Creative Writing Skill
Patterns for fiction, narrative structure, character development, dialogue, and storytelling craft.
Story Structure Models
Three-Act Structure
| Act | Purpose | Proportion |
|---|
| Act I: Setup | Introduce world, character, conflict | 25% |
| Act II: Confrontation | Rising stakes, complications | 50% |
| Act III: Resolution | Climax, resolution, denouement | 25% |
Key Plot Points
Act I Act II Act III
┌─────────────────┬──────────────────────────┬─────────────────┐
│ │ │ │
│ Inciting Turning Midpoint Turning Climax │
│ Incident Point 1 Point 2 │
│ ↓ ↓ ↓ ↓ ↓ │
└──────┴──────────┴──────────┴─────────┴──────────┴───────────┘
10% 25% 50% 75% 90%
Alternative Structures
| Structure | Best For | Key Feature |
|---|
| Hero's Journey | Epic, fantasy | 12 stages, transformation |
| Save the Cat | Commercial fiction | 15 beats, clear timing |
| Seven-Point | Plotting from ending | Hook → Resolution |
| Freytag's Pyramid | Classic drama | Rising/falling action |
| Kishōtenketsu | Eastern narrative | No conflict required |
| In Medias Res | Thrillers | Start in middle of action |
Character Development
Character Dimensions
| Dimension | Questions |
|---|
| Want (External) | What does the character pursue? |
| Need (Internal) | What must they learn/change? |
| Lie | What false belief holds them back? |
| Ghost | What past event created the lie? |
| Flaw | What weakness emerges from the lie? |
| Strength | What positive trait will save them? |
Character Arc Types
| Arc | Description | Example |
|---|
| Positive | Overcomes flaw, achieves need | Most protagonists |
| Negative | Succumbs to flaw, tragic end | Breaking Bad |
| Flat | Changes others, not self | Sherlock Holmes |
| Corruption | Starts good, ends bad | Anakin Skywalker |
| Disillusionment | Loses positive belief | Noir protagonists |
Character Voice Checklist
- Vocabulary level and word choice
- Sentence rhythm and length
- Speech patterns and verbal tics
- What they notice (reveals values)
- What they avoid talking about
- How they refer to others
- Unique expressions or phrases
Dialogue Craft
Dialogue Functions
| Function | Example |
|---|
| Reveal character | Word choice shows personality |
| Advance plot | Deliver essential information |
| Create tension | Subtext, disagreement |
| Establish relationships | How characters speak to each other |
| Provide exposition | Disguised as natural conversation |
Subtext Techniques
| Technique | How It Works |
|---|
| Saying opposite | "I'm fine" (clearly not fine) |
| Deflection | Answering a different question |
| Non-sequitur | Changing subject reveals discomfort |
| Action contradiction | Words say one thing, actions another |
| Silence | What's NOT said speaks volumes |
Dialogue Tags
| Tag Type | Usage |
|---|
| "Said" | Invisible, preferred for most |
| Action beat | "I know." She turned away. |
| Specific verb | "Whispered" (sparingly) |
| Adverb | Avoid "said angrily" — show instead |
Dialogue Formatting
- New speaker = new paragraph
- Action by speaker in same paragraph
- Use contractions naturally
- Read aloud to test flow
- Cut greetings and small talk (usually)
Point of View
POV Options
| POV | Advantages | Limitations |
|---|
| First Person | Intimate, voice-driven | Limited to narrator's knowledge |
| Third Limited | Flexible, maintains intimacy | One character's head at a time |
| Third Omniscient | All-knowing narrator | Can feel distant |
| Second Person | Immersive, unusual | Hard to sustain |
| Multiple POV | Multiple perspectives | Risk confusing reader |
POV Consistency Rules
- Don't "head hop" within scenes
- Signal POV shifts clearly (chapter/section break)
- Maintain consistent psychic distance
- Filter everything through POV character's perception
Scene Construction
Scene vs. Summary
| Scene | Summary |
|---|
| Moment-by-moment | Compressed time |
| Dialogue, action | Narration |
| High importance | Transition, backstory |
| Show | Tell |
Scene Checklist
Scene-Sequel Pattern
| Scene | Sequel |
|---|
| Goal | Reaction (emotion) |
| Conflict | Dilemma (thought) |
| Disaster | Decision (action) |
Prose Style
Show vs. Tell
| Telling | Showing |
|---|
| "She was angry" | Her jaw tightened. She gripped the table edge. |
| "He was nervous" | He wiped his palms on his pants for the third time. |
| "The room was old" | Dust motes floated through slanted light. Wallpaper peeled at the corners. |
Sensory Details
| Sense | Often Forgotten |
|---|
| Sight | ✓ Usually covered |
| Sound | Ambient sounds, silence |
| Smell | Powerful memory trigger |
| Touch/Texture | Temperature, surfaces |
| Taste | Beyond food — fear, excitement |
Prose Rhythm
- Vary sentence length
- Short sentences = tension, speed
- Long sentences = description, reflection
- Fragment for emphasis
- Read aloud to check flow
Genre Conventions
Genre Expectations
| Genre | Reader Expects |
|---|
| Mystery | Fair clues, satisfying solution |
| Romance | HEA (Happily Ever After) |
| Thriller | High stakes, fast pace |
| Fantasy | Consistent magic system |
| Literary | Beautiful prose, deep themes |
| Horror | Building dread, catharsis |
Genre Blending
- Know both genres' conventions
- Identify which is primary
- Meet core expectations of primary
- Add elements from secondary
Revision Strategies
Revision Passes
| Pass | Focus |
|---|
| 1. Story | Plot holes, arc, structure |
| 2. Character | Consistency, motivation, voice |
| 3. Scene | Pacing, purpose, tension |
| 4. Prose | Sentences, words, rhythm |
| 5. Polish | Typos, formatting |
Beta Reader Questions
- Where were you confused?
- Where did you get bored?
- What did you predict?
- Which characters felt real?
- What would you cut?
Kill Your Darlings
If a passage is:
- Beautiful but slows pacing
- Clever but confuses
- Beloved but unnecessary
...consider cutting it.
Screenwriting Specifics
Screenplay Format
SCENE HEADING (SLUGLINE)
INT. COFFEE SHOP - DAY
Action lines describe what we SEE and HEAR.
Present tense. Active voice. Brief.
CHARACTER NAME
Dialogue goes here. Keep it snappy.
OTHER CHARACTER
(parenthetical)
Response with direction if needed.
Visual Storytelling
- Show don't tell (literally)
- Enter scenes late, leave early
- Action reveals character
- Subtext over on-the-nose dialogue
- One page ≈ one minute of screen time
Poetry Elements
Poetic Devices
| Device | Effect |
|---|
| Imagery | Sensory experience |
| Metaphor | Comparison without "like" |
| Simile | Comparison with "like/as" |
| Alliteration | Repeated initial sounds |
| Assonance | Repeated vowel sounds |
| Enjambment | Line breaks mid-thought |
Form Considerations
- Free verse — no set rules
- Sonnet — 14 lines, specific rhyme
- Haiku — 5-7-5 syllables
- Villanelle — 19 lines, refrains
Synapses
High-Strength Connections
- [writing-publication] (High, Extends, Bidirectional) — "Publishing creative work"
- [academic-research] (Medium, Complements, Bidirectional) — "Research for historical fiction"
Medium-Strength Connections
- [knowledge-synthesis] (Medium, Uses, Forward) — "Synthesizing story elements"
- [cognitive-load] (Medium, Applies, Forward) — "Reader experience management"
Supporting Connections
- [meditation-facilitation] (Low, Supports, Forward) — "Creative reflection"
- [appropriate-reliance] (Low, Applies, Forward) — "Balancing AI assistance with creative voice"
