Secret Guide Awards - Who May be the Winningest Author?
I take advantage of boxes to help make the plots better to follow. Towards the top of an item of paper, centered, I create a box that marked "Offense ".Inside, I create an extremely short information of the offense; frequently a maximum of the victim's title, wherever and how they died and who killed them. Then I create a box for every major event in the history below it. Sort of a timeline for my tale. When the body was found, and by whom? When the first actual idea discovered, the 2nd, Freemasonry the 3rd, and so on? This is the timeline of my story. I try to help keep the key plan point the only information at the center boxes. You'll see why in a moment.
Today, for every single subplot, I take advantage of still another type of boxes along both parties the key plan boxes. If I've one subplot, then I've one type of boxes. Two different subplots, two lines of boxes, and therefore on. I wrap the red herrings, suspects, and clues for anyone subplots to the key plots. When does the first believe show up, and is he or she the real one? What are the red herrings and when are they introduced? For every single different product, I stick it in a package near the timeline box so it coincides with and connect them with a line.
This method not just helps me hold track of all of the different facets of my mystery story , it will help me ensure my subplot's timeline flow along side my principal plot's timeline. I do not want an idea being introduced that has already been mentioned earlier. Furthermore, I do not want to introduce an idea that's never talked about again.
When completed, it will look a lot like a corporate organization chart. Each subplot perfectly laid out beside the key plot. It might noise complicated, but it offers me a clearer photograph of my subplots, and how each product relates to the key plot. Doing something like this should also support me determine if I've way too many subplots planning on. The page should really be active without being impossible to follow.
That brings me to another point in this article. Can a puzzle become too involved and complicated? How do we, as authors, make sure to have enough "secret" without creating an excessive amount of?
When I create a mystery story , I try to generate enough subplots to help keep the reader involved, without frustrating the reader. Privately, if I've trouble recalling what every one is, and what it's relationship to the key plan is, then how might I assume my reader to record them too? Furthermore, if the history only has the key plan, or perhaps one subplot, it is not likely to possess enough strain and suspense to help keep my reader reading to the end.
Therefore, for me personally, if my mystery story has two to four subplots I am happy. I can record the activities, recall the clues, and keep the suspects straight.