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Your own laws remain true: Especially when science is fiction or fantasy stories, natural laws are often changed. There are magic or technologies that do not exist in the real world. You should always define for yourself and from a certain point also clearly for the reader what is possible in your world and where about the border is. Known works such as Harry Potter or Lord of the Rings also try to bring the world closer to the reader slowly and to roughly define their rules and possibilities, this balance is then normally maintained.
Plot Holes or avoid logic errors: While you work on a story, I would always work with a time ray, plug letters and, if necessary, a card and constantly update it. This avoids that characters come from one place to the other in unrealistic time, that important experiences or skills are overlooked, and you keep an overview of the whole process, because the story you write is always only a small part, but as an author you have to think about the background and have virtually your whole world in mind, you should be aware of what characters could do right now, even if they are not described in the book right now.
Deep-green characters: To write good characters and dialogues, it is best to get really many thoughts about the characters. As already said, you have to have more in mind than just what you write. Even if it’s just about small secondary characters, you should take the time and define it as exactly as possible (with a plug letter, etc.). Define also seemingly unimportant things and not only consider your characters as a means for purpose. Maybe your character is just a simple thief that overthrows the main character, says 2 sentences and then dies, of course you can leave, but for example you can also go deeper into detail, for example by soaking his dagger with a special poison, which could already point to a later opponent who produces this poison and whose craving was the thief etc. I always think about almost any character, no matter how unimportant he seems, his prehistory and certain traits. for example, where is he good, what is he afraid of, what does he like, and above all, why is this all so? Even though it is often not directly recognizable when you make such thoughts, his characters become more alive and that also gets the reader, for the main characters, of course, anyway. It creates deep and understanding, it explains why, for example, the evil character is evil and why the good good and what led to it. As I said, the reader does not have to know everything, but you as an author should always be aware of it.
Sufficient research: When you write about a topic, you should always inform yourself about it so that history is credible. For example, if you write a criminal, you should know how the police typically proceed and what options they have or how criminal organizations and similar networks can run in a rough way. Even though it might be in a fictional city with fictional rules, everything should be rough according to the well-known pattern so that the reader feels better in history. Even though many things are overshot, which is also quite okay, most stories are at least roughly based on this scheme.
Real templates: Similar to the last point, real templates are very important to make a story more credible. Even if the action can of course be conceived, it can and should gradually use real inspiration. For example, if there is an evil regime or a dictator in your history, you can naturally stage it in a similar way as the Third Reich has done, which will probably trigger a depressing mood for the reader. A good example of this is the Empire in Star Wars (color choice/uniforms/architecture/recording)
You should add more depth and detail to the whole. More about what’s going on. Characters give their own character through the language and description
Here are two examples of the same situation of Viking Gregor.
Instead of just writing the Gregor to sit his lame mourning in front of a candle, and he obtains through the thought of the pain of his beloved something hope. He’s gonna blow out the candle and then go out into the night.
you could write instead.
That the light of the candle is reflected in the empty glassy eyes of Gregor when he almost distortingly remembers why the pain is so deep. He stands up and says with hopefully more powerful and yet more lovingly, “that your pain was not untouched”. With trembling lips, he blew out the candles and the space joined me with the smell of the glittering flame. determined and full force in the eyes he left his cheek to disappear into the cold of the night.
If, of course, it’s not perfect, I’ve thought out all this for the answer.
But if you still ask. Ask me
In the series TerraX (runs again and again on ZDFinfo or ZDFneo) there are consequences with the title “One Day in…”. There a day in a person’s life is described at a certain time, e.g. a day in the life of a mid-medieval midwife, a maid at the beginning of the 20. or a fireman in ancient Rome. The people themselves are invented, but could have lived in the respective time. In a mix of game scenes and players with background information, a realistic story is told.
You should therefore invent protagonists who fit into a certain historical period and then knit an action in which this historical background and the culture at that time play a great role. This naturally requires an intensive research, but it is worth it.
by writing what you know as much as possible. So first a very good search.
sensory impressions, inner monog
What is meant by sensory expressions? Like the environment that looks like people.
Yes what the person sees, feels, thinks, smells, tastes, hears..