Bridge Of Writing (Domination #2) - DeYtH Banger (e book reader android .txt) 📗

agony with your inability to shock them. Get rid of these ideas while they are undeveloped, and you will save yourself time later.
File them for later. These twists are unique, but they don't fit the pacing of your story. You could use these ideas for later, though.
Keep them. Sometimes, you can create great and surprising plot twists during this stage. When you see a juicy idea, keep it and try to expand on the thought.
Once you've separated your ideas, you can begin to develop these ideas further.

 

 

 

 

 

 

 

 

 

2. Foreshadowing Is Key
Foreshadowing directly coincides with the "revealing" type of plot twist. The greatest plot twists are hard to guess the first time, but make perfect sense the second time. This requires a great deal of cleverly placed hints placed in your story though foreshadowing.

The great thing about foreshadowing is that it only takes a few simple steps.

1. Plant the idea that something strange is happening.

Have your characters familiarize themselves with concepts that will be important in the future. This may include interacting with important objects, mentioning certain topics, or reacting to certain things.
2. Increase tensions around your idea, leaving clues muddled in them.

The easiest way to increase tensions is to have your characters fail because of their ignorance. Let your characters fumble around, messing up because they are missing one, important fact.
You can also increase tensions by shifting the tone. A sudden tone shift indicates a sudden change. This is also followed by some sort of symbolism, like a shift in weather.
While your reader is focused on the tone shift or failure, you can begin placing clues on why the event took place. These clues must be subtle and must not distract from the tone shift. Your reader won't even notice.
3. Make your reveal. Show the hidden piece of information as interestingly as possible. Also, be sure to mention your character's reactions to the information. Try to explore what they must overcome with this new knowledge.

Foreshadowing doesn't have to span the entire novel. In fact, you can reveal the event you foreshadowed in as little as a few paragraphs. As long as you obey the basic formula, you can experiment with its effects.

3. Red Herrings
Red herrings cause your audience to make false assumptions about your story. Then, once you make your reveal, the "shocking" plot twist hooks the reader to your words.

For this reason, red herrings are powerful. The best part is that they are incredibly easy to use.

All you need to do is follow a false chain of thought that someone may conclude.

This is often done in crime novels to distract the reader. For example, in Sir Arthur Conan Doyle’s Sherlock Holmes: Hound of the Baskervilles, the initial suspect for the murder of Charles Baskervilles is an escaped convict. Because he fit the profile for a murderer, he was falsely accused. Yet, there was little evidence other than past history to suspect him. The real culprit was much more clever.

Where does this apply to you, as a writer? You must write two plot twists: one that is false, and another that is true.

Take out the potential plot twist list you made. Pick one of the items on this list and make it false.
Now, write this plot twist as you would any other. Have your story and characters operate as if it were true. While doing this, also begin to foreshadow the plot twist may be false.
Then, make your reveal, and keep the tensions high. Note any potential feelings your characters can feel during this moment. Make sure your story takes into account any feelings of anger, depression, and betrayal that could occur. Reflect this in the tone of your novel.
Take advantage of your ability to twist your reader's expectations. Your story becomes even more interesting in this way.

4. Tell Your Reader Everything
Showing everything upfront is the complete opposite of foreshadowing. But, it happens more often than you think. Telling your reader everything is the key to a "clever" plot twist.

To use this type of plot twist, you must:

Show your reader all of the information they need for a scene to occur. Keep in mind, this is not revealing the entire novel (giving too much information is counterproductive), so you need to have your desired "scene" in mind.
Use only a fraction of this information. As you repeat certain themes in your story, the "less" important information will be forgotten. Making sure your reader has enough time to forget this information is key to a "clever" ending.
When it comes time for your desired scene, show your readers the "secret weapon". Quickly remind your reader of the information they had forgotten, and use it in such a way that drives your narrative forward.
This is done in action narratives all the time. The reader is bombarded with so much tension and drama that they can't help but forget some information. Take advantage of this fact, and you will blow your reader's mind.

Mistakes to Avoid
While writing your plot twist, there are many writing pitfalls you need to avoid. The worst offenders are obvious plot twists and plot twists that make no sense.

Obvious plot twists are just that: obvious. The plot twist is so obvious that either your readers don't recognize it as a plot twist, or are disappointed by your attempt.

The solution to obvious plot twists is simple:

If the idea itself is predictable, go through another list of plot twist ideas. It's not the execution of the idea that is flawed, but the idea itself.
If you foreshadowed too much, get rid of some of the "clues" in your narrative. Too many hints from you can give your plot twist away.
If you want show your readers everything, add more red herrings to distract the them. Also, this type of plot twist is also best if it spans the whole novel. Overload them with other information so they have to forget the most important points. If the idea is too fresh in their minds, it isn't surprising at all.
Another fatal mistakes writers make is writing plot twists that make no sense. This means your foreshadowing is too vague which makes it feel out of place. Because of this problems vague nature, it requires more work to fix. This is because you can easily give your reader too much information.

Here's some advice:

The idea itself may be too far of a stretch for the premise of your story. Consider filing it away for another day.
If the idea has little in the way of explanation, provide more context for the situation to occur. This may involve the major reconstruction of the story itself. It might be easier to scrap the idea altogether.
If the idea is too vague, improve foreshadowing by providing more clues and hints. Adding more information will help justify your plot twist.
Do you want to know if your twist is flawed? Write a small synopsis of plot and your plot twist, and have another honest person to read it. When you ask, "is this idea surprising?", they will give you an honest answer. While you can do this step yourself, your friend's unbiased feedback is more effective.

 

An excellent plot twist adds complexity to your narrative and drives your plot forward. Best of all, a good plot twist can cure any sort of monotony inside your story and picks up the pace. Your audience will thank you for that.

All it takes is a little planning.

 

Tip

 So the most important thing is

- Change Direction

- Don't Make It Obvious

- Make traps and Suprises in your stories

- If everything fails start with new characters... and destroy the old ones (It creates mystery)

25 THINGS YOU NEED TO KNOW ABOUT WRITING MYSTERIES

  BY SUSAN SPANN

 

Mystery novels work a lot like any other genre, except that mystery writers murder their imaginary friends. To paraphrase the Hoover campaign promise, a mystery novel will deliver “a corpse in every pot.” (Mystery authors are twisted. We might as well get that straight from the outset.)

Mystery offers plenty of room for variation, too. Murder is universal—it can happen in any setting and any time. A sleuth can be a professional, an amateur, or a NINJA (though I’ve already done that last one), and your victim and method can vary just as widely. One warning, however: killing your imaginary friends is a lot like eating potato chips. Nobody I know can stop with one.

Sound like fun? Awesome. Let’s get going:

1. DEATH: IT’S WHAT’S FOR DINNER
Occasionally, a mystery succeeds with a central crime other than murder, but generally speaking purloined papers, missing mutts, and the seizure of family jewels doesn’t get you very far in the mystery world. (However, properly handled, the family jewels have great potential in other genres.)

On the positive side, if your imaginary friends are at all like mine, they’re better off dead.

2. PUT THE HATCHET DOWN AND FIND A SLEUTH
It’s easy to rush prematurely into the process of fitting imaginary friends for cement waders. When real killers rush the process, they end up in jail (or dead). The best way to keep your novel (and your career) off the writers’ version of death row? Plan it thoroughly. Plan it well. And plan to start with an interesting sleuth. Readers don’t turn the pages because they care about fictitious corpses. Readers want to help the cool kids solve a crime.

3. KNEE THE DICK IN THE GROIN
What’s better than an intriguing sleuth? A BROKEN ONE! Hooray! Is your detective emotionally damaged? Physically impaired? Addicted to Hostess Fruit Pies? Excellent: good times lie ahead.

If not, stop now and take a hammer to your sleuth’s emotional kneecaps. Bust those suckers good—and be creative. Divorces, tragic accidents, and dead relatives are dime-a-dozen. You can do better. Make your detective allergic to coffee, or phobic of houseplants. Squash her beloved iguana beneath a Zamboni and then force her to solve a murder at an ice rink.

You get the idea.

3. MUMBLE, MUMBLE, BACKSTORY … OR, EVERY ZAMBONI-HATING SOCIOPATH HAS A MOTHER
Your detective needs a reason to solve the crime you’re about to commit. Faced with a choice between tracking a killer and going out for Mexican food, every normal human picks the churro. Something (aside from your need to MAKE A MILLION DOLLARS PUBLISHING, YO) makes your detective select “hunt killer” over “Tuesday Tacos,” and you have to know the reason before you write. Maybe the story prompts it. Maybe it’s something in the detective’s past. Best case scenario, past and story fuse in a giant quesadilla of motivation. Mmmm…cheesy goodness….

4. THE FIRST RULE OF THE BACKSTORY IS DO NOT WRITE BACKSTORY
No, seriously. Don’t. Not