Plots 26 Leerling
2021年11月10日Register here: http://gg.gg/wp3tr
*Quizlet makes simple learning tools that let you study anything. Start learning today with flashcards, games and learning tools — all for free.
*More Mini Plots. The character keeps pushing forward, experiencing more setbacks and the occasional small victory as they go. The tension rises and rises as they move closer to the object of their overall quest. The middle ends at a moment of disaster. This is the most intense point of the entire plot, when the hero has seemingly.
*Ehorses.com - International horses. 77,844 likes 5,387 talking about this. Ehorses - Selling and buying horses via the world’s biggest online horse market.
*Plot 26 Leerling
*Plots 26 Leerling
*Plots 26 Leerling Online
*Plot 26 Leerling Inloggen
The system of apprenticeship first developed in the later Middle Ages and came to be supervised by craft guilds and town governments. A master craftsman was entitled to employ young people as an inexpensive form of labour in exchange for providing food, lodging and formal training in the craft. Five strategies to maximize your sales kickoff; Jan. Engage students in your virtual classroom with Prezi Video for Google Workspace.
Clichéd story plots weaken an otherwise good story, a story where characters and settings are vivid. To tell a story that feels original and inventive, it’s key to learn plot clichés to avoid. Yet many original stories do use common tropes. The key is to make famous story types and scenarios your own:Plot 26 Leerling1: Know common plot clichés within your genre
In story plots, clichés are frustrating because they’ve been hollowed out of their dramatic impact through overuse. Dragons that go on rampages overpopulate fantasy worlds. Women in distress who need men to save them overpopulate romance novels.
Here are a few more common plot clichés:
*The chosen one: A character has been selected for a task but there’s no backstory or explanation why only this person in particular is capable
*It was all a dream: Strange things happen but turn out to be dreams (often solving plot complications a little too conveniently for the author)
*Representative of another culture gives clueless protagonist profound wisdom: Another example of a common plot cliché, especially in books from earlier times that either romanticized indigenous people or portrayed them as savages (this example courtesy of Strange Horizons)
In each of these examples, there is either a cop-out or an overused trope (a ‘trope’ is a literary device that occurs across multiple novels by various authors).
In the first example, there is nothing to explain what is so special about ‘the chosen one’. J.K. Rowling avoids the cliché of ‘the chosen one’ in Harry Potter by giving Harry a past link to the villain that explains exactly why it is he in particular who must fulfill the challenge.
In the ‘it was all a dream’ plot, there is always a risk of a cop-out. The revelation that characters have been dreaming can seem too trite or tidy an explanation for bizarre or puzzling events.
The third example is a plot point rather than an entire story idea. But it tells something valuable about being original: It’s better (for creative as well as political reasons) not to simply repeat received, dominant ideas. Stereotypes are the footmen of unoriginal stories and dangerous politics. The ‘exotic’ foreigner (or indigenous other) is likely to be just as full of flaws and folly as a protagonist. [Writing believable characters is key – get our comprehensive guide, including handy exercises, here.]
So how do you write original story plots? One approach is to combine familiar elements into something new:2. Combine the familiar to make something original
The dragon that terrorizes a town is a fantasy cliché. Another cliché, like the dream explanation mentioned above, is where everything turns out to be imaginary.
What happens if you combine these two ideas, however? Then things start to get interesting.
If, for example, an inhabitant of the dragon-struck town in the above example investigates the lair, perhaps they could find clues suggesting there is no dragon at all. The dragon could turn out to be a metaphor for a self-created terror striking fear into the town from within.
Suzanne Collins, author of The Hunger Games, said the idea for her series emerged while she was channel-surfing. She saw footage of people competing for a prize on one channel, and people fighting in a real war on another. The two combined in her mind’s eye. This resulted in her story of a society where there are compulsory fights to the death between young people.
Take the same approach to combining different plot ideas. See what creative energy you can unleash when you combine different scenarios or tropes and give them your own unique spin.3. Know the 7 basic story plots and avoid their most unoriginal tendencies
In The Seven Basic Plots by Christopher Booker, published in 2004, Booker defines the seven basic plot types. Summarized, they are:
*Overcoming the monster: Hero overcomes monster/bad guy
*Rags to riches: The main character rises to success
*The important quest: Character (or group) goes on a crucial mission
*Homeward bound: Adventurer travels, has life-changing experiences and returns
*Comedy: Chaos and confusion give way to resolution
*Tragedy: Characters pay the cost of having flaws
*Rebirth: Character emerges transformed from a process of self-discovery
Each of these plot types has its own pitfalls to avoid if you want your story plots to be original.
In a quest story, a hero might typically have a trusty sidekick who shows surprising bravery (like Samwise Gamgee in The Lord of the Rings).Plots 26 Leerling
In a rags to riches story, the heroine might get everything she’s ever dreamed of: The home, the handsome prince, the happiness.
Think of how you can make these story types less clichéd. In a story where a hero faces a villain, for example, you could show the ‘bad guy’ in the hero and humanity in the villain. (J.K. Rowling does this with Tom Riddle’s backstory, his path to villainy, in her Harry Potter series.)
In a ‘rags to riches’ story, a resolution that is bittersweet will surprise readers who expected a tidy but predictable wrap-up.
A path from plot point A to C via B can feel unoriginal and predictable. So how do you take common story plots and make them your own?4. Vary a familiar plot with unexpected subplots
Take the common ‘chosen young man is destined to encounter a great evil’ plot type. This would be boring if the progression to the final conflict felt very linear. This is where subplots help you craft familiar source material into something more personal and compelling.
In J.K. Rowling’s YA fantasy series, for example, Harry is on a path to a final conflict, and is a ‘chosen one’. Yet Rowling’s setting – a school for witchcraft and wizardry – allows for all kinds of subplots and smaller story arcs and tensions. The daily life of school, complete with conflicts between teachers and students and budding romance, makes the story zigzag towards its end and avoid overemphasizing the more clichéd elements of the plot (such as a central villain seeking immortality).5. Be guided by original novels within your genre
One of the big traps for aspiring writers who want to be original is confusing genre clichés with genre necessities.
Your fantasy world doesn’t necessarily need to have warring kingdoms (though this can be given your own unique take). Your romance novel doesn’t have to star the wealthy millionaire who sweeps broke, plain Jane off her feet.
To be more original in your own writing, do some digging to find out what novels in your genre are considered particularly original. Read a few and ask yourself:
*What familiar genre elements (e.g. warring kingdoms or a suave, eligible millionaire) does this book use?
*How does the book make these elements feel less clichéd? What complications/surprises/differences make it stand out from other books that follow similar plot lines?
Slots completion program. Think about what your readers’ expectations for your particular plot type might be and actively plan how you will surprise them:6. Thwart the reader’s expectations and preconceptions
Story plots are original when:
*The story belongs to a specific genre (e.g. romance) but doesn’t follow all our expectations (e.g. the lovers don’t end up together in the end)
*The expectations set up by certain tropes (e.g. Chosen boy has important quest) aren’t fulfilled exactly the way we expect (the goal of the boy’s quest changes with a major plot development, for example)
Plan how you will subvert or alter standard details of your genre (be it the trusty sidekick or the devious villain).7. Don’t try too hard – ‘unlikely’ is not a synonym for ‘original’
Even though originality makes a story memorable, repetition is one of the satisfying elements of storytelling. A story that contains familiar elements lets us place it within a specific context and heritage.Plots 26 Leerling Online
Focus on how you can harness familiar story ideas to your own ends, rather than make your story absurd simply for the sake of originality. The truth ultimately is that fiction is most original when you express your personal, unique combination of perspective, passion and interests in your writing.
Find and finesse the central idea for your story now using the Now Novel idea finder.Related Posts:
Continuing the series on plot: Plot templates are helpful in telling an author the possible events for different sections of the story.
I like to consult these when I’m first thinking of a idea for a novel and when I start a revision. Sfv g quotes. I want to know what is typical for the type story I’m telling and knowing that, I can create variations that will hold a reader’s interest.
Plot Templates
Here are some of the most helpful.The most simplistic plot template
*Adventure comes to you. A Stranger comes to town.
*You go to Adventure. You leave town.
29 Plot Points introduces the idea of how to structure your novel with plot templates. Make it specific and practical with this book as your guide. For more depth, more examples and explanations, read this book, Start Your Novel: Six Winning Steps Toward a Compelling Opening Line, Scene and Chapter. READ IT NOW.
*Quest. Character oriented story, the protagonist searches for something and winds up changing him/herself.
*Adventure. Plot oriented, this features a goal-oriented series of events.
*Pursuit. This is the typical Chase Plot. Definitely action-oriented.
*Rescue. Another easy to recognize action-oriented plot.
*Escape. A variation on the Rescue is when the protagonist escapes on his/her own.
*Revenge. Ah, character comes back in with this one. Someone is wronged and vows to take revenge.
*The Riddle. Love a good mystery? This is the plot for you.
*Rivalry. Character oriented, this story follows two main characters, one on a downward track and one on an upward track and their interactions.
*Underdog. Everyone is the US roots for the Underdog. This is the plot where the under-privileged (handicapped, poor, etc) triumphs despite overwhelming odds.
*Temptation. Pandora’s Box extended to novel form.
*Metamorphosis. This is a physical transformation of some kind. If you recently watched the movie, “District 9”, you’ll recognize this plot form. It’s Dracula, Beauty and the Beast, or the one I remember best is The Fly.
*Transformation. Similar to the previous, this plot features an inner change, instead of changing the outer form.
*Maturation.Bildungsroman, rite of passage, coming-of-age–these terms all refer to someone growing up morally, spiritually or emotionally. Often, it’s just a hint of growth, or a tiny change that hints at larger changes.
*Love. The classic Boy-meets-Girl plot.
*Forbidden Love. Oh, hasn’t Stephenie Meyer milked this one in her Twilight series? Brilliant use of the forces that keep her characters apart, while still attracting.
*Sacrifice. From the Biblical tale of Jesus to the story of parents sacrificing for their children, this is a staple of literature.
*Discovery. You know those secrets you’ve buried deep in your past? This story digs around, exposes secrets and watches them affect the characters.
*Wretched Excess. When a character is in a downward spiral from alcohol, drugs, greed, etc. this is the plot form.
*Ascension or Descension. A rise or fall from power puts a character into this plot form.Hero’s Journey: Adapted from Joseph Campbell’s Mythic Hero
*Christopher Vogler’s explanation of the Hero’s Journey is excellent. The basic stages, along with the corresponding character arc are these:
*Ordinary World – Limited awareness of problem
*Call to Adventure – increased awareness
*Refusal of Call – reluctance to change
*Meeting the Mentor – overcoming reluctance
*Crossing the First Threshold – committing to change
*Tests, Allies, Enemies – experimenting with 1st change
*Approach to the Inmost Cave- preparing for big change
*Supreme Ordeal – attempting big change
*Reward – consequences of the attempt
*The Road Back – rededication to change
*Resurrection – final attempt at big change
*Return with Elixir – final mastery of the problem
*You write comedy or humor and want a plot for a novel?
John Vorhaus, in The Comic Toolbox adapts the hero’s journey into a Comic Throughline.Two Characters Interact.
*Similar to the Hero’s Journey is Peter Dunne’s adaptation to a story in which two main characters influence each other, or one character drastically changes a second. The Emotional Structure details how the characters interact. This could be a sort of Rivalry story from above, a Love story, a Forbidden Love story, or even one of Pursuit, Rescue, or Escape. The main thing here is that two characters act upon each other.Card’s MICE quotientPlot 26 Leerling Inloggen
*Taking a completely different tack, Orson Scott Card in his book, Characters and Viewpoint, asks what aspect of the story are you most interested in? One strength of this approach is that it tells you where to start and end your story.
*Milieu. When the setting is in the forefront, as it is in many sff stories, you have a milieu story. The setting, culture, world created is the focus of the story. This explains why Tolkein didn’t stop The Lord of the Rings when the battle against Mordor was won; instead, because the focus is on the milieu, he continues on, following the hobbits home, the leaving of the elves and so on, until the Age of Men is established.
*Idea. A question is posed and answered. The classic mystery plot.
*Character. This story begins and ends with pure character.
*Event. Here, Card says that something in the universe is out of balance and the protagonist must right-the-wrong, restore-the-rightful-king, restore justice, defeat evil, etc. If The Lord of the Rings had been this type story, it would have indeed ended when the evil was defeated.
Are there more plot templates? Probably. From these, though, you can see perhaps the usefulness and limitations of using a template. You don’t want a cookie-cutter plot; however, you need to meet the expectations of readers in a certain genre. Templates are the starting point for exploration of the events in a story.
Register here: http://gg.gg/wp3tr
https://diarynote.indered.space
*Quizlet makes simple learning tools that let you study anything. Start learning today with flashcards, games and learning tools — all for free.
*More Mini Plots. The character keeps pushing forward, experiencing more setbacks and the occasional small victory as they go. The tension rises and rises as they move closer to the object of their overall quest. The middle ends at a moment of disaster. This is the most intense point of the entire plot, when the hero has seemingly.
*Ehorses.com - International horses. 77,844 likes 5,387 talking about this. Ehorses - Selling and buying horses via the world’s biggest online horse market.
*Plot 26 Leerling
*Plots 26 Leerling
*Plots 26 Leerling Online
*Plot 26 Leerling Inloggen
The system of apprenticeship first developed in the later Middle Ages and came to be supervised by craft guilds and town governments. A master craftsman was entitled to employ young people as an inexpensive form of labour in exchange for providing food, lodging and formal training in the craft. Five strategies to maximize your sales kickoff; Jan. Engage students in your virtual classroom with Prezi Video for Google Workspace.
Clichéd story plots weaken an otherwise good story, a story where characters and settings are vivid. To tell a story that feels original and inventive, it’s key to learn plot clichés to avoid. Yet many original stories do use common tropes. The key is to make famous story types and scenarios your own:Plot 26 Leerling1: Know common plot clichés within your genre
In story plots, clichés are frustrating because they’ve been hollowed out of their dramatic impact through overuse. Dragons that go on rampages overpopulate fantasy worlds. Women in distress who need men to save them overpopulate romance novels.
Here are a few more common plot clichés:
*The chosen one: A character has been selected for a task but there’s no backstory or explanation why only this person in particular is capable
*It was all a dream: Strange things happen but turn out to be dreams (often solving plot complications a little too conveniently for the author)
*Representative of another culture gives clueless protagonist profound wisdom: Another example of a common plot cliché, especially in books from earlier times that either romanticized indigenous people or portrayed them as savages (this example courtesy of Strange Horizons)
In each of these examples, there is either a cop-out or an overused trope (a ‘trope’ is a literary device that occurs across multiple novels by various authors).
In the first example, there is nothing to explain what is so special about ‘the chosen one’. J.K. Rowling avoids the cliché of ‘the chosen one’ in Harry Potter by giving Harry a past link to the villain that explains exactly why it is he in particular who must fulfill the challenge.
In the ‘it was all a dream’ plot, there is always a risk of a cop-out. The revelation that characters have been dreaming can seem too trite or tidy an explanation for bizarre or puzzling events.
The third example is a plot point rather than an entire story idea. But it tells something valuable about being original: It’s better (for creative as well as political reasons) not to simply repeat received, dominant ideas. Stereotypes are the footmen of unoriginal stories and dangerous politics. The ‘exotic’ foreigner (or indigenous other) is likely to be just as full of flaws and folly as a protagonist. [Writing believable characters is key – get our comprehensive guide, including handy exercises, here.]
So how do you write original story plots? One approach is to combine familiar elements into something new:2. Combine the familiar to make something original
The dragon that terrorizes a town is a fantasy cliché. Another cliché, like the dream explanation mentioned above, is where everything turns out to be imaginary.
What happens if you combine these two ideas, however? Then things start to get interesting.
If, for example, an inhabitant of the dragon-struck town in the above example investigates the lair, perhaps they could find clues suggesting there is no dragon at all. The dragon could turn out to be a metaphor for a self-created terror striking fear into the town from within.
Suzanne Collins, author of The Hunger Games, said the idea for her series emerged while she was channel-surfing. She saw footage of people competing for a prize on one channel, and people fighting in a real war on another. The two combined in her mind’s eye. This resulted in her story of a society where there are compulsory fights to the death between young people.
Take the same approach to combining different plot ideas. See what creative energy you can unleash when you combine different scenarios or tropes and give them your own unique spin.3. Know the 7 basic story plots and avoid their most unoriginal tendencies
In The Seven Basic Plots by Christopher Booker, published in 2004, Booker defines the seven basic plot types. Summarized, they are:
*Overcoming the monster: Hero overcomes monster/bad guy
*Rags to riches: The main character rises to success
*The important quest: Character (or group) goes on a crucial mission
*Homeward bound: Adventurer travels, has life-changing experiences and returns
*Comedy: Chaos and confusion give way to resolution
*Tragedy: Characters pay the cost of having flaws
*Rebirth: Character emerges transformed from a process of self-discovery
Each of these plot types has its own pitfalls to avoid if you want your story plots to be original.
In a quest story, a hero might typically have a trusty sidekick who shows surprising bravery (like Samwise Gamgee in The Lord of the Rings).Plots 26 Leerling
In a rags to riches story, the heroine might get everything she’s ever dreamed of: The home, the handsome prince, the happiness.
Think of how you can make these story types less clichéd. In a story where a hero faces a villain, for example, you could show the ‘bad guy’ in the hero and humanity in the villain. (J.K. Rowling does this with Tom Riddle’s backstory, his path to villainy, in her Harry Potter series.)
In a ‘rags to riches’ story, a resolution that is bittersweet will surprise readers who expected a tidy but predictable wrap-up.
A path from plot point A to C via B can feel unoriginal and predictable. So how do you take common story plots and make them your own?4. Vary a familiar plot with unexpected subplots
Take the common ‘chosen young man is destined to encounter a great evil’ plot type. This would be boring if the progression to the final conflict felt very linear. This is where subplots help you craft familiar source material into something more personal and compelling.
In J.K. Rowling’s YA fantasy series, for example, Harry is on a path to a final conflict, and is a ‘chosen one’. Yet Rowling’s setting – a school for witchcraft and wizardry – allows for all kinds of subplots and smaller story arcs and tensions. The daily life of school, complete with conflicts between teachers and students and budding romance, makes the story zigzag towards its end and avoid overemphasizing the more clichéd elements of the plot (such as a central villain seeking immortality).5. Be guided by original novels within your genre
One of the big traps for aspiring writers who want to be original is confusing genre clichés with genre necessities.
Your fantasy world doesn’t necessarily need to have warring kingdoms (though this can be given your own unique take). Your romance novel doesn’t have to star the wealthy millionaire who sweeps broke, plain Jane off her feet.
To be more original in your own writing, do some digging to find out what novels in your genre are considered particularly original. Read a few and ask yourself:
*What familiar genre elements (e.g. warring kingdoms or a suave, eligible millionaire) does this book use?
*How does the book make these elements feel less clichéd? What complications/surprises/differences make it stand out from other books that follow similar plot lines?
Slots completion program. Think about what your readers’ expectations for your particular plot type might be and actively plan how you will surprise them:6. Thwart the reader’s expectations and preconceptions
Story plots are original when:
*The story belongs to a specific genre (e.g. romance) but doesn’t follow all our expectations (e.g. the lovers don’t end up together in the end)
*The expectations set up by certain tropes (e.g. Chosen boy has important quest) aren’t fulfilled exactly the way we expect (the goal of the boy’s quest changes with a major plot development, for example)
Plan how you will subvert or alter standard details of your genre (be it the trusty sidekick or the devious villain).7. Don’t try too hard – ‘unlikely’ is not a synonym for ‘original’
Even though originality makes a story memorable, repetition is one of the satisfying elements of storytelling. A story that contains familiar elements lets us place it within a specific context and heritage.Plots 26 Leerling Online
Focus on how you can harness familiar story ideas to your own ends, rather than make your story absurd simply for the sake of originality. The truth ultimately is that fiction is most original when you express your personal, unique combination of perspective, passion and interests in your writing.
Find and finesse the central idea for your story now using the Now Novel idea finder.Related Posts:
Continuing the series on plot: Plot templates are helpful in telling an author the possible events for different sections of the story.
I like to consult these when I’m first thinking of a idea for a novel and when I start a revision. Sfv g quotes. I want to know what is typical for the type story I’m telling and knowing that, I can create variations that will hold a reader’s interest.
Plot Templates
Here are some of the most helpful.The most simplistic plot template
*Adventure comes to you. A Stranger comes to town.
*You go to Adventure. You leave town.
29 Plot Points introduces the idea of how to structure your novel with plot templates. Make it specific and practical with this book as your guide. For more depth, more examples and explanations, read this book, Start Your Novel: Six Winning Steps Toward a Compelling Opening Line, Scene and Chapter. READ IT NOW.
*Quest. Character oriented story, the protagonist searches for something and winds up changing him/herself.
*Adventure. Plot oriented, this features a goal-oriented series of events.
*Pursuit. This is the typical Chase Plot. Definitely action-oriented.
*Rescue. Another easy to recognize action-oriented plot.
*Escape. A variation on the Rescue is when the protagonist escapes on his/her own.
*Revenge. Ah, character comes back in with this one. Someone is wronged and vows to take revenge.
*The Riddle. Love a good mystery? This is the plot for you.
*Rivalry. Character oriented, this story follows two main characters, one on a downward track and one on an upward track and their interactions.
*Underdog. Everyone is the US roots for the Underdog. This is the plot where the under-privileged (handicapped, poor, etc) triumphs despite overwhelming odds.
*Temptation. Pandora’s Box extended to novel form.
*Metamorphosis. This is a physical transformation of some kind. If you recently watched the movie, “District 9”, you’ll recognize this plot form. It’s Dracula, Beauty and the Beast, or the one I remember best is The Fly.
*Transformation. Similar to the previous, this plot features an inner change, instead of changing the outer form.
*Maturation.Bildungsroman, rite of passage, coming-of-age–these terms all refer to someone growing up morally, spiritually or emotionally. Often, it’s just a hint of growth, or a tiny change that hints at larger changes.
*Love. The classic Boy-meets-Girl plot.
*Forbidden Love. Oh, hasn’t Stephenie Meyer milked this one in her Twilight series? Brilliant use of the forces that keep her characters apart, while still attracting.
*Sacrifice. From the Biblical tale of Jesus to the story of parents sacrificing for their children, this is a staple of literature.
*Discovery. You know those secrets you’ve buried deep in your past? This story digs around, exposes secrets and watches them affect the characters.
*Wretched Excess. When a character is in a downward spiral from alcohol, drugs, greed, etc. this is the plot form.
*Ascension or Descension. A rise or fall from power puts a character into this plot form.Hero’s Journey: Adapted from Joseph Campbell’s Mythic Hero
*Christopher Vogler’s explanation of the Hero’s Journey is excellent. The basic stages, along with the corresponding character arc are these:
*Ordinary World – Limited awareness of problem
*Call to Adventure – increased awareness
*Refusal of Call – reluctance to change
*Meeting the Mentor – overcoming reluctance
*Crossing the First Threshold – committing to change
*Tests, Allies, Enemies – experimenting with 1st change
*Approach to the Inmost Cave- preparing for big change
*Supreme Ordeal – attempting big change
*Reward – consequences of the attempt
*The Road Back – rededication to change
*Resurrection – final attempt at big change
*Return with Elixir – final mastery of the problem
*You write comedy or humor and want a plot for a novel?
John Vorhaus, in The Comic Toolbox adapts the hero’s journey into a Comic Throughline.Two Characters Interact.
*Similar to the Hero’s Journey is Peter Dunne’s adaptation to a story in which two main characters influence each other, or one character drastically changes a second. The Emotional Structure details how the characters interact. This could be a sort of Rivalry story from above, a Love story, a Forbidden Love story, or even one of Pursuit, Rescue, or Escape. The main thing here is that two characters act upon each other.Card’s MICE quotientPlot 26 Leerling Inloggen
*Taking a completely different tack, Orson Scott Card in his book, Characters and Viewpoint, asks what aspect of the story are you most interested in? One strength of this approach is that it tells you where to start and end your story.
*Milieu. When the setting is in the forefront, as it is in many sff stories, you have a milieu story. The setting, culture, world created is the focus of the story. This explains why Tolkein didn’t stop The Lord of the Rings when the battle against Mordor was won; instead, because the focus is on the milieu, he continues on, following the hobbits home, the leaving of the elves and so on, until the Age of Men is established.
*Idea. A question is posed and answered. The classic mystery plot.
*Character. This story begins and ends with pure character.
*Event. Here, Card says that something in the universe is out of balance and the protagonist must right-the-wrong, restore-the-rightful-king, restore justice, defeat evil, etc. If The Lord of the Rings had been this type story, it would have indeed ended when the evil was defeated.
Are there more plot templates? Probably. From these, though, you can see perhaps the usefulness and limitations of using a template. You don’t want a cookie-cutter plot; however, you need to meet the expectations of readers in a certain genre. Templates are the starting point for exploration of the events in a story.
Register here: http://gg.gg/wp3tr
https://diarynote.indered.space
コメント