Have you made your notes for Part A first? We need to refer to them here.
So, with your journal at hand, it is time to engage your Imagination. Let us proceed.
Let us create a Setting in which to anchor your story, using the details you recorded in Part A.
Draw on the most vivid images from your 3 real places, create a new physical environment. Keep the real details that were so significant to you. E.g. the texture of bricks, shadows across the lawn, flies buzzing on bins at fisherman's wharf, and those other remembered details you noted in Part A. At this point concentrate on building a world which is a composite of the real places you know.
Remember, as much as it might appear to the contrary, there is no paradise.
Next, refer to your notes for 1b) and 1c). Make this a world that engages the senses and has a profound emotional effect on you. Make this a place of contradictions, where conflict and tension can flourish.
Add a dash of colour, lashings of imagination and mould your setting into shape.
Since our time is limited and characterization is a huge subject, consult your lists and create just two characters from a composite of the people you recorded. One positive and one negative
Because noone is all good or all bad, add a negative trait/attitude/habit to your hero and a positive trait/attitude/habit to your villain. [The hero's flaw could even prove to be his salvation, and the good trait could be the villain's undoing.]
Include those details that most pleased or offended you. This is so the reader can gain the same sensory perception, and experience the same emotional reaction to your new characters, as you do. (See the Wow Factor below).
Give your characters occupations and/or talents you are familiar with, or create occupations from what you know, so you can write from experience and make it real.
So, you have created two characters whose paths are about to cross in your imaginary world. Are they strangers or are they known to each other?
Now we need to create a situation to bring them together in conflict, for the duration of the short story or novel.
i.e. The storyline, the sequence of events that happen -- from the goal at the beginning through conflict and crises to the climax and resolution at the end.
Drawing on the situations you recorded in Part A, conjure a problematic scenario from several of them. Use that unexpected visit, that nightmare and/or dramatic news item or overheard conversation etc. Let you imagination run riot. Ask 'what if?'
Since you already know the outcome in each case, from Part A, you can devise a new beginning, middle and end for your composite plot.
Add twists and the unexpected, to shock or surprise the reader, especially if it comes from something you know and they do not. In other words, create an original plot from your unique experience of the world
Above all, remember that 'problem' / 'goal' is the backbone of stories.
Place your characters in your setting and launch them into the your plot.
From their traits, give both of your characters strong motivation to move forward.
What does the hero want? Why can't he have it? What must he do to succeed?
What does the villain want? Why can't he get it? What must he do to succeed?
4. WOW FACTOR.
To me, this is the emotional response we create in the reader. By adding your emotions and drawing on the senses, which you did earlier, you have already added the 'Wow Factor'.
You may not know what it's like to be that kidnap victim in the News, but you may have been locked in detention at school. We all know the frustration of being delayed when you should be elsewhere. We all know the fear when faced with a dental appointment and the anxiety when children are late home. Apply these emotions to your kidnap victim. You are actually unlocking universal emotions, but your characters will react in ways unique to you.
Make 'em laugh; make 'em cry, make 'em mad or make em' sigh, but make the reader react. Hit a nerve common to us all and the reader will draw on his/her own experience and do the rest.
If you get goosebumps or cry or laugh out loud while you are writing, there is a good chance the reader will too.
5. YOUR PREMISE, or 'story in a nutshell', results from your plot.
When______happens to_____, he/she must_____or face_____.
A time travelling mission lands a modern Swiss youth in the age of Wilhelm Tell, where alchemy, magic and religion co-exist. He must face his own demons and those of medieval
before he can outwit a shape shifting sibyl and an evil knight who are determined he won't leave the fourteenth century alive. Switzerland
Footnote: Story is not Plot. One story can be retold through many different plots. Consider the Cinderella story and its many versions– my favourite is The Slipper and the Rose. (movie with Richard Chamberlain).
Story = the idea, the general theme. Think of the proverbs. e.g. He who hesitates is lost.
My example of Story:
The Unhewn Stone is about one youth's quest to make a difference.
When you attempt to change history, be prepared for the change in yourself.
Would you like to share aspects of your setting, characters and plot? Or have you worked out your premise already? I'd love to see the magic you weave.
(Of course you can research all aspects of your setting, characters and storyline, but here I am attempting to show you the richness that comes from drawing on what you know).
Thank you so much for dropping by. I'll see you later today. I'll keep popping back during the month to see more of your shared results.