Every plot should have some element that sets the story in motion. This may be an external conflict or an internal one, but something needs to happen in order for the action to progress. Rising action (in which the story develop and tension builds), the climax of that action, and the subsequent falling action are all crucial elements of a strong plot. The denouement (or “unraveling”), in which all of the tension is completely resolved, is essential to move the story towards its logical ending.
A common strategy is to depict the antagonist’s motivations in direct conflict with the protagonist’s. This creates a tremendous amount of tension and allows the reader to further identify with the protagonist. Conflict can be between a person and himself/herself, between two people, or between a person and an abstract concept (society, God/gods/goddesses, etc. ).
Characters should have a clear, well-defined motivation. This can be a need/desire, a goal, or simply a personality trait, but it should be clear what makes each character tick. [4] X Expert Source Grant Faulkner, MAProfessional Writer Expert Interview. 8 January 2019. Try to make your characters contradictory or otherwise complicated, as this can make them more realistic. Remember that no one in real life is always good or always evil, so fictional characters shouldn’t be, either. Make your characters vulnerable somehow. Whether it’s a physical vulnerability or an emotional one, some type of human suffering/vulnerability makes characters more relatable. Map out more characteristics and motivations for each main character than you’ll actually explicitly include in your story. Just knowing what makes your characters happy/sad/frightened/etc. can influence how you write that character in subtle ways.
You’ll obviously want to include the sights and sounds of your world, but don’t neglect the smells, tastes, and tactile feelings of that world.
Make sure your characters resolve their conflicts. Don’t try to have acts of nature, a new character, or some divine element fix all the conflicts, or readers will be turned off very quickly. If your story is part of a larger saga, you’ll have to balance the logical ending for this story and the hint of what’s to come in the next story. If your story is a free-standing piece of fiction, think about what questions might linger after the tension wraps up. Consider what happens to the principal characters, as well as what might happen to the world you’ve created after the central conflict is resolved.
Some popular and widely-adored fantasy authors include C. S. Lewis, T. H. White, Fritz Leiber, J. R. R. Tolkien, Susanna Clarke, and Kelly Link. [9] X Research source Ask a librarian at your local library or an employee at your local book store to recommend some classic, influential fantasy novels for beginners to the genre.
Plan out the magical elements thoroughly. Consider whether those elements need explanation or exposition in order to make sense to readers, and decide what the “rules” or limits of that magic is in your world. If your story takes place in an historical society (or a fictional society based on some real historical culture), make sure you thoroughly research that society/culture so you can write about it honestly and accurately.
You don’t necessarily need a huge, “bombshell” reveal early in the story. However, you should at least hint at exciting and intriguing things to come. You’ll need to deliver on the things you hint at later in the story, so don’t offer false promises of something exciting that never unfolds.
It’s okay to have a battle scene at the beginning, but be aware that readers may not be invested enough yet, and may not find it as compelling. If you do decide to open with a dramatic scene, step back after a paragraph or so to let the characters come alive on the page. Name your characters when they’re introduced. Don’t try to be mysterious by only using “he” or “she,” as this may lose a reader’s interest.
Rather than explicitly writing out each and every detail, work on finding ways to introduce details through exposition, reflection, and dialogue. This can make the narrative feel less heavy and allow it to flow better.
Set your story aside for a few days to a week before you begin editing/revising it. Don’t read your story during that time, and resist the urge to even look at it. If you don’t trust yourself to approach the story with fresh eyes, consider asking a trusted friend or colleague to read your story. Ask someone whose opinion you value and who you know will be honest and straightforward.
Find one paragraph from your story that you feel embodies your ideal tone. Then print out a copy of that paragraph and hang it by your computer, or simply re-read it before you begin working on your story again.
If anything is unclear or confusing for a potential reader, consider rewriting it if it’s vital to the story. If it isn’t vital, then simply cut it out. Look for needless and irrelevant tangents, descriptions, and other distractions. Cut these out and see if the story still makes sense without them.
Check your story for proper spelling and grammar. Ask yourself whether the adjectives you use are actually descriptive, or if they’re boring “empty” adjectives. Cut out unnecessary adverbs. Generally speaking, too many adverbs bog down a story.
