Aqui ficam alguns artigos, em inglês, pois claro.
What if?
What if you balanced on the edge of your dream, unable to see the rail, but went for it anyway? What if you failed the first four (hundred) times you tried but you still ran back to the start and tried again? What if you ignored every excuse, every reason to quit, and refused to back down?
What if?
Commitment is what marks us as writers. Writing requires time, effort, focus and a great deal of faith. We're like explorers crawling into a cave with nothing but the wavering beam of a flashlight to light our way. Without faith, we might turn back. Without persistence, we might give up. Which is exactly why writers need to commit: to writing that sentence, to filling up the page, to finishing the chapter, to wrapping up the book.
And of course, that's just the beginning! Re-read and revise. Cut some scenes, flesh out others. Yet… the joy of it. Ah, the tingling rush of pleasure as the eye follows the plot. This is magic of the best sort.
Did you know that scans have shown that our brains respond to imagined circumstances just as if they were real? When we write stories, and others read them, well… We are creating worlds here, my friends. This is True Magic.
http://www.beverlybrandt.com/spreadsheet.htm Abaixo, um trecho que me pareceu relevante.
PLOTTING--THE TWELVE-STEP METHOD
1. Ordinary world-set up what life is like before the story begins; give reader only what she needs to know (what's going to change)
2. Inciting incident-get one of the major plot lines moving
3. External conflict begins to rise-life is thrown off course, raise the stakes
4. Intensify conflict-troubles accrue because of the protagonist's actions in response to the antagonist. The protagonist appears to be making the right choices, but it just causes more problems for the antagonist, who then has to act in response, forcing #5.
5. Protagonist engages-have to give her a reason to do something (motivation)
6. Antagonist bites back-this forces the protagonist to take action, the antagonist is ACTIVELY working against the protagonist
7. Reversal (optional)-everything a character believed before changes 180 degrees
8. Point of no return-event, action or decision where the protagonist commits 100%, life as the protagonist knew it is over and things will never be the same.
9. Crisis-the worst that can happen does; bring in the internal conflict to make it the worst thing that could happen to your character. This is where it seems the protagonist is going to be conquered either emotionally or physically. S/he begins to think "maybe I am beaten"
10. Dark moment-emotional reaction to the crisis; giving up shouldn't seem like the coward's way out but a rational choice, but of course s/he won't do that
11. Climax-what happens after the h/h make their decision based on the dark moment (as much as you can, make crisis & climax happen in a BIG way -- make it public and not just in their minds. The dark moment is internal, the crisis and climax shouldn't be.) The protagonist appeared to be beaten, but continues on against all odds. The protagonist should come into direct, physical contact with the antagonist in this scene to make it more satisfying to the reader. The protagonist could not have won out against the antagonist when the story began, but what s/he's learned along the way gives her the tools to win out.
12. Resolution-show world restored to order. Should be triumphant; resolves interactive conflict between h/h and shows internal conflict has truly been resolved for all time; show the change your story has wrought in both the setting and in the protagonist. Shouldn't just be "I love you", "I love you, too."
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