I'm not going to give you a list
of plot problems or places where characters / scenes should be more developed.
She has them act as beta readers, she asks them for ideas, she wants their input
on plot problems.
There are
surprising plot problems for a story written by two people (Martin Stellman and Brian Ward), and then polished into a screenplay by three others (Charles Randolph, Scott Frank and Steven Zallian).
There are surprising
plot problems for a story written by two people (Martin Stellman and Brian Ward), and then polished by three others (Charles Randolph, Scott Frank and Steven Zallian).
But at well over two hours, inutes, the unimportance of the story, the essential emptiness of the central character and writer - director Aaron Sorkinâ $ ™ s attempt to steamroll over
plot problems with dialogue make this a break - even proposition at best.
Wee McArdle looks forward to many holiday traditions: trimming the tree, drinking eggnog, dissecting the many
plot problems in Rudolph the Red - Nosed Reindeer.
Its a decent little flick with some
major plot problems but, as you mention, Dan Stevens sells it well.
Both movies in the series so far suffer from the same
inherent plot problem, although it's easier to forgive in the sequel, the curiously titled X2.
My real doozies of
plot problems never make it out the door because they spot them long before my poor beta pigs (beta reader / guinea pigs) get to see the stuff.
The other glaring
plot problem with Conquest is one that it shares with Birthright: Both seem like the «bad endings» of the Fire Emblem Fates story.
Save for its slower start, Deathly Hallows: Part 2 moves with such certitude that one can easily excuse the writing /
plotting problems that have marred previous installments and are again on display here.
Video games have
a plot problem.
But
plot problems, some comically weak dialogue, repetitious scenes and a nonending ending keep the experience a little more earthbound than it had to be.
I don't think it has «major»
plot problems.
In other words, according to the beta reader, the story had
plotting problems, characterization problems, pacing problems, and craft problems.
(5) In the story you just described, it concerns me that your protagonist isn't actually the one who solves
the plot problem.
Chip Kidd's The Cheese Monkeys Chris Baty's
No Plot No Problem Manage Your Day to Day Covers by Peter Mendelsund (He also wrote the fascinating What We See When We Read.)
After the last rewrite, I realized something: although there is so much that is right about this story,
its plot problems are so deeply entrenched that, in order to fix them, I would have to completely change the story.
3) By the end of my career, I should like to have perfected the are of graceful waiting, letting the days, weeks, months, and years of waiting — for the answer to
that plot problem, for that beta reader to get me her critique, for these editors to read the manuscript they requested, for someone to hand me some fancy pen to sign a book contract — to trickle by without impatience or anxiety.