompt":"I want to write a novel","summary":"A novel is a long invented story in prose, built to keep a reader turning pages. Writers think in layers: a premise with real stakes, characters who want things, a plot of scenes that turn on cause and effect, and narration and prose that control what the reader knows and feels. Under all of it sits the reader’s experience: questions opened, answers delayed, promises kept. Most of the work is a loop: plan, draft fast, then revise against how real readers respond. Structure models and rules of thumb are tools for diagnosing a draft, not forms to fill in.","root":"novel","nodes":[{"term":"Novel","aka":["book","fiction book","story"],"kind":"product","plain":"A long invented story told in prose. SFWA’s award rules count 40,000 words or more as a novel.","ask":"What will the reader feel on the last page, and what keeps them turning pages to get there?","cues":["Long prose sequence","Invented events carried to a last page"],"range":"40,000+ words (SFWA); thrillers 80,000–89,999 (Writer’s Digest)","trouble":"Readers stop halfway, or finish and feel nothing.","children":["premise","characters","plot-structure","setting","narration","prose","theme","writing-process","reader-experience"],"links":[{"to":"word-count","rel":"measured by"},{"to":"writing-process","rel":"made by"},{"to":"final-manuscript","rel":"made from"}],"variants":[{"label":"Format","items":[{"id":"format-paperback","name":"Paperback","plain":"Soft card cover and a glued (perfect-bound) spine. Common trim sizes include 5 × 8 in and 6 × 9 in.","sources":[{"label":"IngramSpark, Trim Size Matrix","url":"https://www.ingramspark.com/hubfs/downloads/trim-sizes.pdf?medium=Google+-+Search","kind":"maker","page":"Trim Size Matrix","quote":"Custom trim sizes are available for Perfect Bound, Case Laminate and Dust Jacket books with size restrictions","work":"ingramspark-trim-size-matrix"}]},{"id":"format-hardback","name":"Hardback","plain":"Rigid boards, often under a paper jacket. Printers offer case-laminate, cloth and jacketed covers.","sources":[{"label":"IngramSpark, Trim Size Matrix","url":"https://www.ingramspark.com/hubfs/downloads/trim-sizes.pdf?medium=Google+-+Search","kind":"maker","page":"Trim Size Matrix","quote":"Custom trim sizes are available for Perfect Bound, Case Laminate and Dust Jacket books with size restrictions","work":"ingramspark-trim-size-matrix"}],"look":{"parts":[{"slot":"boards","shape":"box","size":[1.06,1.6,0.03],"pos":[0.0665,0,-0.1112],"color":"#14161f","material":"gloss","rot":[0,-22,0]},{"slot":"boards","shape":"box","size":[0.034,1.6,0.286],"pos":[-0.4571,0,-0.1847],"color":"#14161f","material":"gloss","rot":[0,-22,0]},{"slot":"pages","shape":"box","size":[0.99,1.52,0.226],"pos":[0.0046,0,0.0019],"color":"#efe6d2","material":"matte","rot":[0,-22,0]},{"slot":"pages","shape":"plane","size":[0.226,1.52],"pos":[0.465,0,0.1879],"rot":[0,68,0],"svg":""},{"slot":"boards","shape":"box","size":[1.06,1.6,0.03],"pos":[-0.0294,0,0.1262],"color":"#14161f","material":"gloss","rot":[0,-22,0]},{"slot":"cover","shape":"plane","size":[1.046,1.6],"pos":[-0.0356,0,0.1415],"svg":"","rot":[0,-22,0]},{"slot":"marker","shape":"box","size":[0.05,0.26,0.004],"pos":[0.1166,-0.86,0.1118],"color":"#c8463d","material":"matte","rot":[0,-22,0]}]}},{"id":"format-ereader","name":"E-book","plain":"A digital edition, usually an EPUB file, read on an e-reader, phone or tablet.","sources":[{"label":"W3C, EPUB 3.3","url":"https://w3c.github.io/epub-specs/epub33/index-page/index.html","kind":"standard","page":"Abstract","quote":"EPUB® defines a distribution and interchange format for digital publications and documents.","work":"w3c-epub-3-3"}],"look":{"parts":[{"slot":"device","shape":"box","size":[1.12,1.6,0.06],"radius":0.07,"pos":[0,0,0],"color":"#2b2b30","material":"gloss","rot":[0,-22,0]},{"slot":"boards","shape":"box","size":[1.18,1.66,0.02],"radius":0.08,"pos":[0.015,0,-0.0371],"color":"#14161f","material":"matte","rot":[0,-22,0]},{"slot":"pages","shape":"plane","size":[0.94,1.38],"pos":[-0.0114,0.07,0.0283],"color":"#e4e2da","material":"screen","rot":[0,-22,0]},{"slot":"cover","shape":"plane","size":[0.88,1.346],"pos":[-0.012,0.07,0.0297],"svg":"","rot":[0,-22,0]},{"slot":"marker","shape":"plane","size":[0.2,0.03],"pos":[-0.0116,-0.71,0.0287],"color":"#6b6b70","rot":[0,-22,0]}]}},{"id":"format-audiobook","name":"Audiobook","plain":"The text read aloud. ACX says an accurate word count helps the rights holder and producer estimate production time.","sources":[{"label":"ACX, Two Ways to Estimate Your Word Count","url":"https://www.acx.com/mp/blog/two-ways-to-estimate-your-word-count","kind":"maker","page":"word-count formula","quote":"Having an accurate word count can help ensure that both the rights holder and the producer know what to expect when it comes to the amount of work involved, and the amount of time needed to produce an audiobook","work":"acx-two-ways-to-estimate-your-word-count"}],"look":{"parts":[{"slot":"device","shape":"box","size":[0.8,1.64,0.07],"radius":0.11,"pos":[0,0,0],"color":"#1a1b20","material":"gloss","rot":[0,-22,0]},{"slot":"boards","shape":"box","size":[0.84,1.68,0.02],"radius":0.12,"pos":[0.0169,0,-0.0417],"color":"#14161f","material":"matte","rot":[0,-22,0]},{"slot":"pages","shape":"plane","size":[0.74,1.56],"pos":[-0.0133,0,0.0329],"svg":"","rot":[0,-22,0]},{"slot":"cover","shape":"plane","size":[0.5,0.765],"pos":[-0.0139,0.3,0.0343],"svg":"","rot":[0,-22,0]},{"slot":"marker","shape":"sphere","radius":0.055,"pos":[0.5114,-0.36,0.336],"color":"#f2f2f2","material":"gloss","rot":[0,-22,0]},{"slot":"marker","shape":"cylinder","radiusTop":0.018,"radiusBottom":0.018,"height":0.13,"pos":[0.5114,-0.46,0.336],"color":"#f2f2f2","material":"gloss","rot":[0,-22,0]},{"slot":"marker","shape":"sphere","radius":0.055,"pos":[0.6822,-0.52,0.3403],"color":"#f2f2f2","material":"gloss","rot":[0,-22,0]},{"slot":"marker","shape":"cylinder","radiusTop":0.018,"radiusBottom":0.018,"height":0.13,"pos":[0.6822,-0.62,0.3403],"color":"#f2f2f2","material":"gloss","rot":[0,-22,0]}]}}]},{"label":"Genre","items":[{"id":"genre-thriller","name":"Thriller","plain":"A broad genre including murder mystery, detective, suspense, horror, supernatural, action, espionage, true crime, war and adventure.","sources":[{"label":"International Thriller Writers, About ITW","url":"https://thrillerwriters.org/about-itw/","kind":"practitioner","page":"About ITW","quote":"This would include (but isn’t limited to) such subjects as murder mystery, detective, suspense, horror, supernatural, action, espionage, true crime, war, adventure, and myriad similar subject areas","work":"international-thriller-writers-about-itw"}],"tint":{"boards":"#14161f"},"svg":{"cover":""}},{"id":"genre-romance","name":"Romance","plain":"A central love story and an emotionally satisfying, optimistic ending (Romance Writers of America).","sources":[{"label":"Romance Writers of America, About the Romance Genre","url":"https://www.rwa.org/about-romance-fiction","kind":"practitioner","page":"Definition / The Basics of the Genre","quote":"Two basic elements comprise every romance novel: a central love story and an emotionally satisfying and optimistic ending.","work":"romance-writers-of-america-about-the-romance"}],"tint":{"boards":"#f2b8c0"},"svg":{"cover":""}},{"id":"genre-fantasy","name":"Fantasy","plain":"Magic or other impossible things are real in the story world and shape the conflict.","sources":[{"label":"Duke University Libraries, Getting Started—Fantasy Genre Guide","url":"https://guides.library.duke.edu/fantasygenre","kind":"reference","page":"genre definition","quote":"The fantasy genre is a genre of speculative fiction that involves supernatural/magical elements in the story/setting.","work":"duke-university-libraries-getting-started"}],"tint":{"boards":"#22324a"},"svg":{"cover":""}},{"id":"genre-mystery","name":"Mystery","plain":"A mystery sets up a question and follows a sleuth’s quest towards its answer.","sources":[{"label":"Mystery Writers of America, Plotting","url":"https://mysterywriters.org/wp-content/uploads/2013/12/MWA-U-2013-Special-Issue.pdf","kind":"reference","page":"pp. 9–10, Plotting is more than sequencing scenes","quote":"The opening scene sets up the mystery, and often poses an unanswered question that got answered by the novel’s end.","work":"mystery-writers-of-america-plotting"}],"tint":{"boards":"#3b2f25"},"svg":{"cover":""}},{"id":"genre-literary","name":"Literary","plain":"Set apart by the quality of the writing and the reading experience, not by its subject. It can overlap other genres.","sources":[{"label":"Jane Friedman, Genre","url":"https://janefriedman.com/genre/","kind":"practitioner","page":"literary fiction discussion","quote":"Literary fiction is basically a novel that’s extremely well written. The language is elevated.","work":"jane-friedman-genre"}],"tint":{"boards":"#e9e2d0"},"svg":{"cover":""}},{"id":"genre-science-fiction","name":"Science fiction","plain":"Built around ideas from science, technology, society or the future: what could happen, even if it has not yet.","sources":[{"label":"James Patrick Kelly, Making Monsters (SFWA)","url":"https://sfwa.org/2005/01/04/making-monsters/","kind":"practitioner","page":"essay","quote":"If science fiction is about things that could happen but haven't yet","work":"james-patrick-kelly-making-monsters-sfwa"}],"tint":{"boards":"#0d1126"},"svg":{"cover":""}}]}],"sources":[{"label":"Encyclopaedia Britannica, Novel","url":"https://web.archive.org/web/20240101092414/https://www.britannica.com/art/novel","kind":"reference","page":"article opening","quote":"A novel is an invented prose narrative of significant length and complexity that deals imaginatively with human experience.","flag":"Wayback copy","work":"encyclopaedia-britannica-novel"},{"label":"SFWA, Nebula Awards Rules","url":"https://nebulas.sfwa.org/about-the-nebulas/nebula-rules/","kind":"standard","page":"Sec. 8","quote":"Short Story: fewer than 7,500 words Novelette: at least 7,500 words but fewer than 17,500 words Novella: at least 17,500 words but fewer than 40,000 words Novel: 40,000 words or more.","work":"sfwa-nebula-awards-rules"},{"label":"Chuck Sambuchino, Word Count for Novels and Children’s Books (Writer’s Digest)","url":"https://www.writersdigest.com/whats-new/word-count-for-novels-and-childrens-books-the-definitive-post","kind":"practitioner","page":"recommended word-count table","quote":"Between 80,000 and 89,999 words is a good range you should be aiming for.","flag":"limited page extraction","work":"chuck-sambuchino-word-count-for-novels-and"}],"id":"novel","look":{"parts":[{"slot":"boards","shape":"box","size":[1,1.52,0.012],"pos":[0.0352,0,-0.0872],"color":"#14161f","material":"gloss","rot":[0,-22,0]},{"slot":"boards","shape":"box","size":[0.016,1.52,0.2],"pos":[-0.4562,0,-0.1843],"color":"#14161f","material":"gloss","rot":[0,-22,0]},{"slot":"pages","shape":"box","size":[0.97,1.49,0.176],"pos":[0.0046,0,0.0019],"color":"#efe6d2","material":"matte","rot":[0,-22,0]},{"slot":"pages","shape":"plane","size":[0.176,1.49],"pos":[0.4557,0,0.1841],"rot":[0,68,0],"svg":""},{"slot":"boards","shape":"box","size":[1,1.52,0.012],"pos":[-0.0352,0,0.0872],"color":"#14161f","material":"gloss","rot":[0,-22,0]},{"slot":"cover","shape":"plane","size":[0.984,1.505],"pos":[-0.038,0,0.0941],"svg":"","rot":[0,-22,0]},{"slot":"marker","shape":"box","size":[0.11,0.34,0.006],"pos":[-0.2523,0.84,-0.0696],"color":"#c8463d","material":"matte","rot":[0,-22,0]}]}},{"term":"Premise","aka":["the idea","what if","story idea"],"kind":"part","plain":"The core situation: a character in a setting with a problem. It often starts as a what-if question.","does":"Gives every later choice a test: does this serve the premise?","ask":"Who is in trouble, where, and why can she not walk away?","trouble":"You cannot say what the book is about without listing events.","children":["logline","promise-payoff","dramatic-question","stakes"],"at":[-0.153,0.408,0.0504],"links":[{"to":"theme","rel":"see also"}],"sources":[{"label":"Story Grid, “How to Write a Novel”","url":"https://storygrid.com/articles/how-to-write-a-novel","kind":"practitioner","page":"Your Story Idea; The story premise","quote":"The story premise is defined as a character in a setting with a problem.","work":"story-grid-how-to-write-a-novel"},{"label":"Lajos Egri, The Art of Dramatic Writing","url":"https://thestickingplace.com/assets/Art-of-Dramatic-Writing-Lajos-Egri.pdf","kind":"book","isbn":"9780671213329","page":"Premise, pp. 1–4 (extract PDF)","quote":"The premise will show you the road.","flag":"excerpt; close-to-primary hosted extract","work":"lajos-egri-the-art-of-dramatic-writing"}],"id":"premise","look":{"parts":[{"shape":"box","size":[1.3,0.78,0.014],"pos":[0,0,-0.009],"color":"#d8d0bf","material":"matte"},{"shape":"plane","size":[1.3,0.78],"pos":[0,0,0],"svg":""}]}},{"term":"Logline","aka":["one-line pitch","one-sentence summary","elevator pitch"],"kind":"part","plain":"The whole novel in one sentence. The Snowflake method asks for fewer than 15 words and no character names.","does":"Tests the premise: if it will not fit in one line, the story is not clear yet.","ask":"Who has the most to lose, and what do they want to win?","range":"1 sentence, preferably under 15 words (Snowflake step 1)","trouble":"You need names, subplots or “and then” to explain the book.","at":[-0.26,0.169,0.012],"sources":[{"label":"Randy Ingermanson, “The Snowflake Method For Designing A Novel”","url":"https://www.advancedfictionwriting.com/articles/snowflake-method/","kind":"practitioner","page":"Step 1","quote":"Step 1) Take an hour and write a one-sentence summary of your novel.","work":"randy-ingermanson-the-snowflake-method-for"}],"deeper":"Pitches and query letters: where the logline becomes the first lines an agent reads.","id":"logline","look":{"parts":[{"shape":"box","size":[1.3,0.78,0.014],"pos":[0,0,-0.009],"color":"#d8d0bf","material":"matte"},{"shape":"plane","size":[1.3,0.78],"pos":[0,0,0],"svg":""}]}},{"term":"Promise and payoff","aka":["setup and payoff","Chekhov’s gun","foreshadowing"],"kind":"concept","plain":"Every promise the story makes, it must keep. Chekhov: do not put a loaded gun on stage unless someone will fire it.","does":"Builds trust: readers learn that details matter, so they read closely.","ask":"What did page one promise, and where do I pay it off?","cues":["A detail placed early used later","An ending that fulfils an earlier promise","A later use that still surprises"],"range":"Promise, progress, payoff (Sanderson)","trouble":"Readers feel cheated: a setup goes nowhere, or the ending comes from nowhere.","at":[0.442,0.3023,0.012],"links":[{"to":"world-rules","rel":"see also"}],"pattern":"pattern-setup-payoff","sources":[{"label":"Brandon Sanderson, “2025 Guide to Plot (Lecture #2)”","url":"https://www.brandonsanderson.com/blogs/blog/brandon-sandersons-2025-guide-to-plot-lecture-2","kind":"practitioner","page":"The Plot Framework: Promise, Progress, and Payoff","quote":"A payoff is more than just an ending—it’s “a surprising but fulfilling answer to your promise.”","work":"brandon-sanderson-2025-guide-to-plot-lecture-2"},{"label":"Anton Chekhov, Letter to A. S. Lazarev-Gruzinsky","url":"https://predanie.ru/book/221237-pisma-1888-1889/?chapter=chapter_224","kind":"practitioner","page":"Letter 707, 1 Nov 1889","quote":"Нельзя ставить на сцене заряженное ружье, если никто не имеет в виду выстрелить из него.","flag":"Russian primary text; translated fact","work":"anton-chekhov-letter-to-a-s-lazarev-gruzinsky"}],"id":"promise-payoff","feel":{"shape":0.3,"energy":0.4,"weight":0.2,"warmth":0.75,"grain":0.2,"motion":"orbit","why":"A promise goes out and travels round; the payoff brings it home and closes the circle."}},{"term":"Dramatic question","aka":["central question","story question","will she or won’t she"],"kind":"concept","plain":"The question the story raises early and answers late. Here: will Maya prove who wrote the list before 06:00?","does":"Pulls the reader to the end: they keep reading to get the answer.","ask":"What question does chapter one plant, and where exactly is it answered?","cues":["A question planted early","An answer arriving late"],"trouble":"Readers drift away in the middle: the question was answered too soon, or never asked.","at":[0.494,-0.2405,0.012],"links":[{"to":"climax","rel":"see also"}],"sources":[{"label":"Lee Child, “A Simple Way to Create Suspense”","url":"https://sissonenglish.weebly.com/uploads/8/6/0/5/86054768/a_simple_way_to_create_suspense.pdf","kind":"practitioner","page":"pp. 1–3","quote":"As novelists, we should ask or imply a question at the beginning of the story, and then we should delay the answer.","flag":"mirror PDF; not NYT host","work":"lee-child-a-simple-way-to-create-suspense"},{"label":"Story Grid, “The Five Commandments of Storytelling”","url":"https://storygrid.com/articles/five-commandments-of-storytelling","kind":"practitioner","page":"Five Commandments","quote":"The climax is the active answer to the question raised by the crisis.","work":"story-grid-the-five-commandments-of-storytelling"}],"id":"dramatic-question","feel":{"shape":0.65,"energy":0.6,"weight":-0.3,"warmth":0.4,"grain":0.2,"motion":"pulse","why":"An open question itches: sharp enough to nag, light enough to hang in the air until the end."}},{"term":"Stakes","aka":["what’s at risk","what could be lost"],"kind":"knob","plain":"What the character loses if she fails. 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Each one pushes the protagonist past her habits into new ground.","does":"Gives the plot its shape: the reader feels it change gear at each turn.","ask":"What turns here, and what can she no longer do?","cues":["Moments that turn the story in a new direction","A change of gear the reader can feel"],"trouble":"Things happen, but nothing changes the direction of the story.","children":["inciting-incident","climax"],"at":[0,0.0313,0.012],"sources":[{"label":"Story Grid, “Turning Point Progressive Complication”","url":"https://storygrid.com/articles/turning-point-progressive-complication","kind":"practitioner","page":"What is a Turning Point?","quote":"Progressive complications follow the INCITING INCIDENT, which has knocked the protagonist’s life out of balance.","work":"story-grid-turning-point-progressive"}],"id":"turning-points","look":{"parts":[{"shape":"box","size":[1.32,0.9,0.014],"pos":[0,0,-0.009],"color":"#6f8a58","material":"matte"},{"shape":"plane","size":[1.32,0.9],"pos":[0,0,0],"svg":""}]}},{"term":"Inciting incident","aka":["catalyst","the call","trigger"],"kind":"concept","plain":"The first major event. It upsets the balance of the protagonist’s life and starts the story: Maya finds her name on the list.","does":"Starts the story’s engine and raises the dramatic question.","ask":"What breaks the normal world, and can she ignore it?","cues":["A dramatic question opened by the event","Backstory giving way to something happening"],"range":"About 10% (Brody) to 12% (Weiland) of the way through","trouble":"Chapters of backstory before anything happens.","at":[-0.306,0.084,0.012],"links":[{"to":"dramatic-question","rel":"see also"}],"sources":[{"label":"Robert McKee, Story","url":"https://www.rwwny.org/wp-content/uploads/2016/07/robert-mckee-story-part3.pdf","kind":"book","isbn":"9780060391683","page":"ch. 8, The Inciting Incident, pp. 181, 189–193","quote":"The Inciting Incident, the first major event of the telling, is the primary cause for all that follows","flag":"scan/PDF excerpt","work":"robert-mckee-story"},{"label":"K.M. 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It shows who she really is under pressure.","does":"Answers the dramatic question and pays off the main promises.","ask":"Does she win or lose because of a choice she makes?","range":"Starts about 90% of the way through (Weiland)","trouble":"Luck, or another character, solves the problem for her.","at":[0.366,0.294,0.012],"links":[{"to":"controlling-idea","rel":"see also"}],"sources":[{"label":"Story Grid, “The Five Commandments of Storytelling”","url":"https://storygrid.com/articles/five-commandments-of-storytelling","kind":"practitioner","page":"Five Commandments","quote":"The climax is the active answer to the question raised by the crisis.","work":"story-grid-the-five-commandments-of-storytelling"},{"label":"K.M. Weiland, “Quick Guide to Timing Plot Points Within Your Story’s Structure”","url":"https://www.helpingwritersbecomeauthors.com/matter-timing-positioning-major-plot-points-within-story/","kind":"practitioner","page":"Timing Plot Points 101","quote":"Climax will begin around the 90% mark in your book.","work":"k-m-weiland-quick-guide-to-timing-plot-points"}],"deeper":"Resolution: the last scenes, which show the result of her choice.","id":"climax","look":{"parts":[{"shape":"box","size":[1.32,0.9,0.014],"pos":[0,0,-0.009],"color":"#0b0e14","material":"matte"},{"shape":"plane","size":[1.32,0.9],"pos":[0,0,0],"svg":""}]}},{"term":"Try-fail cycle","aka":["yes-but, no-and","complications"],"kind":"loop","plain":"The character tries to solve a problem and fails; the failure creates the next problem. 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Reagan et al., “The Emotional Arcs of Stories Are Dominated by Six Basic Shapes”","url":"https://cdanfort.w3.uvm.edu/research/2016-reagan-epj.pdf","kind":"research","page":"p. 5","quote":"We find broad support for the following six emotional arcs: • ‘Rags to riches’ (rise). • ‘Tragedy’, or ‘Riches to rags’ (fall). • ‘Man in a hole’ (fall-rise). • ‘Icarus’ (rise-fall). • ‘Cinderella’ (rise-fall-rise). • ‘Oedipus’ (fall-rise-fall).","work":"andrew-j-reagan-et-al-the-emotional-arcs-of"}]},{"id":"man-in-a-hole","name":"Man in a hole","plain":"A fall, then a rise: get into trouble, then get out. The Last Hour has this shape.","why":"A fall in fortune followed by a rise defines it, whatever the story is about; no man or hole is needed.","sources":[{"label":"Andrew J. Reagan et al., “The Emotional Arcs of Stories Are Dominated by Six Basic Shapes”","url":"https://cdanfort.w3.uvm.edu/research/2016-reagan-epj.pdf","kind":"research","page":"p. 5","quote":"We find broad support for the following six emotional arcs: • ‘Rags to riches’ (rise). • ‘Tragedy’, or ‘Riches to rags’ (fall). • ‘Man in a hole’ (fall-rise). • ‘Icarus’ (rise-fall). • ‘Cinderella’ (rise-fall-rise). • ‘Oedipus’ (fall-rise-fall).","work":"andrew-j-reagan-et-al-the-emotional-arcs-of"}]},{"id":"icarus","name":"Icarus","plain":"A rise, then a fall.","sources":[{"label":"Andrew J. Reagan et al., “The Emotional Arcs of Stories Are Dominated by Six Basic Shapes”","url":"https://cdanfort.w3.uvm.edu/research/2016-reagan-epj.pdf","kind":"research","page":"p. 5","quote":"We find broad support for the following six emotional arcs: • ‘Rags to riches’ (rise). • ‘Tragedy’, or ‘Riches to rags’ (fall). • ‘Man in a hole’ (fall-rise). • ‘Icarus’ (rise-fall). • ‘Cinderella’ (rise-fall-rise). • ‘Oedipus’ (fall-rise-fall).","work":"andrew-j-reagan-et-al-the-emotional-arcs-of"}]},{"id":"cinderella","name":"Cinderella","plain":"Rise, fall, rise.","sources":[{"label":"Andrew J. Reagan et al., “The Emotional Arcs of Stories Are Dominated by Six Basic Shapes”","url":"https://cdanfort.w3.uvm.edu/research/2016-reagan-epj.pdf","kind":"research","page":"p. 5","quote":"We find broad support for the following six emotional arcs: • ‘Rags to riches’ (rise). • ‘Tragedy’, or ‘Riches to rags’ (fall). • ‘Man in a hole’ (fall-rise). • ‘Icarus’ (rise-fall). • ‘Cinderella’ (rise-fall-rise). • ‘Oedipus’ (fall-rise-fall).","work":"andrew-j-reagan-et-al-the-emotional-arcs-of"}]},{"id":"oedipus","name":"Oedipus","plain":"Fall, rise, fall.","sources":[{"label":"Andrew J. Reagan et al., “The Emotional Arcs of Stories Are Dominated by Six Basic Shapes”","url":"https://cdanfort.w3.uvm.edu/research/2016-reagan-epj.pdf","kind":"research","page":"p. 5","quote":"We find broad support for the following six emotional arcs: • ‘Rags to riches’ (rise). • ‘Tragedy’, or ‘Riches to rags’ (fall). • ‘Man in a hole’ (fall-rise). • ‘Icarus’ (rise-fall). • ‘Cinderella’ (rise-fall-rise). • ‘Oedipus’ (fall-rise-fall).","work":"andrew-j-reagan-et-al-the-emotional-arcs-of"}]}]}],"sources":[{"label":"Andrew J. Reagan et al., “The Emotional Arcs of Stories Are Dominated by Six Basic Shapes”","url":"https://cdanfort.w3.uvm.edu/research/2016-reagan-epj.pdf","kind":"research","page":"pp. 1–5, 10","quote":"we find a set of six core emotional arcs which form the essential building blocks of complex emotional trajectories","work":"andrew-j-reagan-et-al-the-emotional-arcs-of"}],"id":"story-shape","plot":{"x":"Story time (%)","y":"Fortune (schematic, −1 to +1)","series":[{"name":"Rags to riches","item":"rags-to-riches","points":[[0,-0.6],[25,-0.3],[50,0],[75,0.35],[100,0.7]]},{"name":"Tragedy","item":"tragedy","points":[[0,0.7],[25,0.4],[50,0.05],[75,-0.3],[100,-0.7]]},{"name":"Man in a hole","item":"man-in-a-hole","points":[[0,0.4],[25,-0.2],[50,-0.6],[75,-0.1],[100,0.5]]},{"name":"Icarus","item":"icarus","points":[[0,-0.4],[25,0.2],[50,0.6],[75,0.1],[100,-0.5]]},{"name":"Cinderella","item":"cinderella","points":[[0,-0.5],[20,0.3],[45,0.5],[65,-0.3],[85,0.3],[100,0.7]]},{"name":"Oedipus","item":"oedipus","points":[[0,0.5],[20,-0.3],[45,-0.5],[65,0.3],[85,-0.3],[100,-0.7]]}]}},{"term":"Scenes","aka":["scene","building blocks","chapter beats"],"kind":"part","plain":"The building blocks of the story. 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Ingermanson warns that simply granting the goal ends the tension.","ask":"How does this scene end worse than it began?","cues":["A win that makes things worse","A scene ending with a problem still pulling forward"],"trouble":"Scenes end with the problem solved and nothing to pull the reader on.","sources":[{"label":"Randy Ingermanson, “Writing The Perfect Scene”","url":"https://www.advancedfictionwriting.com/articles/writing-the-perfect-scene/?output=1","kind":"practitioner","page":"Large-Scale Structure of a Scene; Motivation-Reaction Units","quote":"A Scene has the following three-part pattern: Goal Conflict Disaster","work":"randy-ingermanson-writing-the-perfect-scene"}],"id":"scene-disaster","look":{"parts":[{"shape":"box","size":[0.8,1,0.014],"pos":[0,0,-0.009],"color":"#0f1a24","material":"matte"},{"shape":"plane","size":[0.8,1],"pos":[0,0,0],"svg":""}]}},{"term":"Reaction","aka":["emotional response"],"kind":"concept","plain":"Her emotional follow-through after the disaster. 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Run home, or stay and warn bed four?","does":"Shows her values through what she must give up.","ask":"What will each option cost her?","cues":["Running home or staying to warn bed four","A cost attached to each option"],"trouble":"The right choice is obvious, so there is no suspense.","sources":[{"label":"Randy Ingermanson, “Writing The Perfect Scene”","url":"https://www.advancedfictionwriting.com/articles/writing-the-perfect-scene/?output=1","kind":"practitioner","page":"Large-Scale Structure of a Scene; Motivation-Reaction Units","quote":"A Sequel has the following three-part pattern: Reaction Dilemma Decision","work":"randy-ingermanson-writing-the-perfect-scene"}],"id":"sequel-dilemma","look":{"parts":[{"shape":"box","size":[0.8,1,0.014],"pos":[0,0,-0.009],"color":"#0f1a24","material":"matte"},{"shape":"plane","size":[0.8,1],"pos":[0,0,0],"svg":""}]}},{"term":"Decision","aka":["new goal"],"kind":"concept","plain":"She chooses what to do. The decision makes her proactive again and sets the next goal: she stays.","does":"Restarts the cycle with a new scene goal.","ask":"What will she do now?","cues":["A character choosing what to do","A choice that sets the next goal"],"trouble":"Things happen to her; she never decides.","sources":[{"label":"Randy Ingermanson, “Writing The Perfect Scene”","url":"https://www.advancedfictionwriting.com/articles/writing-the-perfect-scene/?output=1","kind":"practitioner","page":"Large-Scale Structure of a Scene; Motivation-Reaction Units","quote":"A Sequel has the following three-part pattern: Reaction Dilemma Decision","work":"randy-ingermanson-writing-the-perfect-scene"}],"id":"sequel-decision","look":{"parts":[{"shape":"box","size":[0.8,1,0.014],"pos":[0,0,-0.009],"color":"#0f1a24","material":"matte"},{"shape":"plane","size":[0.8,1],"pos":[0,0,0],"svg":""}]}},{"term":"Value shift","aka":["scene turn","polarity shift"],"kind":"measure","plain":"The change in a value-charged condition, such as safe to hunted, between the start and the end of a scene. 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It is a nonevent.","work":"robert-mckee-do-your-scenes-turn"}],"id":"value-shift","look":{"parts":[{"shape":"box","size":[1.32,0.84,0.014],"pos":[0,0,-0.009],"color":"#0f1a24","material":"matte"},{"shape":"plane","size":[1.32,0.84],"pos":[0,0,0],"svg":""}]}},{"term":"Structure models","aka":["story templates","beat sheets","three-act structure"],"kind":"knob","plain":"Maps of where the big turns usually fall. Each model shows the pattern at a different level.","does":"Give you a checklist to diagnose a draft: what is missing, early or late.","ask":"Which model fits my genre, and where do my turns fall on it?","trouble":"A formula followed beat by beat; the story feels mechanical.","at":[0,-0.3375,0.012],"links":[{"to":"planning","rel":"see also"}],"variants":[{"label":"Model","items":[{"id":"model-three-act","name":"Three acts","plain":"Setup to about 25%, the long middle to 75% with a midpoint near 50%, then the end. Weiland notes the timing is flexible.","sources":[{"label":"K.M. 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A common choice, and the one The Last Hour uses.","sources":[{"label":"Bowie State University, Understanding Point of View","url":"https://bowiestate.libguides.com/amercy/understanding_pov","kind":"reference","page":"types of points-of-view","quote":"They can be limited in which they only follow one character","flag":"university guide","work":"bowie-state-understanding-point-of-view"}],"look":{"parts":[{"slot":"knob","shape":"cylinder","radiusTop":0.16,"radiusBottom":0.175,"height":0.1,"pos":[0.0104,0.038,0.043],"rot":[80,0,-12],"color":"#2c2f36","material":"metal"},{"slot":"knob","shape":"box","size":[0.03,0.13,0.02],"pos":[0.0505,0.1252,0.0771],"rot":[-10,12,-20],"color":"#e8c26b","material":"gloss"}]},"svg":{"face":""}},{"id":"person-third-omniscient","name":"Third person omniscient","plain":"The narrator moves freely in time and space, enters many minds, and knows what no character knows.","sources":[{"label":"Bowie State University, Understanding Point of View","url":"https://bowiestate.libguides.com/amercy/understanding_pov","kind":"reference","page":"types of points-of-view","quote":"omniscient in which the narrator knows everything","flag":"university guide","work":"bowie-state-understanding-point-of-view"}],"look":{"parts":[{"slot":"knob","shape":"cylinder","radiusTop":0.16,"radiusBottom":0.175,"height":0.1,"pos":[0.0104,0.038,0.043],"rot":[80,0,-12],"color":"#2c2f36","material":"metal"},{"slot":"knob","shape":"box","size":[0.03,0.13,0.02],"pos":[0.094,0.0867,0.0744],"rot":[-10,12,-60],"color":"#e8c26b","material":"gloss"}]},"svg":{"face":""}}]}],"sources":[{"label":"Bowie State University, Understanding Point of View","url":"https://bowiestate.libguides.com/amercy/understanding_pov","kind":"reference","page":"definitions and types","quote":"It is important to know how to identify a particular point of view because it gives context to the whole story","flag":"university guide","work":"bowie-state-understanding-point-of-view"}],"id":"pov-person","look":{"parts":[{"shape":"box","size":[1.26,1.26,0.05],"radius":0.05,"pos":[-0.0054,-0.0044,-0.025],"color":"#15171c","material":"matte","rot":[-10,12,0]},{"slot":"face","shape":"plane","size":[1.2,1.2],"pos":[0.0003,0.0003,0.0014],"svg":"","rot":[-10,12,0]},{"slot":"knob","shape":"cylinder","radiusTop":0.16,"radiusBottom":0.175,"height":0.1,"pos":[0.0104,0.038,0.043],"rot":[80,0,-12],"color":"#2c2f36","material":"metal"},{"slot":"knob","shape":"box","size":[0.03,0.13,0.02],"pos":[-0.05,0.0921,0.1046],"rot":[-10,12,60],"color":"#e8c26b","material":"gloss"}]}},{"term":"Psychic distance","aka":["narrative distance","how close the camera is"],"kind":"knob","plain":"How close the reader stands to a character’s mind. 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Each unit follows the same rules.","ask":"Does this unit open and close like the one around it?","sources":[{"label":"Story Grid, “Units of Story: Beats, Tropes, Scenes, Sequences, and Quadrants”","url":"https://storygrid.com/articles/units-of-story","kind":"practitioner","page":"What are Units of Story?; Beats–Quadrants","quote":"Units of story are a way of dividing our work into manageable pieces that can be examined and edited to create a story that works.","work":"story-grid-units-of-story-beats-tropes-scenes"}],"id":"pattern-nested-units","feel":{"shape":0.2,"energy":0.2,"weight":0.3,"warmth":0.5,"grain":0.2,"motion":"pulse","why":"Shells inside shells: each one opens and closes round the next."}},{"term":"Setup and payoff","aka":["promise and payoff","Chekhov’s gun"],"kind":"pattern","plain":"Something placed early is used later. The early placement creates an expectation; the later use fulfils it in a way that still surprises.","ask":"What did I set up, and where does it pay off?","sources":[{"label":"Anton Chekhov, Letter to A. S. 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Pin it down in one sentence, name the question the ending must answer, and decide what failure would cost.","adds":["logline","dramatic-question","stakes","promise-payoff"],"makes":"premise"},{"title":"Plan the story","text":"Grow the premise into people, a place and a chain of events. Put the scenes on cards and arrange them, as much or as little as suits you.","adds":["premise","characters","setting","plot-structure","planning"],"makes":"outline"},{"title":"Draft","text":"Choose who tells the story and how close we stand, then write it through to the end at a steady daily pace. Do not stop to polish.","adds":["outline","narration","prose","drafting","daily-word-target"],"makes":"first-draft"},{"title":"Revise","text":"Read the draft as a reader, test it on beta readers, find the theme you actually wrote, and cut it to length. 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