I see that point 19 is different than in the other video, Here it is listed as "Calm Before the Storm", in the other video you have it listed as "TRIALS." See: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fe3eodLF_Uo.html. I have combined the two and summarize as follows: "19 Calm Before The Storm (not so calm as we build up pressure and tension), then there are More Trials and finally: The Hero finds a solution, but now must overcome doubt, or some other complication." Any comments?
I see that point 19 is different than in the other video, Here it is listed as "Calm Before the Storm", in the other video you have it listed as "TRIALS." See: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-94F-3Z6CJJw.html. I have combined the two and summarize as follows: "19 Calm Before The Storm (not so calm as we build up pressure and tension), then there are More Trials and finally: The Hero finds a solution, but now must overcome doubt, or some other complication." Any comments?
Miss your videos, Kat! I use your 27 chapter structure as the initial outline for all my writing projects, and I’m so thankful that you shared that tool with us. Hope you’re reading lots of good books.
I need to do this. I have too many books I’ll never read again (and some I’ll just never read, period) sitting on my bookshelves gathering dust and taking up scape. Need to clear up so I can get more books 😅.
This video was so much help, you having an actual example is what made is far more helpful than any other videos of the 3 act story structure. I find it very hard to have an idea how to outline my story when one is a fantasy with a side of romance while a few others I’m trying to work on happen in our earth and are pure romance, usually the acts make far more sense for books like the hobbit/the lord of the rings, so this example help me shape this 3 Act Structure into how I want my book to look. Thank you! 😄😊🤍🤍
This is great. I think this is how story tellers grow and learn and how stories get made. Couple of points. First, I finished most of a first draft several years ago and had the computer voice read out a hundred pages or so (while I cleaned house). Sounded like many books I've listened to as audiobooks. Good, I thought... but it wasn't quite what I was after. What this taught me is that a lot of books, movies and stories we like, including some of our favorites are really not great, but more than good enough. I was after more. Hmmm So I kept working and reading. The best work was taking apart books like how I'd like to be able to write. Some writers can just start typing out a book they like and after a while they just switch and start working on their project. When I do this, I learn a lot, but I just keep typing. What's always worked for me is in the evening I'll read 50 -100 pages of my ideal book, go to sleep then wake up at my usual time (no distractions no one around) and immediately sit down to write. And what I want to write, different from the example, just starts pouring out. It's like my brain works on it all night. I think if anyone can figure out my inspiration they won't think I've just copied. Now I can find scenes I wrote last year in the middle of notes on aspects of my story. (historical novel so a lot of notes.) Wow, but 'did I really write that?' I'll google parts and if nothing comes up -- it's me. I like that you've gone to the next level in with this. I find the basic structure is really helpful, gives me something to hang my ideas on and the direction of the story. But here's the rub: Who watches a movie or reads a book and if the "Push" or Plot Point 1 occurs a bit early or a bit late finds themselves bored or confused? The comedy writer/director Preston Sturges in the 1940s I think had a four act structure, maybe five. He just jammed in more acts, more complications and more laughs. It moves along so quickly audiences just hang on. In The Lady Eve the two main characters finally connect on the ocean liner as it's coming into New York and cut to the middle of some specific problems in the chaos of a wedding day. Weeks later. I think there are scenes in Preston Sturges' movies that we remember (I've seen them all several times) that aren't in the movies. The opposite of this is a scene takes place because it has to at that point in the story and it's predictable. ( A college professor showed us a moderate budget movie that we were supposed to analyze. The apples on board were temptation? He wanted something simple, but it wasn't simple, it was tedious. Cast Away is simple but not tedious.) Structure like other elements of story is a tool that is based on expectations. Little kids want to hear the same story over and over again, grown ups like to be surprised. I like action movies, but most of them end with 'the big final battle' that just goes on too long, is completely predictable -- tedious. It's not writing, it's filling in a form. The other thing I noticed is that when I do go looking for these key points in really good work, I often find many things going on. Subplots working around the main story, hitting their plot points (hero has a problem, antagonist has a success, an FBI guy gets on a plane.) I watched Gone Girl again last week with a Beat Sheet someone made. Yes those beats are there, but they are not spots, it's a tapestry. The detectives don't arrest Nick, but information is learned that compels them to take a harder look. It's as though your personal plot point is not when the police knock on your door and arrest you, it's while you're setting up for your party, the police leave the station to drive to your house, (readers know this, but you don't), But that's not enough, your nasty mother in law arrives early and demands to know about your teenage arrest record. You explain they let everyone out the next morning, not a big deal.... But that's not what she's talking about. She's waving a piece of paper that says drugs, lewd behavior and demands to know if you were a prostitute. You feel completely blindsided, it's not you, but as you begin reading her 'evidence,' The police tell you you're under arrest. Your maid of honor let them in. So first draft might be simple, but then complicate it in ways that seem unavoidable.
hiya kat :) i just wanted to comment to say that your videos really helped me feel a sense of belonging when i was a lonely and insecure teenager. i turned 23 last week, and to cope with the way the world is changing, i like to watch videos that remind me of simpler times. this one included! i found so much solace in books and in people who talked about them. i read a lot less now- i don’t need as much escape as i did back then (a good thing). all this to say, i hope life is treating you well and that you’re on exciting new paths :) i’ll always be grateful for the time you spent making videos and if you decide to again, we’ll be here to watch. lots of love
The examples of passive voice you give are not passive voice - You're describing a past tense that uses auxiliary verbs. Passive voice is when the subject of a sentence comes after the object of a sentence. For example - "The dog was kicked by the spider." This is passive. To make it active, it would read, "The spider kicked the dog."
I have had writer's block for 7 years. I have struggling to finish an historical fiction for years. I have spent days searching for outlining methods that might help finish my "third act." This is it!!!!!! I just thought of my entire last third of my novel in minutes. I cannot thank you enough. I have sooo many new chapters to write. I've never been so happy!!! Woooohoooo! :)
It seems to me that this form of outlining leads the author to focus on what happens, rather than why it happens (which is to say, why the pro is doing what they're doing). Maybe I'm too smooth-brained to see things other people think are tacit, but I feel like a simple chain of scene and sequel, action and response, coupled with seven point plot structure as milestones, serves as a better option.
Does it count as pantsing when done at the chapter level? Like, I know the purpose of the chapter in the overall story and how it needs to end to blend into the next scene, but I dunno what details I throw in there and I allow infos that I reveal in the scene to influence my outline and other stuff I have already written
I'm going to try this technique for arranging my unplaced events into a proper structure - for a story I've greatly detailed characters and events of, but no timeline. Seems really useful for this sort of situation!
I remember watching you all as the og booktubers back in 2015.. I haven’t been on booktube for a couple years now since high school so the community looks way different I don’t really recognize anyone … im 25 now and I’m not sure how’s it been 9 years but I really enjoyed your content and watching ur video was a bit nostalgic for me..thank you all for getting me excited to read books and explore my imagination especially when I was a loner around that period of my life as a Muslim girl who no one wanted to talk to. Things have definitely changed but your videos helped me get through that period without me even realizing 💜
I really like this method! As someone who started as a Dungeon Master, I'm more used to a flow-based structure, where the story doesn't have a predetermined ending, only a end situation. This actually plays into that, where the First "drafted," Act is 100% concrete and then develops naturally.
You popped into my head today and I went searching and found your RU-vid again. Sad to see you're no longer making videos. Does anyone know why she stopped or if she's moved on to anything new?
I’ve heard of the 3 act structure but have been puzzled on how to use it to my best potential. So for my AU I’ll be utilising this more and hopefully I get to complete a rough outline of all the three acts by the end off it 😭 I’ve been plotting briefly for it but I’ve never went past that
Kat: thank you for this video. I am nearing the end of my first draft and this helps me to envision how to begin editing for my 2nd draft. (The post-its are striking and very pragmatic.) I know this is from 4 years ago. Hope all is well with you.
