#nanowrimo help

[starcrossedxwriter]

Ok. My fellow writers. I need HELP.

NaNoWriMo is not going well lol but I know why and just need help getting over a hump.

Basically for 3 years, I’ve been trying to write a novel. I had one idea that I wrote like 100+ pages for but there were some plot flaws and holes I’ve been trying to work through in between breaks and lack of creativity and focusing on my fanfics, etc. We’ll call this storyline #1.

BUT THEN… I had a high thought in the shower that blew my mind and I can’t get rid of that is like more fantasy focused - like a whole different world building/creation. Let’s call that storyline #2.

So for NaNoWriMo, I tried to a Frankenstein combo thing to bring them together to satisfy the story I’ve worked on for three years while exploring this new idea - storyline #3. And I’m making no progress cause that isn’t quite right?

So all that to say… has this happened to anyone else lol maybe not with a novel but with just stories in general and how do you work through it? Like how do you force yourself to commit to one overall vision and world? I feel like I’ve never had this happen? Usually I have one specific idea and maybe alternate endings I need to decide on.

But right now, Im realizing I can’t write because I literally can’t pick an overall vision? I can’t tell if there’s a way to explore all of it cause they are close?? But different?? So I gotta take like 10 steps back to move forward which is fine. But like… how??? Lol any advice??

My fic universes are FAR easier 😭😂 lolol

#black writers #advice needed #help me #writer things #nanowrimo #NaNoWriMo help

[babysloth3]

can people who have done/ are doing NaNoWriMo tell me…what counts in the word counting…like if I write the blurb or rewrite something does that not count? Is it only words that haven’t been written down? Because technically someone could rewrite one chapter a bunch of times until they’ve “written 50,000” but also a lot of people are in the rewrite stage of their novel like me where they are going in for their second draft

#nanowrimo #nano 2023 #nano prep #nanoblock #nanowrimo 2023 #nanowrimo questions #nanowrimo help

[2soulscollide]

free resources to write a novel in 2024

hello hello! it's me, rach!

as the new year approaches, many of us set goals and resolutions - myself included. one of my goals for 2024 is to write a novel (I've been procrastinating on this for quite a long time now). i assume that some of you might have the same goal, that's why I'm writing this post today.

over 2023 i've been releasing some freebies for authors just like me, so I thought I could compile my favorites in this post. hope you find this useful :)

1) the writer's workbook

this workbook has over 60 exercises to help you develop characters, scenarios, etc. if you're ever stuck, I'm pretty sure this workbook will be your best friend.

2) author's corner (notion template)

this is the most downloaded freebie in my shop! it is a notion dashboard with everything you need to organize your writing and has some templates included (like scrivener)!!

3) another notion template

this one has two themes you can choose from: cottage-core and dark academia. they're very similar to the previous template, but this one is more recent and I added some new features. feel free to explore both and pick the one you like the most.

4) the author's journal

this is a cute printable with 20 pages that will help you stay on track and manage your social media accounts as a writer who shares their work online. you can also register what you're currently writing and your personal research and resources.

5) plan your book printable

this is a 6-page printable for you to fill out and plan your book easily and effectively.

6) excel sheet to organize tasks & word-count

this is a simple excel sheet, but it is very effective for keeping track of your tasks & word-count of your novels. also, it is 100% customizable to your liking!

that's all for now! feel free to explore my gumroad shop where I have plenty of freebies to grab! also, don't forget to subscribe so that you never miss any opportunity to get a goodie for free :)

hope this post was useful!

have a nice day,

rach

#writing resources #writing #writeblr #writer tips #writing advice #writing help #writing tips #poetsandwriters #resources #research #wattpad #nanowrimo #creative writing #writerscommunity #writers #writing inspiration #writing prompts #writing reference #writerslife #writersofinstagram #software #inspiration #writing inspo #for writing #for writers #for whoever needs it #writing research #researching #we love an useful post #useful

[novlr]

Vary your language with synonyms to use instead of "said"

While there is nothing wrong with the word "said" in and of itself, variety is the key to exciting writing that keeps readers engaged.

Combining action beats with varied synonyms as well as "said" yields the most interesting and varied results.

Here are some examples you can use in your next project to keep you writing varied:

Instead of "said quietly"

whispered

murmured

muttered

croaked

purred

hissed

crooned

breathed

buzzed

Instead of "said affectionately"

admired

gushed

praised

flattered

lauded

beamed

complimented

approved

exalted

Instead of "said sadly"

sobbed

cried

lamented

pleaded

wept

grieved

wailed

sniffled

bawled

Instead of "said angrily"

growled

fumed

demanded

hissed

scolded

mocked

yelled

bellowed

berated

Instead of "said fearfully"

stuttered

gasped

stammered

gulped

cautioned

screamed

wavered

croaked

blanched

Instead of "said excitedly"

cheered

sang

beamed

rejoiced

hailed

exclaimed

celebrated

exulted

blurted

Instead of "said uncertainly"

inquired

hesitated

balked

deferred

speculated

floundered

pondered

wavered

vacillated

Neutral synonyms to use instead of "said"

voiced

expressed

insisted

noted

uttered

continued

replied

went on

began

#nanowrimo #writing tips #writing advice #writing help #novlr #synonyms #writing dialogue #writers #writing #creative writing #creative writers #creative inspiration #writing resources #writing community #authors #writing fiction #writing books #writeblr

[clarislam]

NaNoWriMo Advice/Resource List

Though I am not participating in NaNoWriMo this year, I know that many of you fellow writers and readers might be doing so! 

Linked below are blog posts I’ve written about my past NaNo-related experiences, and I hope that by sharing these, they will be of use to you! Happy writing, and good luck achieving your NaNoWriMo goals!

Things I learned in Camp NaNoWriMo July 2020

Camp NaNoWriMo April 2020: My journey, and what I learned while writing.

I Won NaNoWriMo 2021!

#nanowrimo #nanowrimo help #writing help #writeblr #nanowrimo resources #nanowrimo 2022 #nanowrimo blog post #nanowrimo post #claris speaks #writing resources

[projecttreehouse]

how to write convincing dialogue

did you know that show, not tell applies to dialogue, too? while dialogue can be used to further your narrative, it can also be used to showcase your characters. here's how:

-what is your character hiding? most people don't say things at face value. they hide what they mean within their words and tone, but in writing, you can't verbally hear the character's tone. ways to convey non-verbal tone include: contradictions between words and actions, context behind the words (ie. the scenario, character's actions and feelings), syntax (ie. fragments, repetition, awkward phrasing). also consider who the character is hiding information from: is it the reader? the characters? both?

-favorite words or phrases. does your character use a certain phrase or word a lot? do they often put their prepositions at the beginning or the end of the sentence? these are questions to ask when you're arranging the syntax of the dialogue. everyone has a specific way of talking. make sure you give each character a distinguishable voice.

-personality. this is how you can create a distinguishable voice. is your character confident? are they shy or hesitant? do they repeat the phases of others because they have nothing to add to the conversation? are they confrontational or do they beat around the bush? ask questions like these. if your character is confident, they may make bold statements and appear sure of themselves unlike shy characters who use words such as "maybe" or "should" or "think." to boil it down, think active wordage versus passive.

-observe others. don't look solely at television or other books. sit at your local coffee shop and listen in on conversations, then try and break it down. are they hiding anything? do they frequently use any words or phrases? how would you describe their personality? the better you get at breaking down conversations, the better you can create convincing ones, whether shallow, deep, or as a narrative device, because even if you use your dialogue to move your narrative along, it should still be compulsively convincing.

one way to tell if you've ticked all these boxes is if you can tell who is speaking without any tags.

happy writing! if you have any questions about how to implement any of these tips, our ask box is always open.

#writers on tumblr #writing #writeblr #dialogue #writing tips #writing advice #writers of tumblr #writing help #writing resources #nanowrimo #novel writing #story writing #screenplay #creative writing #writers #writing tools #write it #books and novels #fiction

[theskeletonprior]

I am neither doing NaNo nor skipping NaNo, but a secret third thing...

#nanowrimo #1k send help

[sleepanonymous]

#sleep token #vessel sleep token #vessel #photography #song alkaline #more of the photos taken at the alkaline mv filming location #because this idea of vessel living in a derelict jacobean manor has consumed me #why am i like this #i hate it #im tired #i've already plotted this entire fanfic out #send help #good thing nanowrimo is just around the corner #said nobody ever

[scifrey]

Lots of talk happening on Social Media lately about Trade Pub vs. Indie Pub vs. Selfpub (not that one is better than the other, just the advantages or disadvantages of whichever route you pick.)

So, I thought I'd share this again.

This is how a book goes from a manuscript to a published product, regardless of which type of publishing you do.

Note that if you have an agent or publisher, everything from "Submissions" downward, you will have support teams for (editors, proofreaders, marketing teams). Unless it's Indie/Small Press, in which case, much like querying, the submissions process is on you.

But if you selfpub, you have to do that all on your own (unless, like me, you hire cover artists, proofreaders, typesetters, etc.)

I've got some more information about Pitch Packages for Query/Submissions here, and lots more articles about the business and craft of writing here.

#words for writers #about writing #writing mentor #writing help #writing how to #writing #writer #querying #creative writing #nanowrimo #author #writing community #writing blog

[unmellowyellowfellow]

please write how you like to write.

the first time i ever showed my story in progress to someone, it was all in lowercase. immediately, i was called on it.

"why's it in lowercase?" they ask. well, because i like it that way. "but it isn't correct." poets do it all the time. "but you're not a poet."

and instantly i went through and changed all the english and capitalization in my story and no longer enjoy writing it because this isn't how i wanted the story to be told. and often i think, if people enjoy reading it how the poets do it, why wouldn't they enjoy it when i did it?

so write how you like to write. all caps or no caps, add those commas, put as many periods as you like. write numbers (100) instead of numbers (one hundred), put authors notes in the middle of the paragraphs, and add limitless footnotes about silly things. start your sentences with 'and', or, 'or'.

break the fourth wall (page? cover) and address the reader, and parentheses and make jokes about your characters, be dramatic or be calm. describe every little detail about the window shades and the dust that collected on the sills over the years, or just simply say there was a house on the corner.

writing is about making your own rules and making the "laws" work for you and your stories.

someone out there will like it and appreciate it. someone out there will understand why you wanted the story told how you tell it. no one can tell your story better than you do in your own special ways.

so please, write how you like to write.

#originally posted by me on my old account #writing positivity #writing help #storytelling #writing #poetry #artists on tumblr #authors #booklr #writblr #writeblr #writing memes #writers block #nanowrimo 2023 #currently writing #poems on tumblr #female writers #writers on tumblr #positivity #writing advice #au #fantasy #litfic #fanfic #catherynne m valente #amanda lovelace #john green #rick riordan #original writing #zoey says shit

[cel-writes-stuff]

Writing Tip #21

Every character is the main character of their own story. Write a scene from their perspective to flesh them out if needed.

{I’m posting a writing tip every day of NaNoWriMo}

#writing #writer #nanowrimo #author #novel #camp nanowrimo #draft #drafting #tips #writer things #reading #amwriting #writing things #fantasy #writing help #writing tips #book #nanowrimotips #nanowrimotip #reader

[em-dash-press]

6 NaNoWriMo Strategies Every Creative Writer Could Use

Are you joining the National Novel Writing Month competition this year? You’ll have a better experience if you start November with a plan in place. Use these NaNoWriMo strategies to understand what you want from your upcoming month of writing.

1. Set Your Word Count Early

We’ve all been there. We sit down to write and no matter how much we get done, it doesn’t feel like enough. It’s a shared frustration in the creative writing community and it can really hold you back from your NaNoWriMo potential.

Decide on your word count before the month begins. You’ll know what goal to aim for while you’re writing and when you can feel good about your progress. (All progress is good progress, but the 50,000-word NaNoWriMo goal is more manageable with small goal posts.)

These are examples of some word counts you might enjoy. You can always reset them as November continues if you feel like they’re unsustainable or less than you can accomplish:

To reach 50,000 words by November 30: 12,500 words per week or 1,667 per day

To reach 25,000 words by November 30: 6,250 words per week or 834 per day

To reach 10,000 words by November 30: 2,500 words per week or 334 per day

Tip: Find your word count with these formulas: [Total Word Count] divided by [# of weeks or # of days in November] Optional formulas: [Total Word Count] divided by [# of days you’ll have time to write] [Total Word Count] divided by [# of hours you’ll have time to write]

2. Outline Your Month With Writing Goals

Imagine that you need to buy a car. The car of your dreams is worth $30,000, but your desire to buy it won’t make $30,000 appear in your bank account. You have to work and set aside portions of your paycheck each time you get them.

Incremental progress leads to big goals, as long as you stick with them.

They’re also easier to accomplish if they’re specific.

Take some inspiration from SMART goals. They’re Specific, Measurable, Achievable, Relevant, and Time-Bound. You can make one of your own for NaNoWriMo to make it easier.

Here’s an example:

Not a SMART Goal: I’m going to write a novel in November.

A SMART Goal: I’m going to write 50,000 words by the end of November by writing 1,667 words each day.

A SMARTer Goal:  I’m going to write 50,000 words by the end of November by writing 1,667 words each day. To do that, I’ll write for at least 2 hours every evening from 8:00 p.m. to 10:00 p.m.

A specific goal outlines exactly when you’ll write, how much you’ll write, and when you know you’re done writing. It paves the way to your success, especially under a short time frame like NaNoWriMo.

3. Schedule Your Writing Time

Take control of your time this November by scheduling your writing time. Get a calendar if you don’t already use one and write down everything you need to do that month that isn’t about creative writing. Your calendar will probably look like this:

Class periods

Work hours

Extracurricular commitments

Time saved for friends

Time spent sleeping

Time reserved for holiday plans (if you have any)

When your calendar has everything that would happen during November without NaNoWriMo, see what time slots are left for your creative writing.

It may seem a bit over-the-top to schedule a creative session down to the minute, but it’s more helpful than winging your progress. You’ll know exactly what’s the best time to write each day, which likely won’t be the same for all 30 days in November.

Your calendar will also make it easier to make plans. If you know you’re free from 6-7:30 p.m. on a Saturday and your writing time starts at 8:00 p.m., you can feel free to make plans with friends during that time. You won’t spend NaNoWriMo feeling like you have to push your regular life away just to participate in the novel writing event.

4. Save Time for Self-Care

Even the most well-planned and scheduled writing goals will zap your mental energy. You’ll keep up with your goals more easily if self-care habits restore your body and mind.

Consider activities like these make you feel relaxed and refreshed:

Walking

Baking

Coloring

Reading

Knitting

Journaling

The best activity will be something that’s low-energy, within your budget, easy within your available time frame, and aligned with your individual interests. If you don’t have any self-care ideas in mind, explore a few before November starts. A new hobby or even sitting in a warm bath may help boost your mental health so you’re ready to get back to writing the next day.

5. Give Yourself Grace

When you feel ready to go with NaNoWriMo tips and a schedule, take a deep breath. If you meet your goals, great! If not, that’s great too.

NaNoWriMo isn’t about finishing a novel. It’s about learning how you write best and boosting your confidence.

Sometimes, we learn about ourselves through failure. You might not meet your writing goal every day. You may not even finish your overall goal. If that happens, reflect on what kept you from reaching that finish line.

You might spot a tendency to procrastinate that you can work on. Maybe you set an overly ambitious goal and need to practice setting realistic goals for yourself.

The things you learn from your upcoming NaNoWriMo experience will help your creative life and your personal life, but only if you give yourself the grace to learn from them.

Try being flexible if you don’t hit your word counts. The day you aren’t able to write 500 words could come the day or week before you write 1,000.

Never forget to reflect on why something happened. Introspective work is challenging, but it’s the best way to grow. Let yourself flourish next month as a person and a writer.

6. Celebrate Your Wins

Every win is worth celebrating. Maybe you want to write 10,000 words in November and only write 1,000. That’s 1,000 words you thought about, felt, and put on paper. Incredible!

If you don’t meet a single goal, you still got to practice setting them! And you’re going to learn from your mistakes, which is one of the best life skills to have.

Daydream about what celebrating means to you and plan a few ideas throughout the month. Don’t wait until November 30 to pat yourself on the back. Celebrate by doing whatever makes you happy, like:

Going out for an ice cream cone

Getting a new incense stick for your next writing session

Picking up a new book from the library

Sleeping in an extra half hour on Saturday

Walking through a home goods store just to marvel at things

Singing your favorite song at the top of your lungs in the shower

-----

Keep these NanoWriMo tips in mind while you prepare to join the competition this year. You’ll have a much better time when you understand how to use each hour to your advantage while caring for your mental health.

If you like what you see, please consider using the tip feature on my posts! I run this site for free, but will always appreciate the financial support. 💙

#nanowrimo #nanowrimo 2023 #nanowrimo resources #nanowrimo tips #writer's block #writeblr #writing tips #writers of tumblr #writing #creative writing #writing inspiration #writing community #writing help #writing advice #writing resources #writer things #writers life #writers block #writers on tumblr #writerscommunity #resources #free resources #creative writing resources #self care #self care for writers

[2soulscollide]

my favorite free tools for writers

hello, hello! hope you're doing well.

today i am bringing you another list with my top 3 favorite (free!) tools that I find helpful for each phase of writing a novel.

brainstorming phase

Fantasy Names Generator - not only for fantasy (you can also generate real names). this website is just... amazing! it helps you come up with names for characters, places and locations, descriptions, generate traits, outfits (yes, outfits!!), and probably something else you could ever think of.

The Story's Hack - this one is so cool! you can generate names for everything, create your own generator, and practice writing through writing exercises! plus, you can save your generated names to see later, and you earn coins for each idea generated (you can later buy themes - dark, snow, forest, etc)

RanGen - my last favorite generator on this list is RanGen! you can generate plots, appearances, archetypes, love interests, cities, worlds, items, and more.

developing the idea phase

Bryn Donovan - in this blog you can find master lists under the tag "master lists for writers". it is so helpful when you first start developing the characters and need to find the right words to describe them and to find some quirks and flaws!

Writers Write (350 character traits) - again, this is so helpful!

Story Planner - ah, the number of times I've talked about this website... please, PLEASE take a look at it, you won't regret it. this website has literally everything you need to fully develop your idea with outlines for you to fill in step by step.

writing phase

Colleen Houck (80+ barriers to love) - need more romace conflict? there you go!

Cheat Sheets for Writing Body Language - so, you know how your character's feeling, but don't know how he'd physically act? check out this list!

Describing Words - honestly, this is a lifesaver. don't you struggle to find the right word to describe something? well, with this website all you have to do is to type the object you're trying to describe and see which description fits better to you!

revising phase

Language Tool for Google Docs - i know we all have heard about google docs before, but the truth is, it's almost impossible to find free softwares to check grammar and spelling. so, google docs is useful, because it automatically revises it for us, and it's completely free. plus, you can add adds-on, such as "language tool".

Unfortunately, there's only one (free) tool that I actually enjoy for the revising phase. if you know some others, please let me know so that I can try them out and feature in this list.

exporting phase

Google Docs - i find google docs very easy to format and export to .epub, so i'd recommend using it as a free tool.

Reedsy - this is also a free tool available online. all you have to do is to write down each chapter (copy and paste) or import your word document. it will format the document to your liking and export it to pdf, epub and mobi.

that's everything for now! i hope this post was somehow helpful or inspiring!

if you want to see more master lists full of resources, check these:

WEBSITES FOR WRITERS {masterpost}

BEST accounts to follow as a writer

BEST SITES & SOFTWARES TO WRITE FICTION

DIALOGUE IDEAS TO GET RID OF THAT WRITING BLOCK (masterpost)

Useful Resources & Tips for Writers

also, if you are a notion lover just like me, check the free template I just released with everything you need to develop and write your novel!

thank you so much for reading! hope to see you around, and have a nice day <3

#writing resources #writing #writeblr #writer tips #writing advice #writing help #writing tips #poetsandwriters #resources #research #wattpad #nanowrimo #creative writing #writerscommunity #writers #writing inspiration #writing prompts #writing reference #writerslife #writersofinstagram #software #inspiration #writing inspo #for writing #for writers #for whoever needs it #writing research #researching #we love an useful post #useful

[novlr]

Three tricks to avoid plot armour

Plot armour can be difficult to avoid. We get so attached to our characters that hurting them in any way feels like a betrayal.

But plot armour is detrimental to any good narrative. Having your characters avoid harm, whether that be emotional or physical, means that there aren't any stakes. And without stakes, it's difficult for readers to invest.

There are three simple things you can use to avoid plot armour:

🔵 Injury 🔵 Sacrifice 🔵 Consequence

In every conflict, make sure the resolution contains at least one of these things.

If you don't want to injure your characters, make sure that they sacrifice something, whether that be someone, or an object. If they don't sacrifice anything, make sure there is a consequence. That consequence can be a loss, an emotional wound, or simply a blow to their reputation. The important thing is that your character doesn't remain unscathed by their experience, and they walk out somehow changed.

#nanowrimo #writers #creative writing #writing #writing community #writers of tumblr #creative writers #writing inspiration #writeblr #writerblr #writing tips #writblr #writers corner #plot armor #writing plot #plot bunny #writing resources #quick tips #writing quick tips #writing help #helping writers #help for writers #learn to write #advice for authors #writing advice #writing tips and tricks #story inspiration #let's write #how to write #writers on tumblr

[septembercfawkes]

Turning Relationship Arcs into Plotlines

Most stories will feature a relationship arc as a key plotline. But in order for a relationship to be a plotline, it not only needs an arc, it needs a plot. 

Showcasing an amusing friendship or a fiery rivalry, or throwing in a love triangle or family feud here and there doesn't make it a plotline any more than having an entertaining protagonist doing random things makes a plotline.

You can have ideas for a riveting relationship, but if it isn't arcing because of the story, it's probably just cleverly disguised "plot" filler.

We usually don't want a protagonist without an arc doing random things. That's not really the protagonist's story.

The same is true with relationships.

Now, real quick, not all relationships in a story will need a plot--that would be near impossible, overdramatic, and would read as soap opera.

This is one of the reasons why there is a difference between a relationship arc and a relationship plotline. 

Recently I did an article on the four basic relationship arcs. For convenience here is a quick recap:

Positive Change Relationship Arc: 

The characters start distant--they may be strangers or downright enemies--and grow closer in love and respect. Ex. Elizabeth and Mr. Darcy, Mulder and Scully, Sulley and Boo

Positive Steadfast Relationship Arc:

The characters start close--already having some love and respect for each other--and have their relationship tested through the obstacles of the plot. Ultimately, they stand by one another at the end; often their love and respect grow by degree. Ex. Frodo and Sam, Harry and Dumbledore (in book 7), Peter Parker and Mary Jane (depending on the rendition)

Negative Change Relationship Arc:

The characters start close with love and respect and are ultimately pulled apart and become distant, as strangers or enemies. They grow in dislike or disrespect for each other. Ex. Anakin and Obi-wan (in Revenge of the Sith), Mike and Will (Stranger Things seasons 1 - 4), Katniss and Gale (in The Hunger Games).

Negative Steadfast Relationship Arc:

The characters start distant--as strangers or enemies--and might be pushed together through the plot, but ultimately won't stand by one another at the end. In the end, they are strangers or enemies. Often their dislike and disrespect will grow by degree. Ex. Winston and Julia in 1984, Angier and Borden in The Prestige, Estella and the Baronness in Cruella

These are just basic relationship arcs and there is room for variations, so don't panic if yours doesn't fit any description perfectly. However, it should, more or less, be able to fit into one of them, which can be useful to get started.

Now we need to take some time to address plotlines, because how much you develop your relationship plotline will depend on how prominent it is. And the more prominent, the more it needs to be on the page. So hang with me as we cover some bases.

Relationship Plots for A Stories, B Stories, C Stories & More

Usually a relationship plotline is a key plotline, but where it fits in priority isn't the same for every story or even every genre. 

Most stories, specifically long stories (a novel as opposed to a short story), will have at least three kinds of plotlines. The most popular combo is this: the protagonist's external journey, the protagonist's internal journey, and the protagonist's relationship journey (with the Influence Character). This is a great combo, because it has a broad conflict (the external journey), a deeply personal conflict (the internal journey), and something that fits between those (the relationship journey)--giving the story clear dimension.

However, with that said, you can create other combos as well. For example, sometimes there is a world/society plotline, and no internal journey. So while a relationship plotline is key to most stories, I'm not gonna say it's key for every single story (despite what some say in the community).

If you are reading this article, you obviously want to learn more about writing relationship plotlines. At this point, it's a good idea for us to take our usual pit stop and talk a little bit about terminology in the writing industry.

Some in the industry actually lump together the protagonist's internal and external journey and call the weave the "A Story," or the primary plot. 

With this in mind, often the relationship plotline is considered the "B Story, " meaning it's the secondary plot that unfolds, more or less, alongside the A Story.

Some people in the community use the term "B Story" synonymously with "relationship plotline." In truth, not all B Stories are relationship plotlines, and not all relationship plotlines are B Stories. That's just what is most common.

In some narratives, the relationship journey is the A Story--the main plotline. This happens when the story is primarily about a relationship. The most obvious examples of this would come from the romance genre. Pride and Prejudice is primarily about Elizabeth and Mr. Darcy's relationship journey. 

But this doesn't mean you have to write a romance novel to write a relationship A Story. In The Prestige, the whole story is driven by Angier and Borden trying to undo or outdo each other. The A Story is a relationship plotline about a negative relationship.

So there are a lot of options in regard to plotlines.

But whether the relationship journey is the A Story, B Story, C Story, or what have you, it still needs to have an arc and plot to be a Story. It's just that the less prominent the plotline, the less you need to develop it and show it on the page.

In contrast to a romance, The X-Files is more about the external journey and the internal journeys of each of the leads, than it is about Mulder and Scully's relationship. That doesn't mean their relationship journey isn't impactful (far from it). But less of that plotline makes up screen time . . . with the relationship arc stretched out over nearly a decade. If it had been the A Story, it wouldn't have been The X-Files, and it wouldn't have survived as perhaps the slowest burn in television.

Whether your characters' relationship journey is the A Story, B Story, C Story, or what have you, that's ultimately what we want: something impactful.

So let's dig into plot. . . .

Some of the problems that can come up with relationship plotlines stem from the writer not understanding that even though this journey appears quite different than the external or internal journeys, it still follows basic principles.

But if you don't write romance, this may be difficult to wrap your head around . . . because there are almost no resources to teach you how to do it! 

People will mention relationship plotlines, but they'll be vague or general about it--or say it has to be a romance or that it must be a positive change relationship arc. It doesn't. But for this reason, this plotline has often felt vague to me, personally. If I'm not writing romance--what am I supposed to be doing here? And how?

Let's start with the basics and feed the relationship journey into them.

I already did a long and lengthy series on the principles of plot, so I won't be repeating the details of each element (nor will I be going through every element for this). This means if you are confused or need more information, you should look through the series, starting here.

Keep your relationship arc in mind as we go through the pieces, and soon it will become clearer and clearer how to write a relationship plot.

The Goal in Relationship Plots

Plot starts with a goal. This is because a goal provides context for plot. Until there is a goal, what happens doesn't really matter, since no one is trying to get anywhere. And the audience can't measure whether what happens is progress or a setback.

We know characters should have external, measurable goals. And even if they have abstract wants, they should manifest in concrete goals.

Not all characters keep the same goals for the whole story. In fact, some characters will have a different goal for each act (I'm looking at you, Star Wars IV: A New Hope). And some will have both an overarching goal and act-level goals inside it.

This can be applied to relationship plotlines. In fact, it's highly likely the relationship goal will change through the story (and often on the act level).

At the most basic, abstract level, there are only three goals your characters can have in a relationship, and they may not be the same as the other person's.

The 3 Basic Relationship Goals:

1. Draw closer and/or get along with this person 2. Push away and/or cause dysfunction with this person 3. Maintain the relationship as is

Worth noting is that the last one will likely turn into one of the other two, because something will disrupt "normal," and the character will either be trying to draw closer or push away in order to get "normal" back.

At this point, some of you may already be confused. My characters want to get along to get the plot goal, but they also hate each other and want to push each other away! you may be thinking.

Don't panic.

The relationship plotline is usually intimately woven with the external and internal plotlines. 

Remember what I said earlier? It fits below the external plotline and above the internal plotline.

This means what happens externally will trickle down and complicate the relationship, while what happens internally will bubble up and complicate the relationship.

This is one of the reasons the relationship plotline can feel tricky and vague, especially if it's not the A Story.

Just focus on the relationship itself. Does the character want to draw closer to this person? Or does she want to be distant from this person? Or does she want to keep things the way they already are?

Relationship Goal Examples (Basic):

Elizabeth judges Mr. Darcy unfavorably--she wants to be distant from him through more than half the book. Scully wants to get to know Mulder, despite his poor reputation in the FBI. Sulley is afraid of Boo. He wants to send her away from him and Monstropolis. Sam wants to follow, be near, and support Frodo. Peter wants to be in a relationship with Mary Jane. Will hopes to maintain a close bond with Mike . . . and maybe draw even closer. While attracted to Julia, Winston thinks she's a spy and hates her (this one is a little more complicated, and that's okay). Estella wants to work for and be like the Baroness.

Notice that the other person in the relationship may not have the same want. . . .

Mr. Darcy falls for and wants to marry Elizabeth. Frodo doesn't want Sam to bear his burdens, so tries to create distance. Mike isn't interested in maintaining a relationship with Will and is blind to Will's efforts (also a little more complicated) Julia wants to be involved with Winston (which changes his relationship goal).

And sometimes the participants do have the same wants. . . .

Mary Jane wants to be close to Peter. Despite being suspicious Scully is there to spy on him, Mulder is ultimately fine with opening up to her--after all, his purpose in life is to reveal the truth. Angier and Borden are trying to push the other further away by outdoing each other and creating more dysfunction. Gale and Katniss would prefer to be close (though at some parts, Katniss is only interested in maintenance)

As you can already see at the basic level, things aren't always simple, and again, wants can change, but we are just getting some basics down to build from.

You'll also notice that while the goals will play into how the relationship arcs on the page, they aren't determined by the relationship arc. Strangers can want to get close. Enemies may want to mend their ways. Friends may want to draw close or part ways. And each person may want something different.

The basic goals are the characters' desires. And the arc is what happens in reality.

Just as with external plotline goals, it's helpful if we get more concrete and specific. This will make the plotline stronger and allow the audience to better measure progress. So, consider, what does "success" in this relationship look like to the character? Darcy wedding Elizabeth? Boo being thrown back to where she came from? Mike accepting Will's gift and playing D&D with him? Winston and Julia having a secret rendezvous? Keeping Sam away from the Ring? Angier besting Borden in magic? Scully making sure Mulder makes it back in one piece to D.C. (and vice versa)?

It's important to realize that what success looks like may be influenced by the external and/or internal journeys. The external journey informs Scully what success in her relationship with Mulder looks like. It determines what Sulley's goal is for Boo. The internal journey informs Will what success looks like with Mike. It determines why Frodo wants to keep Sam away from the Ring.

So, look at each participant in the relationship--do they want to grow closer or apart? (Or maintain?) What does "success" look like in this relationship, to each participant?

The Antagonistic Force in Relationship Plots

The antagonistic force is a form of opposition. I emphasize "opposition" because the antagonistic force is something in the way of the goal. 

We know what the characters want. And we know what success looks like. 

What is keeping the characters from simply getting that? (Or, in some cases, maintaining that?)

That's the antagonistic force. And just like the goal, it doesn't need to be one thing, and it doesn't need to be the same thing throughout the whole relationship plotline. If you think of the antagonistic force as the obstacle in the way of or resistance to getting the goal, you'll have both a broader and more accurate understanding of what an antagonistic force really is. Or likely, forces. 

For relationships, the antagonistic forces can come from several places.

The 3 Sources for Relationship Antagonists:

1. External: What's happening externally may trickle down and get in the way of the relationship goal. For example, two characters may wish to live their lives separately (or may even be enemies), but external circumstances force them together. This is common in the enemies to friends/lovers arc. In these situations, often there is a shared external plotline goal that the characters have to work together to achieve.

In contrast, you may have two characters who want to be close, but external forces are pulling them apart. In 1984, Winston and Julia want to be together in Acts II and III, but the Party wants them separated. You can see a similar thing in Romeo & Juliet.

And just as a note, even if the characters have different relationship goals, you can still have external antagonistic forces--it just gets a little more complex.

2. Within the Relationship: Antagonistic forces may come from the relationship itself. The characters may have opposing goals or methodologies or worldviews or mannerisms that clash.

Sam wants to be near Frodo. But Frodo tries to lose Sam. (Opposing goals.) Sam wants to ditch Smeagol, but Frodo wants to use him as a guide. (Opposing methods.) Untempted by and unexperienced with the Ring, Sam doesn't share compassion for Smeagol. Frodo, who suffers from both, pities him. (Opposing worldviews.)

Neither character is necessarily "good" or "bad" (though you can do that if you want). They're just different, and this creates obstacles. 

It's usually very common for the protagonist and Influence Character to have opposing methodologies.

3. Internal: One or both participants may have internal struggles, flaws, or misbeliefs that bubble up into the relationship plotline. 

In Sherlock, Sherlock's inability to be socially sensitive causes problems in all of his relationships. In Pride and Prejudice, it's pride and prejudice that often cause problems. Frodo's personal struggle with the Ring creates friction with Sam.

One familiar trope is that one character feels undeserving or unworthy of the other character, because of how he views himself--Edward does this sort of thing in Twilight.

Weaving All Three

Remember, just as the external and internal journeys influence each other, so do they influence the relationship plotline. When we weave three different plotlines, it can get complicated. Or perhaps more accurately said, complex. 

For example, in The Hunger Games, one may argue that the antagonistic forces that ultimately drive Katniss and Gale apart come from all three places. The external plotline pulls them apart by not only creating literal distance, but emotional distance, as Katniss has to leave District 12 and pretend to be in love with Peeta. 

Their relationship pulls them apart because they have different worldviews and methodologies. Gale wants to incite a revolution and overthrow the Capitol, whatever the cost. Katniss wants to survive and keep her loved ones safe. 

In the internal sense, Katniss has so much going on inside her, that she doesn't have the time or wherewithal to focus on her relationship with Gale. And Gale is moving closer and closer to the anti-theme.

With that said, please don't give yourself "paralysis by analysis." You don't need to overthink the relationship plotline. The point is that you need antagonistic forces to create a relationship plotline. Those forces can come from any of those three places, or a combination of them. So if you need more (or don't have any), those are the areas to go looking. This can be especially helpful when both participants want the same "success" for the relationship--you'll need to look at external or internal obstacles.

It's Complicated

Certain setups are more complex, or at least more uncommon, than others. And I just want to acknowledge and illustrate that, so we don't get stuck thinking everything in writing needs to fit a specific mold.

In The Prestige, the A Story is a negative arc relationship between Angier and Borden. They don't want to be pals. Angier's goal is to undo Borden and best him in magic. This is informed by Angier's internal journey of obsessive revenge (also a negative arc). But Borden is also the antagonist--because he doesn't want to be undone and have his life ruined, and so fights back. They are the main obstacles for each other.

This is an atypical situation, but you'll see it has the same parts: a relationship goal and an antagonist, and of course, a relationship arc.

As Brandon Sanderson likes to say, as writers, we want to be chefs, not cooks. We want to understand the parts, and be able to arrange them in different ways to create the story we want--not follow the same recipe every time. The Prestige is a great example of that, in regard to relationship plotlines.

The Relationship Antagonist Simplified

For most stories, the antagonist will work like this:

If the character wants to draw closer, the antagonistic force is what's keeping them apart. If the character wants to grow apart, the antagonistic force is what's pushing them closer. If the character wants to maintain, then the antagonistic force is what's disrupting normal. * Sometimes the antagonistic force is the other person in the relationship.

IMPORTANT: Beware of Weak Antagonistic Forces!

We've all seen relationship plotlines that made us roll our eyes, or worse, want to scratch out the writer's eyes. This is most obvious in sequels. It usually happens like this:

In the first installment, the writers create a positive change relationship arc, where the participants become best friends, found family, or significant others--and we all let out a satisfying sigh.

In the second installment, the writers don't know how else to arc a relationship, so they try to undo and redo what they already did.

It usually fails.

Other times the writers understand on some level they need to create a positive steadfast relationship arc, but don't know how to really do that, so they put together one that has about as much depth and emotion as a cardboard cut-out.

And finally, there is the relationship "plotline" that could be easily resolved by something that the characters seem too stupid to do, such as make a simple phone call.

These situations stem from the same problem: weak or unbelievable(derogatory) antagonistic forces.

If Sulley and Boo overcame all the adversity of Monsters Inc. and then we did a follow-up where they had an argument about bedtime, and we used that as a driving force to pull them apart (so we can push them back together again), it'd be stupid. The audience already watched them survive way worse. They know their bond is stronger than that.

Now, if the argument about bedtime was really subtext for deeper issues and those are going to be the driving force, and the issues are going to manifest in a lot of different ways, then maybe something like that would work.

Otherwise? The audience doesn't buy it.

The antagonist needs to be a real, powerful threat. If the characters already have a strong relationship that has been through the wringer, what could believably fray that? (And the answer can't be a simple misunderstanding.) It needs to be greater than what they've already overcome. Or, it needs to be different and just as difficult. Or, it needs to be long-lasting but still as significant. Look at the different places antagonistic forces can come from--that might help you find something you hadn't considered before. Or maybe, you need a combination of antagonistic forces to create a worthy threat. 

Often(like I touched on above), rather than think of one thing or one moment that is causing problems in the relationship, it's better to find something abstract that manifests in different concrete ways. For example, in Pride and Prejudice, both pride and prejudice are abstract concepts, but they manifest concretely in different ways throughout the story to create problems. The issue isn't so much that the ladies have no one to dance with, and that Mr. Darcy should be dancing with one. The real underlying issue is the pride Mr. Darcy seems to have.

Whatever the story, it's helpful to remember that the antagonistic force should be big enough to test the characters' commitments to the relationship goal (which will lead them to either change the goal or hold steadfast to it). This can be particularly important for positive steadfast relationships. Sulley and Boo arguing about bedtime isn't a "test." It's a disagreement.

The Conflict in Relationship Plots

The relationship goal and the antagonistic force lead to conflict. These characters hate each other and want to be apart, but the external antagonist locks them together. . . . and when they finally decide they want to be together, the external antagonist yanks them apart. Or maybe one person wants to draw close and the other wants to push away. Or maybe they both want to be together, but one is crippled by a sense of unworthiness.

There are a lot of directions you can go with this, but I think you get the idea.

There shouldn't be an easy, foreseeable way to fix these situations--because the antagonist should be a real threat (see above). So we get conflict.

The more the characters want the relationship goal and the stronger the antagonist, the bigger the struggle. And struggle is often what creates a powerful arc. As the characters face worthy opposition in conflict, we illustrate how bad they want the relationship goal. We confront them with difficult situations--choices--that require sacrifice of one kind or another. How devoted are they to their relationship goal? What costs are they willing to pay? Is he willing to risk drowning to follow Frodo? Is she willing to sacrifice her career reputation and give up personal dreams to get her FBI partner back safely? Is he willing to risk torture and brainwashing at the hands of the Party to be with Julia? 

How the characters choose to address the conflict will usually create the arc in the plotline. Ultimately, nothing stops Sam from helping Frodo--this leads to their positive relationship arc. We know, Sam is in it 100%. On the other hand, Katniss won't agree that sacrificing innocent people like Prim is worth a victory for the self, so she ends her relationship with Gale. This leads to their negative relationship arc. Notice, however, this doesn't mean Katniss is a "bad" person by any means. It simply illustrates that upholding the thematic argument means more to her than this relationship.

And never forget that other plotlines weave in. An external plotline victory may mean sacrificing a relationship goal. Or it may mean succeeding in the relationship enables success in the external goal. And internal victory may mean success or failure in a relationship goal. There are so many different combinations, I fear listing them may create more confusion rather than clarity. 

But just to show how this can be done in an atypical way, in The Prestige, the relationship goal is to undo, best, and push away the other magician, who is resisting and fighting back (as the antagonist). This leads to powerful conflict. What is the character willing to do to succeed? Angier is ultimately willing to frame his enemy, get him hanged, steal away his daughter, and kill "himself" a hundred times to possibly succeed in this negative relationship arc. But he fails in an internal way: He's so obsessed with revenge, so unwilling to change internally, that he failed as a human being and missed out on developing new meaningful relationships. (. . . and this all starts to bleed into the want vs. need concept . . . . and I think I'll save that for another day, in regards to relationships (I promised not to get confusing)).

The point is the conflict creates struggles that show what the characters are willing or unwilling to do for the relationship goal, and their choices will ultimately arc the relationship in the plotline.

The Consequences in Relationship Plots

In order for there to be a strong plotline, there need to be consequences to the conflicts' outcomes. Otherwise, it's just conflict for the sake of conflict.

Now, with that said, conflict for the sake of conflict can sometimes work in relationships for things like banter and disagreements. Those can be effective and fun, but remember, they aren't what make up a strong relationship plotline. Don't confuse banter or disagreements as the sum of a relationship plotline. It may be part of a plotline--the banter may stem from antagonistic forces within the relationship that the characters need to overcome--but it's not the plotline itself. In order to be part of the plotline, it needs to have significant consequences, like any good conflict should have.

Plot isn't just random stuff strung together. It has a sense of cause and effect.

So, what do the characters have to gain (and/or lose) in overcoming the conflict? What do they have to lose (and/or gain) in being overcome by the conflict?

If we are strictly focused on the relationship plotline, this may seem rather simple, as it is often the relationship or relationship goal itself. If Elizabeth overcomes the obstacles between her and Mr. Darcy, they can get married. If she doesn't, she won't be with the person she loves. If Sherlock and John can work through their differences and struggles, they can be best friends. If Katniss and Gale can't, they will become strangers. If Angier succeeds, he successfully punishes Borden.

But ideally, the consequences will bleed into other plotlines. If Harry's relationship with Dumbledore is ruined, Harry won't continue to hunt for Horcruxes. In Death Note, if Light succeeds in besting L, he can continue his plans of exacting justice and creating a new world, where he is the leader.

Commonly, the relationship characters need to work together to reach the external goal. In Moana, Moana and Maui ultimately need each other to right the world--neither can do it alone. Frodo and Sam's relationship needs to work to bring the Ring to Mount Doom. Mulder can't succeed in uncovering the truth of government conspiracy and experimentation without Scully by his side.

And of course, it can bleed into the internal plotline. Once Winston betrays Julia, it means that the Party has successfully brainwashed him--he is no longer a free-thinker but part of mass psychosis. 

Not only will the relationship likely affect the consequences of other plotlines, but the other plotlines will likely bring consequences into the relationship.

Just make sure the consequences are there, and that they are significant. They need to be important enough to shift the direction of the story. This will help the audience know why this relationship matters. And as a reminder . . .

Stakes = potential consequences (projecting cause and effect into the future)

Ramifications = actual consequences

Conflict in relationships without any outcomes isn't really a story.

A relationship plotline is meant to be a Story. 

We'll delve more into relationship plots next time.

Related Articles

The 4 Basic Types of Relationship Arcs

The Primary Principles of Plot: Goal, Antagonist, Conflict, Consequences

Writing the Influence Character

What is a B Story? 6 Key Qualities of B Stories

Writing Relationships Readers can't Resist

How Plotlines Add Dimension

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how to write relatable characters

writing relatable characters may seem like an easy task, especially when you’re constructing your protagonist. but what if you want to make your antagonist likeable? what if you want people to hate your protagonist but still root for them? all of this and more requires that your characters be relatable. they need to feel real, so how do you do that? here’s how:

- flaws: this is probably obvious. everyone has flaws, so we should give our characters flaws, too. this applies even if your character is non-human; they cannot escape the personification that we as writers or readers project onto them. we are humans reading, so we expect to see human qualities everywhere we look. if you’re having trouble of identifying your character’s flaws, here are some prompts for ways to think about flaws beyond a list:

what skills do they lack? what do they struggle with?

can their strengths be turned against them as a weakness?

what makes them react emotionally or impulsively?

are they aware of their flaws? if so, do they want to improve them or change them?

- quirks: these are what make your character unique or special, and no, i don’t mean purple eyes or unique physical traits. i mean: what makes your character authentically themselves? what traits define them that few others have? some ways to think about this are:

how do they react when nervous? do they have a tell? similarly, how do they react on behalf of any emotion?

what skills do they have that hardly anyone else has?

what obscure thing are they obsessed with?

do they have a unique outlook on life compared to their peers?

- values: these come from life experiences: where we were raised, our family and friends, our community, religious affiliations, etc. i suggest identifying eight to ten values that define your character and then narrowing that list down to five values that mark their core or essence. think about how these values influence their choices, decisions, and ultimately, the plot of the novel. here are some more prompts to think about values:

how do they react when their values are challenged? are they one to speak up or do they sit back in the shadows?

what, if anything, will change or shatter their values?

are their actual values misaligned with their believed values?

- stakes: what is at risk for your character? what is motivating them? stakes don’t need to be over the top or life or death; they can be as simple as maintaining a relationship or reaching a goal. unless there’s an outside influence (ie. percy’s mother being kidnapped in The Lightning Thief), most stakes—especially those relatable—tie back to values. even those influenced by outside factors can tie back to values: the only reason percy is motivated to get his mother back is because he cares for her and she is the one person who has always advocated for him and cared for him. he values family and riordan uses his family to motivate him and incite the plot. generally, there will be one overarching stake for your character, but throughout your novel, there should be several smaller stakes. these may not service the plot but should elaborate on your character nonetheless. some ways to think about stakes include:

how can i use internal or external factors to create convincing, relatable stakes that tie back to basic values?

why does the overarching stake matter to my character? why do they care?

how can i raise the stakes or introduce new ones that are relevant to my character and illustrate them as a relatable being?

- connection: even if your character is an introvert, they will still be connected to someone, something, or even an idea. we, as humans, look to certain people, pets, objects, and ideas to maintain our sense of reality whether we realize it or not. if your character prides themselves in having no attachments, think about the ideas or themes that mark the cornerstones of their reality. most human beings strive for some form of connection, so here are more prompts for thinking about your characters and connection:

what does connection mean to my character? how do they show how they value their connections or relationships?

how does my character’s behavior change when around different connections?

what connections define my character and their reality? how will these connections influence my character and/or the plot?

how will removing or challenging a connection change, influence, or motivate my character?

a good rule of thumb is to treat a character as a human, not a plot device. there is a time or place in which a character must act as a plot device, but if you’re wanting your readers to be compelled by your narration and the characters within them, you should strive to write your characters as human (aka as relatable). one of the greatest pleasures i find in writing is when other’s identify themselves in my writing.

you’re not just here to tell a story, you’re here to connect with others through the illustration of your characters. let the reader navigate your prose as a detective, to search for and identify the evidence provided by you. that is to say, show us how these things manifest in your character. don’t tell us.

happy writing! hopefully this post gave you some ways to start thinking about how to show the relatability of your character. if you have any questions about implementing these tools or about writing characters, our ask box is always open.

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