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Plot Holes and How to Fill Them (Or, The Hidden Potential in Your Mistakes)

“But why didn’t they just do that earlier!”

“You can time travel – so time travel!”

“Doesn’t X have Y spell? Why aren’t they using it to escape?”

“You. Have. Telekinesis! How are you this stupid?”

Plot holes! The bane of every writer’s existence. You think you’ve polished your beautiful manuscript, you have it all sent out for the masses to consume and praise and shower with compliments and adoration… and then they start tugging at a thread that may or may not begin to unravel your entire story. You’ve read this thing top to bottom, forwards and backwards and upside down, so many times the letters are burned into your brain. You mumble your monologues in your sleep — how did you not see this? How do you fix this?

See this post about beginning the writing process that might help you avoid opening a plot hole entirely with a solid enough script and outline.

Types of Plot Holes

Your magic system’s established rules have just been broken for TeNSioN

Your Deus Ex Machina really did come out of nowhere and is quite out of character

Why doesn't Character just run away from a fight they can't win?

Characters forgetting they have superpowers, extreme intelligence, handy tools or weapons, survival skills, common sense, or crucial information to escape and/or solve a situation

Characters dying for the above mistakes when said death could have been avoided

The entire story could have been avoided had Character A just told Character B the truth

Character X should have known ___ all along given their profession/backstory/friend circle/education/personality

And variations of the above, I’m sure I’m missing a couple. Fixing plot holes generally come in two camps: Those you can fix by rewriting the existing manuscript that contains the hole, or those you have to work around from a previous manuscript that’s already been published.

Why Plot Holes Happen

Plot holes happen in reality. Expecting your first, second, or 15th draft to be completely foolproof is utter nonsense. Real people forget stuff they’re supposed to know all the time, tools that would be useful are left behind, GroupThink makes very bad decisions.

The difference is: You are writing fiction. Your goal is to be entertaining, not necessarily realistic. A character simply *forgetting* Macguffin X at the climax of the story does not make for an entertaining read, no matter how likely it might be to happen in the real world.

You’re making this entire world up as you go and that alone is an impressive feat millions of others can only dream about – cut yourself some slack, okay? Everything is fixable.

Plot holes also happen because we’re so engrossed in our own story that we forget it’s all made up. You’re 22 chapters into a 24 chapter novel and you’ve just realized your psychic hero would never have been caught unawares like this. “But that’s just how he is!”

No. Stop. That’s not just how he is. That’s just how you wrote him – and you can go back and un-write him. Any excuse you can dream up you can un-write, and unfortunately, you’ll likely have to do a fair bit of it if you still have the opportunity.

Plot holes generally open long after the inciting incident that causes them. If you’re going to fix it, duct-taping together a solution in that very same scene isn’t the way to do it. You have to figure out why it’s a hole at all, then go back and fix its foundations.

Finding Your Own Plot Holes

Sometimes you’re lucky enough to stumble upon them before it’s too late. A fair bit of the time, though, your audience has to tell you. Finding your own plot holes requires stepping back from your work and looking at it like you’re just a reader, not the author.

Read your plot out loud to yourself and keep asking questions like:

Does this make sense for the scene?

Does this only exist to look cool at the cost of logic?

Are these rules I wrote too easy to break or contradictory in any way?

Is there any other way for this character to escape this situation?

Is the only solution here too contrived?

That, and having an army of beta readers who should show you flaws you’ve overlooked. Even then, some things just aren’t obvious at all until someone too smart for their own good points out something no one else considered before.

It’s okay. It’s not the end of the world.

Filling Plot Holes

Fix your broken magic system

A “magic system” broadly describes any type of powers/abilities/supernatural entities that function in your world. They can be in high fantasy, urban fantasy, sci-fi, or any genre really. The Force is a magic system, as much as is bending in Last Airbender even if no one calls it “magic”.

For example: Force users are telekinetic… and yet don’t simply repeatedly spam the “chuck my enemies into a wall/off a cliff/anywhere that is away from me” button. It’s what you’d call a “soft” magic system, it doesn’t have explicit rules on how and when it can and should be used. It just *is*.

Fixing holes in your magic system first demands examining why you wrote it the way you did, why you gave it these specific rules, or why you didn’t, and all the ways characters should otherwise be able to use it when your story demands they get creative.

For soft magic systems — never let the magic system win the day. It invites far too much scrutiny. Gandalf from Lord of the Rings is a Wizard. He can do an undefined number of spells and has an unclear number of abilities and limit to his reach. Gandalf’s magic is never the saving grace of the Fellowship. So asking “why didn’t Gandalf just do X” isn’t ever a question people have because success never depends on Gandalf doing X.

Everyone hates on the time turner in Harry Potter, as they should. Time travel is essential to the plot of Prisoner of Azkaban, without it the heroes fail. And yet, because it is time travel, why it never existed earlier and why they never use it again to solve more massive plot problems is a valid question. As goes with many spells and abilities in the series.

For hard magic systems — remember that you wrote the rules, you can go back and change them at any time before it’s published. Bending in Last Airbender is rarely the focus of any conflict. Yes, two benders will fight each other, but it’s not “who’s the stronger bender,” it’s “who’s smarter with their element”. Who better uses their environment? Which one is racing against a clock before reinforcements arrive and overwhelm them? Which one runs the risk of exposing themselves if they start bending? Whose mental state is crippling their bending today?

These are all character-driven explanations for why certain abilities do or don’t manifest in a given scene… until the finale when it really is just a clash of red and blue aura lasers.

There is never a scene where a character is trapped when they shouldn’t be. Never a “why didn’t you just X” moment, because it’s never about the bending, it’s about the bender.

Turn plot-reasons into character-reasons

This means taking a “why don’t they just do X” and making the reason because one of the protagonists is morally against doing it, not because the hand of the author demands it.

In Last Airbender, Aang is vocally against simply killing the Fire Lord. It would be easier, it would risk far less casualties and carnage, it’s fastest. And yet. Aang doesn’t do it simply because he’s not strong enough or he doesn’t have some magical super weapon, or the stars have aligned and now he’s lost a very convenient ability – Aang doesn’t want to take the easy road because that’s who he is as a person.

He’s been raised as a monk to value the preservation of life above all else (ignoring any accidental casualties over the course of the series). Him being desperate to not simply kill Ozai is central to his character and even when he has the chance in the climax of the fight, he still doesn’t take it.

Now “why didn’t you do that earlier” does, still, concern the “energy bending” established out of nowhere just for the finale so Aang doesn’t have to compromise his morals to win… but the show is so damn good and Ozai’s just desserts so damn sweet it doesn’t really matter.

Making these plot decisions character decisions, so long as they are in-character, gives some juicy potential for schisms within Team Protagonist as fan favorites clash over ideals and morals and whether or not the greater good is worth them sacrificing something so central to their being.

This also applies to characters not sharing crucial information with each other. Make them distrustful of the others, or let them attempt it anyway and have some other consequence for the effort. Anything is better than a character sitting on valuable info simply to maintain the mystery.

Avoid Deus Ex Machinas

The “surprise reinforcement cavalry charge” is one of my favorite deus ex machinas in fantasy. Everybody cheers, it looks amazing, the music is swelling, our heroes on the battlefield realize they haven’t been forsaken by their friends, etc. In Lord of the Rings, yes, Theoden could have arrived 30 minutes earlier and saved even more lives, but we already knew he was on his way moving as fast as he could without exhausting his horses. Theoden’s army also took care of the bulk of the battle so when Aragorn arrives with the second surprise reinforcements, it’s less a decisive blow that comes out of nowhere and more the victory lap.

In “Battle of the Bastards,” Game of Thrones has its third surprise cavalry charge of the series, only this one much more explicitly comes to save the day. The difference between this scene and Theoden’s charge is: Audiences had no idea Littlefinger was on his way, and neither did Jon Snow. Had Sansa told him she had a plan, Jon could have waited. He wasn’t backed against a wall and forced to fight right then and there, he could have stalled an extra hour by just not showing up to the battlefield to wait for his cavalry. With Sansa inexplicably not telling him, she risked his life and the lives of his entire army because the hand of the writers wanted to keep it a surprise. Worst of all, when the battle is over, he compliments her decision, despite all the blood on her hands.

Surprise reinforcements, saviors, powers, and abilities always run the risk of “why didn’t they do that earlier” and you should be asking yourself the same question. If you can’t come up with an explanation other than “because it’ll look cool” go back to the drawing board.

Or, have your very own characters pissed that the savior didn’t just do that earlier. Have your characters ask where this special power was, have it mean something to them and the story at large. Had Jon been angry with Sansa, given their incredibly pyrrhic victory and the potentially avoidable death of their youngest brother, it might’ve made for some interesting character drama.

Give your saving graces deadly costs

“Why didn’t they just do X earlier?”

“Because doing X would have killed Character D, dummy.”

Giving your super special magic, mutant, super, or supernatural powers costs, drawbacks, and limitations forces the characters who use them to not resort to them every single chance they get. Their magic drains their physical stamina, or the demon they made a deal with camping in their brain threatens to overtake their psyche, or the sword is cursed and every time the hero raises it in battle, they lose a little piece of themselves. Or, using this creepy power strains their relationship with their friends or community.

Without risk and consequences, you cannot avoid “why didn’t they do that earlier,” because the only answer you have to give is “because I, the author, said so.” The only time a character is allowed to have selective amnesia about their superpowers is if it’s been established beforehand as a potential problem. Then it’s not “this came out of nowhere.” Then your audience is dreading the entire time waiting for that chekhov’s gun to fire.

Don’t compromise your story for sensationalism

I can complain about ~subverting expectations~ in another post, but what I mean here is this: Are you writing this scene purely for shock value, for the sake of a twist, because a story this grim demands at least one character death, or because it’s going to look epic?

In this post about pacing and this post about how to write tone, I talked about making your scenes pull double duty. You can write a scene for shock and awe, but if it’s at the expense of a character’s integrity or intelligence, come up with another way to make it spectacular.

You want the villain to monologue to give the heroes time to save the world? Then write a villain with an ego and personality that would monologue. You want the hero to be a one-man-army? Then write their personality as the lone wolf type and have it be a flaw of theirs that they keep striking out alone, consequences be damned.

You absolutely need the hero to not take the easy road and fight the bad guy without using their most effective weapon? Give them a reason to stall this fight. Maybe they really do need to simply run out a clock, or they don’t actually want to kill/subdue their opponent, or in doing so, the villain’s death is what causes the Bad Thing to happen.

If I write a character that can kill with just a look, every time I put them in a dangerous situation I need to then justify why they don’t do that over and over again, unless it’s by their own stubborn integrity that they choose not to.

If I write a villainous plan so devious and well thought out, the only thing standing in the way is living protagonists? I need a reason the villain doesn’t just murder the heroes every chance they get. Maybe they’re internally struggling over actually going through with it, or their ego demands the hero doesn’t get a quick or honorless death, or they do actually need a living hero for the plan to work.

Fixing Plot Holes in Sequels

All of the above is advice for issues within the same manuscript. What happens if you’ve already published and have the chance to address a known plot hole in the sequel?

About the worst thing you can do is slap in a throwaway line or hasty explanation to cover your ass. Everyone reading and watching will notice. Saying nothing is better than saying that.

See the duct-tape in Rise of Skywalker when the heroes explained that they couldn't just hypersspace-jump another ship into the enemy fleet because it worked so horribly effectively last time. Doesn't matter that they could have put it on autopilot or sacrificed a droid, or that, at any point in the history of Star Wars, someone else could have and should have done this desperate maneuver. For the sake of "looking cool" it opened an entire sinkhole.

Less a “hole” and more an inconsistency — the pegasus Blackjack in Percy Jackson is explicitly a mare, a female horse, in one book, and then inexplicably male in later books. Why? Well the author made a mistake, simple as that. He did *not* attempt to explain this error away or dig the hole deeper. It just is. Though I’m not sure why Blackjack couldn’t just stay a mare and how he didn’t reference the previous book when writing the sequel is a bit baffling.

If your heroes can no longer use the Deus Ex Machina they used before – have them attempt to use it, and then come up with a solid reason why it’s not possible. Maybe it was one-time use, or the savior simply doesn’t want to, or the cost/risk is too high to attempt it again, or it simply can’t be found and it’s very frustrating.

Have the heroes be morally opposed to doing what they did before, or overconfident, or skeptical that it will even work again only for that choice to bite them in the ass later. Have the magic item all used up, the recipe to recreate it lost to history. There’s a hundred better excuses than the hand of the author simply saying so.

—

If you aren’t going to write a sequel and you accept living with the plot hole unfilled… chances are people are going to love the story despite its flaws. Harry Potter is the poster child of “why didn’t they use X spell to solve the problem” or “they have a spell for X, yet they don’t have a spell for Y?” and how many people love that story?

In the end, a plot hole can be tiny or massive and chances are the story you told is entertaining enough to make up for it. It’s just a story, it’s just fiction. Learn from your mistakes so the next piece you create is even better.

Boost this people and aliens it's very important

Noooo that's so sad, why would you say that? And even if it did in the next world or in spirit it's still growing.

GET. AI. OUT. OF. FANDOM. Stop making headcanons with it, stop making fanfic with it, stop making fanart with it. If I see one more "asking chatgpt *blank* about *character/characters in a fandom* I'm going to lose my goddamn mind. Use your own fucking brain, stop asking AI to do everything. You could even ask other real people what they think. Just. Stop. Using. AI. In. Creative. Spaces.

Norse Magic: A Simplified Introduction

The terms “seiðr”, “spá”, and “galdr” are a few of the terms that get thrown around when discussing Norse magic. What do all of these words mean?

For starters, “seiðr”, “spá”, and “galdr” are not different words for the same type of practice. While these can all fit together, and usually those that do one often do the other, they each hold individual roles in Norse magic.

Seiðr

Seiðr, at its basic form, is trance induced magic that can be done while soul traveling the nine worlds. You can alter your destiny or even affect the destiny of others. If you are familiar with chaos magic, seiðr is like a school of shamanistic chaos magic (for example you can control your reality through actions done in trance work instead of through sigils). You can make use of energy work and heal yourself or others, alter someone’s opinion, thoughts, or actions concerning a certain situation, and even commune with the gods themselves and act as a channel for them to speak through. There is so much more concerning seiðr that can’t be covered in this paragraph, but will be expanded upon in future entries.

Spá

Spá or spá-craft is the art of seeing one’s fate. Just like the work of a seer, a spákona or spámaðr is able to tap into the threads of one’s fate, seeing what is to come or what they and their ancestors have experienced in the past.

Galdr

Galdr, meaning “incantation”, is the practice that uses the chants or songs of runes when practicing runic magic. Since you are working with focused vibrational energy, the practice of galdr can be extremely powerful when used properly.

While these are tremendously simplified descriptions of tremendously complex practices, it’s a good jumping off point for the different articles I’m going to write that will further explain them in detail. In future entries, I’ll start with discussing the foundations of seiðr and sharing ways in which you can start learning how to utilize it in your practice. Eventually, I will have articles concerning spá-craft and galdr. I look forward to sharing what I’ve experienced with everyone!

Listen.

EVERYBODY knows (or should) that you DO. NOT. STOP. in Vidor, Texas. 

It’s best to just run out of gas elsewhere. Whatever you do, black folks, DO NOT STOP IN VIDOR, TEXAS. 

There’s a good chance you’ll get lynched or just come up missing - and I’m not joking.

also do NOT stop in Harrison, Arkansas!!!! (relatively close to OK and MI) a nazi town with a BIG KKK organization.

Reblog To Save Life

six feet tall? you easily burn more than 1200cal a day. you are not a child

I am a child, I'm a 16 year old girl. Where I'm from it's very normal to be over 6 foot tall. I don't move that much and I'm build fragile. I don't burn more than 1200 a day, but I also don't lose any weight this way.

Me equals fat

Thanks for listening to this presentation

And remember pro for me not for thee

REBLOG IF YOU'RE AN ACTIVE ÃNÅ ACCOUNT THIS MONTH I NEED MORE ACTIVE MUTUALS!!