"Just follow along and you'll create your own story."
From a draft in your head to a selling plan!
The writer of the web drama [A-Teen] with 500 million cumulative views
Practical story creation techniques you can't learn anywhere else

* Creative template QR code provided
* Highly recommended by current web novel/drama writers and drama directors

Many people dream of becoming writers.
But there are so many aspiring writers who only dream without ever completing a single story.
If you're an aspiring or beginning writer, you've probably had the experience of reading a writing guide, sitting at your desk with your head full of theories, and then your mind goes blank.


For these people, a very friendly and practical guidebook, “A Step-by-Step Guide to Character Plots from Idea to Completion,” has been published.
This is the first writing guide that will help you create your own characters and plots by following along step by step.
It is designed to correct common mistakes and misunderstandings made by beginner writers and, above all, to be immediately applicable to real-world situations.
The author of this book, Kim Sara, the writer of the web drama [A-Teen], which has accumulated 500 million views, generously shares her expertise in the text.
This book is full of creative tips from real-world writing experiences, as only the author, who runs a team of writers and works as a current writer and story director, can provide.

If you've ever wondered, "So what should I write about?" after reading a traditional writing guide, if you dream of becoming a web novel, webtoon, or drama writer without a creative writing major, or if you're a story creator in a slump who needs a fresh approach, try this innovative writing guide.
It will be an opportunity to leap forward as a creator.

This book is structured to be easier to follow and put into practice than other writing books.
I've seen a lot of guidebooks that tell you to fill out a character profile or follow the plot structure.
And I tried to follow it a lot.
But the biggest obstacle to putting these methods into practice was the question, "So what should I write?"
(…) This book is not like that.
It explains why the plot structure is structured this way step by step, and how to fill in each part of the plot, with detailed examples so you can create it yourself.
By clearly distinguishing between the technical and creative aspects of creation, you can determine which parts should be approached technically and which parts should be left to creativity.

--- p.9

What kind of planning intention should we, as non-geniuses, have? Planning intention shouldn't strive to convey some grandiose social message.
The planning intent is literally the 'intention' of writing this article.
Smartphones were created to provide convenient use by adding various smart functions to mobile phones, and water glasses were created to hold water and drink it.
(…) So, the planning intention is just the planning ‘intention.’
That is, ‘the reason the author writes this.’

--- p.40

The story never progresses based on the concept, theme, or planning intention.
For example, 'The Story of the Wicked Private Tutor' could be a story about a wicked private tutor reforming, and 'The Story of the Goblin with a Knife in His Chest' could be a story about a goblin going wild.
A young wizard takes a train to a magical world where he may become a dark wizard, a scholar, or an inventor of magical toys.
But the plot must be a single, unchanging flow.

--- p.47

A line requires a mission and obstacles to get in the way.
Obstacles can be characters (villains) or worldviews.
Or anything else is possible! As long as it can stop the protagonist's mission.
If we express this in a formula, it is as follows.
The protagonist's mission + obstacle = ? (I wonder what will happen!)
--- p.60

As we build up the story through the characters, we want the characters to move as we want them to.
Or, I think the author is the one who can make the character move as he wants.
But my thoughts are a little different.
A writer is someone who throws well-crafted, consistent characters into an event or A-line and guesses what kind of reaction will occur.
It is the writer's job to write down what he has guessed.

--- p.71

As I said at the beginning, our goal is to create strong characters that stick in people's memories right away.
To do that, we need to simplify the character.
(…) It does not mean to reduce the details, but to classify those details.
If you look at the character's 'keywords', you can classify them in detail.
For example, in the case of Cheolsu in practice, keywords like '#professional #chic #scheming male lead...' will come to mind.
And then you have to think about whether the details you've created can fit into this category.

--- p.165

Every writer creates something called a 'plan'.
Here the writers face a difficulty.
"How do you use a plan?" First, let's think about the purpose of a "plan."
The plan is not for the viewers and readers to see.
The 'plan' is the material that people who are involved in this work or who will invest a large amount of money in this work will see.
What that means is that a proposal isn't something you write saying, "Look how fun my work is."
A proposal is a document that says, "Look how much money my work can bring in."
--- p.212

Q.
How do I know if my story is interesting? A.
Are you enjoying it now? (…) Is your story entertaining right now? Do you want to continue writing it quickly? Do you want to finish it and show it to the world? Are you excited to see what it will be like when it comes out? If you answered "no" to these questions, there's a good chance your story isn't engaging.

--- p.224