How to develop your thoughts into a full blown story
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CuttingEdge
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There are all kinds of videos on Youtube about how to do this, but really it is the six basic questions:
Who/what/where/when/why and how.
Some are easy to do, like when. It could be historical and go back 100 years or a 1000 years in time, or be present day. That is kind of easy, but setting (where) might be tough if it is a made up fictional world, but easy if your idea starts with being on a cruse ship. Just as an example:
Who: Husband/Wife/Ship Captain of Cruise Ship
Where: Cruise Ship Captains Quarters
Why: Wife wants to cheat, husband wants to Cuckold and Captain is infatuated with wife when he sees her in an alluring sundress
What: Kissing/Blowjob/Vaginal Sex/Anal
When: After a personal guided tour, Captain takes wife to captains quarters
You see in the example above, by answering the six questions we have taken a story idea into a basic plot line. We have established that a sea captain has seen a wife, is infatuated with her, not knowing the husband has a cuckolding interest, and the wife is bored of everyday sex with her husband and loves the idea of a man in power and uniform wanting her so badly. From that nuggest of an idea, we can explore further, like she might not like the idea of anal sex with her husband EVER, but when a man in power and uniform suggests it, she is scared but intrigued. This is the tension needed for a story to please readers...will she give in and let the man enjoy anal sex with her... or stay a virgin in that regard? If she does it, will she like or hate it? Will the wife-captain tryst jump start her sexless marriage or cause jealousy issues? All these questions are tension in the story, and to answer them the reader must keep reading!
Of course we know where this will end right?
NO! As writers we add a plot twist to keep the reader engaged and surprised.
Just as the captain is about to take her anal gift, she is overcome by guilt and stops him. She is too guilt ridden to do something so dirty, but the husband is guilt ridden too. He charges in and sees his wife and what she was about to do. The captain understands, and lets the man take his wife back through anal sex, but as she stoops over and willingly becomes spit-roasted to show her character arc...
Character arc is where the main characters have changed from the start of the story to the end. The wife was a prude but now embraces kinky sex. The husband realizes he truly loves his wife. And the alpha captain realizes the santification of marriage.
We must have change, otherwise, what is the point of the story? To have a wife say, I want kinkier sex, does it, and the story ends with "a good time was had by all" is as boring as a story gets. Character arcs and plot twists is how a story becomes interesting.
Who/what/where/when/why and how.
Some are easy to do, like when. It could be historical and go back 100 years or a 1000 years in time, or be present day. That is kind of easy, but setting (where) might be tough if it is a made up fictional world, but easy if your idea starts with being on a cruse ship. Just as an example:
Who: Husband/Wife/Ship Captain of Cruise Ship
Where: Cruise Ship Captains Quarters
Why: Wife wants to cheat, husband wants to Cuckold and Captain is infatuated with wife when he sees her in an alluring sundress
What: Kissing/Blowjob/Vaginal Sex/Anal
When: After a personal guided tour, Captain takes wife to captains quarters
You see in the example above, by answering the six questions we have taken a story idea into a basic plot line. We have established that a sea captain has seen a wife, is infatuated with her, not knowing the husband has a cuckolding interest, and the wife is bored of everyday sex with her husband and loves the idea of a man in power and uniform wanting her so badly. From that nuggest of an idea, we can explore further, like she might not like the idea of anal sex with her husband EVER, but when a man in power and uniform suggests it, she is scared but intrigued. This is the tension needed for a story to please readers...will she give in and let the man enjoy anal sex with her... or stay a virgin in that regard? If she does it, will she like or hate it? Will the wife-captain tryst jump start her sexless marriage or cause jealousy issues? All these questions are tension in the story, and to answer them the reader must keep reading!
Of course we know where this will end right?
NO! As writers we add a plot twist to keep the reader engaged and surprised.
Just as the captain is about to take her anal gift, she is overcome by guilt and stops him. She is too guilt ridden to do something so dirty, but the husband is guilt ridden too. He charges in and sees his wife and what she was about to do. The captain understands, and lets the man take his wife back through anal sex, but as she stoops over and willingly becomes spit-roasted to show her character arc...
Character arc is where the main characters have changed from the start of the story to the end. The wife was a prude but now embraces kinky sex. The husband realizes he truly loves his wife. And the alpha captain realizes the santification of marriage.
We must have change, otherwise, what is the point of the story? To have a wife say, I want kinkier sex, does it, and the story ends with "a good time was had by all" is as boring as a story gets. Character arcs and plot twists is how a story becomes interesting.
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CuttingEdge
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You have to know your style of writing here too. As a writer you are either a:
Patser: A pantser is a writer that just writes by the seat of their pants. This is what I do. The story just comes to me as I write.
Plotter: A plotter tends to meticulously plot out their story from start to finish
Combination: A combination is obviously using a little of both methods.
littlecordelera
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There are multiple ways to do this. Here are three that are very common.
1. A story with a moral (a lesson). In this method, the scenes and characters in your head move toward developing the moral. The story often starts by depicting the bad things that happen when someone fails to adhere to the moral, and then progresses to show that good life that comes from being "good."
2. Good vs. Evil. This can be different from the above, as this is a fight between two forces. Those opposing forces can be two people, two groups, or internal conflict vs external needs and demands. However, Method 1 can be and often is developed by using this method.
3. The chase. The main character is going after something they absolutely, positively must have or else!
In each of these, everything you write has to either develop your characters or move the story forward. It is best if you can do both at the same time. Too much time spent describing a character can quickly become boring.
As a rule of thumb, begin your story as close to the action as possible. As an example, if your main character's motivating event happens in college, don't start the story at their childhood. This isn't a hard and fast rule, but it should be strongly considered.
Also, there is an old saying: "Show us, don't tell us." If jack is an arrogant guy, give us a scene that shows that, don't say, "Jack was an arrogant person..."
Most important, just write. Writing takes practice and lots of it. Write it, edit it, write some more, edit it again. There is no shortcut.
I hope this helps!
Good luck!
1. A story with a moral (a lesson). In this method, the scenes and characters in your head move toward developing the moral. The story often starts by depicting the bad things that happen when someone fails to adhere to the moral, and then progresses to show that good life that comes from being "good."
2. Good vs. Evil. This can be different from the above, as this is a fight between two forces. Those opposing forces can be two people, two groups, or internal conflict vs external needs and demands. However, Method 1 can be and often is developed by using this method.
3. The chase. The main character is going after something they absolutely, positively must have or else!
In each of these, everything you write has to either develop your characters or move the story forward. It is best if you can do both at the same time. Too much time spent describing a character can quickly become boring.
As a rule of thumb, begin your story as close to the action as possible. As an example, if your main character's motivating event happens in college, don't start the story at their childhood. This isn't a hard and fast rule, but it should be strongly considered.
Also, there is an old saying: "Show us, don't tell us." If jack is an arrogant guy, give us a scene that shows that, don't say, "Jack was an arrogant person..."
Most important, just write. Writing takes practice and lots of it. Write it, edit it, write some more, edit it again. There is no shortcut.
I hope this helps!
Good luck!
CuttingEdge
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You can always ask "what if" too...
What if the captain wanted to always have sex on the bridge of the ship? Oh my? A ship needs someone at the helm so the wife would not only be shared by her husband, but with others watching as the captain has sex with her?
What if the First Mate liked sloppy seconds?
What if the wife always had a gang-bang fantasy?
See where all these "what if" questions take us? It go go down a depraved path, or one that is more demure. That is up to you on what you think is best for the story.
If the wife is a pastor's wife, then to maintain plausability of the story, the author will have to spend some timeandwords explaining why apastor's wife would want a thirty-man gang-bang, or at least to sound pleauible to the reader, but anything canbe explained. This is fiction after all.
What if the captain wanted to always have sex on the bridge of the ship? Oh my? A ship needs someone at the helm so the wife would not only be shared by her husband, but with others watching as the captain has sex with her?
What if the First Mate liked sloppy seconds?
What if the wife always had a gang-bang fantasy?
See where all these "what if" questions take us? It go go down a depraved path, or one that is more demure. That is up to you on what you think is best for the story.
If the wife is a pastor's wife, then to maintain plausability of the story, the author will have to spend some timeandwords explaining why apastor's wife would want a thirty-man gang-bang, or at least to sound pleauible to the reader, but anything canbe explained. This is fiction after all.
CuttingEdge
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I love contrast too, and find that sort of boldness in writing is a great way to show and not just tell.
As I explained to a dear friend last week, lets say a woman and a man are at a restraunt eating. That unto itself is kind of dull, but let's say she kicks off her shoe and puts her foot right in the crotch of the man seated across from her. That shows a lot about her sexuality and boldness. That is good, but as a writer we can be even more bold. What if she ordered a hotdog and as she ate it, took a huge, deep mouthful of it. That is forshadowing what she plans to do later in the bedroom! Or in the parkinglot! We are not told, "this woman is brazen" but we certainly are shown it by her actions and the reader draws their own conclussions.
Now lets add some contrast. Now if the woman was wearing high heels and a miniskirt it might be one thing; a tease, and other patrons would almost expect her to be teasing with her foot in the man's crotch. But what if she was wearing sneakers? Now she has to untie her sneaker laces, pull off her sock, and put her foot in the crotch of the man. That says so much more! We are not told, but by the way she dressed initially, we see she did not plan to tease the man sexually, but now that she is with him, she can't help but do that. And she does not care how obvious it is to other people either. We get this amazing mental picture of what this lady is like, and how she thinks and why. That is enriched writing!
But it begs the question: how does the man react? Now the reader wants to keep reading to find out!
As I explained to a dear friend last week, lets say a woman and a man are at a restraunt eating. That unto itself is kind of dull, but let's say she kicks off her shoe and puts her foot right in the crotch of the man seated across from her. That shows a lot about her sexuality and boldness. That is good, but as a writer we can be even more bold. What if she ordered a hotdog and as she ate it, took a huge, deep mouthful of it. That is forshadowing what she plans to do later in the bedroom! Or in the parkinglot! We are not told, "this woman is brazen" but we certainly are shown it by her actions and the reader draws their own conclussions.
Now lets add some contrast. Now if the woman was wearing high heels and a miniskirt it might be one thing; a tease, and other patrons would almost expect her to be teasing with her foot in the man's crotch. But what if she was wearing sneakers? Now she has to untie her sneaker laces, pull off her sock, and put her foot in the crotch of the man. That says so much more! We are not told, but by the way she dressed initially, we see she did not plan to tease the man sexually, but now that she is with him, she can't help but do that. And she does not care how obvious it is to other people either. We get this amazing mental picture of what this lady is like, and how she thinks and why. That is enriched writing!
But it begs the question: how does the man react? Now the reader wants to keep reading to find out!
