Transcripts
1. Introduction: you want to write your story and you have no time to waste. So I ever cut to the chase. If you listen to this class and use what you learn, you will have a clearly defined frame for any jungle or length or fiction with right amount of emotional depth action and storing. Lears, you're offering can be ready in an hour. Wants to get the hang off it and you feel I promise the fastest first draft off a full novel took me four days After this method, you can do even better. My name is Sal. You were a joy and I have thought creative writing for years and came up with a quickly applicable system that helps If you like, outlines plotters, you will have a field griffin this one. And even if you don't well hello, planters. My old friends, we can make this is free as we like. This is the cordon mean off the too common approaches. So let's make them more effective for us, shall we? All you need is a pen and paper. Come with me. Let me show you something you
2. Getting in Touch With Emotions: We're not going into session here. We need to get familiar with the systems, emotions and feelings create. Why? Because they're the key. Not only to do matter, we're learning in this class, but also to writing stories. Your readers will never forget what comes to mind when you read or hear the word emotion? Is it love or hatred? A lot of smart people have been thinking about this topic for long years. There are differences in their concepts, but the basics overlap. Depending on whom you ask. There are about 5 to 8 basic emotions out there. And by out there I mean, everywhere on our planet. From the Bush people in Papua New Guinea to the New York Stock Exchange, you can find humans experiencing these regardless of age, culture, language, dunder or re little. What is more there so fundamental? Even animal skin go through some off them. Their anger, sadness, fear, disgust and joy, and some at surprise and contempt. The list or Virgin group? He's a bit differently the way it is manifest on our faces and in our body language is universal because they promote a visceral reaction in the body, an emotion usually stay with you for an hour and a maximum, like feeling cold or hungry. If you go some reform, it disappears. Or if you have some food, the hunger is over. But for humans use our brains in more elaborate ways than under anyone's do on this result in the basics. Splitting into more north feelings, which we can start interpreting and analyzing at a cognitive level, eventually turning them into life altering reactions. For better or worse, the power they have over lot over our lives mostly depends on subjective factors such as previous experience. For example, your friends, they're something to you that makes you said That's a basic emotion and you feel worthless , which is a new lost feeling because you for similar from a similar sentence earlier in your life. Previous experience this new ones feeling can last long and turning to removed or, in extreme cases, the find one's personality. We writers can use it as we want as it can moderate our character to do something ridiculous or magnificent, sometimes the two at the same time. There is so much to say about this topic, but I promised a quick class, so we are not going to dwell on this for long. I strongly recommend that you look at Gloria Villa Kocsis feeling well and poll Ackman, who was the adviser for Big says Inside Out animated movie and the Dalai Lama's Atlas Off Emotions website. The feeling really is an easy to use reference with Lenny upgraded versions. You can find it after a quick Google search by the deathless. If emotions shows you how emotions work, a list there introduces the physical appearance of them. The site is also good for self discovery purposes, and while getting lost in the less me outside of the Internet, why I was doing research. I also came across Christina Nishiyama here on the skill share who has a class on character illustrations where she shows you how emotions show on faces. Even if you don't want to draw, it would be really useful thing to look at. Its a good reference for us writers, too.
3. How to Get Down to Business: this might not be here. First thing you hear writing even my grandma, who was into gardening and tighty not writing Condell is that for a story you need characters. Don't worry if you don't have a complete set off villains and heroes ready, start with one, maybe two. It looks like a recipe for character to come to life. You need motivation. Mawr off them. Actually fear and the initial issue. Let's have a look at these elements. If your character is alive or you know undead, they need a motivation to set things moving. To create a veil. Rounded, believable one you need. Three, actually 2.5 A deep motivation and apparent one and the physical manifestation off motivation. The tree connect and have to be clear to you, but not to the character or even your reader. At the beginning, let's say your characters. Adrian. He's apparent. Motivation might be to have adventures off the adrenaline churning type, so he goes bungee jumping and swims with sharks, as the physical manifestation was. A poor Adrian doesn't know is that he is trying to find meaning in your life, and the void is neglectful fathers, feet man. We have the deep alteration Trouble as well. See what we did there. You can start from any of the three and s questions. I find it the easiest when I give him something he wants. This is a parent population sent him out to do something based on it, which is a physical manifestation. And then think about the big Why behind his old To find a deepest level. If you're a pensar like me and like to meet your characters on the road, you can be wake at this stage. Still, the guy needs reason. You could meet him on the road in the first place. Fear I hope I'm not the first to tell you that you have to make characters lose stuff and by stuff I mean things that matter to them. I devised very stillness which, though exceptionally real life from time to time, is the opposite of story. If you must come from a thing, your character has its take. They might attach value to something connected to their motivation. If it somehow defines their identity even better. It has to be something that generates enough friction to have your character knowledge times and make them take desperate action. A dream might be afraid of making the same mistakes. His father it, For example, It's lurking in the Morris off his mind, waiting to come to the surface in the least appropriate situation and keep your story moving. Initial issue So your character is motivated and is afraid to lose something we ordered. We have somebody years now. We needed each A certain situation where there is a problem we need are a generally junkie . Adrian is in love and have to choose between his girlfriend, senior prom and the skydiving championship. He was looking forward to cheesy I know yet it is a great for illustrative purposes. He cannot just sit in his room and waited how he needs the act. This is where emotions coming. Think about it, Hollis. I feel in this situation. I bet that you a creative person, was already. Developers and emotions can identify at least two feelings. We need to. One can paint the picture, at least in your mind. This keeps your character human and consistent. You can show your character to death, but don't overdo it. This may lead to navel gazing. Nobody likes to watch other people's helpless, stronger, too much. But because you know how these emotions look, you can show them if you feel your story could use that, the other emotion propels action. Yuji influenced, threatened and desperate. It doesn't act on the track. That would mean breaking up or forgetting skydiving, not make a delightful story. They create a passive, aggressive guy who's misery is boring. He acts on the emotion that leaves room but exciting action we have over around character with layer motivation, fear and a situation that call this problems has feelings, and one feeling will make him do something and their story starts.
4. The Cycle of Happening: to create a scene we need to ask ourselves, What will our character do? Underlying emotions clearly defined? The problem is there now what? Send your particular out into the jungle. Or, you know, after Space Dragonslayer School cafeteria and let them move. You will have an idea what they want to do now, so they should start doing that. Adrian creates an elaborate plan to attend to evens at once He talks to his best friend. Bread will pick him up after the championship, and he will change in the car in the 15 minutes they have. Everything is fine. Everybody's happy problem solved until it isn't because you the evil mastermind, we'll throw something in their way. A plot needs events to develop in real life. You saw the situation that emerges with less annoyance, the better infection. You tumble your cast in a turmoil of events. They come up with brilliant ideas to get out of the vehicle. But there's an unforeseen issue that drags them towards the abyss. If Adrian simply needed to the front door off his girlfriend on time, were you care? Maybe smile a little if he's your nephew and tells you about it over Christmas in there. What if he is a character in your book? He needs hindrance As a writer. Ask yourself What could go wrong? Bread over sleeps. He's car won't start. Maybe he misses Adrian at the championship or a gang of aliens became upon his way. See, the car ride is never simple. So the former is this. We have a need or problem, a lack off something from this emotional emerge. We choose the right one, which makes your character act, and from that comes action. Then you get all this plus hindrance, and the cycle of happening is happening. Which Bills sees at this point we get our emotional real or atlas out again to start the next cycle of happening. What did the characters feel now, as the car is being talked into a spacecraft, think about what you know about them. Motivations, fear needs previous previous actions and emotions. For the first few scenes, I recommend you stick to one character's initial issue, and the emotions and hindrances are originating from death. More than one quickly becomes a crowd on derails your plot. What does he or she feel now? Out off those emotions. What makes him or her move? What can paint your picture of the story without navel gazing? Categorized these emotions when you're in doubt whether your character could freely feel a certain way. Think of te profile. If a person is addicted to adventure, they might not freak out about this spacecraft death much. They might freak out about letting others town if they are afraid off that the characters, fear and motivations help you keep them genuine. That's why you need to start with those. So there is a problem. Emotions rise. One makes the protagonist back. We have been here before. Experiment with this for a few scenes. It becomes second nature in no time. Once you finish, we add another layer in.
5. Laughing at the Morgue: there would me humans like her teens injury processes became foresee a decreed a sense of security as you go true, the cycle of happening repeatedly you, Construcciones with action and emotion, the two supporting each other. But now that we know the rules, we should break it. You see, if we keep doing the cycle for about 20 scenes, we will have an overland line. However, it will be somewhat predictable. We just get being mundane to keep your readers and your own attention. You need to shake it up a little. Bring on the unexpected that are ways to do this. Try to introduce a startling emotion that might connect different underlying element in your story to pretend minutes, fear or deep motivation or an issue that arises from does don't make it completely random, which should serve a purpose. Not just be some tollway excuse to bring on. If Adrian wants to avoid his neglectful fathers faith. Getting upset about bailing on his girlfriend can become a way to big deal for him. Only you need to understand this initially and your reader, once they connect the dots, there should be reasons, but they can stay hidden for the time being in other ways. Having your characters surprised with the reaction that is not the first or even the third thing you think he would do. They can behave in a way nobody would expect seemingly out of the blue. It's like laughing at the work again. They should make sense to your reader. In hindsight, an unexpected even or the strange part of the hindrance can provide you with the element of surprise from the environment off your story is supposed to from the inner workings of your character. It could be a phone call of changing the weather meeting a stranger If you're not in the plot stick yet even a carefully constructed these X maquina convert in a story once. Don't use it to see your cast Laser Lido. You will get a Niall from your readers. Surprises are fun and can spice up your story line. Just don't try too hard. It's better to resist the temptation to abuse them and return. It creates a routine if the reader can expect the unexpected on each page. Even whimsical authors avoid that because it crashes focused. The stories on the reader's focused
6. How We Tie It All Into an Outline: after coming up with the first scenes, take a step back and evaluate how much is in this story. Now you know your protagonist enough to carry the story line with the help of the cycle of happening. If you see the end, take notes off it. Tell yourself how the character will feel and act there and how your readers should feel after closing your book with the help of emotions. Think about the monsters that take you there. Maybe you don't see the end just here, and it's fine. You can think about the next intersection where you want your story to go. For example, it even has left to alien abduction with bread. I want to get to a place in my story where he worries about his girlfriend and the air in the hospital. Somehow. Right now, she might be furious about the Miss prom, and everyone is in perfect health. I want this because I want to show how he can overcome this fear, or I want this because it makes a suitable story point or because I think a hospital is a place that will symbolize something. Just have a reason that makes us to you and ties into the bigger picture. Thinking about the emotional background helps the most. That's what I found. You can use classics like just of temples. Here was journey to identify possible points, which would make good milestones. If you're familiar with this concept, you can even twisted these. My cells give you direction. When you have them. Your storyline makes more sense. You can make a few of them unexpected, too. For a full novel, I would consider 8 to 10 off these for shorter piece four and six can be enough, but it's just my experience. If it were to draw a line off what we have so far, it could look like a necklace. We have pearls, the cycles of happening with some bigger pieces, the emotional my stone separating the clusters of purse. I suggest you make the third of the my stools extra special. They can carry the philosophical or symbolic aspect in your story, even if you're right to entertain or they can be wow moments when the plot turns. What I'm saying is that you can change the impact off my stones, play around with them, makes them off them and you know, enormous deal. Imagine the necklace and think about the ratio. If your story was a string of pearls after how maney small ones would you pick a bigger piece? This helps. You were pacing your story, keeping the momentum balanced.
7. The Practicalities: I haven't sure you how it looks in practice for me when I sit down to start a fresh story, I said The modulations fears an initial issue off my protagonist, then go to the title of happening three or four times and see if I already need some laughing at the morgue moment, depending on story type with my calculator and might even start with one. At this point, I have an idea about the first my still at least, and this is where the true power off this methods shows. I completely let go off the action. I only think about how emotions emerge and more how I can take my character on a wide dried . What action would support emotional roller coaster while we are heading towards the milestone comes once the emotional flow is in place. After doing this a few times, actions faintly showed themselves. While I'm only thinking about emotions, sometimes I have welcomed them. Sometimes I disregard these earlier things based on how cool they are. Mostly I might go from one myself to the next. Let the story unfold linearly. If a good ending or later point comes to mind, I focus on those first and feeling the missing pieces by partitioning the on treated section after the image off a string of pearls helps the balance it and set a rhythm to my story. The scenes have actions and emotions in them. The My Stones have those plus something major. I usually do align with blobs off varying size to keep my mind focused, just like I showed you. It happens in a vast piece of paper, but I have room to write above and under the nodes. Emotions up, actions down. You can make it as details as you like. I only focused on the actions. Once the emotion flu is ready, obviously, you will have more characters than your protagonist. Based on the importance, I would create fragments off strings with drying lens for them. Look for connecting points to your protagonist. If you map out an entire line for everyone, you will get lost. Think about how they support the story. You are telling poor breaths. Feelings might not matter. Death march In Adria's story
8. More on the Flow of Emotions: If you feel that it is hard to set the flow of emotions, you can do two things. You either stick to the cycle of happening. There is nothing wrong with that. The process will still be fast enough. I love to go that route. Sometimes it can be to a way of mapping a story. Really. Or you let yourself playing a game of free associations. Do you know this game? For example? Make me an associative chain from Dragon to teakettle in the fewest steps possible Dragon for Garth My grandma's tapestry tried to adapters Orde Lees, chesting teakettle Yours will look completely different. That's the beauty off it. You go from one thing to the other s your imagination drives. You use what comes to mind. Let's do this with emotions. Now think about what underlying story you want to tell. We go from anger to join. Now, for example, make it longer so that it gives a big part of a story arc. Anger, frustration, struggle, confusion, disbelief, Surprise doubt, fatigue, sadness, release tranquility, hope joy. We have part of a narc, but we need to dig deeper and dissect these into smaller North feelings. Thinking about how they show in our story. If they do and what action they bring, all have shade and layers.
9. Recap - The Flow of It All: as a recap, I would like to show you off tiny flow chart I created. So start your story. You need the protagonist and their motivations all off them and fear. Then you need an initial issue. Need a problem or lack a situation that needs some Soling than emotions rise from this situation. Some of them are only there to paint a picture if you like, and some will make your character act. At this point, you can do two things. I don't go along with the cycle of happening. Have your character act and throw some hindrance in their way. And this is also how the story unfolds. Or you can stick to the emotional level and create an emotional arc first and then think about the actions. There is no right or wrong answer here. Really? Don't forget to add some laughing in the morgue elements moments into your story and makes him my stones excess special. I would like to show you a track list as well. You can use this a centrally quick reference or you can do this is an exercise to help you think about your story line. Thank you very much for being with me here. I would love to see what you come up for it. Using this guide, please let me know. Let me see your projects and feel free to reach out to me. If you have any questions, have a great day now. Goodbye.
Dahlia Vera Joy
