Tuesday's Writer's Tip - 2 looks at Plot #BWLAuthor #MFRWAuthor #writing #tips #plot #tragedy #comedy

 We've all seen the masks signifying tragedy and comedy. These are two types of plots. They're not as we always see the, Tragedy plots are more physical and comedy are those of the mind. These are two basic plots and to look at them gives one an idea of what kind of plot they're setting into words.

Tragedy of physical plots are those that pit might and power against each other. Comedy plots often show two or more people  matching with and coming up with a story. But these two forms of plot have many variations. So when you're writing your story, you need to isolate just what form your story will take.

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Wednesday Pursing Doctor West #MFRWHooks #BWLAuthor #Romance #Comedy #Medical

Join the authors @MFRWHooks here http://mfrwbookhooks.blogspot.com  for some great excerpts. Mine is from Pursuing Doctor West. He seems to be dating through the alphabed and Zelda wants him. Her schemes to attract him often go awry.

EXCERPT:

She reached for a bottle of nail polish, propped her foot on the railing closest to Michael’s balcony. As she stretched to apply the first stroke, the bottle flew out of her hand, soared over the railing, and landed on his redwood lounge. She stood at the railing and watched Red Hot Passion ooze onto the off-white cushions.

He is going to kill me. Especially if Heather, who preferred pastel colors in her clothing, sat before the polish dried.

She considered her options. She could leave town, but he would send a posse containing her mother and his to drag her back to face any punishment he wanted to mete out. So what to do? Call him, visit him or just ignore the situation.

Was he home? She’d seen him leave, but hadn’t noticed him return. Time’s wasting. She had to solve the problem, soon.

She tucked a wad of cotton and a plastic bottle of polish remover in the pocket of her white shorts. Then she gauged the distance between the balconies. Maybe three feet or less away. Doable. She leaned over the railing, using the chaise to push forward, and wiggled until she grasped the rail around his balcony. She wrapped her hands around the metal.

“Zelda!”

Michael’s shout startled her. When her legs flew from the railing, she nearly lost her grip. “Help!”

“If you’re trying to kill yourself, choose another location.”

She looked down and wished she hadn’t. “Michael, please.” His words had said one thing, but the edge of fear in his voice told her he cared. “Help me.”

“What’s it worth?”

“My life.”

“I’ll hold you to that.” He reached for her arms. “Will you leave me alone?”

“I can try.”

He leaned over, grasped her under her arms and hauled her over. Zelda’s toes found the lip of the balcony. As he dragged her over the edge, she pushed up. Her toes caught on the railing. She slammed into Michael. They landed on the redwood lounge with him on top. Red Hot Passion seeped into her shorts.

She tried to move, but Michael’s body pinned her to the cushions. She felt his skin on hers. She inhaled his citrus scent. Why was she behaving like a lump? He was where she’d wanted him for years. She stroked his arm. “Thanks.”

“What were you doing?” His words vibrated through her.

“Painting my nails.”

“By hanging from my balcony. You’re driving me crazy.”

“You do the same to me.” She wiggled closer and gazed into his emerald eyes.

“Zelda, no.”

Her wish had been granted. Here they were face to face. Her lips touched his. Fire raged, heating her blood. Lord, his kisses were lethal. He tightened his hold and turned so they lay side by side. He throbbed against her. She wanted more. He stroked her back.

She parted her lips. His tongue thrust with a rhythm she echoed by moving her hips. He jerked away.

“Zelda, are you hurt?”

“No.”

He waved his hand before her eyes. “Then what is this?”

“Red Hot Passion. That’s why…”

The doorbell rang. Michael jumped to his feet. “I’m late.” He grabbed her hand and dragged her thought the apartment. “Forget what happened.”

Forget one of the greatest moments of her life? He was insane if he thought she would ever forget their two kisses. Every second of that encounter was printed on her cells.

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Tuesday's Writer's Tip Looking at Mood in your story #MFRWAuthpr #BWL Publishing #Writer #Tip #Mood

Setting the mood of a story. What form of mood will you use for the overall tone of your book. Not every scene has to follow the trend but take care when switching from one to another. So what are these forms.

Comedy means an amusing story with a happy ending. If you start a story in this manner, don't switch to tragedy in the second half of the book. Humor can be part of the story but it doesn't necessarily have to be funny for the entire book. Amusing us a better way to go.

Tragedy is almost the opposite of comedy. There is no happy ending. Think Shakespeare's tragedies. Macbeth is a one.

Melodrama appeals to the emotions often by exaggerations . Usually there is a happy ending but not always. The characters are usually larger than life.

So when you start your story you should decide on the form you will use.

Wednesday - Patterns in Plot construction

When I think of plot I alwasy see the masks one showing Comedy and the other Tragedy. To me there are two basic ways for a plot to emerge. Perhaps this may seem simplistic and maybe it is. Stories either end happily or they end tragically. I kind of prefer the happy ending though Anna Karenina was one of my early models for writing fiction. Just looking at the two, there are many variations on these themse.

In real life coincidences abound. In fiction, they don't. The writer has to plan for every incident that could be considered a coincidence. For a character to overhear an important bit of information, the writer has to find a way to make this seem to be a natural event. Putting the character in the right or wrong place to overhear or witness an action needs the reader to believe this is a natural happening. This must be part of the character's nature.

For either type of story, those with a happy ending or those with a tragic ending there are roads one must take. Every character cones into a story wanting something. This is the what of a story. They must have a reason for wanting this object, event that makes sense. This must be part of the nature the writer has given them. Just wanting the object and the reason can't be enough to make a story. What the story needs are 3 or four segments.

There is the why they can't have this object. This can be presented by other people, by nature or by the social area where they exist. This is the threat segment of the story.

Another segment is the trial period where the character either goes toward or away from the object. Sort of like trying to find a way around the sibject to reach the goal. The character can either succeed or fail or a combination of the two types of action.

The last two segments can be either separate or together and they are success and resolution. The character will either win or lose the object or what they desired in the opening of the story.

So remember when you plan a story which type you are striving to achieve. Will the main character win or lose what they seek. Putting together the segments to reach the end takes planning.