Saturday, April 1, 2023

Protagonist Potential . . . or Why the Dominant Character Flaw is so damn Important

I've kept this lesson as concise as possible because I'm about to reveal the single most important piece of advice you will ever learn as a fiction writer regardless your genre, and often point, purpose and meaning become lost amid overcomplicated explanations which can lead to frustrating confusion.
Here is the core formula of every story ever told in its most basic form:

A flawed protagonist's ordinary world is disrupted by an unfamiliar event associated with their dominant character flaw. They endure trials and tribulations, both positive and negative, which are connected to their dominant character flaw. They eventually arrive to decision and either overcome or surrender to their dominant character flaw. Then they are either rewarded or punished accordingly.

So how does this apply to the Acts?
Like so:

Act 1 (Inciting Incident): A flawed protagonist's ordinary world is disrupted by an unfamiliar event associated with their dominant character flaw.

Act 2A (Trials & Tribulations): They endure trials and tribulations, both positive and negative, which are connected to their dominant character flaw.

Act 2B (Dark Night of the Soul): They eventually arrive to decision and either overcome or surrender to their dominant character flaw.

Act 3 (Triumphant or Tragic Climax): Then they are either rewarded or punished accordingly.


This simple core formula works for both Plotters and Pantsers as well every genre that exists because every story is about protagonist change, whether Triumphant positive or Tragic negative, all stemming from their dominant character flaw, and once that change is triumphantly rewarded or tragically punished your story is over.
This is why you must begin the creation of your story by establishing an interesting and relatable dominant character flaw restricting the protagonist from achieving their full potential, because everything in your story relates to the protagonist eventually overcoming or surrendering to their dominant character flaw as well the ensuing reward or punishment either earns them as the story's moral lesson, providing its proof of purpose to exist.

!Bonus!: I'll retouch on this here from other lessons as a reminder: every protagonist has two antagonists (Internal, and External). Because of this, every story has two climaxes (for lack of better terms: minor, and major).
The triumphant protagonist overcomes their dominant character flaw during the minor climax at the end of Act 2, which in turn provides them the capability to defeat the External antagonist during the major climax at the end of Act 3.
The tragic protagonist surrenders to their dominant character flaw during the minor climax at the end of Act 2, which in turn condemns them to losing against the External antagonist during the major climax at the end of Act 3.
The Internal antagonist the protagonist confronts during the minor climax at the end of Act 2 is the spiritual manifestation of their dominant character flaw inhibiting their growth.
The External antagonist the protagonist confronts during the major climax at the end of Act 3 is the physical manifestation of their dominant character flaw inhibiting their change.
Because it's all about potential, baby, and whether the protagonist achieves it for better or worse.

Saturday, March 4, 2023

The Only Trouble Is . . . or Finding Your Story's Big Question

Every story needs to present then eventually answer one main question above all others. You present it with the Inciting Incident during Act 1 (intriguing the reader’s interest), then you answer it during Act 3’s Climax (satisfying the reader’s lust for knowing), while throughout Act 2 you keep us guessing about the inevitable outcome by providing clues to entice us and red herrings to misguide us (taunting and teasing the reader’s tenacious curiosity).
But where do you begin when it comes to finding your big story question?
I suggest starting with your story’s genre, like so:

Caper: How will they pull it off?
Family Drama: Will the family survive their ordeal as a family or fall apart?
Fantasy: How can we defeat the dragon and save the kingdom?
Love Story: Will they get married and live happily ever after?
Mystery: Whodunnit?
Romance: Will she find Mr. Right?
Science Fiction: How can we defeat the aliens and save Earth?
Sports Story: Who will win the game?
Spy Story: Who’s the mole?
Thriller: Whydunnit?
War Story: Will they complete their mission—and at what cost?
Western: Will the new sheriff clean up the town?
*note: obviously these are not all the genres, nor are they the only questions one could ask of a particular genre, but you get my point.

Now begin tailoring it with uniqueness by discovering your protagonist’s words to live by, and you do this by describing their deepest human desire. It always begins with “I just want . . .” then they fill in the blank by ending the statement with a concise answer. For example, if you asked them their one true desire above all else at the beginning of your story they would answer something along the lines of:

I just want happiness.
I just want to be loved.
I just want freedom.
I just want to be in charge.
I just want justice.
I just want to be left alone.
I just want equality.
I just want to create.
I just want power.
I just want to explore.
I just want money.
I just want to help.

Now link the two into your big story question by inserting the main trouble that inconveniences the protagonist from obtaining or maintaining their one true desire. You describe the protagonist’s situation and /or want and then complicate it by inserting “. . . the only trouble is” and then describing the story’s main complication for the protagonist. For example:

Alien: A space cargo crew wants to return home after a long mission . . . the only trouble is a killer acid-blooded alien boards their ship and stalks them one by one.
Big Trouble In Little China: A truck driver wants his stolen truck back . . . the only trouble is he has to battle the Lords of Death and their ancient sorcerer leader who took it.
First Blood: A vagabond Vietnam vet wants to leave the war behind . . . the only trouble is he’s hunted by a new enemy—the bigoted sheriff who falsely arrests him.
Jaws: An aquaphobic sheriff wants to maintain his peaceful beach . . . the only trouble is a man-eating shark begins terrorizing the local swimmers.
Rocky: A struggling amateur boxer wants to prove himself worthy of respect . . . the only trouble is he has to fight the world heavyweight champion on national television to earn it.
Splash: A lonely young man wants true love and finally meets the girl of his dreams . . . the only trouble is she’s a mermaid.
Unforgiven: A reformed gunslinger wants to provide for his poor family . . . the only trouble is he has to kill again to earn the money.

The great thing about knowing your big story question is that you begin your story by asking it then once you answer it you know your story is over. Because presenting then eventually answering your big story question is the entire point why your story exists. As well knowing it helps keep everything in your story logically linked, because if you write a scene that has nothing to do with your big story question then you know right away that scene does not belong in your story.
My advice: Discover your big story question, write it on a scrap of paper then tape it on the wall above your computer so you can glance at it whenever you are writing. I advise doing this before you begin your first draft. Often you don’t know your big story question until sometime during or after outlining your story. Problems arise if you begin writing your novel before knowing your big story question, because if you discover it after you’ve written tens of thousands of words or even only after you’ve finished your first draft then it’s guaranteed your story contains scenes and events that need edited or even completely removed because they have nothing to do with your big story question.
Pantsers often make this mistake, not knowing their big story question until they are deep into or after writing their first draft. They are then tasked with extraneous amounts of editing to fix their novel-to-be, or they just say screw it and leave it as is then they wonder why the finished novel receives poor reviews and doesn’t sell well.
If you are reading my latest book and its big story question is if the retired CIA agent father will find then rescue his kidnapped daughter by using his particular set of skills, but I’ve also filled it with chapters of him taking cooking classes to become the chef he’s always dreamed of, you as the reader are going to pause in confused wonderment as to why I’ve included those cooking classes scenes that have nothing at all to do with the big story question of him attempting to rescue his kidnapped daughter. Heck, you might even decide to toss the book aside for something better written without even finishing it, and I wouldn’t blame you.
Discover your big story question before writing your novel then stick to it and you’ll never be led astray while writing.
As well knowing your big story question before you begin the writing process helps you during the writing process because all of your major plot points revolve around answering it. This helps you employ tricks such as providing false information and presenting situations causing the reader to believe it’s now impossible for the protagonist to ever resolve their particular issue at hand . . . but then somehow during the Climax they pull it off in a surprising though logical way that sends delightful chills through your satisfied readers.
This is especially true when writing mysteries, because knowing your big story question beforehand allows you to place wonderful little clues that make your reader feel they are solving the case right by the detective’s side as well you can add in red herrings that mislead your guessing reader at every turn of page.
And if you are new to plotting then knowing your big story question before you outline allows you to really ramp up the tension and conflict of your ensuing plot points as you map them out.
If I could give one piece of advice to any aspiring author as to how to sooth their plotting woes it would be to discover your big story question before writing a single word of that pesky first draft because it will save you so much trouble later when plot holes arises you don’t know how to write your characters out of or during the editing process saving you time trimming your first draft into a novel.
And as always, my second piece of advice for bettering their writing is to Never Use The Word Was . . . though I’ve already covered this little golden nugget in other articles and several of my writer training manuals.
The great thing about knowing your big story question is you can test it by presenting it to others and seeing if it interests them or not before you spend hours every day for months or even years actually writing it into novel form. If it excites them then you know it’s a story worth telling. If it bores them then you know you need to discover a different big story question.
And here’s a tip if you’re shy about it or worried of the responses: just lie while working it in to casual conversation, saying you just watched a movie then giving them your big story question as the fake movie’s description. If they ask what the movie is called because they want to watch it, pat yourself on the back then just tell them you forget the title. Now go home and write it!
Good luck!

Thursday, February 2, 2023

Rolling with the Homies . . . or the Easy Peasy Lemon Squeezy Adventure Generator!

Fantasy writers can use these inspiration tables as an adventure generator for your next exciting story. But don’t think the tables are limited to the fantasy genre. Plug and play with the provided tables as you like and as according to your specific genre.

For instance, as with horror or suspense or mystery you might replace Kingdom with Haunted House, or Build with Stalk, or Wizard with Detective . . . and so on.

I suggest making a list of genre-specific persons, places, things and events (anything and everything that comes to your mind) then arranging, rearranging, as well swapping the options from the supplied tables until you have those that are more suited to your preferred genre of writing.

And after that?

Have fun with your new adventure generator!

The great thing is you only need the bare minimum of supplies: a pen, paper, and everyone has some six-sided dice lying somewhere around the house that can provide you the easy means required.

 

How to use:

Roll 2d6 (two six-sided dice) for each column of the inspiration tables in this order: Thing > Action > Thing > Fallout.

This creates a threat or entity that wishes to act upon another entity, and if successful then fallout occurs. For example: a Warlord (4) wants to Corrupt (6) a Kingdom (7) which causes Slavery (11).

 

-THING-

2. Horde

3. Monarch

4. Warlord

5. Monster

6. Wizard

7. Kingdom

8. Cult

9. Artifact

10. Interloper

11. Deity

12. Monolith

 

-ACTION-

2. Destroy

3. Protect

4. Discover

5. Steal

6. Corrupt

7. Revive

8. Build

9. Dislocate

10. Empower

11. Weaken

12. Control

 

-FALLOUT-

2. Plague

3. Exile

4. Upheaval

5. Tyranny

6. Slaughter

7. War

8. Desecration

9. Famine

10. Summoning

11. Slavery

12. Cataclysm

 

*Note: I did not invent this method or these tables by any means. Tabletop gamers have been using them or some modified version of this system for too many years to count for a single person to claim true credit.

Again, for your own adventure generator I suggest you tailor your inspiration tables to your specific genre of writing. Want more of a sci-fi? Then swap in Spaceship or Aliens. Is ‘Monster’ too vague a term for your potential horror story? Then change it to something more specific like Vampire or Werewolf or some other imaginary beast your characters might contend with.

You can shorten or lengthen your adventure generator as well if you care to invest a few dollars and purchase some specialized gaming dice, or just add or subtract another six-sided die while adjusting your inspiration tables’ numerics and their options accordingly.

With these tables (or any modified version of them) you can generate a story adventure in seconds that is easily applied to the protagonist, the antagonist, or any other of your characters, giving them an instant purpose to act upon and a reason to be acted against.

The possibilities are limited only by your imagination!


Saturday, January 7, 2023

Titty Sprinkles . . . or How to write Erotica 101

I’ve recently ventured into the wild world of writing erotica short fiction . . . and so can you!
I never expected to write erotica in any capacity, but it turns out I have a natural flair for it. I discovered this quite by accident, sexting with several lady friends now and again over the years and earning praises for it every time, so the last time I fondled my keyboard while she fondled something else, something clicked in my brain and I thought: Hmm, why not try to write and sell this stuff?
I write under a pen name, and I can’t reveal it because that would defeat the entire purpose of using a pseudonym, so you’ll just have to take everything I say from here on in on faith . . . though hopefully my track record of being an award-winning and bestselling fantasy author under my real name will help convince you that I’m not lying for the heck of it.
Once I set my mind to it, I dedicated hours every day for months reading, studying and researching anything and everything erotica. I spent well over $200 buying erotica novels and short story collections and how-to write erotica books.
While perusing online erotica forums I chanced across some information about the ‘Dirty 30’ from successful erotica writers that advised not to expect any good or recurring amounts of money from your writing until you’ve published at least 30 erotica short stories.
I took that information and decided not to publish a single one until I had a bank of at least 30 erotica stories.
So that’s what I did, and got to work, writing one erotica short story each and every day. After which I edited and polished five of them then published all five at once, knowing because they’re short stories with a common theme that if someone enjoys one then they’ll probably immediately want to read another.
I was right.
So what determines an erotica short story’s length?
I came up with this little formula on my own and have discovered it works fantastically, based upon two facts:

1. The average person reads 300 words per minute.
2. The average person also reads for 10 to 20 minutes per day.

I took these two factoids and applied them to my erotica shorts to ensure the best total word count possible:

300 words per minute for 10 minutes equals 3,000 words.
Double that to 20 minutes and you get 6,000 words.

Now I had the minimum and maximum word count range for my erotica shorts of 3,000 to 6,000 words at 10 to 20 minutes of reading.
Perfect!
My theory proved true when within less than one hour after publishing my first five stories, my erotica shorts, with zero advertising or any promotion whatsoever involved, started selling on Amazon. People also read them for free with KU (Kindle Unlimited), earning me even more money while word of mouth continued to spread.
And they’ve sold while making me money every day since.
Which is nice because the average price for an erotica short story is $2.99 digital, of which you profit $2 plus a couple of pennies depending on the size of your file.
You see, erotica readers are willing to pay more for less because they aren’t just buying your story or characters, they are buying their particular fetish that gets them off mentally and often also physically.
One thing I also noticed about the erotica genre is that you don’t have to be a great writer to write great erotica. I discovered this enlightening fact after buying lots of erotica paperbacks from Amazon with raving reviews and high star ratings then reading them like crazy, and much to my surprise almost all of them read as if written by a ninth grader with a learning disability—the technical writing itself, anyways.
In every one of those books I noted multiple spelling or grammar or formatting errors . . . the latter which annoys me because a lot of erotica writers try to stretch out their stories’ lengths with little tricks such as adding spacing between each and every paragraph or using extra-large fonts or big margins and the like to increase their paperback page count.
I don’t use these tricks because I’d feel like I’m ripping off my readers or lying to them . . . since that’s exactly how I feel after buying such a book.
Treat your readers well, because you owe them everything, and they will return for more.
Considering my years of writing experience, I started with a leg up on the competition. And I’ve actually had to tame down my writing because erotica readers aren’t expecting Shakespeare or Hemingway, nor do they want to have to pause and look up the definition to ten-syllable words amid long and flowery flows of purple prose. It’s best to keep it rather basic while peppering in that flowery description.
As well remember not to get too descriptive when it comes to your main character. Erotica readers enjoy most putting themselves into the place of one of the characters, typically the main, and if you describe yours in excruciating detail then you risk your readers having trouble dislocating themselves into the role of the main character they may resemble nothing of.
This can apply to your other characters as well, because erotica readers often enjoy replacing them with people they know in real life to enhance while tailoring the carnal fantasies and imagining them together in that particular situation of your story.
But that is only a suggestion, mind, so I leave the depth of your character descriptions up to you.
This does not, however, apply to all description. Always remember the five senses when it comes to describing your scenes: touch, hearing, sight, smell, taste. But don’t overload every one of your scenes with all five senses all of the time or you will overwhelm your reader. Instead, feather them in here and there throughout your story.
I started with what I call the Excusable Taboo genre of erotica fiction by writing stepparent and stepchild stories then branching out. Reason being that the majority of people in the world at some point in life have some type of step family member so the subject is highly relatable. I call this particular sexual fetish the Excusable Taboo because it’s taboo in that, “We can’t do this because we’re legally related” and yet it’s excusable in that, “But we can do this because we’re not blood related.”
Amazon KDP offers the author two erotica categories, the first is just Erotica in the fiction list, and for the second you have to click on Romance and then click on Erotica as its subgenre. I suggest choosing these two categories (don’t worry, just because you choose the Erotica category for your book does not condemn it to Amazon’s Adult Dungeon; more on this in a minute) and not trying to pass your disguised erotica off in other categories because Amazon will eventually find out and change its category for you, and plus you’ll piss off a lot of people and possibly earn negative reviews if you sneak your hardcore erotica into pure Romance without the extra erotica tag as those readers will feel lied to and tricked.
There are also forbidden fetishes to steer clear of such as rape, real incest or sex with minors (just to be sure of the latter, I also include a little sentence on the copyright page of every one of my stories stating that all characters involved in anything sexual are considered at least 18 years of age and consenting adults). If you try to sneak any of this in on Amazon, they will eventually find out, ban your book and probably block your account, preventing you from ever publishing through them again.
As to your pen name, this is easy. Instead of typing your real name as you normally would when creating your book using Amazon KDP, instead you just type your pen name. Amazon knows it’s you because it’s still your account, and they’ll still pay you.
And don’t pick something complicated or stupid or funny as your pen name, like Tzinorina Chamtopolouse or Titty Sprinkles or Amanda Hugnkiss. Choose a pen name that is simple to pronounce, spell and easy to remember. Something like Blair Smith or Georgia Jones or Sasha Gray.
Also, choose a male pen name with caution because unless it’s man on man gay erotica that you’re writing, most male readers want to believe what they’re reading was written by a woman who also found it sexually arousing and not written by some other dude. Women also prefer erotica written by other women for same reasons. Go figure.
Just make sure to check the name on Amazon first so you don’t accidentally pick one by an already successful author of the same or other genre because this can cause you all sorts of little problems like their angry readers buying something from you by mistake, or your books getting lost in the shuffle because the name also belongs to an author who has published 100+ books about fishing.
I read it on multiple forums that you should publish your erotica fiction during the week because on weekends Amazon KDP’s algorithms and their book reviewers supposedly work overtime and tend to more often condemn the harder erotica to Amazon’s Adult Dungeon: which means people have to turn off Amazon’s adult filter and look for your book otherwise it won’t show up, and your books also aren’t recommended on Amazon because of it. This will cut into your sales dramatically, obviously.
I haven’t tested this theory with any of my erotica, not wishing to risk it while losing a story to the Adult Dungeon where it will probably forever stay, but I can say that it is true from other experience. I’ve published lots of other stuff under my real name (over seventy books both fiction and nonfiction, paperback and digital, novellas, stories, courses . . . et cetera), and every single time I’ve ever had a problem I needed to deal with during publishing because of a rejected review it was always sometime during the weekend. So my advice: don’t bother risking it and just publish your erotica during the week.
Understand when writing that erotica is all about the hesitation and anticipation. Sure there’s the necessary payoff of the climax where they have sex, but you need to lure and entice your readers along the way. Think of it like having lots of foreplay before the sex with a new partner you’re trying to impress.
Your stories should be a series of naughty and/or forbidden lines being crossed, then some manner of hesitation from at least one of the parties involved before crossed again, now a little easier because once you cross a line it becomes easier and easier to cross the next time and the time after that and so on.
Erotica short stories do not follow the typical Joseph Campbell Hero’s Journey or Blake Snyder’s Save the Cat! beat sheet or any of my previous blog posts on plot, because it’s a unique genre unto itself. Yes there is a protagonist (always their desire is pursuing sex or being pursued for it, depending upon the particular fetish involved) and yes a variety of plot points exist, but no one is buying and reading your erotica shorts for the rich tapestry of backstory or the exquisite building of your world or the deep development of the characters involved . . . they’re reading it to get sexually aroused, plain and simple.
You introduce your characters then present a situation from which they will eventually engage in sex—that is always the promise of your premise when it comes to erotica. Between the set-up and the climax you fill your story with a series of naughty/forbidden lines being crossed, each one a little more risky yet rewarding than the previous.
And you don’t rush into anything—this isn’t Letters to Penthouse with a 1,000 word limit.
Start with something simple like exchanged glances of a shared though forbidden attraction. Move your characters through lingering stares and vocal teasing to flirting that tests the iffy waters between them to brief physical touches, then kissing, then fondling, then foreplay and oral before the satisfying full-bore sex you promised, leaving your happy reader fulfilled though always craving more. After the climax, end your story with a short paragraph or two showing the change in the protagonist and/or their new situation then call it quits.
Again, erotica is read for the sex and its particular fetish involved, but most importantly the sensual anticipation leading up to it which should comprise the majority of your story.
And choose your titles wisely.
Calling yours ‘Daddy blasts his hot cum all over his virgin daughter’s teenage tittyballs!’ is a sure-fire way to get your book immediately into Amazon’s Adult Dungeon where it might not sell a single copy.
Apply this discretion to the book blurb and Amazon description as well.
For instance don’t use the word virgin, instead state that it’s a character’s first time losing their innocence.
Also don’t use naked people for your cover, otherwise it’s straight to the Dungeon. Amazon has rules for this, and I suggest you look them up, such as a woman showing too much cleavage or buttcheeks, or nipples, or a guy’s happy trail or the top of his pubes because his pants are riding extremely low.
Make your title and cover and blurb hint at the particular fetish and theme you wrote about and leave it there. People aren’t stupid, and most erotica readers are purposefully searching out their particular fetishes anyways.
What I do now for my erotica is stick to a schedule, I have a bank of stories and I publish one per week, maybe one every two weeks if life gets busy. On Monday I pick a story already written then edit and polish it perfect. On Tuesday I write a brand new steamy story then save it in the bank. On Wednesday or Thursday I take Monday’s polished story and publish it. Repeat.
Plus, and this is very important, PUT THIS ADDRESS LINK ON THE LAST PAGE OF YOUR EROTICA STORY:

https://www.amazon.com/review/create-review?&asin=

After the = sign just insert the particular ASIN of your erotica story with no spacing between it and the = sign. What this does is provide the reader with a clickable link that will take them directly to the review page for your story. This one little additional ditty will generate more reviews than anything else you will ever do.
But don’t get too excited since a lot of your readers won’t review your erotica because they are too embarrassed about having their Amazon account tied to their preferred sexual fetishes they enjoy indulging in . . . despite the irony of it already being linked because they bought your stories to begin with. Go figure again.
Your last page should be a simple Thank You note to your readers then the clickable address link asking for them to review it. Don’t beg and don’t demand, just thank them, provide the link and leave it at that.
Know that you’ll have to fill in your ASIN, copy and paste it into the address bar of your computer and go to the webpage yourself, then re-copy and paste the entire address from the address bar before copying and pasting it into your digital book to make it a clickable link, otherwise it’ll just be type the reader will have to copy and paste themselves, which the majority of them won’t bother with because people are inherently lazy.
The genres of erotica typically can be categorized as Soft, Harder, and Hardest. For example, Soft refers to a man’s penis as his Member, Harder is Penis, and Hardest is Cock. Personally I prefer to blend the three into one, starting my stories Soft, going Harder for the majority of the story then ending Hardest for the climax before the short wrap-up.
And where to get your ideas from?
Don’t be a shy prude.
Think about the last thing you imagined while masturbating then go from there, because I guarantee you’re not the only one with those same thoughts.
This is not everything you will ever need to know about writing erotica short fiction, but it’s plenty enough to get you started well on your path to becoming a successful erotica author.
Good luck!
Now go touch yourself then write about it.

Saturday, December 3, 2022

Box of Chocolates . . . or How to Get Away With Stealing Stories

“If you always do what you always did, you’ll always get what you always got.” —Henry Ford

Writers steal their stories all the time, and often this blatant thievery goes unnoticed . . . until the trained eye digs a bit deeper.
*note: just switch out the preceding word/s with the succeeding word/s (in parentheses).

Here, take a comparative look at Disney’s Pocahontas vs. James Cameron’s (Avatar):

In 1607 (2054), a ship carrying John Smith (Jake Sully) arrives in the lush “new world” of North America (Pandora). The settlers are mining for gold (unobtainium) under the supervision of Governor Ratcliffe (Colonel Quaritch). John Smith (Jake Sully) begins exploring the new territory, and encounters Pocahontas (Neytiri). Initially she is distrustful of him, but a message from Grandmother Willow (the tree of souls) helps her overcome her trepidation. As the two begin spending time together, Pocahontas (Neytiri) helps John (Jake) understand that all life is valuable, and how all nature is connected via the circle of life. Furthermore she teaches him how to hunt, grow crops (tame dragons), and of her culture. We learn her father is Chief Powhatan (Eytukan), and that she is set to be married to Kocoum (Tsu’tey), a great warrior but a serious man whom Pocahontas (Neytiri) does not desire. Over time, John (Jake) and Pocahontas (Neytiri) discover a mutual love for each other. Back at the settlement, the men, who believe the natives are savages, plan to attack the natives for their gold (unobtainium). Kocoum (Tsu’tey) tries to kill John (Jake) out of jealousy, but he is later killed by the settlers. As the settlers prepare to attack, John (Jake) is blamed by the Indians (Na’vi) and sentenced to death. Just before they kill him, the settlers arrive. Chief Powhatan (Eytukan) is nearly killed, and John (Jake) sustains injuries from Governor Ratcliffe (Colonel Quaritch), who is then brought to justice (shot with arrows). Pocahontas (Neytiri) risks her life to save John (Jake). John (Jake) and Pocahontas (Neytiri) finally have each other, and the two cultures resolve their differences.


Or George Lucas’ Star Wars: A New Hope vs. J. K. Rowling’s (Harry Potter and the Philosopher’s Stone):

Luke Skywalker (Harry Potter) is an orphan living with his aunt and uncle on the remote wilderness of Tatooine (in suburbia). He is rescued from aliens (muggles) by wise, bearded Ben Kenobi (Hagrid), who turns out to be a Jedi Knight (wizard). Ben (Hagrid) reveals to Luke (Harry) that Luke’s (Harry’s) father was also a Jedi Knight (wizard), and was the best pilot (Quidditch player) he had ever seen. Luke (Harry) is also instructed in how to use the Jedi light saber (a magic wand) as he too trains to become a Jedi (wizard). Luke (Harry) has many adventures in the galaxy (at Hogwarts) and makes new friends such as Han Solo (Ron Weasley) and Princess Leia (Hermione Granger). In the course of these adventures, Luke (Harry) distinguishes himself as a top X-wing pilot (Quidditch Seeker) in the battle of the Death Star (Quidditch match), making the direct hit (catch) that secures the Rebels (Gryffindor) victory against the evil Empire (Slytherin). Luke (Harry) also sees off the threat of Darth Vader (Lord Voldemort), who we know murdered his aunt and uncle (parents). In the finale, Luke (Harry) and his new friends receive medals of valor (win the House Cup). All of this will be set to an orchestral score composed by John Williams.

See now how even the pros steal their stories without apology or the least bit of regret?
If you’re stumped for your next great story then I suggest trying this method—most often employed by eager screenwriters attempting to make a living punching up weekly scripts for potential sale. Write out a synopsis of your favorite novel or movie then go about replacing characters and other words of narrative influence through cunning creative manipulation.
Because like Forrest Gump’s famous box of chocolates, you never know what you’re gonna get.

My beautiful baby daughter Jenna Androsac is gonna be 17 this March 30th! She's so pretty and so smart, I'm so proud of her!