| There are many ways to form a story in your mind, | | | | natural lives with the townspeople. |
| but I have developed a unique approach that almost | | | | Developing the lead will be easy now. What I want |
| writes the story for you. Keeping in mind that every | | | | you to see is that jumping into a tragic scene |
| story must have plot, conflict, and resolution (not | | | | mentally will naturally lead you to the number of |
| necessarily in that order) - I build the conflict first, | | | | characters you must have and who they are. |
| then the resolution, and then the lead in. Notice I | | | | Next, I have to answer some questions for the |
| didn't say "plot", as it will develop itself with this | | | | reader, such as, where is the mother all this time? My |
| method. | | | | easy answer is that she's dead. I can either state |
| Part I | | | | that or show it. Next, I have to tell my reader what |
| I'll make up a story right now, as I type, to show | | | | happened to the natural father, and how the |
| you the process. I'm starting in the middle of my | | | | step-father came into the picture. Or - I have |
| story because I'll get into the action quicker, I can | | | | another idea. I might make it the real father who is |
| identify most of the characters quickly, and the plot | | | | chasing them, to reclaim them and their mother (who |
| will develop more normally. FIRST, I'll begin with the | | | | is no longer dead). He wants to rescue them from |
| action scene that comes in the middle. I have no idea | | | | this beast. (New idea - the mother married the |
| what it will be. I'll think about high drama and tension | | | | step-father because her husband was at war and |
| and start there. (90 seconds of thinking) | | | | she was told he was dead. Not having a way to |
| I will make this story about two abused children, a | | | | provide for the children, she married the first man |
| sister about age 9 and her brother, age 5. My mind | | | | who courted her. The husband has returned.) |
| begins with the action scene where an enraged | | | | That puts the story into a happier mode, and it |
| stepfather chases them through a forest. They are | | | | makes for a better plot. I'll go with that. So the |
| hiding in a tiny wash out in a bank that is covered by | | | | father is chasing them all this time, but the children |
| tree roots. They found it when the little boy sat | | | | think it is the step-father. They hide in their little hole |
| down, leaned against the roots and fell into it. | | | | and wait until he leaves (note the irony of having the |
| The stepfather races through the forest, loudly calling | | | | father so near the children, and neither knows the |
| their names. Gasping for air, he sits down and leans | | | | other is there), and then they run to the village. The |
| against the same tree, not three feet from where | | | | village people ensnare the man, but the children see it |
| they are hiding. The children hold their breath in fear, | | | | is their father and he takes them home to their |
| lest he should fall into the hole and discover them. | | | | mother and they live happily ever after. Now I have |
| Part II | | | | to figure out what happened to the stepfather. |
| Okay. The anti-climax is done and my mind is | | | | I want you to note is that by answering the |
| thoroughly into the story. Next, I'll create the ending. | | | | questions I know the reader will have, I arrived at a |
| (pause - thinking) The children will come across a | | | | new ending, which is better than the first because it |
| village they didn't know existed. The people who live | | | | has a twist, and because it has irony. |
| there dress in strange clothes, like a throwback in | | | | There is something noteworthy here, and that is, you |
| time. They see a man who is a shoe cobbler, and a | | | | must always let the reader feel satisfied at the end |
| woman wearing wooden shoes that clack their way | | | | of the story. That's why you see very few stories |
| down the street. | | | | with a sad ending. If you don't satisfy your reader, |
| The children run to the shoe cobbler and pant out | | | | they won't want to read anything else you write. |
| their story to him. The cobbler alerts the | | | | So, now my story is practically written for me. Do |
| townspeople that a huge, fierce man is coming and | | | | you see how easy that was? If you like this story |
| that he intends to harm the children. The | | | | and would like to develop it (as I will not), write to |
| townspeople hold a hurried meeting and decide to lay | | | | me and I will give you the official permission to claim |
| a trap to snare the man. | | | | it as your own - with one catch. I'd like for you to |
| The man walks into the trap, is caught, and put on | | | | send the story to me and let me read it when it's |
| trial. The people are merciless. In their eyes, there is | | | | finished. Note: I will grant this story line to the first |
| no greater crime than abusing children. In such cases, | | | | person who requests it. |
| they feel that ridding the earth of such a vile person | | | | This is a unique method that will work for you every |
| is commendable - and they are commendable people. | | | | time. Now you try it, and let me know how you like |
| They hang him. The children live with the shoe | | | | it. |
| cobbler and his wife, and they spend the rest of their | | | | |