Thus we have a newer, personal problem that makes the Capitol all the more eviler. The end of act 2 should be some kind of revelation or cliffhanger- at the end of Catching Fire, Peeta tries to kill Katniss after being rescued.
But she discovers that she actually works for a cult, and can’t leave. They thought the fundamental problem was within them, and their solution was to move on. She decides to quit, but her boss hypnotizes her into staying. I am going to write about a character that doesn’t fit in at her job. The protagonist thinks they know enough about the problem to solve it, but ends up making it worse and discovering the bigger picture. Every scene should further the plot and point towards the eventual ending, but there has to be new discoveries made. The most important thing to remember is that Act Two has to stand on it’s own. It can either be Catching Fire or it can be completely forgettable.
Get a monthly haiku here! You can also donate to my glasses fund Īhh, the middle. The next submission deadline is Sept 30th, but it’s open quarterly. That wraps up the Writers Of The Future Workshop series! If you want to submit to the contest you can do so at. Write sincerely and you are certain to write better and better. But you do need to recognize when you need to go out for some inspiration. I personally disagree with this to an extent- if you don’t make yourself write, you will never get used to writing. His idea is that if you do not feel like writing, you won’t be able to write anything of quality. If he feels like writing, he writes through the night and through illness. If he can think of nothing to write, he goes out for inspiration. Quality vs Quantity- Here he really shows that he does not have set writing hours. At the bottom of the page I keep a running list of possible places to submit, and their nearest deadlines. I have a masterdoc of everything I’ve submitted in the past year, including rejections. That way if one turns you down, you can simply consult your list for the next best place to send it to. Type of work- whatever you write best, find several different markets for it. With the Wild West, you might only have museums, but visiting the museum is better than doing no research at all. This might not be feasible for all types of stories, but try to find a similar place. Raw material- aka research! Go down to the place you whish to write about, and interview the people who work there. (His house is being converted into a writer’s retreat!)
Hubbard wrote in his living room- I write on my bedroom desk or at the library. A place you can write for hours in without destroying your mental health. But it is still important to have a comfortable, professional-ish space to work in. The Plant- some of this, like typewriter ribbons, doesn’t necessarily apply anymore. He then goes through different factors of a business- supply and demand, in which you must be aware of who’s going to buy what, and how much competition you have. He tallied up the number of words he wrote for each genre, and divided it by the number of words that ended up being sold. In this essay it’s really apparent- he approaches writing the same way a businessman would approach his product. Ron Hubbard is famous for two things: Writing and cult making. At least, not without pain, cunning, and timing. The best way to do that is to slow down the action and add in bits that make you think that maybe- just maybe- our protag isn’t going to win. While you probably established motivations and such earlier, you want to still be able to feel what the characters are feeling and worry over the outcome. Most readers don’t just want to watch people fight. If you were to take every blow of action out of a story and still leave its suspense (this is possible, because I’ve done it), you might still have a fine story, probably a better story than before. If you were to take all the suspense out of a story, no matter how many unusual facts and characters you had in it, I don’t think it would be read very far. Now comes a decent article on suspense- add in the details! Slow down the action scenes, just long enough to give the reader room to feel dread and wonder what will happen. Not very helpful, right?Īnd then there’s just a page with the definition of suspense.ġ: the condition of being anxious and uncertainĢ: the growing excitement felt as a story, play, etc., builds to a higher point Webster
We’ve set everything up, and now it’s time to defeat the bad guy and tie up the loose ends.
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If it seems like it’s been a bit since my last WOTF post, it’s because I couldn’t figure out how to sum up Scott Card’s pep talk on ending your story- he basically says that we’ve done the hard work already.
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