Character Extra Field
Character Extra Field
[font=Söhne, ui-sans-serif, system-ui, -apple-system, 'Segoe UI', Roboto, Ubuntu, Cantarell, 'Noto Sans', sans-serif, 'Helvetica Neue', Arial, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji']In my story, the antagonist is not a traditional single character, but rather a combination of life's challenges and internal conflicts faced by the protagonist and her family. Is it possible to add an extra field in the Character section for this, or do people usually use Tags for such scenarios?[/font]
So to be clear, the general obstacles are made into a character? That isn't really necessary. I would prefer that each major category of obstacle gets its own tag. Then you can tag beats for "Money Problems" or "Bad Friends" etc. This will also draw flowlines between these beats, and allow you to filter on them. It would also fit better for upcoming Emotion Tracking, which is an extension of tags, that basically tags have values that go up and down.
I think that emotion tracking makes you write the right way, because you now have an answer to what's supposed to happen in a scene. A needle is supposed to move, and you'll need many scenes to move the needle gradually and build up tension. Now you have long movements, and conflicts that aren't immediately resolved. It forces you to think like this, because it'll be glaringly missing if you don't.
That's the problem with just writing text, that it creates the illusion that anything is happening in the story, when in reality, it's often just pointless busywork of people talking but no needles moving. We're trying to create a "pit of success", where the path of least resistance is also the right path.
I think it will be. Everyone's difficulty is long storylines, so bad writing centers around very short storylines, problems that are quickly resolved, and not even a page between a setup and a payoff. The stories that work have much longer movements, sometimes even spanning seasons (Niles struggling to ask Daphne out for 6 seasons).
I think that emotion tracking makes you write the right way, because you now have an answer to what's supposed to happen in a scene. A needle is supposed to move, and you'll need many scenes to move the needle gradually and build up tension. Now you have long movements, and conflicts that aren't immediately resolved. It forces you to think like this, because it'll be glaringly missing if you don't.
That's the problem with just writing text, that it creates the illusion that anything is happening in the story, when in reality, it's often just pointless busywork of people talking but no needles moving. We're trying to create a "pit of success", where the path of least resistance is also the right path.
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