: Re: The protagonist can't defeat the antagonist without the antagonist being stupid What should I do if my story's plot is built around the antagonist being extremely strong, and by the end it's

How much of a problem this is depends on how the antagonist's blunder happens.

Does the protagonist detect the antagonist's propensity for stupidity, and then goad the antagonist into making a mistake? If so, then I think it's fine; your protagonist is still the problem solver.

But if the antagonist just blunders without any inducement from the protagonist, I'd be concerned. What's the point of following the exploits of the protagonist for an entire novel if they turn out to be irrelevant to the outcome?

So if your story looks more like the latter case, I'd find a way to make it into the former. It shouldn't require anything near a rewrite of the entire story. The protagonist could observe something late in the story that he (she?) could then exploit to induce the game-changing mistake.

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: Re: The protagonist can't defeat the antagonist without the antagonist being stupid What should I do if my story's plot is built around the antagonist being extremely strong, and by the end it's

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: How do I end a comedy sketch? I have a premise, which I think is funny/clever. I want to write this as a comedy sketch, to be acted out or shot on video. I have three "scenes" which are

: How do I know when to include subplots? Disclaimer: This is not a duplicate of this question. That question deals with subplots being necessary to a story's success, and also loosely how to

: In What Way are Most First Drafts Bad? I've heard from a lot of people - both on this site and elsewhere - that your first draft will be terrible. Some even say that you will barely use

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