A Step-by-Step Guide to the Weirdest Mush of Storytelling Techniques Known to Human Beings (that works surprisingly well)
SPOILERS - basically you combine anime/manga storytelling with tumblr character obsessions.
Okie dokie human beings, let me just come out of the gate and say that I've been hyperfixated and doing obsessive researching on storytelling methods since I was ten. You hear it all when you deep dive into this:
'You need conflict to drive your story' (wrong... well, not always true. Conflict isn't required but you can use it for funsies)
'Your characters need to be flawed. Give them flaws so they aren't Mary Sues' (Wrong. Traits in and of themselves have both nice and not-so-nice aspects, depending on the situation.
Take 'loyalty' for example. Loyal people can be apologists for those they are loyal to/not be objective when they think about their friends. But they will also be there for their friends... does that mean they are a people pleaser and won't be as nice to themselves? Mary Sues are only there because they are cardboard cutouts and people aren't having fun with them. *See remakes and pointless cash grabs* When you're self-indulgent and ignore the 'don't make the characters too cool' rules, people can tell. You all will have the time of your lives.)
Then you have... the discourse. As a storyteller, reading those made me so insecure about writing characters because I was worried I would anger someone. This method won't assure avoiding all discourse, but it makes the characters more believable and fun to watch. Everyone else can avoid the story. (It isn't for them anyways)
Anywhosies, after years of researching, I've finally, finally found a storytelling methodology that is structured yet insanely flexible, works for any story you're telling (watching tv will never be the same), and is pretty much the exact opposite of trashy Hollywood blockbusters.
So basically, it's: exploring a facet of existence through complex characters and an easy-to-follow plot.
So yea, I've talked in the land of general for too long. This is my modified method from the resources down below. Have fun!
Step One: Characters Concepts.
This will help you a lot when you make characters. Let's go through an existential crisis!
What concept about "how life works/philosophy/the unknown/viewpoint/question" do you want to explore?
This will be the aspect of life that the story attempts to make sense of and give the reader some new understanding or comfort about it. It will be the groundwork and foundation for your story going forward, so feel free to explore as many aspects of this topic as you wish.
Specific memories can help with this. For example, I used the memory of crying over unfinished crafting projects to write my main WIP. (I was supposed to make this doll dress with my mom and we did part of it, had a lot of fun, then never finished it. A few months later, child-me sat beside the bed and waited for my mom to come out of the bathroom so I could ask her something. In the meantime, I looked underneath the bed and found that unfinished crafting project. I started bawling.)
This memory led me to make my concept: Happiness chasing. Those who want that happy ending so bad so they can have their childhood happiness back. Mostly because they are filled with regret over all the happiness they didn't have when they were little (the 'smart and didn't like to play because they wanted to read books' children... anyone else do this? And regret how little time they spent with other people?)
The second aspect of this concept that came up was the 'avoiding being happy right now because you need to earn it for a happy future' also the 'happiness needs to be perfect... but what exactly does happiness feel like?' and the 'happiness is overrated. I'm satisfied as an observer wandering around the world'
So yea, explore a concept and see where it takes you! It's okay if it's abstract, you can refine it in the next step:
Step Two: characters
~Here we go~
Here we are picking a dynamic, an internal conflict, 'the two wolves'.
Aka: desire vs fear.
And these will be in direct opposition. The character will want something, but the fear will stop them from getting it. Because to get what they want, they have to face what they fear. They cannot exist at the same time.
This took me the longest time to figure out... mostly because no one else spelled it out for me. But it works! Very well! Probably the fastest way to create a complex character!
So you'll take an aspect of your concept. Like: 'trying to replicate the happiness you had when you were little because you are full of regret about not being happy'. Then create a duality/ warring desire and fear off of it.
(Feel free to include all the extra character trait funsies here... just don't get too carried away. That becomes overwhelming fast. We'll talk about that more in the next step)
Here's an example from my WIP:
Anuli the dryad wants to have faer happy ending that fae wanted when fae was little. (I get very specific here because I wrote backstory, feel free to write a very specific image about what a 'perfect world' would look like to the character. What will having that perfect situation mean to them?)
Anuli the dryad fears being happy. Fae thinks that by being happy, fae will make a mistake and ruin others' happy endings. Then fae will be left with nothing but regret. It's wrong for faer to be faerself. (There's a misbelief about the world here. Typically, fears are rooted in false worldviews. So, you can write an opposing viewpoint and create a 'worst case scenario' based off of that.)
Ta da! Now you have a dynamic where the character has a conflicted view of the world and themself. Perfect for angst, fluff, whatever your story needs are! (Why does this sound like an old car salesperson?)
Step three: First meeting
My major issue when writing a new character is how to translate their unique prose style and convey their internal conflict, whilst also trying to figure out plotlines.
This step is entirely my own, and has been SO EXTREMELY helpful. (I'm proud of myself.)
What you'll do is some random writing of your character's internal monologue/how they see the world. Go through your writing from the previous steps and try translating that into prose. Play around with it until you are comfortable. It does not have to be perfect, it just has to be comfortable. If you're having trouble, pick a mini-topic to write about (perhaps something that's been on your mind lately) and see how your character would react to that. Or you can change the style of writing (more parenthesis? be ridiculous? stream of coconsciousness? Third person? Poetic? Change it up until you enjoy writing this character.)
Here's an example from my writing (this is my second WIP and it's a biology fanfiction.). I'm including it all because I messed around a bit and tried different things. I ended up setting for an informal semi-stream of consciousness style (partially to offset the complexity of biology and partially because that's who Cassiah wanted to be):
(It is... long. So scroll and skim, this is a messy example.) <3
I ended up going for first person instead of third. And I always go for past tense...plus a poetic style is a bit.. much for a biology fanfiction... and I wanted Cassiah to be a nervous mess on the inside while keeping up a 'full of themself' exterior. Therefore:
Feel free to include notes for yourself! This is a great place to refine and edit the writing you did in the previous steps! You can also do some exploring about worldbuilding (I may make another post for that) and congrats! A lot of what you are writing here becomes the character's behaviors that they've gotten from their internal conflict. These are a lot more specifc (and a lot more helpful) than character traits like 'loyal'.
Okie dokie, you can always come back to this for some writing relaxation, and now we go towards everyone's favorite part:
Step four: the plot the tragic backstory:
Note that this doesn't necessarily have to be tragic. All this has to do is showcase the exact moment where the character got their internal conflict. You can do this with the desire, with the fear, or both! (Although typically you'll see the fear backstory... unless it's a Disney movie or Haikyuu)
'But wait!' You ask. 'Plotting is hard! And I need to have this backstory be perfec-'
So the method I followed had this thing where you would write one backstory scene where the fear came from, then three more backstory scenes where the character chose to follow the fear instead of the want and became more conflicted. You can do that if you wish (I'll give you a resource to help with plotting in a bit.)
What I like doing is... having fun? I rewrote my backstory scenes so much and got so stressed with it. (My main WIP has been my writing project since I was ten and I worked on it nonstop... but it JUST got a full backstory written.)
My method for writing backstory changes for each character I write. For that main WIP, I started trying to write the backstory for the backstory, and tried stopping myself from doing that. Which was a mistake. Nowadays I'll write pre-backstory for fluff, and how the fear complicates things after a twist. (Usually I get this specfic aspect of my concept that I want to explore through storytelling and I'll write a snippet about it), and my MC just gets more ridiculous every time I write faer.
All in all... you can just use the plotting method discussed in the next step for the backstory: kishotenketsu. If you do this, then I recommend that you use ki and sho for the 'want' portion. (some fluffy childhood goals if you will.). Then use ten and ketsu for the fear that complicates things and the aftermath.
But overall I recommend (for all scenes that you write) that you always connect whatever is happening to the character's internal dynamic. This is what gives weight to your story. And you've already practiced writing your character's internal monologue, so now it's time to relax, be ridiculous, write some bad stuff, and find the exact moments where the character's internal conflict came from.
I haven't gotten to this point with my biology fanfiction yet (been executive dysfunctioning until recently... the stars have aligned or smth.) but here's my initial prose-sketch:
From here, I'll write a more specific backstory (I tend to get bored of long scenes though, so I imagine I'll do my 'tiny section prose snippet style') to depict how Cassiah got their fear, then I'll write a bit showcasing how they started envying others and their confidence (the desire). Afterwards it'll be Cassiah being internally conflicted hijinks until they inevitably get themself in a ton of trouble.
Okie dokie everyone... now it's time for the plot present-day character explorations.
Step Something-or-other: Keep doing what you're doing, but technically this is the start of the story.
So there's this whole 'inciting incident' and blah blah blah.
Start your story when it becomes impossible for the character to avoid their fear anymore, which causes them to chase after their desire.
...I'm going to include a video for kishotenketsu because... I've been typing... for hours.... and I'll do an overview but video.
So kishotenketsu is the overall plot structure that anime and manga uses. Very flexible, very nice. I keep it in the back of my mind when I'm writing, making sure to connect everything back to the character's internal conflict (make sure they react to things and make decisions.)
Here's a scene card to help you with 'smaller scale' plotting:
So instead of the plot part I use kishotenketsu. And usually I'll write actual prose for the character's monologue (like we did for the freewriting) for the 'why it matters'. (What is the plot causing them to think and feel like? And what do they want to do to fix things?)
'And So?' is usually a decision that effects the plot moving forward. You can also just have a change in perception. Just something new to give the scene meaning.
Whoopdedoo so I'll do a quick overview of kishotenketsu, and then I'll list my resources if you want to do any further digging. My advice in general is to make up your own methodology for writing, and figure out what works best for you.
Kishotenketsu:
Ki - introduction: introduce the characters, their world, where they are at, what matters to them, and most importantly - their internal conflict/what aspect of your concept they represent.
Sho - development: The plot develops toward the twist later. You can use the scene cards for this part, it should have some cause and effect and it should develop and explore the character's internal world.
Ten - twist: this is where an obstacle occurs. Bonus points if it relates to the fear/desire. The character now has to change their perspective and deal with the aftermath of the twist.
Ketsu: I forget what this stands for - the aftermath. How do they deal with the effects of the twist?
Okie dokie fellow storytellers! Now go forth! And Remember! I SPENT WAY TO LONG WRITING THIS IT"S SO LONG WTFUDSICLE ICEPOPS IS THIS LENGTH IT"S TOO LONG
Resources:
Books: Story Genius (where I got the scene card from.)
Videos on kishotenketsu: First one. Second one.
Someone rewrote twilight and it was so helpful for my writing
And... funny story... my brother got viruses on his computer and now I can't pirate anime see 'restricted videos' on youtube because of ristricted mode.
So the Hannah person that rewrote Twilight? Search for 'physic distance' Very helpful.
Also look up. 'Zoe Bee poetry.' the basics of poetry are extremely helpful.
Things you should watch (the gifs)
Rise of the Teenage mutant ninja turtles
The promised neverland
Your Name
A silent Voice
Hilda
Avatar: the last airbender
Wolfwalkers
Song of the Sea
Amphibia
The Girl from the other side
Haikyuu (how did something get me to like a sport this is insanity)
Good Omens (I can't actually watch it because homophobic parents but I've seen all the clip compilations.)
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An Evening with Neil
I had the absolute pleasure to spend the evening with some of the loveliest people while we listened to @neil-gaiman talk. The sense of community and helpfulness was remarkable. The Venice Performing Arts Center must have been near capacity.
The sort of plan was to answer audience questions and read from various works. Pictures at the end! Here’s how it went:
- What was the best piece of writing advice you’ve ever received? Read your contracts! Everything is open for negotiation, even the date at the top of the contract.
- How do you deal with criticism? Very badly 🤣
- READING: A Calendar of Tales: October (which just so happens to be one of my favorites.)
- Have you ever finished writing something and thought “this is special?” All of it! But yes, American Gods and Ocean at the End of the Lane felt different.
- Did you have the Sandman story arc completely planned out or did you wing it? Yes and yes.
- MY QUESTION!! First off, happy birthday! Can you offer some advice on when you feel you’ve done enough research to write on a topic vs getting sidelined by doing too much research? I have a lot of natural curiosity but it can work against me at times. I loved this answer and thank Neil again and again for giving it time.
- READING: Making A Chair (Poem)
- Who is your favorite Doctor? Patrick Troughton
- How do you keep going after criticism? “Try rejecting this!” And “Stop writing shit. Just write the good stuff.”
- Who are your favorite authors? Diana Wynne Jones, Ursula Le Guin, Peter Straub, Gene Wolfe, Dickens, Austen
- Did you ever have a book soundtrack to write to? Yes, all of them had soundtracks!
- READING: Watching From the Shadows (Poem)
- Have you ever dealt with imposter syndrome? Classic Neil/Neil story!
Waiting at the front of the line
Canvas totes they handed out
My signed book haul!
Neil, being authorly
My little drawing of Hazel’s tree (you can rake the leaves)
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