currently thinking about: critical role, dimension 20, naddpod, funky lil web weavings, she-ra, tangled the series, supernatural (unfortunately), the haunting of hill house/bly manor, coraline.
Hyper-specific advice because I don’t see enough of this!
make your characters have inaccurate perceptions of themselves. your character might think they’re selfish but at every opportunity they act selfless. we all have blind spots so give these to your characters too! (this works best with first person pov but I’m sure you can do it in third.)
make a character’s personality trait helpful sometimes and harmful other times. impulsivity that makes them act quickly in high-stress situations which is great but it also sometimes results in the wrong choices.
make an excel/google sheets doc for your outline. for mine i have the chapter number, the date, the character pov (since mine is first person and switches between 5 characters), a summary column, and a continuity column. my story takes place in one setting but most stories have multiple locations, so you could include a column for that, the time of day, even the moon phase (one of my wips is from the perspective of animals so that is super important for that story).
you can also use excel/sheets for keeping track of your conlang. for my animal wip i have constructed a language called Vannro and I have 300 some-odd entries into my excel doc. i have columns for the Vannro word, the English translation, etymology and derived words (for some), the part of speech, and the subject. you can easily sort in alphabetical either in English or your conlang, and also sort by excluding all entries that aren’t under the subject “derogatory” or “places” etc. I always forget what my “be” verbs are so I sort through the part of speech column so I can find “is” “was” “are” etc.
use perspective to create tension for your reader. for example, in The Blackwater Anomaly in a chapter from Rainer’s pov, we experience his nightmare, however in a later chapter from Holly’s pov, when she asks him directly, he lies and says he hasn’t experienced any nightmares. Holly doesn’t know he is lying but the audience does. I also have characters who do not get chapters from their perspective, who may or may not be lying, and so both the audience and the characters experience that anxiety and uncertainty together.
consider using deep pov. you can read some articles about it but essentially you make the audience experience the story at the same time as the character and it makes your narration more active. this can also be done in third person. this has a lot to do with “show don’t tell” (although sometimes its better to just tell). remove some “telling” words like “thought/felt/saw” and just get directly into what’s happening. instead of “Ava saw a shadow fall across her shoulder” make it “a shadow fell across her shoulder”. your reader will know who you’re talking about. this even jumps into the unreliable narrator when you change “I felt like Isaiah was blowing me off” to “Isaiah blew me off.” the former has room for doubt and makes your character seem weaker. if she thinks she’s being blown off and she’s pissed about it, make her say that! you have to make the audience believe it’s true, it makes them more invested in the character’s experiences and emotions. and then if they later find out Isaiah wasn’t really blowing them off, there was an emergency or something, both the character and the audience can feel regretful together over misreading the situation and being pissed at Isaiah. if you leave room for doubt, then your reader will just feel unsurprised during the reveal and frustrated at your character for being stupid up until then.
you don’t have to “show” everything. sometimes there’s boring parts of a narrative that no one really cares about. you can either make a break in the text to show a time skip happened when your character was driving from point a to point b or you can give a paragraph or two about the drive, just telling what happened, even include an accident on the side of the road or an unexpected and frustrating road closure. its a very mundane and relatable aspect in our lives and we don’t need to be “shown” these, we can just be told. summarize the nonessential by telling or just skip it.
I plan to write a story about heists, often from the point of view of the investigators' side, but I don't know where to start (or at least, my brain cannot make anything as interesting as I see in the media). Is there any advice on how I can plan it? Thank you very much!
A Worthwhile Score - The most important thing you need for a good heist story is a worthwhile score. What is the object/thing they’re after and why is it important/valuable? How can everyone in the crew get a cut of this object/thing? What makes this thing valuable enough that it’s so protected/hard to get in the first place?
Stakes - The second most important thing you have to establish is why the heist is taking place and why it matters. What does the heist crew stand to gain if they’re successful, and/or what do they stand to lose if they’re not? In Ocean’s Eleven, Danny stood to win back his wife’s affection while ruining the man who stole her from him. If he failed, not only did he not achieve either of those things, he also risked losing everything by going back to prison.
Sympathetic Motivation - If you want the reader to root for the heist crew, you need to make sure they have a sympathetic motivation–or at least one the reader wouldn’t disapprove of. For example, in Ocean’s Eleven, the heist motive is revenge against the guy who stole Danny’s wife, so not the most sympathetic cause, but not a despicable one. And when we see that Benedict is a jerk who doesn’t even treat Tess well, and that there’s still something between Danny and Tess, we’re able to root for him.
A Solid Crew - Another important element of good heist stories is a solid crew, meaning each member of the crew has to have a solid reason for being there. That means they need to play a vital role in the heist by providing a vital skill no one else can provide. They also need to have a believable motive for wanting to be part of the heist, especially if they’re not being hired or rewarded with a large sum of money. And finally, it’s nice to give each crew member a compelling personality, interesting characteristics, and unique relationships with other crew members.
A Complex Scheme - If your characters are trying to steal a piece of art from a museum, they can’t roll up on the museum, break a window, knock out a guard, disable the alarm, obscure a camera, take the piece of art and off they go. That’s too easy. Anyone could do that. There needs to be big, seemingly insurmountable obstacles that only the skills of the unique crew can overcome. Like, instead of breaking a window, one crew member’s unique knowledge of the tunnels beneath the museum could get them in–but only if they can avoid detection from the night crews who work in the tunnels. And instead of knocking out a guard, there are several guards, and only the super stealthy wraith-like martial arts expert can do it without being caught.
A Backup Scheme - The one thing that’s true about complex schemes is they almost always go awry. That said, you need to figure out what goes wrong, why, how it affects the original scheme, and how they re-route in the moment to get things back on track. Really good heist masterminds will have a Plan B and Plan C, but even these won’t be without their kinks. All of these unforeseen pitfalls, unexpected obstacles, and potential failures keep the tension high and make things interesting. Watching the crew deal with things when they go off track is part of the fun of heist stories.
I hope that helps! ♥
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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!
