3 words create a story

The method of making up a story

1. Handle the relationship between characters and characters.

Characters are the carriers of stories, and stories happen in characters. Imagine the characters according to the provisions in the proposition. The characters must have a relatively clear personality, and their personality must conform to the provisions of the proposition.

2, the story must have a plot.

The plot is the development of things. That is, along the timeline, new situations emerge. Simply put, the story should be made up with a process of "beginning - development process - end".

3, the story is bound to give suspense.

What is suspense? If we throw a stone into the distance, people will be unstable until the stone falls, the heart is hanging, until the stone lands with a sound, the heart will feel solid.

The suspense in the story is like a stone thrown in the air, which makes people look forward to it.

The skill of making up a story

Establish a theme

The theme first comes from the accumulation and observation of life.

Second, it is especially important to carefully observe the details and take good notes. Choice is an important means in the creation of art. In the creation of film and television works, the choice of theme has always been put first.

In short, the subject matter is the premise and basis for your storytelling. Establishing a theme determines the central content of your story.

Often an event will have multiple themes, and you must find the main event that attracts people the most according to your grasp of the event as your theme.

Structural story

Enter the ------ plot---- the characters ------ conflict (forming a climax) ------- ending. Character relationships (primary characters, minor characters), after having characters, the next step is to arrange people in some seemingly unsolvable problems and adversities.

They must face people or things that are opposed to them (arrangement of the plot). That is to say, there must be contradictions and conflicts.

The contradictions and entanglements between characters with positive characteristics and characters with negative characteristics are too numerous to mention.

All you have to do is find a great dictionary of synonyms and antonyms, and there are inexhaustible words in between for a lifetime. You might as well try using a pair of words to see how to write a conflicting story.

Once you have mastered the art of arranging conflict with opposites, you add different weights representing the positive and negative aspects of opposites to the characters.

And by juxtaposing the manifestations of opposites, it is easier to put the conflict in motion to express.

The steps to make up a story

1. Select the theme and set the plot according to the proposition;

2. Set up characters according to the plot, the main characters and secondary characters, and their relationships;

3. Pay attention to the description of the environment to flatter the characters;

4. Find or design contradictions, create contradictions and conflicts, and form a climax.

The climax can be derived from solving or not solving the problem, it finally brings the central character to a specific moment in his life, and the story ends.

5. Choose the ending.

Elements of a story

First, the character ---- a person's more stable attitude towards life, and the corresponding habitual behavior.

Second, the plot ---- the process of the development and change of character personality and character relationships.

Third, the structure ---- the layout and planning of the plot.

Fourth, the theme ---- deep emotions and thoughts that run through the story.

Fifth, contradictions and conflicts ---- the development of the story, due to the different personalities and purposes of the characters, resulting in irreconcilable confrontations and contests.

Sixth, the situation ---- the specific situation and specific environment in which the story takes place and develops. Mainly includes: the natural and social environment, the relationship between the characters, and the situation when the event occurs and develops.

Seventh, suspense ---- arouse the psychological expectations of the viewer, and then systematically satisfy or not satisfy them.

Eighth, coincidence ---- common techniques of storytelling, the purpose of which is to trigger contradictions and conflicts, or to strengthen the intensity of contradictions and conflicts.

Ninth, the comparison ---- common techniques of the story, using the comparison of the main performance object and the secondary object to create a contrast, in order to set off and highlight the main performance object.

Tenth, foreshadowing---- pre-make hints or hints for the characters or events that will appear in the work, so as to echo before and after, so that the story can achieve a reasonable plot and rigorous structure.

Eleventh, details ---- the basic unit of the story to depict the image. Each of the subtle stubs that make up the plot.

Twelfth, the ideation ---- the thinking process of the overall design of the various elements of the story before creation. Including: reviewing propositions, selecting materials, determining the theme, and designing each element.

On my way to learning to write, "contradiction and conflict" used to be a phrase that disgusted and avoided me.

Because I am also curious about the world, but I love to give me all the inspiration, throbbing and bitter daily life than the bizarre life, the plot of the dead and the living.

Composition teachers emphasize contradictions and conflicts as the standard of the story (beginning + end + contradiction and conflict), and seem to characterize the story as pleasing to the audience (reader). This is too rigid and too insincere.

So, what exactly is a contradiction and conflict? Does the story have to have contradictions and conflicts?

The ancients said that Wen seemed to look at the mountains and did not like peace. What we can understand is that since the story is a picture of life that is never preached out of thin air, it takes time to display this picture (storytelling).

In order to draw the reader's attention to the moment when the fate of the characters can fully reveal the main idea, some undulating landscapes must be created along the way.

However, if the author creates ups and downs for the sake of creating ups and downs, it is called "craftsmanship". The story is also dull and inorganic.

Let's think differently. The growth of the story is natural and full of inner vitality. And how do we embody that energy? For example, if we write about a person's fate, how can we be considered "written out"?

After all, the story is not life, space is limited, we need to choose the moments and events that best reflect his characteristics to write. And how can you get to know someone relatively quickly? Then put him into a test.

If a person says "love", then you have to see how he treats separation, how to seek common ground while reserving differences... Just listening to him sit there and read a love poem is not enough.

Life tells us that practice produces true knowledge. Throw the character into the vortex of life, so that he must take action, choose in action, understand, change, and then throw himself into life again.

The story is a pot, inside is lava, it is tribulus, it is ice, and the author must dare to throw his characters into it.

The story is originally a dream of Nan Ke (although it is based on reality), if its interpretation of life does not contain some kind of "excavation" effort, how can it be convincing?

Contradictions and conflicts come from excavation, from inquiry, and from sincerity in life.

I don't know if you will ask: "So, what is there to dig into the daily life of ordinary people?" ”

This brings us back to our discussion of the "three views." Can you say that the ordinary life of you and your companions does not contain some kind of poetry? No ups and downs of growth and change? Never involves diligent exploration?

Since to write about man is to write about his spiritual world, the contradictions and conflicts created around him should not be defined by external standards.

A man who has been living in his home all winter, his inner anxiety, struggle, longing, self-restraint, his intensity can probably summon a blizzard that sweeps across the Eurasian plate!

Three words create a story

Step 1:

Write down a noun, a verb, an adjective on paper without thinking, just write the first word that pops up in your head at this moment.

There doesn't need to be a correlation between them. (If it's a few people working together, you can swap, or ask someone else to write three words for you.) ）

Step 2:

Please fill in the following sentence in order of the three words you have written down:

A man wants (a noun), so he (a verb), his world becomes (an adjective).

Step 3:

Please expand a story under the guidance of this sentence.

Since the three words in your hand are likely to have nothing to do with each other, these three clauses will look like they are incompatible.

But the game is all about asking you to find some kind of internal logic between three words, making the story that expands on this sentence not only reasonable, but also a good story.

I once said that stories are a balance of sensibility and reason. People often think that writers need to be emotionally rich and follow their feelings.

This task is to really let us experience that constructing a story also requires rigorous logical thinking. There are all kinds of things happening in the world every day, but not everything is a "story".

Only if we are based on the search for a person (not necessarily a "person", of course, can also be an elf elder, an Oreo cookie, an AI. Deep inside, the story begins.

The first clause is the beginning of the story, the protagonist has some kind of desire/need, so... (This noun can be a specific item,

For example, "flower" is a flower; it can also represent the abstract meaning behind an object, for example, "flower" can represent love/youth forever... ）

If the person is just a thought in his heart, the story cannot move forward. Only when he acts will good drama be staged.

This verb can refer to its original meaning, for example, "fly" can refer to spreading its wings and soaring; it can also guide the meaning, for example, "flying" represents the fluttering of thoughts, or the state of drifting without being down-to-earth.

The story unfolds here. If the story is shaped like a date core, this second clause is the "fat belly" of the date core.

Here we will see the actions of a man in his conscious or unconscious quest that will eventually lead to the end of his fate in this series of events—his world has changed.

As previously, the adjective can be either the original meaning or the extended meaning. As a conclusion, its existence reveals a person's choices, actions, encounters, and eventually a certain outcome that may result in a certain life experience.

This result may be what the person wanted in the first place, or it may be what he did not expect when he wanted and acted on it.

In short, it is a combination of subjectivity and objectivity, necessity and chance, which makes the person's experience as a hint to show people a certain possibility of human existence in the world.

A good ending does not produce these eight words: unexpected, reasonable. You can think about why.