Master Plot 4 – The Third 1500 Words

As always, I would appreciate it if you read the story section before this section.1As always, this is entirely unedited except to turn my words red and Mr. Dent’s black.

If you’re following along with the story, you’ll note that I’m INCREDIBLY off-track here. Like, I’m barely even close.

1–Shovel the grief onto the hero.
They get away, but they’re hurting — injured and confused, angry at each other. They get a call from their boss: fix it, and fast. Someone else is dead,someone totally unrelated to anyone in the past. Yates tries to convince Liz to go back to the office and figure it out, because they must be on to something (otherwise where are the thugs from), but Liz had a better plan: they’re following the thugs. Yates disagrees, it’s obviously a trap. So they split up: yates goes to do some research, figure things out right not stupid. Liz follows the thugs And where do the thugs go?

The club. 2

2–Hero makes some headway, and corners the villain or somebody in:
Liz corners them In the back room, where they getting ready to listen to the song.

3–A physical conflict.

Yet more thugs come out to fight, and eventually they pin her down and force her systems to play the song (it also overrides the feed)

4–A surprising plot twist, in which the hero preferably gets it in the neck bad, to end the 1500 words.

The song is hallucinogenic and it’s sampling Brown’s poetry!

DOES: It still have SUSPENSE?
The MENACE getting blacker?
The hero finds himself in a hell of a fix?
It all happens logically?

These outlines or master formulas are only something to make you certain of inserting some physical conflict, and some genuine plot twists, with a little suspense and menace thrown in. Without them, there is no pulp story.

These physical conflicts in each part might be DIFFERENT, too. If one fight is with fists, that can take care of the pugilism until next the next yarn. Same for poison gas and swords. There may, naturally, be exceptions. A hero with a peculiar punch, or a quick draw, might use it more than once.

The idea is to avoid monotony.

Vivid, swift, no words wasted. Create suspense, make the reader see and feel the action.

Hear, smell, see, feel and taste.

Trees, wind, scenery and water.


  1. but you do you, my friend

  2. Man, I am barely on track here. Like, maybe not even close.

  3. I left all this in, because while it’s extremely basic Creative Writing Class stuff, sometimes it’s easy to lose sight of that: that you have to make every word count.

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