How to Write Stories that Invest Readers

More information at: writing-theory.com/posts/2402...
Story Arcs are a core component of writing a story. How you plan and develop an arc is a combination of arcs of your characters and your plot. Writing better characters and writing better plots can all come down to story arcs.
Writing Theory is your story writing channel dedicated to making you a better writer and helping you tell a better story. Find writing tips, writing tools, and all kinds of information on writing skills.
If you want to write a good story, whether you're writing a fiction book or not, then these writing tips can help you create something special.
Books mentioned:
The Final Empire by Brandon Sanderson - amzn.to/3SQ8wSv
Priory of the Orange Tree by Samantha Shannon - amzn.to/3I9dIMv
#books #writing #writingtips #fantasy #fantasywriting #booktok

[@lucasguillou9741]

Hey there ! I’ve just started properly writing my Light Novel after a long time making the story and your videos really help ! I was wandering if you had any tips on separating chapters in a volume ? At first I started doing 1 chapter per Arc but after watching this video for the first time I decided to « melt » those arcs together and not resolving each one and going onto the next when ending a chapter. So I’m a bit lost on how what the content of each chapter and how to properly separate them (when to start and end a chapter).

[@Writing-Theory]

Thank you so much for watching my videos! Let's talk a little bit about chapters here, but know that I've made a note that there is a whole video within how to use chapters within your stories. Firstly, there are two kinds of chapter breaks: Functional and Stylistic. Here’s a quick breakdown between the two. Functional Chapter Breaks conclude a chapter and introduce a new chapter with a purpose in mind. If your novel has more than one persespective character, then this is when you would switch those perspectives. A functional chapter break would also be used when you need to skip ahead in your story (more than a couple hours or a day). Stylistic Chapters are a little different. A great example of Stylistic Chapters can often be found in the old Goosebumps books. In his masterclass, RL Stine talks about how he ends every single chapter with a cliffhanger. Something pops out of the closet or someone grabs the main character or some other terrifying thing. However, the next chapter often begins with the character finding out that they were overreacting to a jacket falling out of their closet or their best friend grabbing their shoulder to get their attention. These chapter breaks allow the author to create a moment that isn’t really needed in the plot. It’s not a time skip or a perspective switch, it’s just a way to grab reader attention. Stephen King does this in his book by frequently ending chapters with a line that creates foreshadowing. A line that almost feels out of place with the narrative of the story, but comes directly from a character as if they are telling the reader how the events of the previous chapter would directly cause something terrifying to happen later. Check out Pet Sematary if you haven’t already. He does it a lot there. My main takeaway here is that chapters do not need to align with these arcs presented in the video. Instead, they may align closer with story beats. A chapter could often follow a character learning a revlation or surviving an exciting event. In essence, do you need a break in the story to skip ahead in time (a Functional Chapter) or do you want to close a chapter with an iconic line (a Stylistic Chapter). Hopefully more to come in the future!

[@lucasguillou9741]

@@Writing-Theory that was a really informative and useful answer ! I couldn’t find anything online as straightforward and comprehensible as your answer, it will actually help a lot ! Thanks and keep up with the great videos !

[@upg5147]

No one ever talks about story arcs aside from just the main story arc in a series. It's always character arcs. I'm having an issue where I'm planning a long running series and have made major arcs that change the status quo or payoff the setup of character arcs or plot beats but my problem is having arcs in-between those to give the story the feeling of time passing and these characters being together with each other and the reader. I can't introduce a character one arc and have their personal arc end the next, you need at least an arc of time to drop hints and develop that character for people to be invested in the character. This is also important if the character arc is about something that requires time like trusting other people or getting over personal trauma. Doing that in one or two story arcs makes it feel like it wasn't an issue in the first place. I've been looking for ways to expand the story with arcs that aren't filler but am lacking a way to keep the story fresh and interesting and not feel like this is padding. I wish there was a template or something like their is character archetypes or types of stories but for arcs so I could spring board off of that.

[@user-hl6cl4kh2i]

Having last minute questions and leaving them unanswered is what is making me get through the SJ Maas universe quickly. She knows if she wraps it all up in the end, no one will read the next one except the biggest fans. But only resolving a portion of the main arc while introducing new arcs keeps us coming back for the next books.

[@Writing-Theory]

I think this is the main aspect of addictive storytelling! It’s so exciting to find a series or an author that really nails that

[@PaulRWorthington]

Interesting thought on weaving multiple arcs - thanks!

[@kenward1310]

Your insights are unique compared to other writing advice channels. I really value your differing perspective, thanks.

[@Writing-Theory]

That’s really kind of you! Thank you so much!

[@NorisSpecter]

Love your approach. It helps when self-analyzing my stuff. I think short arcs are okay as long as there are mid and long arcs, too. It's no longer like making jumps but like a complete journey. And actually, my favorite type of resolving arcs is when something seemingly unimportant turns out to be a key to everything. I always loved it as a reader. But not like that cup thing - the connection may be simple but needs to be obligatory, like without that clue, it wouldn't be possible to figure that out. Not - Ah ha! Cups! :)

[@Writing-Theory]

“I always loved it as a reader” that’s basically the golden rule of my writing! Write the kind of thing that you like to read and you can’t go wrong!

[@TheYellowBusLifeReset]

Just found your channel and clicked immediately. That thumbnail really worked…all my misgivings about PotOT articulated far better than I could have done. Well done, you! Subbed and will definitely be back for more of your takes and advice.

[@raina4732]

Thanks for this video! I’m currently juggling so many arcs and mini mysteries in my story. I’ll be watching this video again.

[@csb78nm]

The first half of my current novel focuses on arcs related to the pov character escaping their circumstances. Those are resolved, for the most part, in the first half. The second half starts with a second inciting incident, and with it, new arcs. Several of the second-half arcs are left unresolved by the end, and they serve as seeds for the next book. So, in this case, it is possible to structure the story to have entirely new arcs past the mid-point.

[@tylerriggs95]

Great points. Ultimately, too much resolution waters down the stakes. I think it can be attributed to trying to do too much as an author. Obviously, Sanderson is a master of tight-knitted plots and Mistborn is about half the length of Priory. In his own lectures, he credits his success to following through with the story promises he sets up for the readers early on.

[@AZ-ty7ub]

Great video and great advice! It fits into how I've been approaching my manuscript- don't solve a newly presented problem before answering a previous one.

[@kit888]

Sounds like two separate issues. One is characters earning the resolution. The other is having overlapping arcs. Someone called them loops. You always have some loops open, like a mini cliffhanger. When you close a loop, the reader feels satisfied, but also wants to read on to see how the remaining loops close. BTW your daughter is so cute.

[@gavenace3667]

To answer the question of when questions should stop being asked and instead answered, I believe that depends on length and nature of story. I have a novel series planned out and the first novel is dedicated to questions, then the second will ask more until half way through where discovery and answers will be prevalent with resolution. However some questions will be left unanswered and more may be asked due to conflict for the third book to finally wrap all major questions and issues up. The covenant of Steel Trilogy was similarly set up this way and I absolutely loved that series as the ending was honestly perfect and I was left beyond satisfied

[@jerricabennett4662]

I'm dressing as Carson playing Castle's daughter for Halloween next year. Haha! Great perspective on story arcs! Awesome video.

[@csb78nm]

In addition to the arcs in a story, there are more expansive ones to explore in a series. Some arcs raised in book 1 might not be resolved until a later book. Even in a single-book story, it is also possible to leave some arcs unfinished, particularly those involving philosophical, emotional or other personal development. Just as a story has a history before the story begins (backstory), there is also a role for the "story after the story," even if there is no intention by the author for a follow-on story.

[@xcyan_lilyx5788]

For character arcs, I enjoy the structure where the character is on a path to improvement through the story, but then hits a huge low point. Then they recover from this all time low and come out stronger by the time of the climax. Kind of like Zuko’s arc in ATLA. If the character doesn’t have some kind of low point or relapse into their old ways, the arc just doesn’t feel as real to me.

[@user-nd7rg5er5g]

Leaving some questions hanging around, eh? I never really thought about it before, but it does make sense! Thank you for making this video! :D

[@TheThinkersBible]

This is really insightful information. I'm using these principles in my educational video and they work for educational content as well. This is even more insight into how to use these approaches effectively. Thanks for the instructive examples from those two books you review.

[@andyzhang7890]

Nice discussion! From my e pertinence consuming media, I think there are advantages to each side- one one hand, the clean arcs (when done well) really give the reader a sense of satisfaction- the pull on the reader comes less from waiting for the rest of the story to resolve but rather a trust built in the reader for the author to delivery satisfying endings, whereas leaving breadcrumbs for the larger plot invests the reader by giving them a bigger picture to follow (which also needs to be done well) I think a series that excels in both aspects would be One Piece, their story arcs are absolutely amazing

[@Rendref]

In that scene you clearly cosplayed Castle's mother, not Castle's daughter, lol. But it was still brilliant, gave me a vivid flashback :-)

[@inaivanova6510]

Subscribed! Amazing advice, thank you 🤝

[@nikoletta_]

I haven't read the Orange Tree, but maybe the author was trying to create sth like what we call in cinema an "anthology film"? So the short arcs/stories within were written like that on purpose?

[@giiibbzoffizix]

Great work.,,,

[@RiloProducciones]

The Autor of that Priory book, never read One Piece

[@alananimus9145]

Okay so I haven't read it but you're problem with the riddles seems more like a reader skill issue than a writer skill issue. If you want more time with the riddles then pause your reading. Seriously. Just because you can binge doesn't mean you have to.