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Short-term, short-haul pieces of wirting do not suit the novelist. A novel is a long haul, and a creative writing workshop will not miraculously generate a whole one. Writing Games often make miniatures or set pieces, such as character sketches, exercise in style or point of view. You cannot simply stitch together these set pieces to make extended fiction unless you have decided on a `brave` experiment. A fiction writer depends on something larger: the dream of fantastic the setting or story. This tone of mind is not really required by poets, except when they are stitching together of mind is not really required by poets, except when they are stitching together long poems or thematic collections. It is necessary for the writer of fiction to make this dreaming of scenes a virtual habit for their imagination.

One matter that checks that trance or dreams is misunderstanding of plot. Even a professed outside figure like the novelist Stephen King calls plot `the good writer`s last resort and the dullard`s first choice`(2000: 189). Plot is not the story. Plot is a series of events you have devised, and these events may not even occur linearly. In the first paragraph of Chapter One, I asked you to think of the page as an open space. Writing a story creates a four-dimensional land scape in that space. Space and time become one – a continuum. Within that continuum, you must choose one strand of narrative that you intuitively feel will lead you through the landscape.

The Insistent strand of narrative is your plot, and it will lead you through the maze of narrative possibilities that open, move around, and close behind you in a sequence of discrete but connected scenes. King playfully argues, `I believe that plotting and the spontaneity of real creation aren`t compatible… I won`t try I´ve never told a lie, but I do both as infrequently as possible`(2000: 188).

Some writers prefer not to work this way despite the illuminations of academic essay or storyboarding a movie, sketching microcosmic plots for each part, or chapter, of their story. They them know precisely what will happen on the next page, to whom, and create time lines for these actions. This might suit you as chapter, of their story. They then know precisely what will happen on the next page, to whom, and create time lines for these actions. This might suit you as your style is sensational. If there is no surprise for you, the writer, then there is a possibility there will be little surprise for the reader either, for your fiction might feel predicted and thus predictable. If you tie everything neatly, what is the writer`s or the reader`s role?

As you should beware of clichés of feeling, or kitsch, in your writing, you should also be aware of clichés of plot, not that following a traditional plot structure is a bald thing. Gardner nutshells the traditional plot as `A central character wants something, goes after it despite opposition, and so arrives at a win, loses or draw` (1985: 54). In The Sven Basic Plots (2004). Christopher Booker suggests there are seven standart stories in the world that all fiction uses and recycles. These are summarized as `Overcoming the Moster`, `Rags to Riches`, `The Quest`, `Voyage and Return`, `Comedy`, `Tragedy` and `Rebirth`, although Booker does extend the franchise stories tend to have same structure because they follow the contours of human development: initial success followed by crisis, then lasting success or failure.

This interesting but very much open to debate. It is based on the outside reader `looking in` to plot and psychoanalyzing a function, rather than being its co-creator. However, just as retelling myths and legends offers a good Writing truly great stories are the ones you already know but want to know again.` You have to start somewhere. However, you may later choose to play variations, combine, them, or confound them. Remember: plot is not the story, but an Ariadne`s thread you follow through a labyrinth of scences.

The units that light the pathway of the novel I particular are its scenes, the story, as a frame or picture, but they do not tell. Scenes are often perceived beforehand by the writer as they dream their way through the story. They are and they reader one part of the story, as frame or picture, but they do not tell. Scenes are often perceived usually a location in which characters are seen and heard at close quarters, and they accomplish some action which has an outcome directly bearing on the forward movement of the story. Every scene moves some, into that momentum, however gently, revealing to your reader some further revelation of character. As a rule of thumb, the events that are most crucial to be story will be those that lend themselves to be carried by scene; narrative the rest.