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Be Creative and Dream Big!

Welcome fellow creators! This week I’ve had the honor posting over on Thoughtful Minds United. I want to say a massive thanks to fellow blogger Fairen for the opportunity. It’s always a pleasure too work with this amazing community.

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Do you dream of taking your passion and creating a new future, but something holds you back? You’re not alone. And yes, it is possible… Read on to be inspired, and hopefully, by the end of the post you’ll have the motivation to finally get started. So pop on over to Thoughtful Minds United and check out the post.

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My name is Lorraine Ambers and I write Adult Fantasy novels with dark, gritty characters, romantic liaisons and a dash of adventure. Let’s connect! Tell me, what your aspiration is? What fear holds you back? And how do you plan to over come them? Share your passions with me, you know I love hearing from you.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.
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Writing tip – How to Foreshadow

The art of foreshadowing is subtle, and yet it’s also a craft that will add depth to your story. Foreshadowing can create atmosphere and cohesion between different parts of your story, by setting up the oncoming events to build expectation and keep your readers invested in the story. Though it is a vital aspect of story crafting, writers may struggle with using it to its full advantage.

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What is foreshadowing?

Foreshadowing prepares the reader, if only subconsciously, for what is to unravel in the story later. It is not out-rightly revealing. The difference is subtlety. Its about hinting, laying bread-crumbs to guide the reader towards the outcome. That way, your readers still gains the element of surprise, but they don’t feel cheated.

One of the most important places to add foreshadowing is undoubtedly the first chapter. Here you should use foreshadowing to ease the transition between the setup and big plot points. It sets the tone for the rest of the novel, and adds clues as to what’s about to transpire. Whether your world has magic, death, or romance. A single sentence, the setting or perhaps even a symbol, will deliberately create dimension within the story.

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This is important for two reasons: Firstly, to satisfy the reader with the payoff by delivering on earlier promises. Meaning, anything set up in Act One, should come about in the Final Act. And secondly, to lead the reader to conclusions about the rest of the story. Meaning, if you introduce two main characters for romance, make sure you deliver on their Happy Ever After or Happy For Now sending.

Remember: its a subtle hint, not an outright telling. You can hint at the theme, reveal the tone of the story through setting, or even have it mentioned through dialogue. For example: If your heroine is about to set off an an epic adventure, having a side character hint at their Character arc, is a clever way of feeding the reader information, without being too overt.

All foreshadowing needs the payoff or promise delivery. So only include pieces that are relevant, and significant to prevent the reader from feeling confused or cheated out of a story line. Foreshadowing prevents coincidental reveals, a sudden or unexpected shift in tone, and outlandish plot twists.

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Any subplots can be delicately foreshadowed in later chapters. These can be hidden in the story (slightly invisible and almost forgettable), so that the reader won’t even pick up on them. These are indirect foreshadowing, such as symbols, or a banal statement, and are usually only realized once the promise has been fulfilled.

Foreshadowing is a skill and usually takes time to understand, and or develop in your writing. Often foreshadowing is added into the story at the revision stage. Once you’ve written the whole story, you can better understand what influences the direction of your story and where to place the hints, and promises, to prevent coincidences. Carefully, precisely and artfully, layering the foreshadowing to give the reader cohesion and satisfaction.

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Do you have any tips on foreshadowing? Perhaps you are still developing the skill in your writing and would like to understand the topic more. Please share your thoughts, you know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.
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How to Craft Catchy Dialogue

Writing dialogue is an effective way to show the reader what’s happening in your story. But get it wrong and you risk loosing the readers interest. In a previous post I showed the Do’s and Don’t of writing dialogue – check it out if you haven’t already. Today I thought it would be helpful to go over some fundamental pointers in how to get your characters to show the world you’ve created through dialogue.

Tip 1 – Write as often as you can, read vicariously and listen intently. People listening is the best way to grasp dialogue. Take note when watching you favorite TV show, and see how each character is portrayed through the words they speak. People/ characters talk differently, so listen in and take pointers. Some are blunt and stoic, some blunder and waffle, while others wend beautiful, lyrical tales. Remember: be aware of whats being said, and equally what’s not being said.

Tip 2 – Don’t forget to add body language. Not only will this bring your character and the scene to life, but subtle body movements add depth to what’s being said. An easy smile changes a casual, ‘hello and welcome’ into a warm and generous greeting. Whereas, a pinched brow and clipped tone add a different meaning. Perhaps this character feels obligated to welcome someone, or maybe they’re in a bad mood.

Tip 3 – People often don’t say what they’re thinking or feeling, so layer up the context with internal dialogue. It’s a great way to show conflict and build tension. Mary pasted on a fake smile, and opened the door. “Hello and welcome.” God, she despised this woman. And yet her role as manager forced her to be polite, when what she really wanted was to slam the door in her face.

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Tip 4 – Use contractions. Don’t be afraid to shorten or combine words, to help the character sound as natural as possible. While a professor may use precise wording, a student will often use contractions. For example: Let’s, I’m, who’s and they’re.

Tip 5 – Cut unnecessary words. In real life we tend to stutter, flounder, and add filler noises like umm, well, basically, so, hey, hi, good day and how are you? Such words when used in dialogue slow the pace and become boring. Readers don’t need constant polite introductions or goodbyes, they want dialogue that keeps the momentum of the story going. Remember – that’s not to say never use such words, just be conscious not to fill your dialogue with them.

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Tip 6 – Dialogue must serve a purpose to advance the story. The whole point of writing dialogue is to show the reader things that progress the plot, build characters, show backstory and/ or entertain. It doesn’t drone on just for the sake of having characters converse. Keep everything succinct to the story and integral to the characters.

Tip 7 – Read your dialogue out loud. Make sure it sounds realistic, and then make sure it sounds like your character. Each character will have their own distinct voice. Your character may have an individual turn of phrase, or often call people buddy. These things can really help to differentiate them within your story.

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Do you have any tips on how to write great dialogue? Or perhaps you have a great line that you’d like to share from your current WIP. If so, please share it, you know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.
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3 Fun Exercises to Help You Create Irresistible Characters

I would like to introduce you to Desiree Villena. A writer with Reedsy, a marketplace that connects authors with the world’s best publishing resources and professionals. In her spare time, Desiree enjoys reading contemporary fiction, writing short stories, and giving (mostly) solicited advice to her fellow writers. You can check out Reedsy at Twitter / Instagram.

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There are two crucial pillars that hold up a good novel: first, there must be a compelling plot, and second, there must be nuanced characters who undergo this journey. Plot goes hand-in-hand with the central conflict and its resolution, so these elements are often intertwined!

Of course, not every story requires an examination of the deepest crevices of a character’s soul — but the complex layers of a protagonist often still bubble to the surface, even when they’re not explicitly explored. Just as a charismatic and thoughtful person charms others, well-developed characters are irresistible to readers, literary agents, and publishers alike.

So how can you craft characters who will feel believable, evoke sympathy, and rope your readers in? There’s no one single way to achieve this, but the three exercises I’ll be sharing with you below can get you thinking about the many facets of a round character.

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1. Let your protagonist win the lottery

This is a common thought experiment when thinking about the question: “What do you want to do with your life?” Before we get distracted by questioning our own raison d’être, let’s consider  how this exercise works.

Assume the prize for hitting the jackpot is hefty — so big that physiological security is no longer a remote  concern for your character. Without having to worry about survival, what would your character do with their money and, more importantly, their time?

What they choose to do has profound implications for their personality, their aspirations, and their skills. If your character decides to use that money to open a pottery shop, they must be somewhat entrepreneurial and industrious. They might be passionate about pottery, or they’re perhaps less aware of social issies than wider society, considering the fact that they didn’t choose to funnel their resources to a charitable cause. This exercise might also flag up certain areas of specialty you have to research, if you want it included in the story.

The decision of how to use this prize also opens up options regarding their interests and background, e.g. whether they’ve studied this art before, or if it was part of their family history or business. In any case, it’s fun to imagine this kind of scenario, since there are so many possibilities available.

You can frame this writing exercise as an interview of the character by a news outlet, or a conversation the character has with a close friend, outlining their plan. And of course, not every story setting has a lottery, so you can tweak the prompt to suit your needs (maybe your character unknowingly dug up a pot of gold) — just to make it feel more realistic, even if you don’t end up including their “lottery plan” in your actual story.

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2. Trap them somewhere alone

In a modern setting, your protagonist might get trapped in a broken elevator — or, if you really want to push your character to the limit, perhaps a crashing plane. In a sci-fi setting, the place could be a lonely and malfunctioning spacecraft (think The Martian). In a medieval setting, it could be a random sinkhole in the middle of an empty forest.

What you want to do in this scenario is the reverse of exercise #1: you want to remove practically all possibilities from your character and see how they react. Are they angry, or are they anxious? Is your character debilitated by the seriousness of the circumstances, or is their brain whirring, trying to find a solution? If they’re working on a course of action, what skills do they have to come up with and realize this plan?

Even if they’re not being uncannily resourceful and clear-headed, you can delve into what’s going on in your protagonist’s mind. Who and what are they thinking of, now that they’re coming dangerously close to death? Are there any regrets? Do they have certain memories that make this situation especially traumatic, or escape more difficult?

If you’re up for a challenge, try weaving in the emotional or psychological entrapments your character feels into your story. Let the physical space be a metaphor for the obstacles your character faces in life. This way you can explore both the mannerisms and inner thoughts of your protagonist, and the internal struggle that builds onto the central conflict of your story.

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3. Create a social media account for your character

Now I know this doesn’t make logical sense in every scenario — 15th-century knights don’t usually stop on their way to battle to post a quick Instagram story — but it’s an entertaining exercise to develop the social life and behaviors of your protagonist. And of course, you don’t have to actually create an account on Facebook or Twitter; just describing it will suffice.

What can you include in this description? Well, anything, really. Is this account used to keep in touch with close friends, or is it for a practical purpose like book marketing? (Meta!) How many friends or followers do they have? Does your character interact a lot, and what kind of content do they share?

Indeed, just by picking a social media platform, you’ve already determined some things about the character. If it’s Facebook, your protagonist might be the eloquent and argumentative type — as opposed to Twitter, where the character limit means Tweets are more concise and oftentimes quippier.

Feel free to experiment with the tone as well. Though this prompt probably gets you thinking about a contemporary setting, if your character’s from another era, you can definitely use the appropriate vocabulary and language style. (You might know of fanfiction social media accounts where the fans roleplay as book characters on Twitter — this is somewhat similar to that.) Here’s your chance to work on the voice of your character.

And that’s the nice thing about exercises like these: they don’t just make you ponder all the details you’d normally include in a character profile, they also let you experiment with your portrayal of your characters in a fun and creative way. Hopefully these exercises give you some inspiration for writing characters who are hard to forget!

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I want to say a massive thank you to Desiree. I’m sure you’ll agree she writes excellent post and that Reedsy is a valuable writing resource. I know I’ll be checking out their posts. Once again, You can follow Reedsy at Twitter / Instagram.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.
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Novel Crafting – 12 Character Archetypes

Hello my fellow creators, and welcome to this weeks post. Have you ever wondered what archetype your character falls under? Or perhaps you’re outlining a new project and brainstorming who to include in your story. Hopefully, you’re wondering what character archetype would most benefit your story. Well, I’m here to help with a fun Inforgraph outlining the main 12 Character Archetypes. So lets delve a little deeper…

Those who yearn for utopia

Characters who fall under this category all ultimately desire the same thing, but their background, strengths and weakness all create a character with different needs and/or goals. The Innocent / Child – yearns for safety and happiness. They’re imaginative, open-minded and trusting. However: They have a low position of power, fear punishment and tend to be naive and easily taken advantage of. Whereas, The Explorer – craves freedom, and a fulfilling life, with the ability to embrace autonomy. Yet: They tend to wander, fearing entrapment. The Sage/ Mentor (not included in the Info-graph) – wants a better understanding of the world. They intelligent, a great listener, have a calming presence, craving wisdom and knowledge. Though: They fear deception. Their biggest flaw is a lack of action, an inability to learn from their mistakes, and solve their own problems.

Those who wish to leave a mark

These archetypes vary on the scale of good to bad intentions. Here we have three very different archetypes, with almost polar opposite characters.The Magician/ Wizard – wants power to alter reality. They have great knowledge, understanding and strategy. However: Hubris is their greatest weakness. They may resort to anger when facing consequences. The Hero / The Warrior craves mastery of their destiny. They’re confident, ready for action, and have great physical and/or mental capabilities. However: Overconfidence may be their downfall, by underestimating their opponent. Thus having to face their own weakness, which is their biggest fear. The Outlaw / Rebel – desires liberation and revolution. They inspire, never quit and know how to get the most out of everything. But: They’re constantly trying to outrun their fear of having little power in the world, and tend to earn things the hard way.

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Those who crave connection with others

This group of archetypes loves to be in the company of others, they thrive on it. Yet they seek their needs out in very different ways. The Lover – needs intimacy: They’re loyal, devoted and openly communicate. However: they may loose themselves in their devotion to please the other person, whilst fearing isolation. The Jester/ Joker – derive pure enjoyment from their interactions. They’re fun, loved by all and appear to be emotionally deep. However: They tend to be unreliable, selfish and in need of constant distraction. The seducer – also craves intimacy. They’re charismatic and charming. However: Their weaknesses may jeopardize long lasting relationships: They have no morals, no loyalty and can be controlling, ultimately having a fear of rejection. The Orphan/ Everyday person – They want to belong. Often well respected, empathetic, realistic and open. However: They lack confidence, cynical, are eager to please and care too much about what others think of them. They fear exclusion.

Those who provider structure

All three archetypes want to build a better world, but with utterly unique points of view. Lets explore. The Creator (I’m sure we identify with this one) – Is an innovator. Imagination is their best skill, they can realize a vision and implement it. However: They fear mediocrity. Perfectionism is their downfall. The Ruler – needs control. They desire prosperity and obtain it through leadership. However: They fear being overthrown. Authoritarian is their flaw. The Caregiver – wants to be of service. They’re selfless, compassionate and always help others. Yet: Their fear of selfishness can lead them to martyrdom.

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Personally, I embody elements of the caregiver, creator, lover and sage. But remember, there is no one-size-fits-all, we’re unique, complex and fluid in our ability to change. You’re characters will be too. What archetypes do you tend to favour in your novels, and did you identify with any of the archetypes yourself? Please share your thoughts with me, you know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.

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Improve your Writing by Removing Crutch Words.

Completing a rough draft of a novel is a huge success. However the real work comes from revising. Working with critique partners to help develop the plot and character arcs. But what happens after you’ve done a few rounds of revision? Where do you go next? How can you sharpen your manuscript?

We all have words that we over use, words that we rely on to tell or show the story. Words that we’ve peppered our page with. Soon, you and your beta readers will being to notice the words you rely on, and with diligence you can begin to remove them from your work.

Because I write fantasy-romance, I tend to over use body parts; eyes, mouths, certain gestures for my characters like shrugging or curling their hands into fists. When over used, our readers pick up on them, which brings them out of the story. These become our crutch words.

A great tip is to create a checklist sheet. Jot down a list of your culprits and search your document, preening them out. Don’t forget body parts, facial expressions, or words that you identify as over using. Then edit out the crutch words. Try rewriting the sentence using different words? Ask yourself – do the words adding any meaning to the sentence? Will its removal, alter the story? Can the crutch word be replaced with an alternative description? Thus eliminating the obvious eyesores before your readers identify them.

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#TIP. Word document has a Find tool that searches and highlights the specific word in your manuscript, making it easy to alter or remove.

Air caution, when using the thesaurus. While its function is invaluable to us authors, it runs the risk of stripping our unique voice from the story. I must admit to replacing a word for a recommended substitute and losing the original meaning by not understanding the definition.

A rough idea, is to limit those pesky crutch words to just once per page. Of course, you don’t have to stick to that. Changing a lounge, to a front room, mid-scene is going to be jarring. As would using flowery prose to describe a lagoon, just so you don’t say water too much.

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Some genres – I’m thinking romance – expect to have an emphasis on certain body parts. Eyes in particular, because it shows emotions, and builds tension. Reading in your genre will help you identify those crutch words that have become acceptable to use.

My last tip is to read your work aloud. We’re often too close to our work to see fault. But by sounding out the writing, our brains have the ability to process the information, thus picking up on crutch words.

Yes, it’s tedious hard work, but with persistence and a thorough revisions your writing will improve. I believe in you!!

What is your main crutch word? Don’t be shy. I love it when you share your thoughts and opinions.

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Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.
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Defining Your Writing Voice

We all hear it, time and time again, from agents and editors and publishers… we want VOICE! But what exactly does that mean? And how can we start to define our own Voice in our writing.

Over the last year I’ve started receiving some great feedback from Editors and Agents, great Voice, wonderful writing style. And yet, I’ve had no full manuscript requests. So I wanted to dig deeper into what wasn’t working in my manuscripts. It turns out, I’d developed the wrong kind of Voice.

Don’t get me wrong, the industry wants a writers voice and their style to come through, but what they also want, also NEED… is our characters Voice. Both the POV of the character (their voice), and the writers (Our own voice), need to blend together to create a wonderful voice that draws the reader in.

If your struggling with the concept, or want to improve your own writing, I strongly recommend reading – Voice. The secret power of writing by James Scott Bell. In his bite sized book, he sets writing exercises that help hone and develop Voice. He gives examples of Voice in literature to help the reader understand the many different aspects of voice and how we can cultivate a different style of voice for different genres.

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Perhaps it’s easier to develop a characters voice in first person POV, over second person POV, because the writer is filtering everything through the characters perspective. And to make matters more confusing, some novels are written in an omniscient narrator style, where the writers voice carries the story.

The main points that I’ve learnt is when describing a setting, do it through the characters eyes, taking into account their mood, their background, their current goals and their character wounds. I’d been describing them through my POV. What I wanted to convey was a stunning visual world full of hidden emotion. Some characters don’t care what the sunset looks like, or what dress so-and-so is wearing. Oops!

I’ve tried to write my second novel Mischief and Mayhem in deep third person POV, unfortunately, to much of my own voice carries the story. So it’s time for a complete rewrite. I’m on the lookout for new critique partners who understand Close narrator – Third Person POV, and loves fantasy-romance. If you’d like to work with me, please comment below.

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Do you have any tips on how to develop your character voice? If so, I’d love to hear all about it. Don’t be shy, we’re all here to learn and develop our craft.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.
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How to Revise your Manuscript Using a Reverse Outline – Review of Jeni Chappelle’s webinar.

Hello my fellow writers and welcome! This week I’ve completed my fourth manuscript; a speculative fiction called Entangled of around 90’000 words. Finishing the first draft is a fantastic moment, but it’s also only the beginning of a novels journey to completion. I’m currently in an odd position where I have three novels all at different phases of the revision process. I must admit the task of tackling a first revision is still as daunting as it was the first time. I recently attended a webinar by editor Jeni Chappelle who has a wealth of experience, so I thought I’d share it with you.

The first part of editing may seem counter-intuitive, but it’s vital: Put the MS down and forget about it. Leave it on the hard-drive or locked in a draw and focus on something else. When the time comes, you’ll want to be as objective as possible. You’ll want to forget about the subplots and character arcs. You’ll need to switch your brain from being a creative writer, to an analytical observer. Time and distance from your WIP will help.

Jeni talk us through the three phases of revision, the first one is to look at the structural elements of your story. The plot and character arcs are the foundations of your novel. It’s fundamental to do this type of revision first; the set up if you like, to see if the novel works.

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While I’ve always started my process by reading through the whole manuscript, making notes on the things I want to change or clarify – Jeni opens up a whole list of vital question to ask during this process. Jeni gets us thinking about the internal goals and conflicts of the characters. The webinar gives the key to unlocking all of the hidden workings behind a successful story.

I found Jeni’s friendly approach not only welcoming but also easy to understand, despite the in-depth scope of the lesson. During the half an hour webinar, Jeni helps distinguish the importance of identifying the plot and pacing, and much, much more.

Jeni teaches writers how to Create a reverse outline. If you’re having heart palpitations at the thought of this, trust me, you’re not alone. A reverse outline is an overview of your novel, enabling the writer to structure their novel. Stories should follow a novel structure, their are many to choose from, but I prefer to model my stories on the three act structure.

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Once we’ve identified the gaps in our manuscript its time to start editing. Perhaps your MC needs clearer defined goals, or the pacing is too slow to start. Maybe some of the scenes need to be switched around to enable the story structure to flow.

The process will be different for everyone, the important part is trying. That’s where you’ll learn and grow as a writer. Once you’ve finished the first round of revision, you may choose to ask a critique partner to help out. They will be able to point out any areas you may have overlooked.

Send your work out to beta readers and return the favour by critiquing their work. This is the stage I’m at with my third MS Crown of Lies. It’s a valuable chance to put into practice the knowledge you’ve gleaned from revising your own work. While it can be daunting, it is undoubtedly the most valuable skill you’ll learn as a writer.

If you’re stuck and you’re searching for professional feedback, you may want to work with a developmental editor, or simply get feedback of your submission package. (This is the stage I’m at with my second novel, before I query again.) Today’s post has been influenced by one of Jeni Chappelle webinars. She is a co-founder of #RevPit over at Twitter. Check her out – subscribe to her newsletter. Not only does she have great content and she’s also a fantastic editor too.

What resources do you use when editing? Do you like to use the reverse outline method, or do you tackle the issue in a different way. I’d love to hear all about your process, please share your experiences with me.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.
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Exploring Story Structures

I had a great question from a fellow blogger, asking for clarity on the different types of story structures. So I did a little research, and guess what… while there are slight differences, ultimately the three, four, and yes I found a five act story structure are all similar.

They all follow the same patterns, and they all fall into three sections: Protasis, Epitasis and Catastrophe. Don’t let those the phases intimidate you.

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Here’s the basics, I’ll let you decide for yourself:

Three Act Story Structure:

  • Opportunity – Start in the ordinary world, reveal Hero’s goals, until they’re called to action which introduces the stakes.
  • Point of no return – The hero progresses, alternating between change and resistance; failure, plans, running, hiding, learning new skills to combat antagonistic forces. The hero tries to win. Complications emerge, raising the stakes, resulting in a false defeat or all hope is lost scenario.
  • Climax – The hero embraces change, conquering their inner demon. They’ve glean the final piece of information, perfects their skills, and overcome all hurdles. Finally, they defeat the antagonistic force. We embrace them in their new world, fully transformed, with a sense of catharsis, or a release of tension.

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Four Act Story Structure:

  • The set up – Start in the ordinary world, reveal Hero’s goals, until they’re called to action which introduces the stakes.
  • The response – The hero progresses, alternating between change and resistance, failure, plans, running, hiding and/ or learning new skills to combat antagonistic forces.
  • The attack – The hero tries to win. Complications emerge, raising the stakes, resulting in a false defeat or all hope is lost scenario.
  • The resolution – The hero embraces change, conquering their inner demon. They’ve glean the final piece of information, perfects their skills, and overcome all hurdles. Finally, they defeat the antagonistic force. We embrace them in their new world, fully transformed, with a sense of catharsis, or a release of tension.

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Five Act Story Structure:

  • Exposition – Start in the ordinary world, reveal hero’s goals.
  • Rising Action – Hero is called to action which introduces the stakes. The hero progresses, alternating between change and resistance; failure, plans, running, hiding and/ or learning new skills to combat antagonistic forces.
  • Climax – The hero tries to win. Complications emerge, raising the stakes, resulting in a false defeat or all hope is lost scenario.
  • Falling Action – The hero embraces change, conquering their inner demon. They’ve glean the final piece of information, perfects their skills, and overcome all hurdles. Finally, they defeat the antagonistic force.
  • Denouement – We embrace them in their new world, fully transformed, with a sense of catharsis, or a release of tension.

Of course there are different ways to structure a novel that don’t follow the Protasis Epitasis, Catastrophe arc. Check out Four Way to Structure Your Novel where I explore other ways to structure your novel. 

A great resource for structuring your novel is: Save the Cat! Writes a Novel: The Last Book On Novel Writing That You’ll Ever Need I highly recommend this book.

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What’s your favourite story structure? And do you agree, or disagree with my analysis of the three, four and five acts. Share your opinions with me, we can learn new things by sharing information. You know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.
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Novel Writing – The Three Act Story Structure

A quick reference Infographic for all writers, whether you’re a plotter or planster, to help guide you through your hero’s journey. Take a look at the Three Act Structure and see if it suits your story.

There are other methods, which I’ve covered them in another post: Four Ways To Structure A Novel. If you want to know more, check it out.


I hope you enjoyed this fun glance at structuring novels. The options are endless, let your imagination run free and don’t give your hero an easy time. 😉

If you’re interested in further ideas, check out: Six Ways To End Your Story. 

Happy Writing.
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Do you use the Three Act Structure? Or do you have prefer another method? Please share your writing style, know I love hearing from you.

Thanks for stopping by, until next time, Much Love.

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© Author Lorraine Ambers and http://www.lorraineambers.com, 2020.