Well naturally, the two people should meet in the beginning. They ultimately need to fall in love so your story can later determine if it’s “fate” or just “love” they’re experiencing. If you’ve been in love before, that should help you write. Never answering the question “fate or love” could be cool too. Leave the reader to decide... but that’s more of an ending lol.
You can make the couple meet online, in person, naturally, on accident, literally however. In my opinion a long distance relationship might solidify the question “fate or love” simply because in a LDR (long distance relationship) the two can be so deeply in love, but so far away. This almost forces you to think “is this relationship fate, or are they just in love?” You need conflict definitely. Provoke the mind to ask this question. You can do it!!
Answer:
Texture
Explanation:
The picture has bump like material on it.
Can I have Branliest for the Correct Answer?
Very often things like flashbacks, flash forwards, non-linear narratives, multiple plots and ensemble casts are regarded as optional gimmicks stuck into the conventional three act structure. They're not. Each of the six types I've isolated and their subcategories provides a different take on the same story material. Suddenly, one idea for a film can give you a multitude of story choices. What do I mean?
More than six ways to turn your idea into a film. Let's imagine that you've read a newspaper article about soldiers contracting a respiratory disease from handling a certain kind of weaponry. You want to write a film about it. Conventional wisdom says create one storyline with one protagonist (a soldier who gets the disease) and follow that protagonist through a three act linear journey. There's no question that you could make a fine film out of that. But there are several other ways to make a story out of the idea, and several different messages that you could transmit - by using one of the parallel narrative forms.
<span>Would you like to create a script about a group of soldiers from the same unit who contract the disease together during one incident, with their relationships disintegrating or improving as they get sicker, dealing with the group dynamic and unfinished emotional business? That would be a shared team 'adventure', which is a kind of group story, so you would be using what I call </span>Multiple Protagonist<span> form (the form seen in films like Saving Private Ryan or The Full Monty or Little Miss Sunshine, where a group goes on a quest together and we follow the group's adventure, the adventure of each soldier, and the emotional interaction of each soldier with the others). </span>
Alternatively, would you prefer your soldiers not to know each other, instead, to be in different units, or even different parts of the world, with the action following each soldier into a separate story that shows a different version of the same theme, with all of the stories running in parallel in the same time frame and making a socio-political comment about war and cannon fodder? If so, you need what I call tandem narrative,<span> the form of films like Nashville or Traffic. </span>
Alternatively, if you want to tell a series of stories (each about a different soldier) consecutively, one after the other, linking the stories by plot or theme (or both) at the end, you'll need what, in my book Screenwriting Updated I called 'Sequential Narrative', but now, to avoid confusion with an approach to conventional three act structure script of the same name, I term Consecutive Stories<span> form, either in its fractured state (as in Pulp Fiction or Atonement), or in linear form (as in The Circle). </span>
[...] But the Man looks at the daughter and daughter tells the man to choose the door to the right. Then the apprehensive man looks the king right in the eye and refuses to choose any door. The surprised king asks the man why he refuses to obey the orders of his king and his princess.
The man promptly replies that because of selfishness and a concern for the princess's happiness he is unable to escape one of the doors. This is because if he chooses the door where the tiger is, he will be killed and his soul will wander the land without peace, until the love of his life, the princess, meets him in the Hereafter. However, if he chooses the door where a beautiful maiden is placed, he will have to marry a woman with whom he is not in love, leaving three unhappy lives. His life, for not marrying the one he loves, the life of his wife, for being married to a man who does not love her, and the life of the princess, for seeing her love with another woman.
So instead of choosing between the doors, he chooses to ask, dearly, that the king grant her the daughter's hand in marriage, thus preventing three souls from living in suffering.
The king, moved by the man's words and seeing his daughter's happiness, has no choice but to allow marriage.
