NaNoWriMo Plot 2021

This is not my first attempt at writing for National November Writing Month. It just isn't. But this year... I might actually reach my goal!   The plan is to have five stories set in my version of the world which may begin to set the scene for later stories involving many of these characters. Below are short overviews of the plots I have planned.  


A series of short, interconnected stories that peel back a classic gameplay series to look at the lives, loves, and spirituality of the background characters.  

Narration and Point of View

My storytelling works best if there is some sort of narrator that can become known, someone that takes the reader through the tales and enlightens them on the details and their importance. Both storyteller and commenter in their own right. Thus is Mudora used to tell these stories. The stories are told from a first person, looking in, point of view, with Mudora guiding you, keeping you from affecting the greater narrative while also meddling to ensure...something does not happen.   Over the course of all five stories, Mudora will begin to feel more frantic, as if they have less agency in the story being told. The reader should begin to feel rushed, hurried along to some event in the future but also may feel a pang of remembrance to some characters they have already visited. --Characterization of the Narrator::The thing about writing a set of stories with a single narrator across each story, one that guides the reader from their first steps to a near fearful run out the door, is keeping a consistent voice.   For Mudora, this voice is one of near perpetual optimism. They have seen the story play out so many times before, with so little variation to the threats. It's a pattern that lets them paint a picture of familiarity and hope, even in the darkest times. So now we come to an end to the pattern. Or the beginning of a new. Either way the future of Hyrule will not stay the same, will not resist the ever present growth of storytelling. Mudora is now a character in the plot, brought along for the ride and they can only do so much. The tapestry is not what they thought it was and as such they must either face darkness or run from it.   The playful pleasure of twisting the threads of fate and destiny must stay throughout, but it comes with a foreboding sense, implicated in Mudora's mannerisms, that the story is a thing to be observed, not played in. This then is how Mudora copes. With quips and questions, qualitative insight over quantitative fact. They must hold on to playful, tongue-in-cheek, "Worry not, dear reader!"-isms. They must drag the reader with them, not yet knowing which way the tale they follow will lead nor where it will end.--

Plot points/Scenes

NNWM Story: A Desert Vision
A young vai warrior receives a vision of her destiny and wrestles with it's implications on her mysterious origins.
NNWM Story: Flames of Faith
A Priestess of Hylia struggles as strange circumstances solidify her own faith, but alienates the people she ministers to.
NNWM Story: Autumn Love
A young stonemason navigates the complexities of love during a change in the seasons.
NNWM Story: Hands Along the River
A group of ranch hands enjoy a quiet moment among nature.
NNWM Story: A Plea to Power
The Princess sits in on a request to the King, laying a dark seed in her heart.


A Disturbing Thread
The common direction across these stories is a movement from chaotic nature into constructed, ordered civilization. i][Autumn Love is the last look at a balanced world, where nature is respected by order. The others show a change from open life in the wilderness, where the world has no qualms for killing you, to civilization striking against the natural order. Finally, we see nature being hunted or destroyed to further controlled construction and then finally an acceptance of dark intentions against nature.



The general threat across these tales is the undoing of everything by the ongoing attempts of darkness. The tapestry of history and myth are under constant attack and the reader gets to be privy to the subtle game being played for the fate of the world.   For Kaolyn, the constant threats of life as a warrior in an unforgiving desert.   For Ishes and Deggagi, the locals belief that Ishes has called evil down upon them.   For Ternah, only the threat of rejection. Simple really.   For Link, he is the threat, bringing in destructive change to the natural world.   For Zelda, the fear of being left out or thrown aside and the unseen threat of promises that can actually be kept.


Combat with Lizafols, sandstorm that unveals cavern, interaction with Hylia
Collection of bodies, arrest by guards, release negotiation, meeting the Mysterious Man.
First introduction to Nerah, Challenges by Rolane, threat of the New Blacksmith
Conversation along river, Failed Negotiations, Challenging Status Quo
Realization of the Mysterious Man's Identity, fight for the Princess fate

A Final Talk, Before We Begin

At the moment, I'm about done with my planning. Some of these tales are definetly fleshed out, with plenty of ideas to get me through their individual word counts. Others are going to be an intense slog of still fleshing out narrative and characterization. I'm very thankful for the concept of Mudora for helping me write through this. Having a solidified voice to write from will make this much easier.   As it stands, I'll need to plan out how many words to write a day. The average for completion of 50k is 1667 a day. Minimum. If I could hit this or higher most days, I'd be extremely happy. And you would get all five stories. So that one is a win-win. Between all five, I have the additional ability to be crafting a sixth sub-story, weaving in and out and building upon the lore that already exists. That's what all of this is about in the end. Taking the existing Legend of Zelda lore and mythos and expanding it into my own creation. The idea of having Demise, that spirit of darkness, trying to do more than just control Hyrule and instead to be trying to unravel the world and all of history is extremely inspiring from a story point of view. I need to ensure I hold on to that throughout as the tales unfold.   Lastly, I need to keep in mind a set of touchy points I need to be careful of. The main one is Zelda and her disability. The plot follows her being convinced that the people and even her own parents don't see her as being worthy enough to be both the incarnated Hylia or the future queen. This coupled with a promise of power to change things for her own desires leads her down a path of destruction. I need to keep it from feeling like I believe that people with disabilities need or want to change who they are. Most of this is focused on the emotions of a teenage girl being manipulated to take advantage of a nations religious and cultural weakness.   The next is ensuring that I don't overdo Mudora's involvement in each story. It must be kept to small changes, things to subtly move the plot to move forward. This is why the last two stories they are powerless to change, as they are intellectual or diplomacy based discussions. Mudora can't change people's minds, only move their intentions.   The final one is figuring out how to believably write about a growing relationship and the tension between multiple suitors and their deeper wants. I've only had the one real relationship, and so have little to no understanding of how fledgling love runs.


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