Tipp zum Bücher schreiben?

There are many genres that interest me extremely and fascinate. Whether Fantasy, Horror, Psycho-Thriller or Krimis. For example, I am a huge Sebastian Fitzek fan.

Look for something, but I find that good horro, good psycho thrillers and good criminals are harder to write than pure fantasy.

In Crimea, you have to sneak very well in advance so that the perpetrator is suspected among the acquaintances, but is not obvious. Everything must remain consistent in itself, so stand and fall a crime. So you basically need to start the complete crime with all the steps, wrong ferries and revelations with the first chapter. I feel that (who neither reads nor writes crimes) is quite demanding for a first work.

With horror you have to see that it goes under the skin and at the same time does not become blunt and plastic, so I don’t think it is without.

And writing good psychos is also a completely different level than normal characters.

In my opinion – if you don’t have a heart project in the other areas, then write Fantasy first, that’s mM’s the most affordable. Your fantasy does not have to be the Lord of the Rings High Fantasy, but may also be gloomy with elements of horror and psycho-thriller, I would even want more writers.

If you like, write Urban Fantasy, so Fantasy in the real, contemporary world, your influences may be better absorbed than in a completely fictional world like Lord of the Rings.

I already have some ideas. Unfortunately, I can not only pack one of these ideas and build a complete story on it.

There are some approaches. They are, according to others they have read, not necessarily bad or wrong.

But unfortunately, these approaches do not make any whole novels.

Does anyone have any tips on how to do prayer with this can become a whole chapter from these text caps?

There are several plotting methods, such as the snowflake method, which attempts to systematically expand your vague idea into a usable plot.

https://www.epubli.com/knowledge/knowledge method

This method is very extensive and no one forces you to go all these steps or going to the end, a 50-page summary and a complete tabular scene overview might be a bit much.

But whoever wants a lot of leadership and steering could be happy with it.

I would say you should (maybe on a walk, Nietzsche always helped you a lot) think about these topics:

• What is the world in which my story is playing? What is special, what do I want to illuminate centrally? What other stories would be possible?
• How are my characters, what drives them? What does she motivate? How are their relations with each other and their wider social networks. What would they do if the action in the form does not come about first (job, everyday life, hobbies, interests, …) How do they interact? Create characters and get to know your characters better in your world. Ideally, there is an action.
• What motivates conflict and change in my history? Acts live by conflict, that is absolutely central. If everything is good for all in your world, then you write a utopia that is also appealing to some readers, but attracts much less attention.

If you want a comfortable scaffold, you can choose one of the 20 so-called masterplots and therefore write or see your story, which is best suited to setting and characters.

Just make sure you don’t get clichéd. Something should take your hero’s trip off the many others.

https://www.die-schreibtrainerin.de/20-masterplots-von-ronald-b-tobias/

The 20 Masterplots by Ronald B. Tobias

• 1. The search

The main character searches: a person, a place, a treasure, a formula etc. A very old motive that has been reinterpreted in many stories for thousands of years. The focus is on the figure of the seeker, which is changed by the search. It’s a psychological plot, not an action plot.

• Two. The Adventure

Similar to the plot “The Search”, but with decisive differences: The adventure plot is primarily an action plot. The focus is on the journey (not the main character). The main character is looking for his happiness that never exists at home, but only somewhere out there. It doesn’t matter if the main character changes because it’s not a psychological plot. What matters is the next moment and then what happens.

• 3. The Persecution

The most popular children’s games include “hiding and searching” and “trapping”. Children and adults love this thrill. The literary version is the persecution plot. It is one of the easiest structured plots. Within the shortest time it is clear who is evil and who is good – and who chases whom.

• 4. Rescue

The rescue plot is also an action plot: More important than subtle psychological portraits is the question of what happens next. But here the focus is more on the antagonist: History is based on the dynamics between protagonist, victim and antagonist. The main conflict arises through the search and attempt of the protagonist to get back what he lost.

• Five. The escape

The escape plot is also an action plot: History focuses on the mechanisms of capture and escape.

• 6. The Revenge:

The main motive: The protagonist approaches the antagonist for a real or emotional injustice. A very emotional topic that touches most people. For very many have a profound sense of right and wrong. It is almost always happening outside of law and law.

• 7. The puzzle:

Children and adults love puzzles that challenge and entertain us at the same time. A riddle is a well-thought, insidious or ambiguous question. In order to find the answer, all levels of significance of the question must be explored. But the answer must not be too easy (the readers don’t feel taken seriously) and not too hard (you lose the readers).

• 8. The rivalry:

Two people with the same goal: conquer the same people, win the battle, win a call. Rivity is an ancient motive of humanity: Cain and Abel, Greeks and Romans. The opponents are equal and the fight takes place at eye level.

• 9. The Underdog:

The underdog plot is also about rivalry, but in contrast to the rivalry plot, the opponents are not equal. The protagonist fights with massive disadvantages and has hardly any chance. This basic constellation usually touches our hearts because we feel with the underdog.

• 10. The temptation:

In the temptation plot, the main character is tempted or persuaded to do something that is either unwise, wrong or immoral. No one comes through life without being tempted. The oldest example is the paradise where Adam and Eve were tempted.

• 11. The metamorphosis:

The metamorphose plot is fairytale (often: science fiction or fantasy), but the stories always act by us humans: They reveal a truth that is difficult to recognize. The plot deals with a change – both physically and emotionally.

• 12. The transformation:

The transformation plot tells the change of a person – from a substantial state of character to another essential state of character. It is based on the millions of years of man’s ability and need to adapt to changing circumstances in order to survive. But it also belongs to the fact that in some things man will always remain the same. The transformation plot revolves around major changes and thus goes beyond the usual change in the protagonists of a story.

• 13. The maturation:

During the transformation plot of adults, which change significantly, the maturation plot of adolescents will be on their way to adulthood.

• 14. Love:

One of the most central topics of humanity: woman meets man or man meets woman. But as stories live from the conflict, this is not enough for a book or film. That is why the basic constellation of the love plot is: woman meets man, but… The “but” refers to obstacles that stand between the two people.

• 15. The forbidden love:

Like the love plot, but in this case the “But” refers to the violation of social taboos such as different ethnicities, age levels, social classes and the like. The Forbidden Love plot is therefore always based on the values of a society. Example homosexuality: In old books and films, the main conflict of love history was the equality of the couple, a classic forbidden love plot. In modern stories it is more and more common that the equality of the couple is not the real problem. Since the conflicts have other causes, it is usually a classic love plot.

• 16. The victim:

The ancient concept of the victim is based on the sacrifice of an object for a God to establish a relationship between the victim and God. In modern literature, no god is involved, but someone sacrifices something for a concept or an idea such as love, honor or mercy.

• 17. The discovery:

People are always looking for who they really are. While philosophers fill entire volumes with the abstract view of this question, literates or their protagonists are very specific about it. The discovery plot is a plot of characters as it turns around people and its search for who they are.

• 18. The border experience:

In this plot, people experience an absolute state of emergency: Either ordinary people experience extraordinary circumstances or extraordinary people experience ordinary circumstances. The characters are exposed to an absolute state of emergency and must react to it. And almost every one of these characters could be us.

• 19.+20. Ascent and Fall:

The two plots refer to the opposite positions in the cycle of success and failure. While the ascent plot describes the ascent a person, the case plot tells about his case. Some stories tell both – the rise and the fall. At the heart of these plots is the main character to circle all other characters – how stars in a solar system turn around the sun (main figure).

I hope I could give you enough thoughts 🙂