The Setup

If you are like me and you LOVE the beginning of stories but you are also a crazy perfectionist, you probably have a love-hate relationship with your first few chapters. Starting a new story, the words usually fall onto the page so quickly they are nothing but black streaks of ink. Or pixels. But at the very latest, it is when your draft is finished that you return to these first pages and think to yourself:
what is this abomination?
where is the structure?
where is the agency?
where are the stakes?
why are there twenty scenes that might be, let’s be honest here, hilarious, but just… redundant?

In the following post, I’m going to explain (what I believe) are a setup’s most important elements and show you some of the things I’ve learned while working on my own projects.

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Desire and Misbelief

Reading a new story craft book is a bit like learning a new language; everybody is trying to say the same thing, but some people point at a character’s goal and go, “that’s their want!” while another says, “this is called the desire.”

Hello and welcome to my brain after I’ve read Lisa Cron’s Story Genius and am trying to understand this new language I’ve learned. Specifically: how can I make use of my new knowledge regarding the character’s desire and misbelief and the resulting third rail.

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Density

Rain splatters against my window, failing to cover the noise of the cars rushing past on the nearby highway, the motorcycles hissing across the concrete and the trucks’ deep roar. Berlin is a grey city, my sisters told me when they heard of my move. I refused to believe them until, plagued by an anxiety I had successfully ignored in my quiet little hometown, I felt the urge to decorate my apartment with atmospheric lights: large Ikea lamps, stained glass lampshades handcrafted by my father, chain of lights along my walls like the stars I never get to see.
This, I realized, this is a post about density.

But what the hell is density?

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