The other 5/8 of writers bounce back and forth between needing to know something and needing to know nothing.

When you look through the different types of coordinates we discussed, if you’re in that 5/8 of writers who isn’t heavily on one planning extreme or another, pick out all the types of coordinates you’ve used in the past. Copy those descriptions or the questions onto a piece of paper (or use the Stuck List workbook we discussed earlier2). Keep that

guy I had in my MFA.) She said, “Something always has to change, Becca. Always. End of a scene, end of an act, whatever. Something has to change.”

More importantly, editing is one of the best ways to hone your intuition.

But just because someone else does the activity for fun or for leisure or outside of their work time… that doesn’t mean it isn’t still work when it’s work.

If we’re intuitive, or if we’re abstract, or if we’re big-picture, we want to edit for intuitive concepts, abstract concepts, or big-picture concepts. We want to edit for coordinates. Are my characters making compelling choices that create conflict (internal or external)? Are the stakes high enough? Do they have enough to lose (internally or

Our main definition is, knowing something without being able to explain how you know it.

Keep watching movies or shows. Keep reading good books. Keep consuming story. Keep looking at your own story. Keep researching. Keep thinking about your characters or discovering more about them. Keep feeding yourself the data or processing the data how you normally process it.

First of all, it means—regardless of what they say (the universal they)—writing with intentional plot structure is not necessary for the story to be compelling.