A Quote by H. P. Lovecraft
Write out the story - rapidly, fluently, and not too critically - following the second or narrative-order synopsis. Change incidents and plot whenever the developing process seems to suggest such change, never being bound by any previous design.
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Design acknowledges change. Its meaning encompasses change in our times. To design is to 'create order and to function according to a plan.' The notion of change and design move along the same path.
Being on 'The Following' is constantly flying by the seat of my pants. The story can change and the character can change at a moment's notice.
I plot as I go. Many novelists write an outline that has almost as many pages as their ultimate book. Others knock out a brief synopsis... Do what is comfortable. If you have to plot out every move your characters make, so be it. Just make sure there is a plausible purpose behind their machinations. A good reader can smell a phony plot a block away.
It would not be amiss for the novice to write the last paragraph of his story first, once a synopsis of the plot has been carefully prepared - as it always should be.
Opportunities change, strategies change, but people and psychology do not change. If trend-following systems don’t work well, something else will. There’s always money being lost, so someone out there has to win.
We no longer even understand the question whether change is by itself good or bad, ...We start out with the axiom that it is the norm. We do not see change as altering the order... We see change as being order itself - indeed the only order we can comprehend today is a dynamic, a moving, a changing one.
But most critically, sweet, never try to change the narrative structure of someone else's story, though you will certainly be tempted to, as you watch those poor souls in school, in life, heading unwittingly down dangerous tangents, fatal digressions from which they will unlikely be able to emerge. Resist the temptation. Spend your energies on your story. Reworking it. Making it better.
A huge part of my writing process is listening to music as I write, almost creating an unofficial soundtrack to the film I'm working on, a sort of playlist. But the specific songs change rapidly as I write.
Change is the end result of all true learning. Change involves three things: First, a dissatisfaction with self - a felt void or need; second, a decision to change to fill the void or need; and third, a conscious dedication to the process of growth and change - the willful act of making the change, doing something.
Technology may change rapidly, but people change slowly. The principals [of design] come from understanding of people. They remain true forever.
The average mind requires a change of environment before he can change his thought. He has to go somewhere or bring into his presence something that will suggest a new line of thinking and feeling. The master mind, however, can change his thought whenever he so desires. A change of scene is not necessary, because such a mind is not controlled from without. A change of scene will not produce a change of thought in the master mind unless he so elects.
I believe there are aspects of the narrative that become easier to understand by shifting the focus of the story to the characters. Illustrating growth and change in the protagonist becomes a simpler process, and these changes are, in fact, one of the themes of 'Sekiro: Shadows Die Twice''s story.
In the best nonfiction, it seems to me, you're always made aware that you are being engaged with a supple mind at work. The story line or plot in nonfiction consists of the twists and turns of a thought process working itself out.
Two years gives you enough time to grow and to change, and to, you know, change your priorities. Change where you live, change your hair, change what you believe in, change who you hang out with, what’s influencing you, what’s inspiring you. And in the process of all of those changes in the last two years, my music changed.
Normally I start with a plot, and write a synopsis, and the ideas come from the construction.
The romance is the primary plot in a story that has two plots. The second plot is not a subplot, but one that is interwoven with the romance plot (if that makes sense.) A story needs compelling characters in a compelling plot.
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