From Situation to Story

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starrykitten

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There's a common problem that I have when it comes to fiction. I will often have an intriguing situation at hand but not necessarily a story. I guess what I mean is that whatever I'm imagining lacks tension, development, etc. If you have any tips how to move from a situation to an actual story, I would love to hear them. Thanks!
 

Peggles

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This happens to me all the time, and I'm sure to others. Usually I try to let the idea float around in my head for a day or two to see if anything else comes to me. Sometimes it will only be an image or a feeling, and if I can't get it any further, I will try to informally write down what I know about the idea, and that usually helps. Sometimes you just have to translate the idea into a character, too, so I try to think of what sort of person would be in that place/situation/etc.
 

WriterBN

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I write character-driven fiction, so my approach is a bit different. I develop the characters(s) first, then the setting or situation.

Try just writing a first draft with whatever you have in mind. Often, ideas will develop further once you start writing.
 

MJNL

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I like to keep in mind that story=character+conflict. The cool idea is the backdrop against which the conflict is set, and conflict can itself arise from that cool idea. But if there's no character dealing with an important conflict, there is no story. So, it might be helpful to consider who your MC is, what they want, and what is preventing them from getting it. These, combined uniquely with the 'cool idea,' can create an interesting story if executed well.

Hope that helps.
 

Jamesaritchie

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For me, situation is story. I'm not a big believer in plot driver versus character driven stories. Stories I love are both. But in either case, I begin the story simply by putting what I hope is an interesting character into what I hope is an interesting situation. In other words, I give the character a problem to solve, a question to answer, or both. This is the basis of nearly all fiction.

Story is no more than how the character solves the problem, answers the question, or both. The situation, the problem or the question, forces the character to try to do something about it. This is where motivation comes in. The problem/question must be one that the character can't ignore, can't walk away from.

So he does something. Whatever he does has an effect, good of bad. He then does something else, reacts to the effect, which again has an effect. On and on.

As soon as I have the opening situation right, and drop the character into it, the rest of the story is easy. If it isn't easy, there's something seriously wrong with the situation, or with the character's motivation.
 

Augusta

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I think if you have an intriguing situation, sitting down and writing it out (if you haven't already) is a great place to start -- it will help you get to know the characters a bit better and you may find the story going in new directions that can lead to something fuller. I also think it's important to read voraciously in your genre -- reading books by writers I admire always helps get me inspired and gets the ideas flowing. Every book starts with some smaller spark of inspiration -- whether a scene, character, setting, etc. and once you have that, you just build on it little by little.
 

Bellwood

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I think everyone above me has given you great feedback and you should take their advice, especially if you think the issue is not fully developing the premise itself.

Personally, I feel the way you've described pretty often. Inspiration for me, usually, means coming up with a concept or premise. If I don't develop the concepts sufficiently, they feel empty. Almost always, the problems I have with the concept have nothing to do with plot and everything to do with characters. (Arguably, problems with plot are problems with characters, but I don't know that that's especially helpful.)

The way I've set myself back on track is by going back to my characters and developing them. I make sure I've taken into account their physiology, sociology, and psychology. I make sure I know who they are and what they want. And then I make sure that the character I'm writing is actually the character I've designed, and I'm not just having some random thing waltz around and say stuff for no reason. Or if I am, I take the character I'm actually writing and try to figure out how it relates to the character I told myself to write.

When that gets boring or confusing, I just keep writing and tell myself I'll edit when I'm done.

Possibly the most helpful book I ever read on creating characters and meaningful, interesting stories is The Art of Dramatic Writing by Lajos Egri. It's for playwrights, but it's applicable to any narrative. It helped me immensely. YMMV.
 
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jaksen

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If you've got a situation that you think is darn good, do this:

Imagine the situation like a giant pool or tank of water. Now spend some time creating a character, or make it up on the go...

Female. Make her late teens, no early twenties. A little overweight, perhaps, but runs every day. Makes goals, has hard time achieving them. Okay now make her pregnant, and living at home, afraid to tell parents about pregnancy. Works...in a library, or bookstore. Bookstore not doing well, might close any day. Okay...

Dump her in that giant pool or tank (the situation) and take it from there. Start writing.

If your situation is person overhears possible plans for terrorist attack while waiting for ex-boyfriend in his apartment ... (She plans to tell him she's pregnant.)

Keep writing.
 
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