Chapter 1:My Personal Learning

1°. Parallel Stories

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Example: Say you have a main character who has a crush on a girl; she works at a bar or a pizzeria, typical stuff.

So far so good, but what will they do next? Which characters will they meet? Where will they go?

This is where Parallel Stories come into play. Sketch out one or two chapters about a clown, for instance. Describe a bit about his life and his struggles, like how he's very funny but too big and scares the children, and his boss might fire him.

After leaving the circus or wherever he works, he finds an injured dog and decides to take it to the vet, something like that. Then, you could have the couple adopt the dog and one day go to the circus where they interact with the clown, the dog serving as a link and so on.

This is just an example; you could add more details and expand it as much as you want, giving you a broader picture of your character.

2°. Everyone Has Goals

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Example: Like the clown, his goal should be to become the best comedian. Let's take another example, Madara Uchiha, whose goal is to trap all humanity in a Genjutsu.

What's the difference between him and a random villain from any average Isekai?

He has a goal, and he's not there just to satisfy the protagonist's ego; he actually serves a function to drive the plot. I understand there are characters who aren't meant to be a great villain or the final boss, but regardless, they also have their goals, which can be of greater or lesser importance.

For example, Sakura's only apparent goal seems to be to marry Sasuke. Obviously, it's not really just that; this goal is there to stroke Sasuke's ego, and that's why she is so disliked, because her entire character revolves around someone else.

These are not goals; they are rather superficial motivations that don't significantly contribute to her character development or the plot.

A well-constructed character should have their own goals reflecting their values, challenges, and ambitions, which should influence and be an integral part of the story.

These goals can vary in magnitude and complexity, but they must be authentic and help delve deeper into the character's psychology and their impact on the narrative.

Remember, not only protagonists have goals and ambitions.

3°. Your Job is to Give Your Protagonist Problems.

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It's exactly what it says, use everything above and give problems to your protagonist.

4. Don't Pull Solutions Out of Thin Air

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Example: Have you heard of the "Power of Love," the "Power of Plot," or even "Plot Armor"?

Well, if not, then you haven't watched Isekais. The issue here is that... we all know the protagonist won't die, not until the end of the story, which can't just end in chapter 2, right?

So, if we already know he won't die, can we have him face a Titan as an 8-year-old boy who suddenly gains the power of an ancient god, or it turns out he had a ring from an ancient sorcerer, which of course, no one thought to mention before!!!

As you can see, that's a mess. If you're going to include such elements, please be coherent. Mention them beforehand, I'm not saying reveal everything, but leave clues, breadcrumbs.

5. Don't Give Spoilers!!

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Example: Listen, I know you have many ideas in that little head of yours, but please, don't tell everything before it happens. You should drop hints, not give me the solution.

For example, in a detective novel, if you told me who the villain was from minute one, why would I want to read the rest?

So take note, never reveal the mystery prematurely, resist the temptation, and just don't do it!