I suspect that a character's want and their emotional need must line up in some sense. Say your character want to buy eggs. Can their underlying need really be anything? Love? Acceptance? Validation? Can it be free-standing in relation to the character's history? Can it be
The Elements of Style uses four different overlapping grammatical terms in the first part. It discusses relative clauses and restrictive vs. non-restrictive ones as well as appositives and participial phrases. It gives grammatical details; here I just want to give examples and describe how they stand in relation to one
A thought I have sometimes in relation to my own fiction-writing is that a first draft should make sense. This includes real-world consistency and logical coherence. That matters a little, and it's unclear how much. But it's also about do the characters' decisions make sense,
When planning fiction I'm considering planning possibilities rather than specifics. Normally a "plan" would mean writing down things that are supposed to happen, and a particular order they are supposed to happen in. Instead of planning what is "supposed to" happen, it seems more
(Haven't tried this out yet, but it makes sense to me theoretically.) I default to planning a story's logos without emphasizing the pathos, and I think a reversal would make my outlines better. By better I mean they would go stale less quickly. When I wrote