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oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h67700g | h68tem8 | 1,627,005,096 | 1,627,045,791 | 0 | 2 | That's what I'm doing with TPHoP. It can't be that hard. | why wouldn't it be fine i mean regardless of what others have done in the past you can do whatever you want | 0 | 40,695 | 2,000 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h677aox | h68tem8 | 1,627,005,243 | 1,627,045,791 | 1 | 2 | Well I think you may have hit on the three act structure. | why wouldn't it be fine i mean regardless of what others have done in the past you can do whatever you want | 0 | 40,548 | 2 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h678azo | h68tem8 | 1,627,005,749 | 1,627,045,791 | 1 | 2 | That's a very Faulknerian take that can lead to interesting storytelling. Especially since not every character may be in on the "plot" - so to speak. Further creating more room for suspense and allows the reader to investigate what's going on. I say if you have a story in mind, then try this technique. If it works, then it works- but you'll never know unless you try. Good luck🙇♂️ | why wouldn't it be fine i mean regardless of what others have done in the past you can do whatever you want | 0 | 40,042 | 2 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h68tem8 | h67dbqv | 1,627,045,791 | 1,627,008,200 | 2 | 1 | why wouldn't it be fine i mean regardless of what others have done in the past you can do whatever you want | Atonement by Ian McEwan does this. In part one, it’s 3rd person omniscient in the style of a 19th c novel. Parts 2 and 3 are done in a Modern style with different focalisers. And then the epilogue has a huge twist in narrator. I love other novels more but McEwan plays with perspective masterfully, making it part of the story. | 1 | 37,591 | 2 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h68tem8 | h6800a6 | 1,627,045,791 | 1,627,022,779 | 2 | 1 | why wouldn't it be fine i mean regardless of what others have done in the past you can do whatever you want | This technique is used in Cloud Atlas, although each POV has two sections | 1 | 23,012 | 2 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h68tem8 | h68544n | 1,627,045,791 | 1,627,027,240 | 2 | 1 | why wouldn't it be fine i mean regardless of what others have done in the past you can do whatever you want | anything is possible if you've got the skill and confidence to pull it off. | 1 | 18,551 | 2 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h67700g | h677aox | 1,627,005,096 | 1,627,005,243 | 0 | 1 | That's what I'm doing with TPHoP. It can't be that hard. | Well I think you may have hit on the three act structure. | 0 | 147 | 1,000 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h67700g | h678azo | 1,627,005,096 | 1,627,005,749 | 0 | 1 | That's what I'm doing with TPHoP. It can't be that hard. | That's a very Faulknerian take that can lead to interesting storytelling. Especially since not every character may be in on the "plot" - so to speak. Further creating more room for suspense and allows the reader to investigate what's going on. I say if you have a story in mind, then try this technique. If it works, then it works- but you'll never know unless you try. Good luck🙇♂️ | 0 | 653 | 1,000 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h67700g | h67dbqv | 1,627,005,096 | 1,627,008,200 | 0 | 1 | That's what I'm doing with TPHoP. It can't be that hard. | Atonement by Ian McEwan does this. In part one, it’s 3rd person omniscient in the style of a 19th c novel. Parts 2 and 3 are done in a Modern style with different focalisers. And then the epilogue has a huge twist in narrator. I love other novels more but McEwan plays with perspective masterfully, making it part of the story. | 0 | 3,104 | 1,000 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h67700g | h6800a6 | 1,627,005,096 | 1,627,022,779 | 0 | 1 | That's what I'm doing with TPHoP. It can't be that hard. | This technique is used in Cloud Atlas, although each POV has two sections | 0 | 17,683 | 1,000 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h67700g | h68544n | 1,627,005,096 | 1,627,027,240 | 0 | 1 | That's what I'm doing with TPHoP. It can't be that hard. | anything is possible if you've got the skill and confidence to pull it off. | 0 | 22,144 | 1,000 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h67700g | h68ts08 | 1,627,005,096 | 1,627,045,987 | 0 | 1 | That's what I'm doing with TPHoP. It can't be that hard. | The *Michael Vey* series by Richard Paul Evans does this with every POV switch, separating the chapters with parts, but it can get unwieldy when there are many switches within a book, with some parts getting just one chapter in it. I think one of the books even reached Part 20 or higher due to the POV switches. | 0 | 40,891 | 1,000 | ||
oppw54 | writing_train | 0.75 | Is it appropriate to section a novel into Parts (Part 1, 2, 3, with chapters in each) and each Part is written in a different POV of one of the main characters? I have seen many novels where each chapter is dedicated to a different character's POV, but never seen a novel where you have one character's POV in Part 1, and then switch to a second character's POV in Part 2 in the middle of the novel, and then switch to a third character's POV in Part 3 at the end of the novel. I know that in one series called "Wings of Fire", Book 1 in the series is told in one character's perspective, and Book 2 is told in another character's, etc. But instead of writing a whole series, I think I just want to dedicate my time into writing one book. Would this method be confusing to read? | h6a1nrb | h67700g | 1,627,065,366 | 1,627,005,096 | 1 | 0 | Any writing that exists solely as an exercise in style is in my opinion always going to be tough reading. However, if you have an idea in mind that would be serviced by this technique then why not? Or you could definitely just do it, show it and prove me wrong. | That's what I'm doing with TPHoP. It can't be that hard. | 1 | 60,270 | 1,000 | ||
fz1zm9 | writing_train | 0.73 | my poem's title is in another language. Would it be appropriate to leave it untranslated? I'm a little conflicted, and I was wondering what y'all thought? Would a translation be expected, or is it just an artistic choice? (as of now, I haven't included a translation because I don't think I can properly capture the nuances of the word, if that makes any sense?? hehe) Thanks in advance! | fn3e81g | fn3qqbw | 1,586,618,921 | 1,586,626,073 | -3 | 3 | I would say no because some people won't be able to understand what the poem is about | I'm keeping the name of my novel in its original language, purely because the Czech word is much more succinct than its translation in English, and I've done the same with any terminology in the actual book (which is set in 1980s Czechoslovakia), if the Czech name is easier. I also think it gives a flavour of the setting too, so if your title works better than an English translation, go for it. You can always explain it in a note or something towards the end of the poem? | 0 | 7,152 | -1 | ||
fz1zm9 | writing_train | 0.73 | my poem's title is in another language. Would it be appropriate to leave it untranslated? I'm a little conflicted, and I was wondering what y'all thought? Would a translation be expected, or is it just an artistic choice? (as of now, I haven't included a translation because I don't think I can properly capture the nuances of the word, if that makes any sense?? hehe) Thanks in advance! | fn6odzw | fn3e81g | 1,586,704,027 | 1,586,618,921 | 2 | -3 | A character in Reformation Germany sings "Es ist ein Ros' entsprungen" in my work in progress. To lead into it, another character requests it by saying, "How about something appropriate to this holy day? The one comparing the birth of our Lord to a rose blooming in winter?" That lets the reader know what the title means without being blatant. | I would say no because some people won't be able to understand what the poem is about | 1 | 85,106 | -0.666667 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhkncd | hzhdrte | 1,646,509,481 | 1,646,506,498 | 290 | 142 | Are you sure she's the protagonist? | It means your story has a passive protagonist, which is a tricky thing to navigate because a lot of how a book gets received is tied up in how the reader feels about the main character. For a lot of people, having a character with a maddening lack of agency can ruin the experience. But like anything, if done well it can work. | 1 | 2,983 | 2.042254 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhkncd | hzhcz19 | 1,646,509,481 | 1,646,506,157 | 290 | 11 | Are you sure she's the protagonist? | Think ‘Firestarter’. The little girl was the central character but everything happened around and to her, focusing up to the final encounter. | 1 | 3,324 | 26.363636 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzh97vt | hzhkncd | 1,646,504,553 | 1,646,509,481 | 5 | 290 | Nope. It’s not alright. | Are you sure she's the protagonist? | 0 | 4,928 | 58 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhkncd | hzh9eav | 1,646,509,481 | 1,646,504,631 | 290 | 1 | Are you sure she's the protagonist? | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 4,850 | 290 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhdrte | hzhcz19 | 1,646,506,498 | 1,646,506,157 | 142 | 11 | It means your story has a passive protagonist, which is a tricky thing to navigate because a lot of how a book gets received is tied up in how the reader feels about the main character. For a lot of people, having a character with a maddening lack of agency can ruin the experience. But like anything, if done well it can work. | Think ‘Firestarter’. The little girl was the central character but everything happened around and to her, focusing up to the final encounter. | 1 | 341 | 12.909091 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhdrte | hzh97vt | 1,646,506,498 | 1,646,504,553 | 142 | 5 | It means your story has a passive protagonist, which is a tricky thing to navigate because a lot of how a book gets received is tied up in how the reader feels about the main character. For a lot of people, having a character with a maddening lack of agency can ruin the experience. But like anything, if done well it can work. | Nope. It’s not alright. | 1 | 1,945 | 28.4 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhdrte | hzh9eav | 1,646,506,498 | 1,646,504,631 | 142 | 1 | It means your story has a passive protagonist, which is a tricky thing to navigate because a lot of how a book gets received is tied up in how the reader feels about the main character. For a lot of people, having a character with a maddening lack of agency can ruin the experience. But like anything, if done well it can work. | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 1,867 | 142 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhmdst | hzhospp | 1,646,510,259 | 1,646,511,357 | 53 | 68 | I don't know if you can call her your protagonist but that sounds like a very interesting setting for a character plot so go for it | Great Gatsby did it. As long as it's executed properly you are fine | 0 | 1,098 | 1.283019 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhlpmi | hzhospp | 1,646,509,957 | 1,646,511,357 | 20 | 68 | She’s not the protagonist then. See something like The Passage for how this is handled. | Great Gatsby did it. As long as it's executed properly you are fine | 0 | 1,400 | 3.4 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhospp | hzhcz19 | 1,646,511,357 | 1,646,506,157 | 68 | 11 | Great Gatsby did it. As long as it's executed properly you are fine | Think ‘Firestarter’. The little girl was the central character but everything happened around and to her, focusing up to the final encounter. | 1 | 5,200 | 6.181818 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzh97vt | hzhospp | 1,646,504,553 | 1,646,511,357 | 5 | 68 | Nope. It’s not alright. | Great Gatsby did it. As long as it's executed properly you are fine | 0 | 6,804 | 13.6 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzh9eav | hzhospp | 1,646,504,631 | 1,646,511,357 | 1 | 68 | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | Great Gatsby did it. As long as it's executed properly you are fine | 0 | 6,726 | 68 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhlpmi | hzhmdst | 1,646,509,957 | 1,646,510,259 | 20 | 53 | She’s not the protagonist then. See something like The Passage for how this is handled. | I don't know if you can call her your protagonist but that sounds like a very interesting setting for a character plot so go for it | 0 | 302 | 2.65 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhcz19 | hzhmdst | 1,646,506,157 | 1,646,510,259 | 11 | 53 | Think ‘Firestarter’. The little girl was the central character but everything happened around and to her, focusing up to the final encounter. | I don't know if you can call her your protagonist but that sounds like a very interesting setting for a character plot so go for it | 0 | 4,102 | 4.818182 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhmdst | hzh97vt | 1,646,510,259 | 1,646,504,553 | 53 | 5 | I don't know if you can call her your protagonist but that sounds like a very interesting setting for a character plot so go for it | Nope. It’s not alright. | 1 | 5,706 | 10.6 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzh9eav | hzhmdst | 1,646,504,631 | 1,646,510,259 | 1 | 53 | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | I don't know if you can call her your protagonist but that sounds like a very interesting setting for a character plot so go for it | 0 | 5,628 | 53 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhcz19 | hzhlpmi | 1,646,506,157 | 1,646,509,957 | 11 | 20 | Think ‘Firestarter’. The little girl was the central character but everything happened around and to her, focusing up to the final encounter. | She’s not the protagonist then. See something like The Passage for how this is handled. | 0 | 3,800 | 1.818182 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzh97vt | hzhlpmi | 1,646,504,553 | 1,646,509,957 | 5 | 20 | Nope. It’s not alright. | She’s not the protagonist then. See something like The Passage for how this is handled. | 0 | 5,404 | 4 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhlpmi | hzh9eav | 1,646,509,957 | 1,646,504,631 | 20 | 1 | She’s not the protagonist then. See something like The Passage for how this is handled. | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 5,326 | 20 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhcz19 | hzhsmw0 | 1,646,506,157 | 1,646,513,064 | 11 | 16 | Think ‘Firestarter’. The little girl was the central character but everything happened around and to her, focusing up to the final encounter. | See my other post, write for yourself. From my experience, lots of beginners try to write inactive, passive protagonists. I really don’t know why that is. | 0 | 6,907 | 1.454545 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhrmia | hzhsmw0 | 1,646,512,617 | 1,646,513,064 | 6 | 16 | She isn't the protagonist by definition. The protagonist should be proactive or the audience won't be invested in her. She is a "main character" but that isn't the same as a protagonist. | See my other post, write for yourself. From my experience, lots of beginners try to write inactive, passive protagonists. I really don’t know why that is. | 0 | 447 | 2.666667 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzh97vt | hzhsmw0 | 1,646,504,553 | 1,646,513,064 | 5 | 16 | Nope. It’s not alright. | See my other post, write for yourself. From my experience, lots of beginners try to write inactive, passive protagonists. I really don’t know why that is. | 0 | 8,511 | 3.2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhqwah | hzhsmw0 | 1,646,512,297 | 1,646,513,064 | 4 | 16 | totally! lots of books do this, and if it’s done well, it can be a really interesting way to tell a story. the first example i can think of is “The Virgin Suicides” by Jeffrey Eugenides | See my other post, write for yourself. From my experience, lots of beginners try to write inactive, passive protagonists. I really don’t know why that is. | 0 | 767 | 4 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhsmw0 | hzhpx0s | 1,646,513,064 | 1,646,511,855 | 16 | 2 | See my other post, write for yourself. From my experience, lots of beginners try to write inactive, passive protagonists. I really don’t know why that is. | If your protagonist isn't overcoming obstacles, where is the story? | 1 | 1,209 | 8 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhsgu4 | hzhsmw0 | 1,646,512,990 | 1,646,513,064 | 1 | 16 | Sounds more like she's the McGuffin. | See my other post, write for yourself. From my experience, lots of beginners try to write inactive, passive protagonists. I really don’t know why that is. | 0 | 74 | 16 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzh9eav | hzhsmw0 | 1,646,504,631 | 1,646,513,064 | 1 | 16 | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | See my other post, write for yourself. From my experience, lots of beginners try to write inactive, passive protagonists. I really don’t know why that is. | 0 | 8,433 | 16 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhcz19 | hzh97vt | 1,646,506,157 | 1,646,504,553 | 11 | 5 | Think ‘Firestarter’. The little girl was the central character but everything happened around and to her, focusing up to the final encounter. | Nope. It’s not alright. | 1 | 1,604 | 2.2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhcz19 | hzh9eav | 1,646,506,157 | 1,646,504,631 | 11 | 1 | Think ‘Firestarter’. The little girl was the central character but everything happened around and to her, focusing up to the final encounter. | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 1,526 | 11 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhzi6e | hzh97vt | 1,646,516,128 | 1,646,504,553 | 6 | 5 | There's a lot of debating and confusion here, so I'm going to attempt to clarify for both you and for some of the commenters. There's a difference between a main character and a protagonist. A protagonist is a central character who moves the plot forward. This is Jay Gatsby in the Great Gatsby. He's the protagonist of that novel. The main character is a central character who is only impacted by the plot, but does not impact it themselves. This is Nick Carraway in the Great Gatsby. He's the main character of that novel. (He's also the only POV character, which is a different thing entirely, but I digress.) So, to answer your question, if the little girl in your story does not impact the story, she is not the protagonist. She may be a main character, though. Whatever character(s) impact the plot is/are your protagonist(s). | Nope. It’s not alright. | 1 | 11,575 | 1.2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhzi6e | hzhqwah | 1,646,516,128 | 1,646,512,297 | 6 | 4 | There's a lot of debating and confusion here, so I'm going to attempt to clarify for both you and for some of the commenters. There's a difference between a main character and a protagonist. A protagonist is a central character who moves the plot forward. This is Jay Gatsby in the Great Gatsby. He's the protagonist of that novel. The main character is a central character who is only impacted by the plot, but does not impact it themselves. This is Nick Carraway in the Great Gatsby. He's the main character of that novel. (He's also the only POV character, which is a different thing entirely, but I digress.) So, to answer your question, if the little girl in your story does not impact the story, she is not the protagonist. She may be a main character, though. Whatever character(s) impact the plot is/are your protagonist(s). | totally! lots of books do this, and if it’s done well, it can be a really interesting way to tell a story. the first example i can think of is “The Virgin Suicides” by Jeffrey Eugenides | 1 | 3,831 | 1.5 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhzi6e | hzhpx0s | 1,646,516,128 | 1,646,511,855 | 6 | 2 | There's a lot of debating and confusion here, so I'm going to attempt to clarify for both you and for some of the commenters. There's a difference between a main character and a protagonist. A protagonist is a central character who moves the plot forward. This is Jay Gatsby in the Great Gatsby. He's the protagonist of that novel. The main character is a central character who is only impacted by the plot, but does not impact it themselves. This is Nick Carraway in the Great Gatsby. He's the main character of that novel. (He's also the only POV character, which is a different thing entirely, but I digress.) So, to answer your question, if the little girl in your story does not impact the story, she is not the protagonist. She may be a main character, though. Whatever character(s) impact the plot is/are your protagonist(s). | If your protagonist isn't overcoming obstacles, where is the story? | 1 | 4,273 | 3 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhzi6e | hzhsgu4 | 1,646,516,128 | 1,646,512,990 | 6 | 1 | There's a lot of debating and confusion here, so I'm going to attempt to clarify for both you and for some of the commenters. There's a difference between a main character and a protagonist. A protagonist is a central character who moves the plot forward. This is Jay Gatsby in the Great Gatsby. He's the protagonist of that novel. The main character is a central character who is only impacted by the plot, but does not impact it themselves. This is Nick Carraway in the Great Gatsby. He's the main character of that novel. (He's also the only POV character, which is a different thing entirely, but I digress.) So, to answer your question, if the little girl in your story does not impact the story, she is not the protagonist. She may be a main character, though. Whatever character(s) impact the plot is/are your protagonist(s). | Sounds more like she's the McGuffin. | 1 | 3,138 | 6 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhzi6e | hzh9eav | 1,646,516,128 | 1,646,504,631 | 6 | 1 | There's a lot of debating and confusion here, so I'm going to attempt to clarify for both you and for some of the commenters. There's a difference between a main character and a protagonist. A protagonist is a central character who moves the plot forward. This is Jay Gatsby in the Great Gatsby. He's the protagonist of that novel. The main character is a central character who is only impacted by the plot, but does not impact it themselves. This is Nick Carraway in the Great Gatsby. He's the main character of that novel. (He's also the only POV character, which is a different thing entirely, but I digress.) So, to answer your question, if the little girl in your story does not impact the story, she is not the protagonist. She may be a main character, though. Whatever character(s) impact the plot is/are your protagonist(s). | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 11,497 | 6 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhzi6e | hzhy7kn | 1,646,516,128 | 1,646,515,543 | 6 | 0 | There's a lot of debating and confusion here, so I'm going to attempt to clarify for both you and for some of the commenters. There's a difference between a main character and a protagonist. A protagonist is a central character who moves the plot forward. This is Jay Gatsby in the Great Gatsby. He's the protagonist of that novel. The main character is a central character who is only impacted by the plot, but does not impact it themselves. This is Nick Carraway in the Great Gatsby. He's the main character of that novel. (He's also the only POV character, which is a different thing entirely, but I digress.) So, to answer your question, if the little girl in your story does not impact the story, she is not the protagonist. She may be a main character, though. Whatever character(s) impact the plot is/are your protagonist(s). | Strictly speaking, the protag is the one the story follows, not always who drives it. You're good, but don't neglect chances for her to reflect, grow, learn, and eventually exert influence and see the main conflict through to its end, for better or worse. | 1 | 585 | 6,000 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhrmia | hzh97vt | 1,646,512,617 | 1,646,504,553 | 6 | 5 | She isn't the protagonist by definition. The protagonist should be proactive or the audience won't be invested in her. She is a "main character" but that isn't the same as a protagonist. | Nope. It’s not alright. | 1 | 8,064 | 1.2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhqwah | hzhrmia | 1,646,512,297 | 1,646,512,617 | 4 | 6 | totally! lots of books do this, and if it’s done well, it can be a really interesting way to tell a story. the first example i can think of is “The Virgin Suicides” by Jeffrey Eugenides | She isn't the protagonist by definition. The protagonist should be proactive or the audience won't be invested in her. She is a "main character" but that isn't the same as a protagonist. | 0 | 320 | 1.5 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhrmia | hzhpx0s | 1,646,512,617 | 1,646,511,855 | 6 | 2 | She isn't the protagonist by definition. The protagonist should be proactive or the audience won't be invested in her. She is a "main character" but that isn't the same as a protagonist. | If your protagonist isn't overcoming obstacles, where is the story? | 1 | 762 | 3 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzh9eav | hzhrmia | 1,646,504,631 | 1,646,512,617 | 1 | 6 | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | She isn't the protagonist by definition. The protagonist should be proactive or the audience won't be invested in her. She is a "main character" but that isn't the same as a protagonist. | 0 | 7,986 | 6 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhpx0s | hzi198s | 1,646,511,855 | 1,646,516,917 | 2 | 4 | If your protagonist isn't overcoming obstacles, where is the story? | It's not inherently bad, it's just hard to pull off well, and doing that has some very important caveats, because a story needs conflict of some kind or there's no story. So, the way I see it, you have two major options in order to make your story have a plot, and not just a description of a premise. 1) The little girl isn't your protagonist, but someone around her is. I'm assuming your little girl is exceptional in some way, otherwise you wouldn't center your story around her. When you have an exceptional child, there are going to be adults coming in with Ideas about what needs to be done to or for that child. There are going to be some people who want to use her for their own ends, and others who are going to want to protect her. Your source of conflict is watching these two different groups each try to achieve whatever their goal is, and the girl is just your POV character who is telling us about that conflict, without directly changing anything herself. 2) You use the obedience as the starting point for your character's arc, and we watch her thought process as she begins to question doing what she's told, and beginning to assert her own personhood and desires against the people telling her what to do. The conflict is internal, but unless it manifests in some outward change of behavior, your story loses punch. It might just need one good moment at the end where she does something definitively to change the events of the story, or she maybe impacts the story by making the choice to go along with what she's told, but it's vital that it comes from somewhere. We have to see her thought process, and watch her test her boundaries, or any decision she comes to in the end feels unearned. This works best if your perspective gives you a LOT of information of what's going on in her head and focuses a lot on her emotional states and thoughts. You can also combine the two. But you do need at least one source of conflict, and in my opinion, good stories have several. If this is just a story about a little girl who finds out she's special and does everything she's told without question and no one argues and everyone is happy... that's probably not going to work. | 0 | 5,062 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzi198s | hzhsgu4 | 1,646,516,917 | 1,646,512,990 | 4 | 1 | It's not inherently bad, it's just hard to pull off well, and doing that has some very important caveats, because a story needs conflict of some kind or there's no story. So, the way I see it, you have two major options in order to make your story have a plot, and not just a description of a premise. 1) The little girl isn't your protagonist, but someone around her is. I'm assuming your little girl is exceptional in some way, otherwise you wouldn't center your story around her. When you have an exceptional child, there are going to be adults coming in with Ideas about what needs to be done to or for that child. There are going to be some people who want to use her for their own ends, and others who are going to want to protect her. Your source of conflict is watching these two different groups each try to achieve whatever their goal is, and the girl is just your POV character who is telling us about that conflict, without directly changing anything herself. 2) You use the obedience as the starting point for your character's arc, and we watch her thought process as she begins to question doing what she's told, and beginning to assert her own personhood and desires against the people telling her what to do. The conflict is internal, but unless it manifests in some outward change of behavior, your story loses punch. It might just need one good moment at the end where she does something definitively to change the events of the story, or she maybe impacts the story by making the choice to go along with what she's told, but it's vital that it comes from somewhere. We have to see her thought process, and watch her test her boundaries, or any decision she comes to in the end feels unearned. This works best if your perspective gives you a LOT of information of what's going on in her head and focuses a lot on her emotional states and thoughts. You can also combine the two. But you do need at least one source of conflict, and in my opinion, good stories have several. If this is just a story about a little girl who finds out she's special and does everything she's told without question and no one argues and everyone is happy... that's probably not going to work. | Sounds more like she's the McGuffin. | 1 | 3,927 | 4 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzi198s | hzh9eav | 1,646,516,917 | 1,646,504,631 | 4 | 1 | It's not inherently bad, it's just hard to pull off well, and doing that has some very important caveats, because a story needs conflict of some kind or there's no story. So, the way I see it, you have two major options in order to make your story have a plot, and not just a description of a premise. 1) The little girl isn't your protagonist, but someone around her is. I'm assuming your little girl is exceptional in some way, otherwise you wouldn't center your story around her. When you have an exceptional child, there are going to be adults coming in with Ideas about what needs to be done to or for that child. There are going to be some people who want to use her for their own ends, and others who are going to want to protect her. Your source of conflict is watching these two different groups each try to achieve whatever their goal is, and the girl is just your POV character who is telling us about that conflict, without directly changing anything herself. 2) You use the obedience as the starting point for your character's arc, and we watch her thought process as she begins to question doing what she's told, and beginning to assert her own personhood and desires against the people telling her what to do. The conflict is internal, but unless it manifests in some outward change of behavior, your story loses punch. It might just need one good moment at the end where she does something definitively to change the events of the story, or she maybe impacts the story by making the choice to go along with what she's told, but it's vital that it comes from somewhere. We have to see her thought process, and watch her test her boundaries, or any decision she comes to in the end feels unearned. This works best if your perspective gives you a LOT of information of what's going on in her head and focuses a lot on her emotional states and thoughts. You can also combine the two. But you do need at least one source of conflict, and in my opinion, good stories have several. If this is just a story about a little girl who finds out she's special and does everything she's told without question and no one argues and everyone is happy... that's probably not going to work. | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 12,286 | 4 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzi198s | hzhy7kn | 1,646,516,917 | 1,646,515,543 | 4 | 0 | It's not inherently bad, it's just hard to pull off well, and doing that has some very important caveats, because a story needs conflict of some kind or there's no story. So, the way I see it, you have two major options in order to make your story have a plot, and not just a description of a premise. 1) The little girl isn't your protagonist, but someone around her is. I'm assuming your little girl is exceptional in some way, otherwise you wouldn't center your story around her. When you have an exceptional child, there are going to be adults coming in with Ideas about what needs to be done to or for that child. There are going to be some people who want to use her for their own ends, and others who are going to want to protect her. Your source of conflict is watching these two different groups each try to achieve whatever their goal is, and the girl is just your POV character who is telling us about that conflict, without directly changing anything herself. 2) You use the obedience as the starting point for your character's arc, and we watch her thought process as she begins to question doing what she's told, and beginning to assert her own personhood and desires against the people telling her what to do. The conflict is internal, but unless it manifests in some outward change of behavior, your story loses punch. It might just need one good moment at the end where she does something definitively to change the events of the story, or she maybe impacts the story by making the choice to go along with what she's told, but it's vital that it comes from somewhere. We have to see her thought process, and watch her test her boundaries, or any decision she comes to in the end feels unearned. This works best if your perspective gives you a LOT of information of what's going on in her head and focuses a lot on her emotional states and thoughts. You can also combine the two. But you do need at least one source of conflict, and in my opinion, good stories have several. If this is just a story about a little girl who finds out she's special and does everything she's told without question and no one argues and everyone is happy... that's probably not going to work. | Strictly speaking, the protag is the one the story follows, not always who drives it. You're good, but don't neglect chances for her to reflect, grow, learn, and eventually exert influence and see the main conflict through to its end, for better or worse. | 1 | 1,374 | 4,000 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhpx0s | hzhqwah | 1,646,511,855 | 1,646,512,297 | 2 | 4 | If your protagonist isn't overcoming obstacles, where is the story? | totally! lots of books do this, and if it’s done well, it can be a really interesting way to tell a story. the first example i can think of is “The Virgin Suicides” by Jeffrey Eugenides | 0 | 442 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhqwah | hzh9eav | 1,646,512,297 | 1,646,504,631 | 4 | 1 | totally! lots of books do this, and if it’s done well, it can be a really interesting way to tell a story. the first example i can think of is “The Virgin Suicides” by Jeffrey Eugenides | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 7,666 | 4 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhpx0s | hzi8p3l | 1,646,511,855 | 1,646,520,304 | 2 | 4 | If your protagonist isn't overcoming obstacles, where is the story? | This actually reminds me of a children's book I read called "Socks" by Beverly Cleary. It's about a cat named Socks who was adopted by a young couple, and he has their attention all to himself until the couple has a baby. As a housecat, he doesn't get to choose a lot of pivotal things, so most of his choices (or even the plot) revolve around adapting to his baby brother or pushing for attention. I think it helps a lot to give the protagonist a lot of "little c choices" if they can't make any "big C Choices" in the plot. Give the protag goals within the scope of their world. For a little girl, it could be to make new friends, stop another kid(s) from picking on her, make her folks proud by bringing home art or good grades, or something darker like to be the perfect child so her parents don't hurt her or make her feel bad. Even with just small goals like these, she still has choices she can make to push the story in a direction, and you can show how they may influence the Choices the real plot movers make too. Hope this helps at least a little. | 0 | 8,449 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzi2j2w | hzi8p3l | 1,646,517,496 | 1,646,520,304 | 2 | 4 | This is called a passive protagonist and is generally not acceptable in modern story structure. | This actually reminds me of a children's book I read called "Socks" by Beverly Cleary. It's about a cat named Socks who was adopted by a young couple, and he has their attention all to himself until the couple has a baby. As a housecat, he doesn't get to choose a lot of pivotal things, so most of his choices (or even the plot) revolve around adapting to his baby brother or pushing for attention. I think it helps a lot to give the protagonist a lot of "little c choices" if they can't make any "big C Choices" in the plot. Give the protag goals within the scope of their world. For a little girl, it could be to make new friends, stop another kid(s) from picking on her, make her folks proud by bringing home art or good grades, or something darker like to be the perfect child so her parents don't hurt her or make her feel bad. Even with just small goals like these, she still has choices she can make to push the story in a direction, and you can show how they may influence the Choices the real plot movers make too. Hope this helps at least a little. | 0 | 2,808 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzi8p3l | hzhsgu4 | 1,646,520,304 | 1,646,512,990 | 4 | 1 | This actually reminds me of a children's book I read called "Socks" by Beverly Cleary. It's about a cat named Socks who was adopted by a young couple, and he has their attention all to himself until the couple has a baby. As a housecat, he doesn't get to choose a lot of pivotal things, so most of his choices (or even the plot) revolve around adapting to his baby brother or pushing for attention. I think it helps a lot to give the protagonist a lot of "little c choices" if they can't make any "big C Choices" in the plot. Give the protag goals within the scope of their world. For a little girl, it could be to make new friends, stop another kid(s) from picking on her, make her folks proud by bringing home art or good grades, or something darker like to be the perfect child so her parents don't hurt her or make her feel bad. Even with just small goals like these, she still has choices she can make to push the story in a direction, and you can show how they may influence the Choices the real plot movers make too. Hope this helps at least a little. | Sounds more like she's the McGuffin. | 1 | 7,314 | 4 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzi8p3l | hzh9eav | 1,646,520,304 | 1,646,504,631 | 4 | 1 | This actually reminds me of a children's book I read called "Socks" by Beverly Cleary. It's about a cat named Socks who was adopted by a young couple, and he has their attention all to himself until the couple has a baby. As a housecat, he doesn't get to choose a lot of pivotal things, so most of his choices (or even the plot) revolve around adapting to his baby brother or pushing for attention. I think it helps a lot to give the protagonist a lot of "little c choices" if they can't make any "big C Choices" in the plot. Give the protag goals within the scope of their world. For a little girl, it could be to make new friends, stop another kid(s) from picking on her, make her folks proud by bringing home art or good grades, or something darker like to be the perfect child so her parents don't hurt her or make her feel bad. Even with just small goals like these, she still has choices she can make to push the story in a direction, and you can show how they may influence the Choices the real plot movers make too. Hope this helps at least a little. | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 15,673 | 4 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzi8p3l | hzhy7kn | 1,646,520,304 | 1,646,515,543 | 4 | 0 | This actually reminds me of a children's book I read called "Socks" by Beverly Cleary. It's about a cat named Socks who was adopted by a young couple, and he has their attention all to himself until the couple has a baby. As a housecat, he doesn't get to choose a lot of pivotal things, so most of his choices (or even the plot) revolve around adapting to his baby brother or pushing for attention. I think it helps a lot to give the protagonist a lot of "little c choices" if they can't make any "big C Choices" in the plot. Give the protag goals within the scope of their world. For a little girl, it could be to make new friends, stop another kid(s) from picking on her, make her folks proud by bringing home art or good grades, or something darker like to be the perfect child so her parents don't hurt her or make her feel bad. Even with just small goals like these, she still has choices she can make to push the story in a direction, and you can show how they may influence the Choices the real plot movers make too. Hope this helps at least a little. | Strictly speaking, the protag is the one the story follows, not always who drives it. You're good, but don't neglect chances for her to reflect, grow, learn, and eventually exert influence and see the main conflict through to its end, for better or worse. | 1 | 4,761 | 4,000 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhpx0s | hzh9eav | 1,646,511,855 | 1,646,504,631 | 2 | 1 | If your protagonist isn't overcoming obstacles, where is the story? | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 7,224 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzi2j2w | hzhsgu4 | 1,646,517,496 | 1,646,512,990 | 2 | 1 | This is called a passive protagonist and is generally not acceptable in modern story structure. | Sounds more like she's the McGuffin. | 1 | 4,506 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzi2j2w | hzh9eav | 1,646,517,496 | 1,646,504,631 | 2 | 1 | This is called a passive protagonist and is generally not acceptable in modern story structure. | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | 1 | 12,865 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhy7kn | hzi2j2w | 1,646,515,543 | 1,646,517,496 | 0 | 2 | Strictly speaking, the protag is the one the story follows, not always who drives it. You're good, but don't neglect chances for her to reflect, grow, learn, and eventually exert influence and see the main conflict through to its end, for better or worse. | This is called a passive protagonist and is generally not acceptable in modern story structure. | 0 | 1,953 | 2,000 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzijh04 | hzhsgu4 | 1,646,525,316 | 1,646,512,990 | 2 | 1 | This sounds fine. You might fall into a semantic black hole about what "protagonist" means, but the story set-up you described sounds fine and worth exploring. | Sounds more like she's the McGuffin. | 1 | 12,326 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzia03p | hzijh04 | 1,646,520,922 | 1,646,525,316 | 1 | 2 | George R R Martin got famous by writing an entire book series from the perspective of secondary characters. Write what you want and what makes you feel something. | This sounds fine. You might fall into a semantic black hole about what "protagonist" means, but the story set-up you described sounds fine and worth exploring. | 0 | 4,394 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzh9eav | hzijh04 | 1,646,504,631 | 1,646,525,316 | 1 | 2 | Nope. Your protagonist should never be passive. Their choices should be impacting the story, not the choices of others dictating what they do. | This sounds fine. You might fall into a semantic black hole about what "protagonist" means, but the story set-up you described sounds fine and worth exploring. | 0 | 20,685 | 2 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzhy7kn | hzijh04 | 1,646,515,543 | 1,646,525,316 | 0 | 2 | Strictly speaking, the protag is the one the story follows, not always who drives it. You're good, but don't neglect chances for her to reflect, grow, learn, and eventually exert influence and see the main conflict through to its end, for better or worse. | This sounds fine. You might fall into a semantic black hole about what "protagonist" means, but the story set-up you described sounds fine and worth exploring. | 0 | 9,773 | 2,000 | ||
t7f38w | writing_train | 0.9 | Is it odd/off putting to have the protagonist in the background? My protagonist is a little girl. The entire story is centred around her and what she is. But she suffers through the choice of others, obeys to what they tell her etc. She does not truly impact the present of the story. Is it alright? | hzia03p | hzhy7kn | 1,646,520,922 | 1,646,515,543 | 1 | 0 | George R R Martin got famous by writing an entire book series from the perspective of secondary characters. Write what you want and what makes you feel something. | Strictly speaking, the protag is the one the story follows, not always who drives it. You're good, but don't neglect chances for her to reflect, grow, learn, and eventually exert influence and see the main conflict through to its end, for better or worse. | 1 | 5,379 | 1,000 | ||
seuo33 | writing_train | 0.86 | Where is it appropriate to put relevant musical ideas in a story in a way readers will be okay with? As in, not too much for the reader to be comfortable with. Only enough that it doesn't disrupt the flow of the story. Not too much, but I want to use it at all the times it's relevant, but I'm generally confused as to how (other than, when it fits/is relevant.) For example, mentioning what song is playing on the radio when the music is relevant/fits the scene/fits the atmosphere of the story/inspires the character, but the scene could also just be dialogue? So where and how could I put relevant songs in any story, especially ones that take place in a previous year because in those cases I want to emphasize/show what year it is. This isn't a copyright question. I already know not to include lyrics. Only what genre the song is/how it makes the character feel/whether the song is upbeat or not/what the song inspires the character to do. I have aspergers so if I'm confused about something obvious, well yeah. And I did type "music" into the search bar but I don't feel like this exact type of question was answered before. I'm still confused. I don't want to make it look like I'm pushing an unnecessary amount of music insertions onto readers. | hum4lsl | hulubd8 | 1,643,394,186 | 1,643,390,394 | 5 | 1 | For POV characters, is your character a musically oriented person? Based on the interests and knowledge of the character you can justifiably include the things in a setting that stand out to them the most. A symphony composer is likely to notice the music playing immediately when walking into a room, while many others that don’t concern themselves with music wouldn’t give it a second thought. If it makes sense for the character to notice it, then it makes sense to include. If you use it in every scene without emphasizing the character’s relationship with music it can come off as a crutch for telling the atmosphere of the scene. | I need an answer to this question too lol | 1 | 3,792 | 5 | ||
seuo33 | writing_train | 0.86 | Where is it appropriate to put relevant musical ideas in a story in a way readers will be okay with? As in, not too much for the reader to be comfortable with. Only enough that it doesn't disrupt the flow of the story. Not too much, but I want to use it at all the times it's relevant, but I'm generally confused as to how (other than, when it fits/is relevant.) For example, mentioning what song is playing on the radio when the music is relevant/fits the scene/fits the atmosphere of the story/inspires the character, but the scene could also just be dialogue? So where and how could I put relevant songs in any story, especially ones that take place in a previous year because in those cases I want to emphasize/show what year it is. This isn't a copyright question. I already know not to include lyrics. Only what genre the song is/how it makes the character feel/whether the song is upbeat or not/what the song inspires the character to do. I have aspergers so if I'm confused about something obvious, well yeah. And I did type "music" into the search bar but I don't feel like this exact type of question was answered before. I'm still confused. I don't want to make it look like I'm pushing an unnecessary amount of music insertions onto readers. | hulubd8 | hun8umg | 1,643,390,394 | 1,643,409,643 | 1 | 2 | I need an answer to this question too lol | As an autistic writer myself the music should be mentioned when it furthers the story. I imagine more music than I write down. I find as a visual and musical thinker my stories are always full of music. The janitor humming as they work, the kids singing a nursery rhyme across the park. The solitude filled with a song as the protagonist contemplates the event of the story and tries to figure out what to do next. Of these 3 examples I probably will only mention the last one. The song might be the inspiration for their next step. If so it's important for the reader to understand and experience with the protagonist. For the Janitor? I might know they exist and the reader never does. Unless the protagonist is sneaking in at night. Then our singing Janitor's musical prowess becomes a tool for showing the protagonist and the reader they are there. It gives a chance at tension. Will the singing Janitor catch MC breaking into the office? When they stop singing is it because MC is caught? Is it because they left? The nursery rhyme can be a way to add some world building. Kids singing the song from Nightmare on Elm Street give both foreshadowing to Freddy and show his presence in the world is not new. This can be creepy or it can just be part of the sounds that set the scene or mood. | 0 | 19,249 | 2 | ||
seuo33 | writing_train | 0.86 | Where is it appropriate to put relevant musical ideas in a story in a way readers will be okay with? As in, not too much for the reader to be comfortable with. Only enough that it doesn't disrupt the flow of the story. Not too much, but I want to use it at all the times it's relevant, but I'm generally confused as to how (other than, when it fits/is relevant.) For example, mentioning what song is playing on the radio when the music is relevant/fits the scene/fits the atmosphere of the story/inspires the character, but the scene could also just be dialogue? So where and how could I put relevant songs in any story, especially ones that take place in a previous year because in those cases I want to emphasize/show what year it is. This isn't a copyright question. I already know not to include lyrics. Only what genre the song is/how it makes the character feel/whether the song is upbeat or not/what the song inspires the character to do. I have aspergers so if I'm confused about something obvious, well yeah. And I did type "music" into the search bar but I don't feel like this exact type of question was answered before. I'm still confused. I don't want to make it look like I'm pushing an unnecessary amount of music insertions onto readers. | humztg2 | hun8umg | 1,643,406,035 | 1,643,409,643 | 1 | 2 | Isn't it as simple as: "When he entered the room, REM's 'It's the End of the World as We Know It' was blasting through the speakers." ? | As an autistic writer myself the music should be mentioned when it furthers the story. I imagine more music than I write down. I find as a visual and musical thinker my stories are always full of music. The janitor humming as they work, the kids singing a nursery rhyme across the park. The solitude filled with a song as the protagonist contemplates the event of the story and tries to figure out what to do next. Of these 3 examples I probably will only mention the last one. The song might be the inspiration for their next step. If so it's important for the reader to understand and experience with the protagonist. For the Janitor? I might know they exist and the reader never does. Unless the protagonist is sneaking in at night. Then our singing Janitor's musical prowess becomes a tool for showing the protagonist and the reader they are there. It gives a chance at tension. Will the singing Janitor catch MC breaking into the office? When they stop singing is it because MC is caught? Is it because they left? The nursery rhyme can be a way to add some world building. Kids singing the song from Nightmare on Elm Street give both foreshadowing to Freddy and show his presence in the world is not new. This can be creepy or it can just be part of the sounds that set the scene or mood. | 0 | 3,608 | 2 | ||
wvsamh | writing_train | 0.74 | what to write in between the lines of a long dialogue? I have this dialogue that is messing with the pace of my chapter, the lines is two short and direct and it is not a chapter that should have a fast pace. But I also don't think setting is the right fit, because of my close POV, my character isn't really looking around, he is focused on the conversation. I'm also struggling with characterization, as I write their mannerisms in movement it seem to be too forced, too much. So, what should I write instead of it to break the pace a little, without it getting too fake like it is there really to fill up space? | ilh200w | ilgzszr | 1,661,271,688 | 1,661,270,843 | 14 | 3 | Six things that alway help me: Taste Touch Smell Sight Hearing Inner thoughts It's okay for your character to be focused on the dialogue, but only of the setting is right. For example, when you are walking down the street talking to your friend are you solely focused on them? Most likely not, too many things could go wrong. You could step out into traffic, bump into someone, or trip on something. If the diagolue is taking place in an area that your character isn't familiar with or doesn't normally frequent write what they see, hear, or feel. Let them take in their surroundings. Is the dialogue taking place in thier home where they feel safe? That's when it might be appropriate for them to focus only on the dialogue. Who is the diagolue with? Is it someone they trust? Would they feel comfortable with turning their back on them? This could help them take in their environment with a relaxed mannerism. Compare it to their worst enemy. If interacting with them they could be hyper focused on the person or they could be hyper focused on their surrounds. Are they watching their enemy's every move to make sure they don't suddenly jump forward? Are they checking their surrounds to make sure that there are no dangerous objects that can be used against them? You can break up dialogue by including their inner thoughts too. What are their thoughts about what was just told to them? Dialogue is tricky. You need to write it to progress the story, but you can make it seem forced. Don't be discouraged if it doesn't seem right on the first time. Just keep trying! Some questions to ask yourself: How does this diagolue move the story forward? Is this diagolue necessary to move the story forward? For characterization: Don't try to include too many mannerisms within diagolue, this will make it seemed forced and it will draw attention away from the diagolue. Spread their mannerism out if you want to put them into dialogue. The best time to incorporate mannerisms is when it is natural, like when a character is interacting with their environment without any dialogue. I'm not saying you shouldn't add mannerisms into your dialogue, but don't put them on every dialogue line. Let the readers focus on the dialogue. Some questions to ask for characterization: What are these characters ticks? What are their goals? Their fears? Do these affect how they interact with people or the world? What do they want most in life? How does this character interact with others? Well? Bad? What is their most common reaction to shocking news? Anger? Happiness? Anxiety? Sorry for such a long comment, but I hope this helps! | I like to imagine how an actor would play my character if they were given a script of only the dialogue and try to emulate it that way. Maybe to practice you could watch a scene from any show or movie that has a similar vibe to what you’re going for, and take detailed notes of what the actors do. Crossing arms, pursing lips, shaking head, pointing to emphasize, huffing sigh, narrowing eyes thoughtfully, tapping finger on their mouth, looking up in silent frustration etc etc etc. Maybe even do it for a few different scenes to get a good variety of features and expressions to display body language. | 1 | 845 | 4.666667 | ||
wvsamh | writing_train | 0.74 | what to write in between the lines of a long dialogue? I have this dialogue that is messing with the pace of my chapter, the lines is two short and direct and it is not a chapter that should have a fast pace. But I also don't think setting is the right fit, because of my close POV, my character isn't really looking around, he is focused on the conversation. I'm also struggling with characterization, as I write their mannerisms in movement it seem to be too forced, too much. So, what should I write instead of it to break the pace a little, without it getting too fake like it is there really to fill up space? | ilh200w | ilgzfto | 1,661,271,688 | 1,661,270,702 | 14 | 3 | Six things that alway help me: Taste Touch Smell Sight Hearing Inner thoughts It's okay for your character to be focused on the dialogue, but only of the setting is right. For example, when you are walking down the street talking to your friend are you solely focused on them? Most likely not, too many things could go wrong. You could step out into traffic, bump into someone, or trip on something. If the diagolue is taking place in an area that your character isn't familiar with or doesn't normally frequent write what they see, hear, or feel. Let them take in their surroundings. Is the dialogue taking place in thier home where they feel safe? That's when it might be appropriate for them to focus only on the dialogue. Who is the diagolue with? Is it someone they trust? Would they feel comfortable with turning their back on them? This could help them take in their environment with a relaxed mannerism. Compare it to their worst enemy. If interacting with them they could be hyper focused on the person or they could be hyper focused on their surrounds. Are they watching their enemy's every move to make sure they don't suddenly jump forward? Are they checking their surrounds to make sure that there are no dangerous objects that can be used against them? You can break up dialogue by including their inner thoughts too. What are their thoughts about what was just told to them? Dialogue is tricky. You need to write it to progress the story, but you can make it seem forced. Don't be discouraged if it doesn't seem right on the first time. Just keep trying! Some questions to ask yourself: How does this diagolue move the story forward? Is this diagolue necessary to move the story forward? For characterization: Don't try to include too many mannerisms within diagolue, this will make it seemed forced and it will draw attention away from the diagolue. Spread their mannerism out if you want to put them into dialogue. The best time to incorporate mannerisms is when it is natural, like when a character is interacting with their environment without any dialogue. I'm not saying you shouldn't add mannerisms into your dialogue, but don't put them on every dialogue line. Let the readers focus on the dialogue. Some questions to ask for characterization: What are these characters ticks? What are their goals? Their fears? Do these affect how they interact with people or the world? What do they want most in life? How does this character interact with others? Well? Bad? What is their most common reaction to shocking news? Anger? Happiness? Anxiety? Sorry for such a long comment, but I hope this helps! | I had a chapter in my last book that was mostly dialogue. I had to rewrite it and change the setting in a more interesting location so I could do more with the scene. You may just need to do the same. For instance, instead of having a whole chapter sitting on the bench waiting for the train, have the chapter on the train ride. | 1 | 986 | 4.666667 | ||
wvsamh | writing_train | 0.74 | what to write in between the lines of a long dialogue? I have this dialogue that is messing with the pace of my chapter, the lines is two short and direct and it is not a chapter that should have a fast pace. But I also don't think setting is the right fit, because of my close POV, my character isn't really looking around, he is focused on the conversation. I'm also struggling with characterization, as I write their mannerisms in movement it seem to be too forced, too much. So, what should I write instead of it to break the pace a little, without it getting too fake like it is there really to fill up space? | ilgzszr | ilhzxql | 1,661,270,843 | 1,661,284,605 | 3 | 7 | I like to imagine how an actor would play my character if they were given a script of only the dialogue and try to emulate it that way. Maybe to practice you could watch a scene from any show or movie that has a similar vibe to what you’re going for, and take detailed notes of what the actors do. Crossing arms, pursing lips, shaking head, pointing to emphasize, huffing sigh, narrowing eyes thoughtfully, tapping finger on their mouth, looking up in silent frustration etc etc etc. Maybe even do it for a few different scenes to get a good variety of features and expressions to display body language. | Are your characters performing any actions while speaking? If so, you could really use that to build setting. Example: *"The prophecy doesn't care whether or not you want to fulfill it," OC said, cleaning his blade in the clear, trickling water of the brook.* *"I can always refuse."* *OC dried his dagger on a dry patch of grass before returning it to its hilt. "That's where you're wrong," he said.* \---Here, your MC doesn't have to take time "looking around." Instead, he simply watches another character interact with the setting. | 0 | 13,762 | 2.333333 | ||
wvsamh | writing_train | 0.74 | what to write in between the lines of a long dialogue? I have this dialogue that is messing with the pace of my chapter, the lines is two short and direct and it is not a chapter that should have a fast pace. But I also don't think setting is the right fit, because of my close POV, my character isn't really looking around, he is focused on the conversation. I'm also struggling with characterization, as I write their mannerisms in movement it seem to be too forced, too much. So, what should I write instead of it to break the pace a little, without it getting too fake like it is there really to fill up space? | ilgzfto | ilhzxql | 1,661,270,702 | 1,661,284,605 | 3 | 7 | I had a chapter in my last book that was mostly dialogue. I had to rewrite it and change the setting in a more interesting location so I could do more with the scene. You may just need to do the same. For instance, instead of having a whole chapter sitting on the bench waiting for the train, have the chapter on the train ride. | Are your characters performing any actions while speaking? If so, you could really use that to build setting. Example: *"The prophecy doesn't care whether or not you want to fulfill it," OC said, cleaning his blade in the clear, trickling water of the brook.* *"I can always refuse."* *OC dried his dagger on a dry patch of grass before returning it to its hilt. "That's where you're wrong," he said.* \---Here, your MC doesn't have to take time "looking around." Instead, he simply watches another character interact with the setting. | 0 | 13,903 | 2.333333 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpfevv | igpgqg4 | 1,658,185,637 | 1,658,186,221 | 44 | 82 | Go to work and print it 20 pages at a time. | I once read a similar question. One the replies was to create an Amazon KDP account and order a proof copy. It will have watermarks saying it's a sample copy but at least it will much much much cheaper than printing out at Staples However, I'm not sure how easy it'd be for you to edit on an actual book Edit - I initially said "author copy" with watermarks, but its called "proof copy". More details here - https://kdp.amazon.com/en\_US/help/topic/G202131440 Also checkout the other comment in this post by Classic-Option for Lulu instead of KDP. That user seems to have done it personally - https://www.reddit.com/r/writing/comments/w2cs2p/comment/igpqw68/?utm\_source=share&utm\_medium=web2x&context=3 And treetrnk's comment about doing this from Barnes and Noble without the watermark - https://www.reddit.com/r/writing/comments/w2cs2p/comment/igt1g69/?utm\_source=share&utm\_medium=web2x&context=3 | 0 | 584 | 1.863636 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpgqg4 | igpe6t2 | 1,658,186,221 | 1,658,185,104 | 82 | 16 | I once read a similar question. One the replies was to create an Amazon KDP account and order a proof copy. It will have watermarks saying it's a sample copy but at least it will much much much cheaper than printing out at Staples However, I'm not sure how easy it'd be for you to edit on an actual book Edit - I initially said "author copy" with watermarks, but its called "proof copy". More details here - https://kdp.amazon.com/en\_US/help/topic/G202131440 Also checkout the other comment in this post by Classic-Option for Lulu instead of KDP. That user seems to have done it personally - https://www.reddit.com/r/writing/comments/w2cs2p/comment/igpqw68/?utm\_source=share&utm\_medium=web2x&context=3 And treetrnk's comment about doing this from Barnes and Noble without the watermark - https://www.reddit.com/r/writing/comments/w2cs2p/comment/igt1g69/?utm\_source=share&utm\_medium=web2x&context=3 | It would have been cheaper to buy a printer and punch the holes yourself. | 1 | 1,117 | 5.125 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpe08s | igpgqg4 | 1,658,185,026 | 1,658,186,221 | 14 | 82 | I get mine spiral bound with cardstock covers at my local print shop for $50 | I once read a similar question. One the replies was to create an Amazon KDP account and order a proof copy. It will have watermarks saying it's a sample copy but at least it will much much much cheaper than printing out at Staples However, I'm not sure how easy it'd be for you to edit on an actual book Edit - I initially said "author copy" with watermarks, but its called "proof copy". More details here - https://kdp.amazon.com/en\_US/help/topic/G202131440 Also checkout the other comment in this post by Classic-Option for Lulu instead of KDP. That user seems to have done it personally - https://www.reddit.com/r/writing/comments/w2cs2p/comment/igpqw68/?utm\_source=share&utm\_medium=web2x&context=3 And treetrnk's comment about doing this from Barnes and Noble without the watermark - https://www.reddit.com/r/writing/comments/w2cs2p/comment/igt1g69/?utm\_source=share&utm\_medium=web2x&context=3 | 0 | 1,195 | 5.857143 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpe6t2 | igpfevv | 1,658,185,104 | 1,658,185,637 | 16 | 44 | It would have been cheaper to buy a printer and punch the holes yourself. | Go to work and print it 20 pages at a time. | 0 | 533 | 2.75 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpfevv | igpe08s | 1,658,185,637 | 1,658,185,026 | 44 | 14 | Go to work and print it 20 pages at a time. | I get mine spiral bound with cardstock covers at my local print shop for $50 | 1 | 611 | 3.142857 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpe6t2 | igpklpm | 1,658,185,104 | 1,658,187,942 | 16 | 20 | It would have been cheaper to buy a printer and punch the holes yourself. | Printer: $50 Paper: $15 It would have been cheaper to purchase a new printer, the paper, and throw the printer and leftover paper away when you're done. | 0 | 2,838 | 1.25 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpe08s | igpklpm | 1,658,185,026 | 1,658,187,942 | 14 | 20 | I get mine spiral bound with cardstock covers at my local print shop for $50 | Printer: $50 Paper: $15 It would have been cheaper to purchase a new printer, the paper, and throw the printer and leftover paper away when you're done. | 0 | 2,916 | 1.428571 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpe6t2 | igppm7y | 1,658,185,104 | 1,658,190,192 | 16 | 20 | It would have been cheaper to buy a printer and punch the holes yourself. | Libraries sometimes have printers available for cheaper than stores like Staples, but I’m not sure how many pages you can print at a time since 460 pages is a lot of ink. Buying a printer might be a good long term investment if you want to consistently edit a physical copy of your manuscript but ink can get pricy too | 0 | 5,088 | 1.25 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpe08s | igppm7y | 1,658,185,026 | 1,658,190,192 | 14 | 20 | I get mine spiral bound with cardstock covers at my local print shop for $50 | Libraries sometimes have printers available for cheaper than stores like Staples, but I’m not sure how many pages you can print at a time since 460 pages is a lot of ink. Buying a printer might be a good long term investment if you want to consistently edit a physical copy of your manuscript but ink can get pricy too | 0 | 5,166 | 1.428571 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpkupl | igppm7y | 1,658,188,057 | 1,658,190,192 | 3 | 20 | My recommendation for the future: * **Buy a printer.** Believe it or not, a 'good' printer isn't really that expensive. If you can find a reputable brand (such as Brother, *not* HP), pick up one of their middle-of-the-line options (somewhere between $49.99 and $79.99 in USD). Realistically, you only need it to print Black if you're just going to use it to print manuscripts and other documents, but you can splurge for Color as well if you really want it. * **Buy ink.** Ink cartridges that come with printers are usually filled to about the one-third mark, so it is best to buy a cartridge when you buy the printer. Ink is usually just as expensive, if not more expensive, than printers--this is normal. It is usually a good idea to see how much the ink is going to cost before buying the printer, though, just so that you know beforehand around how much it's going to cost you. You can often buy an extra-large (XL) Black cartridge for the more popular printers, which saves money on ink overall. If you want a printer with color, be aware that you will often have to buy *three* different color cartridges (Magenta/Yellow/Cyan) to be able to use color. * **Buy paper.** Paper is pretty cheap. You can usually pick up hundreds of sheets for around $5. | Libraries sometimes have printers available for cheaper than stores like Staples, but I’m not sure how many pages you can print at a time since 460 pages is a lot of ink. Buying a printer might be a good long term investment if you want to consistently edit a physical copy of your manuscript but ink can get pricy too | 0 | 2,135 | 6.666667 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpqw68 | igpe6t2 | 1,658,190,762 | 1,658,185,104 | 20 | 16 | Since no one has brought this up yet, you can also get a personal copy of a book printed at places like LuLu (they do self publishing also but you can get books printed without publishing). I think Barnes and noble has a similar option Last one I got spiral bound for around $10, way, way cheaper. | It would have been cheaper to buy a printer and punch the holes yourself. | 1 | 5,658 | 1.25 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpqw68 | igpe08s | 1,658,190,762 | 1,658,185,026 | 20 | 14 | Since no one has brought this up yet, you can also get a personal copy of a book printed at places like LuLu (they do self publishing also but you can get books printed without publishing). I think Barnes and noble has a similar option Last one I got spiral bound for around $10, way, way cheaper. | I get mine spiral bound with cardstock covers at my local print shop for $50 | 1 | 5,736 | 1.428571 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpkupl | igpqw68 | 1,658,188,057 | 1,658,190,762 | 3 | 20 | My recommendation for the future: * **Buy a printer.** Believe it or not, a 'good' printer isn't really that expensive. If you can find a reputable brand (such as Brother, *not* HP), pick up one of their middle-of-the-line options (somewhere between $49.99 and $79.99 in USD). Realistically, you only need it to print Black if you're just going to use it to print manuscripts and other documents, but you can splurge for Color as well if you really want it. * **Buy ink.** Ink cartridges that come with printers are usually filled to about the one-third mark, so it is best to buy a cartridge when you buy the printer. Ink is usually just as expensive, if not more expensive, than printers--this is normal. It is usually a good idea to see how much the ink is going to cost before buying the printer, though, just so that you know beforehand around how much it's going to cost you. You can often buy an extra-large (XL) Black cartridge for the more popular printers, which saves money on ink overall. If you want a printer with color, be aware that you will often have to buy *three* different color cartridges (Magenta/Yellow/Cyan) to be able to use color. * **Buy paper.** Paper is pretty cheap. You can usually pick up hundreds of sheets for around $5. | Since no one has brought this up yet, you can also get a personal copy of a book printed at places like LuLu (they do self publishing also but you can get books printed without publishing). I think Barnes and noble has a similar option Last one I got spiral bound for around $10, way, way cheaper. | 0 | 2,705 | 6.666667 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpe6t2 | igpe08s | 1,658,185,104 | 1,658,185,026 | 16 | 14 | It would have been cheaper to buy a printer and punch the holes yourself. | I get mine spiral bound with cardstock covers at my local print shop for $50 | 1 | 78 | 1.142857 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpkupl | igpsqud | 1,658,188,057 | 1,658,191,576 | 3 | 9 | My recommendation for the future: * **Buy a printer.** Believe it or not, a 'good' printer isn't really that expensive. If you can find a reputable brand (such as Brother, *not* HP), pick up one of their middle-of-the-line options (somewhere between $49.99 and $79.99 in USD). Realistically, you only need it to print Black if you're just going to use it to print manuscripts and other documents, but you can splurge for Color as well if you really want it. * **Buy ink.** Ink cartridges that come with printers are usually filled to about the one-third mark, so it is best to buy a cartridge when you buy the printer. Ink is usually just as expensive, if not more expensive, than printers--this is normal. It is usually a good idea to see how much the ink is going to cost before buying the printer, though, just so that you know beforehand around how much it's going to cost you. You can often buy an extra-large (XL) Black cartridge for the more popular printers, which saves money on ink overall. If you want a printer with color, be aware that you will often have to buy *three* different color cartridges (Magenta/Yellow/Cyan) to be able to use color. * **Buy paper.** Paper is pretty cheap. You can usually pick up hundreds of sheets for around $5. | a fairly durable printer isn't a ton of cash. you can also buy 3-ring paper at office supply places - just use that stuff in the printer. I sympathize with tactile editing. I just don't find all the problems on digital sometimes. | 0 | 3,519 | 3 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpw582 | igpkupl | 1,658,193,104 | 1,658,188,057 | 7 | 3 | Low key ripped off. Printing is usually cheaper, even if it's a 400+ page book. And ring binds are not exactly paper/hardback so I don't see the price justified. Ger a printer. | My recommendation for the future: * **Buy a printer.** Believe it or not, a 'good' printer isn't really that expensive. If you can find a reputable brand (such as Brother, *not* HP), pick up one of their middle-of-the-line options (somewhere between $49.99 and $79.99 in USD). Realistically, you only need it to print Black if you're just going to use it to print manuscripts and other documents, but you can splurge for Color as well if you really want it. * **Buy ink.** Ink cartridges that come with printers are usually filled to about the one-third mark, so it is best to buy a cartridge when you buy the printer. Ink is usually just as expensive, if not more expensive, than printers--this is normal. It is usually a good idea to see how much the ink is going to cost before buying the printer, though, just so that you know beforehand around how much it's going to cost you. You can often buy an extra-large (XL) Black cartridge for the more popular printers, which saves money on ink overall. If you want a printer with color, be aware that you will often have to buy *three* different color cartridges (Magenta/Yellow/Cyan) to be able to use color. * **Buy paper.** Paper is pretty cheap. You can usually pick up hundreds of sheets for around $5. | 1 | 5,047 | 2.333333 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igpkupl | igqtuor | 1,658,188,057 | 1,658,210,672 | 3 | 4 | My recommendation for the future: * **Buy a printer.** Believe it or not, a 'good' printer isn't really that expensive. If you can find a reputable brand (such as Brother, *not* HP), pick up one of their middle-of-the-line options (somewhere between $49.99 and $79.99 in USD). Realistically, you only need it to print Black if you're just going to use it to print manuscripts and other documents, but you can splurge for Color as well if you really want it. * **Buy ink.** Ink cartridges that come with printers are usually filled to about the one-third mark, so it is best to buy a cartridge when you buy the printer. Ink is usually just as expensive, if not more expensive, than printers--this is normal. It is usually a good idea to see how much the ink is going to cost before buying the printer, though, just so that you know beforehand around how much it's going to cost you. You can often buy an extra-large (XL) Black cartridge for the more popular printers, which saves money on ink overall. If you want a printer with color, be aware that you will often have to buy *three* different color cartridges (Magenta/Yellow/Cyan) to be able to use color. * **Buy paper.** Paper is pretty cheap. You can usually pick up hundreds of sheets for around $5. | A Brother laser printer only prints black & white, but they are available for under $250, and a toner cartridge lasts for thousands of pages of text. My Brother easily accepts generic toner that I can get from Amazon for half the price of the Brother cartridges. Printer paper is cheap in the big box stores like Walmart. If you have a teacher supply store nearby, check their prices for 3-hole punching documents, or splurge on a heavy duty punch and do it yourself, 25 pages at a time or so... I understand and empathize. I edit on the computer the first time around, but then have to have a printed copy for the next read through... | 0 | 22,615 | 1.333333 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igqtuor | igpz7ji | 1,658,210,672 | 1,658,194,481 | 4 | 3 | A Brother laser printer only prints black & white, but they are available for under $250, and a toner cartridge lasts for thousands of pages of text. My Brother easily accepts generic toner that I can get from Amazon for half the price of the Brother cartridges. Printer paper is cheap in the big box stores like Walmart. If you have a teacher supply store nearby, check their prices for 3-hole punching documents, or splurge on a heavy duty punch and do it yourself, 25 pages at a time or so... I understand and empathize. I edit on the computer the first time around, but then have to have a printed copy for the next read through... | I've printed my manuscript at the local library and it ended up costing $25 for 250 pages, which wasn't bad at all. Might want to explore that option. I was able to pay and upload it on their print server from home and then just go print it out. | 1 | 16,191 | 1.333333 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igqk5dd | igqtuor | 1,658,204,625 | 1,658,210,672 | 2 | 4 | You don't need to get a good printer, just a basic one will do. Look for one with only black ink, it'll cost far less than $460. | A Brother laser printer only prints black & white, but they are available for under $250, and a toner cartridge lasts for thousands of pages of text. My Brother easily accepts generic toner that I can get from Amazon for half the price of the Brother cartridges. Printer paper is cheap in the big box stores like Walmart. If you have a teacher supply store nearby, check their prices for 3-hole punching documents, or splurge on a heavy duty punch and do it yourself, 25 pages at a time or so... I understand and empathize. I edit on the computer the first time around, but then have to have a printed copy for the next read through... | 0 | 6,047 | 2 | ||
w2cs2p | writing_train | 0.9 | I just finished my first novel rough draft and I printed it at Staples. Did I get ripped off? What's the best way to print a manuscript? I spent nearly 100 bucks printing out a 460 page b&w document that just has a three ring bind. Are there cheaper options? Should I eventually just invest in a good printer? I literally just finished today so I'm a bit excited after over a year and half of trying to get this story nailed down. | igqtx0z | igqk5dd | 1,658,210,716 | 1,658,204,625 | 3 | 2 | If you want a proof copy to see how it will look in actual print (with cover and everything) I would suggest IngramSpark. It costs $49 (AUD) to put up on their site, but they can print and ship an actual book to you. Going through the IngramSpark print & ship calculator, a book of that size in 6" x 9" costs $31 (again AUD) to print and ship to my home address. Check for yourself: https://myaccount.ingramspark.com/Portal/Tools/ShippingCalculator | You don't need to get a good printer, just a basic one will do. Look for one with only black ink, it'll cost far less than $460. | 1 | 6,091 | 1.5 |
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