Writing How do you plot backwards from the end?

[WaterFish]

I’ve heard some people saying that one should plot backwards from the end of a story.

I have the beginning of my story and the end plotted out, but I’m unsure of how to construct a bridge to each goal post.

There are five arcs in total I’m planning and the first is in a Magic Academy setting where the MC becomes a ‘Hero’.

In this society that’s similar to The Novel’s Extra but without a System, those with ordinary talent becomes ‘Jobless’ and those who are awakened with a Gift get to choose between 12 complete Job Classes. They are collectively called ‘Heroes’.

‘Jobless’ can choose two Stigmata Gifts and can potentially learn a Combat Gift if they get the right training. Those who choose a Class after awakening a Innate Gift can further improve it.

The main commonality is that even an F Rank can become strong, as the human limit without a special bloodline is the D Rank in Magical Talent globally. Everyone gets to have two Stigmata Gifts even if they don’t get a Combat Gifts.

As always, the main character is different.

Coming from a poor family, he initially seeks the profit so that his single father could live a better life. After all, his father was strong… but to fully inherit their family techniques meant the breadwinner would lose his powers in the process of passing it over to the MC.

Af first, the MC believed he was lucky enough since even though his Innate Gift, ‘Empty’, was useless, it at least meant he would be able to choose anything else from being ‘Jobless’.

This was when his hopes were squashed.

He was excited when he saw the unique ‘Hero’ Class instead of the other Jobs others chose.

It was proof he was special everyone recognised.

However, the drawback was that this specific Job Class gave no Stigmata Gifts whatsoever.

Only being a ‘Hero’ in name only. No hidden powers or special attributes from his bloodline.

He despairs, and his father assured him that even if he has no Stigmata Gifts, their family exorcism techniques were worthy enough to make him recognised. At least he wasn’t weak.

Among the regular cadets, he wouldn’t be weak.

However, having the ‘Hero’ Class was like a brand that attracted bullies. One of them being his first hurdle to overcome. A bully that eventually beats him in a contest to get a higher rank and leaves for greater heights than the MC.

Fast forward to high school, the MC vows to get revenge on that bully and become stronger regardless of his U(nqualified) Rank. Being even lower than an F Rank due to having no Mana.

He gains his five-man band and becomes friends with two girls i based off Honkai Impact 3rd characters of Kiana Kaslana and Raiden Mei. He also meets two others while escaping the high school after Raiden Mei’s incident happens.

That being her demon lord evil superpower self taking over and killing nearly the entire city.

This including his father.

He breaks down and curses his own weakness at that moment. His negativity boosting the special legacy strength he’d inherited as an excoriated (Jujutsu Kaisen style). He loses control and almost kills his party in the process.

This is when those from a higher echelon find them and subdues him in his feral form.

He is then forced to admit into an Academy with the others until he learns to control his powers.

The enemies from here range from his bully, who also happens to go to that Academy and thought the the MC wouldn’t get in, along with the ‘friend’ who went insane and killed his father.

The story is about whether him existing as a ‘Hero’ means anything when he doesn’t have the makings of one. After all, the MC inherited strength that grows stronger with negativity and his main fighting style is pretty much ‘inelegant’.

I’ve got antagonists being disasters, a man-made disaster, humans, and more as ideas… but I’m unsure of how to work backwards from them to what I’d just described.

It feels like a tree branching out since I can’t seem to easily find a thread connecting the incidents due to them being wildly different. The circumstances and reasoning.

Any advice on how to work backwards from antagonistic forces when writing a plan?

Draft design on main character:

 

[Tsuru]

To be more precise

its more of a "create a big picture from beginning"
Very small example "Hero kill the dragon" THEN fill the middle, the background, the characters etc

Edit : 5s reading OP post
--------------------------------------------------
(Finished reading OP post partially / btw try to use "bold" function or TLDR so its easier to understand)

Well, the tip i can give is probably "think of them not as characters but living people"
Which is how some jp authors did.

In fact, some authors (even here) said : "I feel like the characters are going out of my control"
(because they arent just 2d words but truly alive in their brains. At first, just writing but later on feel "alive")

Another quote from somewhere : I am not the one creating them, i am just the one retelling their lives

 

[Sleds]

I don't know if I understand all of it, but you want to make him an antagonist at the end? If that it, you can do it by multiple purpose, like the higher echelon trying to mess with him/kill him multiple time or even found that his "friend" that lose control of her body by her evil thing was not due to her losing control but a higher echelon scheme to let the "heroes" be see in a bad manner due to the accident that the destroying city provoked.

 

[WaterFish]

To be more precise

its more of a "create a big picture from beginning"
Very small example "Hero kill the dragon" THEN fill the middle, the background, the characters etc

Edit : 5s reading OP post
--------------------------------------------------
(Finished reading OP post partially / btw try to use "bold" function or TLDR so its easier to understand)

Well, the tip i can give is probably "think of them not as characters but living people"
Which is how some jp authors did.

In fact, some authors (even here) said : "I feel like the characters are going out of my control"
(because they arent just 2d words but truly alive in their brains. At first, just writing but later on feel "alive")

Another quote from somewhere : I am not the one creating them, i am just the one retelling their lives

That’s normally not what Planners like me do. I simply use my plan as a guideline for whenever I get lost. When writing, I usually use characters and alter when things will occur along with such events. Deciding personality then growing and nurturing it.

But I guess maybe I should write the first part I already know then. I’ll try doing that.

I don't know if I understand all of it, but you want to make him an antagonist at the end? If that it, you can do it by multiple purpose, like the higher echelon trying to mess with him/kill him multiple time or even found that his "friend" that lose control of her body by her evil thing was not due to her losing control but a higher echelon scheme to let the "heroes" be see in a bad manner due to the accident that the destroying city provoked.

It’s more how you plan backwards from an antagonist. How do things lead up to that? Maybe I should’ve just said that for clarity.

 

[Tsuru]

Back to another tip : READ MORE MOAR MORE MOAAAAR !

You don't know how to write it, probably because you don't know enough routines/cliches/plots.

Evil villain at the end ?
HERE IS THE LIST :

Brainwashing, blood thirsty, corpse collector, aliens, another dimension invaders, for money, to become infamous, for boredom, jealousy (of MC), sadistic wants, yandere for love, system possessed by him tasking evil tasks, rebirth, rebirth and becoming evil to prepare the world against biger threat, NO REASON FOR EVIL, evil gov, misunderstood hero, evil-hero, vigilante, greed, eradicate humans for earth, global plan, invention turning wrong, parasite controlled, mind control, illusion controlled, possession by someone, possession by SOMETHING, evil god, killing for karma, killing to become god, killing to become a superior "existence", sacrifice humans for ritual, revenge, anger, fun, brain having dysfunctional morals, guy being not human, guy being crazy, schyzophrenia, double personality, triple personality+, prank, cannibalism, cannibalism because eating people give powers, power of stealing powers, alternate universes, 4th wall breaking, weird ideas like "cleaning the world", becoming the top evil guy for eternal peace by strength,

etc............................

 

[Stealthy_Enigma]

I just wing it. I have absolutely no idea what I am doing at all.
˝/\__/\˝
(✿;≧∇≦;)

 

[Tsuru]

That’s normally not what Planners like me do. I simply use my plan as a guideline for whenever I get lost. When writing, I usually use characters and alter when things will occur along with such events. Deciding personality then growing and nurturing it.

But I guess maybe I should write the first part I already know then. I’ll try doing that.

It’s more how you plan backwards from an antagonist. How do things lead up to that? Maybe I should’ve just said that for clarity.

Yep, "most" do/did that.

Now its more common to simply write the plot continuously. Also caused because readers can give tips comments, or have sudden idea, or new cliche became popular that could be put in story, OR SIMPLY "because the current arc is trash and so many complaints" hence author rush-ending the bad plot/arc.

And yes a "blurry frame" also was-is a common method.
Also another tip for authors : use a file to write all important details of story to refer if forgetting
because funnily, once or twice seen a author mention "oops forgot this dude (side character doing something on the side) so i wrote this chapter to make his re-appearance"
or even once a author saying "I forgot how was his name until i re-read my notebook on the side about characters"

 

[TotallyHuman]

@TheEldritchGod

 

[Shyuurin]

Back to another tip : READ MORE MOAR MORE MOAAAAR !

Tsuru's got it right - look at how other people have done it. Analyse those who have done it well and those who haven't (so you know what to avoid).
It might also be useful to look into characters from history - sure they're not magical beings with the ability to turn into a monster and gnaw someone's head off, but having an idea of how real world 'villains' work would probably make your story believable.

 

[laccoff_mawning]

I could be completely wrong here, but I think the idea from plotting "backwards" is the idea that your end-arc must have several conditions fulfilled for it to make sense, so then you include a plot that makes those conditions fulfilled. But that plot also requires conditions to be fulfilled, hence you make an arc that fulfills those conditions, and you work your way backwards like that.

so for example, you want a man-made disaster at some point in your story, then a man made disaster needs:

A. long term affects (Ie, pollution, improper government of something, some mad scientist roaming around freely with loads of income, ect. This is what makes the disaster "build up" over time from what would be a small problem to a disaster.)

B. A short term affect ( the trigger that causes the disaster to happen "then and there", and release the built-up problem from A)

C. Characters with the ability to deal with the problem in some way. (for the sake of whatever you have planned in the story)

Hence, in the plot leading up to the disaster, you may want to weave in the long term affects (A) throughout the story, so the readers are somewhat aware of it, so it makes sense when you introduce it fully.
the short term affect (B) would probably be included right before the outbreak occurs, so you know right before you write your man-made disaster, you write your plot for (B).
Furthermore, your characters must be developed, or have the ability/resources to deal with the problem you want them to deal with (C), but they may not have that at the end of part 1, hence you have to include plot to get them prepared.

Hence, before your man-made disaster, (B) must happen. Before (B) must happen, your characters must reach point (C) in their development, and you must include enough forshadowing of the form (A) so that it flows well.

But, before your characters reach point (C), plot events E1 and E2 must occur, for various reasons. For event E1 to occur, E1 needs....
And for E2 to occur, your MC needs to be introduced to...

You then repeat, making your way back until you can attach it onto what you already have fully prepared.

 

[SailusGebel]

I have no idea how I do it.

 

[Corty]

I break it up into volumes.

For example, here is how I did it while writing my first one:

• Main premise:
  • The realm is closed, MC wants to open it and explore what is behind the veil.
  • While opening it, he dies, goes into reincarnation, then comes the start of the story.
    • End goal: Open up the realm for real this time.
• First volume:
  • Immediate history and actions after reincarnation.
  • This arc is about rising in power, introducing the world and the main cast.
    • Goal: get her into an adequate position and power.
    • While doing so, I come up with events and story arcs and develop my characters through them.
• Second volume:
  • We are now at an adequate power level. It's time to start working towards the end goal.
  • In doing so, more and more background info comes out from the MC's original life as she works towards succeeding this time.
    • Goal: lay the foundation of how it will be done and bring everybody up to a level to deal with it.
    • While doing so, I explore the cast's backstories and their personal history, going through their possible conflicts and resolving them.
      • I also had an already planned event that would be a pivotal point in the MC's character growth and the drive for her to face one of the main conflicts that started in the first volume and reached its apex in the second one.
• Third volume:
  • No more setups; it's the culmination of all the previous volumes.
  • Everything is already explained, and the world is explored; it is time to go over all the plot points and character arcs and end them one by one.
    • There are no new conflicts introduced, or if there is something, it is locally contained and resolved in a mini-arc related to specific characters. This volume is about finishing up everything that was introduced in the buildup portion of the story. It is a must before the last push.
  • Goal: Reach the end goal I set up for myself when I started writing. Everything from before should have been what gave my MC and her crew the necessary powers and tools to tackle the final hurdle. There is nothing to introduce now; it is too late for that. Work what you gave to your characters previously.
• The End.

Thank you for coming to my TEDtalk.

 

[WaterFish]

I could be completely wrong here, but I think the idea from plotting "backwards" is the idea that your end-arc must have several conditions fulfilled for it to make sense, so then you include a plot that makes those conditions fulfilled. But that plot also requires conditions to be fulfilled, hence you make an arc that fulfills those conditions, and you work your way backwards like that.

so for example, you want a man-made disaster at some point in your story, then a man made disaster needs:

A. long term affects (Ie, pollution, improper government of something, some mad scientist roaming around freely with loads of income, ect. This is what makes the disaster "build up" over time from what would be a small problem to a disaster.)

B. A short term affect ( the trigger that causes the disaster to happen "then and there", and release the built-up problem from A)

C. Characters with the ability to deal with the problem in some way. (for the sake of whatever you have planned in the story)

Hence, in the plot leading up to the disaster, you may want to weave in the long term affects (A) throughout the story, so the readers are somewhat aware of it, so it makes sense when you introduce it fully.
the short term affect (B) would probably be included right before the outbreak occurs, so you know right before you write your man-made disaster, you write your plot for (B).
Furthermore, your characters must be developed, or have the ability/resources to deal with the problem you want them to deal with (C), but they may not have that at the end of part 1, hence you have to include plot to get them prepared.

Hence, before your man-made disaster, (B) must happen. Before (B) must happen, your characters must reach point (C) in their development, and you must include enough forshadowing of the form (A) so that it flows well.

But, before your characters reach point (C), plot events E1 and E2 must occur, for various reasons. For event E1 to occur, E1 needs....
And for E2 to occur, your MC needs to be introduced to...

You then repeat, making your way back until you can attach it onto what you already have fully prepared.

I think I understand this when you say it like that. I’ve heard of checkpoints/conditions part before but this is the first time hearing a full explanation about it. Thank you for sharing.

 

[TheEldritchGod]

Three acts: A,B,C
A plot needs a beginning, middle and end.
You need a plotline to cover Act A, B, C, A to B, A to C, and B to C.
That's 6 plots, for a total of 18 'sign posts'

Usually, I have:

A: Meet The MC/introduce the setting
A to B: Mini-Boss/secondary antagonist
A to C: What the MC is trying to do.
B: Training
B to C: Sub-Plot (romance, friend, family issue, whatever)
C: Unexpected Setback

So if 1 is the beginning, 2 is the middle, and 3 is the end, I usually go

A1,AB1,A2,AC1,A3,B1,AB2,B2,BC1,AC2,B3,AB3,C1,BC2,C2,BC3,C3,AC3

Work out each "signpost" from the end to the beginning, then flesh them out, then start back at the beginning and connect the "signposts".

Example:
A1: Meet Slim who works in a mine
AB1: Mine overseer mocks Slim.
A2: Introduce Sue who is the girl who brings water down into the mine.
AC1: Find out the mine is being used to mine magic ore to make a puppy kicking machine.
A3: Find out the world basics and that Sue like puppies.
B1: Vow to save puppies.
AB2: Complain to overseer, get ass kicked.
B2: Go down into mine to secret forbidden section to farm for XP.
BC1: Find out Sue is gonna have to bang overseer to keep job.
AC2: Learn Puppy kicking machine is almost complete.
B3: Level Up.
AB3: Kick overseer's ass
C1: Try to find sue
BC2: Confess to Sue and save her
C2: Can't get boner.
BC3: Sue wiggles her ta-tas in Slim's face
C3: Get's boner and bangs sue.
AC3: Having become Sigma Chad, kills Mine Owner and destroys Puppy Kicking machine

???: Profit?

 

[HungrySheep]

If you have the ending set in stone, then you just need to work out the logical steps to approaching that ending and the "goalposts" will write themselves.

For example, let's say the protagonists need to fight God who is also Satan and is also the main protagonist's father. In that single sentence, we have already established several goalposts that need addressing:

• Protagonists. Emphasis on the plural. Looks like the main protagonist needs to make friends.
• The protagonists need to fight God. Why? What do they encounter that drives them to fight God?
• God is also Satan. How? When is this revealed and how do the protagonists learn this? Does this change any of the protagonists goals? Yes? That creates another arc.
• God/Satan is also the main protagonist's father. How, and more importantly, why? Does the main protagonist know this? If not, how did they discover this and what was their reaction? This can also create another arc where they wrestle with their origins and you can go into the whole "overcoming one's nature" trope. Very easy development there.
• So God/Satan is the main protagonist's father. Where's the mother? Does the main protagonist have siblings? If so, where are they?

I could keep going, but that single-sentence ending is already enough to spawn all the goalposts you will ever need. Drive the story to those goalposts. The main protagonist starts in an academy? Perfect place to make friends. They bump into Harem Member #1 who's late for class or maybe they accidentally run into Asshole #1 and are bailed out by Best Bro #2. The possibilities are endless and can be as braindead or big brained as you want.

Make bullet points for each goalpost and that's really all the planning you need to do. Remember, the more time you spend planning is less time you spend writing. The story starts when you start writing, not when you start planning.

 

[RepresentingEnvy]

@K5Rakitan