I’ve been talking about my bubble method of doing organization for a while now, but today I want to talk about something that’s useful for creative writers: nonlinearity.
Nonlinear stories can hold a lot of interest and have some practical advantages. It puts the storyteller entirely in control of pacing and the flow of information.
But it’s also difficult. The storyteller needs to be great at information control and keeping tones steady.
The crisis is the ultimate point of tension in a literary work. It’s when the big bad guy and the big good guy face off, and to the victor go the spoils.
If you want to write a story, you need a good crisis point.
In fact, when you leave a story feeling unfulfilled, it’s almost certainly because the climactic moment of the story didn’t live up to its role.
This is the second part of my overview of how to choose a subject for a story. My belief is that the best way to do this is to look at the various parts of the story from the perspective of finding the pieces before you begin, and finding authenticity.
You can find these elements in a plot or a character, so you aren’t tied into a dogmatic way of viewing the central mode of a story. This is a process of elimination: if you can’t find these things, your story is likely to have issues down the road.