When Should Writers Use A Skeleton Sketch For Story Plotting?

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My little sister Willa? Always played the noble princess—even during the freaking apocalypse. She was pregnant and still trying to look like some graceful queen. I told her to end it. Safer that way. She slapped me. "Shut up. How can you be so heartless?" Meanwhile, I skipped meals so she and her rescue-pet gang could eat. When I collapsed from hunger, she snorted. "Drama queen. Think of it as a free weight-loss plan." I dragged her to the base, the safe zone, and nearly died doing it. She snatched the last of my rations. "The baby and I are good. Give the rest away." I died from my injuries—frozen, starving, forgotten. Willa? She got crowned a saint. Even landed the baby daddy—the Deputy Governor—and kicked off her perfect little fairytale. Then I woke up. Back to the moment she asked me to swear I'd protect her and the baby. This time, I laughed in her face. "Die for all I care."

Vera fought for her life in the apocalypse for ten years. Ten brutal years left her disfigured, hungry, and almost broken, but she still clawed her way through it. She killed zombies, ran from mutated animals, starved, bled, and learned humans were often more dangerous than monsters. Then her brother, the only family she had left, betrayed her. Vera thought death had finally come. Instead, she woke up inside a trashy book she once read to stay sane while the old world fell apart. A book with a twisted plot and too much drama. And because her luck had always been terrible, Vera did not wake up as the heroine. No, of course not. Her second chance was to become the hated second female lead, pregnant, unwanted, and written to die when the plot no longer needed her. Her babies were supposed to die too. Even the three men who got her pregnant were written as future corpses, all to push the story toward spoiled women and one psychotic male lead. But Vera was not the woman from the book. She had survived one ruined world. She had not walked through radioactive rain and eaten mutated food just to cry over fantasy characters or beg for love inside a stupid plot. So Vera adapted. She accepted her punishment, took her three unborn babies, and left for the garbage center without making a scene. Everyone thought she had been thrown away. Vera saw a chance to make money, protect her babies, and build something of her own. Now the woman meant to disappear is building a wasteland empire, breaking the plot, and driving three men insane because she no longer chases anyone. By every rule in that world, Vera should be dead. But dying a second time was never an option.

Her name was Cathedra. Leave her last name blank, if you will. Where normal people would read, "And they lived happily ever after," at the end of every fairy tale story, she could see something else. Three different things. Three words: Lies, lies, lies. A picture that moves. And a plea: Please tell them the truth. All her life she dedicated herself to becoming a writer and telling the world what was being shown in that moving picture. To expose the lies in the fairy tales everyone in the world has come to know. No one believed her. No one ever did. She was branded as a liar, a freak with too much imagination, and an orphan who only told tall tales to get attention. She was shunned away by society. Loveless. Friendless. As she wrote "The End" to her novels that contained all she knew about the truth inside the fairy tale novels she wrote, she also decided to end her pathetic life and be free from all the burdens she had to bear alone. Instead of dying, she found herself blessed with a second life inside the fairy tale novels she wrote, and living the life she wished she had with the characters she considered as the only friends she had in the world she left behind. Cathedra was happy until she realized that an ominous presence lurks within her stories. One that wanted to kill her to silence the only one who knew the truth.

Jessica Jane is invisible by design. Quiet, soft spoken, and almost painfully unassuming, she spends her days hidden behind oversized glasses and paint stained hands in her elegant city art gallery. To the people around her, she is simply a gifted but awkward artist, a woman who keeps to herself and pours her emotions into hauntingly beautiful paintings that seem to possess an almost unsettling depth. Critics call her work raw. Emotional. Alive. They have no idea how right they are. Behind the gallery walls lies a secret darker than anyone could imagine. Jessica's masterpieces are not created with ordinary paint. Mixed into every canvas is the blood of the men she chooses as her subjects, men she believes escaped justice, men whose cruelty mirrors the monsters that stole her childhood. By night she becomes someone unrecognisable. Elegant, calculated and merciless, hunting predators who believe they are untouchable. As her artwork gains international attention and a determined investigator begins noticing disturbing patterns surrounding missing men, Jessica finds herself balancing two identities that are beginning to collide. Because the closer the world gets to discovering the truth, the more dangerous Jessica becomes. And buried beneath the blood, vengeance and carefully constructed masks is an even darker question: Is Jessica Jane delivering justice... or becoming the very thing she has spent her life trying to destroy?

My boyfriend, Yves Steward, is the head of the orthopedic department. When Julia Henderson and I get into an accident at the same time, he pushes my hands away and shouts, "Stop this nonsense, Summer Simpson! Julia needs to be operated on immediately!" So, I'm the one who deserves to die. The day my skeleton is donated to the orthopedic department, Yves sits in his office for a day and night. Later, the man known as the hospital's genius orthopedist never holds a scalpel ever again.