{"id":2517,"date":"2020-01-22T09:00:46","date_gmt":"2020-01-22T14:00:46","guid":{"rendered":"http:\/\/www.shanafigueroa.com\/blog\/?p=2517"},"modified":"2020-01-21T21:56:13","modified_gmt":"2020-01-22T02:56:13","slug":"9-steps-to-start-your-story","status":"publish","type":"post","link":"http:\/\/www.shanafigueroa.com\/blog\/9-steps-to-start-your-story\/","title":{"rendered":"9 Steps to Start Your Story"},"content":{"rendered":"\n
\"\"<\/figure><\/div>\n\n\n\n

Let\u2019s say you\u2019ve confirmed your what-if idea<\/a> is worth expanding into a whole story. Yay!<\/p>\n\n\n\n

Now\nwhat?<\/p>\n\n\n\n

This\nis where most people get stuck after they decide they want to write a novel.\nThey might write a few pages, or even a few chapters, and then stall out. Part\nof this is waning interest and competing priorities; writing an entire novel is\nhard and takes a long time, dammit! If you\u2019re not committed, it\u2019s probably not\ngonna happen.<\/p>\n\n\n\n\n\n\n\n

Another problem\u2014the one I\u2019ll address here\u2014is that many aspiring novelists fail to set the foundation for success at the very beginning. You don\u2019t need to plot out your entire novel in advance, but you do need to have a good starting point, an end in mind, and a general idea of the major story beats. I\u2019ve already written a little bit about this in a previous post<\/a>, but I\u2019ll expand upon it here\u2026in excruciating detail! <\/p>\n\n\n\n

Obviously you\ndon\u2019t have to do it this way\u2014every writer has their own unique process, so in\nthe end do whatever works for you\u2014but if you\u2019re really stuck or clueless, follow these steps to get started:<\/strong><\/p>\n\n\n\n

TL;DR\nList:<\/strong><\/p>\n\n\n\n

Step\n1: Make sure you have a worthwhile what-if idea<\/a><\/strong><\/p>\n\n\n\n

Step\n2: Pick a genre if it\u2019s not obvious<\/a><\/strong><\/p>\n\n\n\n

Step\n3: Write a two-to-three sentence description that lays out the backbone of your\nstory<\/a><\/strong><\/p>\n\n\n\n

Step\n4: Identify your protagonist \u2013 Flesh out the Want, Need, Lie, and Ghost<\/a><\/strong><\/p>\n\n\n\n

Step\n5: Decide if your protagonist will get what they want and\/or need at the end of\nthe story\u2026in other words, decide on the tone<\/em>\nof your story<\/a><\/strong><\/p>\n\n\n\n

Step\n6: Do some worldbuilding<\/a><\/strong><\/p>\n\n\n\n

Step 7: Determine\nwhere your protagonist is, mentally and physically, at the beginning of the\nstory<\/a><\/strong><\/p>\n\n\n\n

Step\n8: ID the other main characters who aren\u2019t the protagonist, including the\nprimary antagonist<\/a><\/strong><\/p>\n\n\n\n

Step\n9: Flesh out an overarching plot<\/a><\/strong><\/p>\n\n\n\n

Here are the details of each step:<\/strong><\/h2>\n\n\n\n

<\/a>* Step 1: Make sure you have a worthwhile what-if idea (see previous post on what-if ideas<\/a>)<\/strong><\/p>\n\n\n\n

You don\u2019t want\nto spend a lot of time working on an idea that\u2019s DOA before you\u2019ve even\nstarted.<\/p>\n\n\n\n

Example:<\/em>\nWhat if Germany made a deal with the Devil to win World War II?<\/p>\n\n\n\n

<\/a>* Step 2: Pick a genre if it\u2019s not obvious (see previous posts on genres<\/a>)<\/strong><\/p>\n\n\n\n

If you can\u2019t\npick a genre, or can\u2019t adhere to the universal tropes of the genre you\u2019ve\npicked, then I strongly suggest you don\u2019t waste your time writing an entire\nnovel no one will read, or accept that you\u2019re writing for love and don\u2019t expect\nanyone who\u2019s not your friend or family to read it.<\/p>\n\n\n\n

Example:\n<\/em>\u201cWhat if Germany made a deal with the Devil to win\nWorld War II?\u201d is a paranormal story, meaning you\u2019ll need to go deep into\nworldbuilding and provide an explanation of how the deal with the Devil and\nother supernatural stuff works, at a minimum. <\/p>\n\n\n\n

<\/a>*\nStep 3: Write a two-to-three sentence description that lays out the backbone of\nyour story<\/strong><\/p>\n\n\n\n

I\u2019ve said this before in previous posts<\/a>: A story is about someone who wants something, and what they\u2019re willing to go through to get it<\/em>. Who is the someone in your story\u2014who\u2019s the protagonist? (You can have multiple protagonists\u2014this is common in high fantasy\u2014but the primary focus<\/em> should be on one person, at least in the beginning) What do they want? What will they go through to get what they want\u2014what\u2019s the main conflict? Don\u2019t go into extreme detail here; you\u2019ll do that in future steps.<\/p>\n\n\n\n

Example:<\/em>\nIn an alternate reality where Germany won World War II, a young and na\u00efve\nmodern-day Nazi officer discovers the truth: the key to Germany\u2019s victory all\nthose years ago was due to a deal Hitler made with the Devil. He decides to\nundo the deal, but will have to fight through powerful Nazi leadership and\ndemonic forces to succeed.<\/p>\n\n\n\n

<\/a>*\nStep 4: Identify your protagonist \u2013 Flesh out the Want, Need, Lie, and Ghost<\/strong><\/p>\n\n\n\n

This step is the toughest and most involved, but the most important. It\u2019ll tell you how your plot should go. Your protagonist\u2019s inner journey should match the external plot.<\/em> You can have a coherent story without following this rule, but it\u2019ll be much weaker\u2014you\u2019ll have a \u201cFat Tootsie\u201d scenario<\/a> that\u2019ll either be terrible or forgettable or both. <\/p>\n\n\n\n

Forget about\ngoing deep into your protagonist\u2019s backstory, or describing in detail how all\nthe awesome powers work for your self-insert character (please God no). You\nneed to figure out their key traits first: their want<\/strong>, their need<\/strong>, the lie<\/strong> they believe about the world, and\nthe ghost<\/strong> of their past that caused\nthem to believe the lie.<\/p>\n\n\n\n

Want<\/em><\/strong> is your character\u2019s primary desire.<\/strong>\nThis is something they don\u2019t currently have, something that\u2019s hard for them to\nget, and something they want more than anything else in the world. It\u2019s usually\nan internal desire, like love or happiness or belonging, that\u2019s represented by\nan external goal, like making money or getting promoted or earning someone\u2019s\naffection. The want is critical because it\u2019s what the protagonist will work\ntoward throughout the entire book. Sometimes the want will change\u2014most notably\nat the end, when the want becomes fulfilling the need at the culmination of the\nprotagonist\u2019s character arc\u2014but it\u2019s the ultimate driving force of the story.<\/p>\n\n\n\n

Example:\n<\/em>The modern-day Nazi officer\u2014let\u2019s call him Hans\u2014wants\nto break the deal with the Devil that Germany made back in World War II.<\/p>\n\n\n\n

Many authors\nstop at the want; this is a critical mistake. The want<\/em> needs to contrast with the need.<\/em><\/p>\n\n\n\n

Need<\/em><\/strong> is your character\u2019s critical\ninternal flaw.<\/strong> It\u2019s the main character flaw your\nprotagonist must overcome in order for them to get what they want. Their\ninability to fulfil their need is why they can\u2019t get what they want in the\nbeginning of the story. <\/em>It should be\nin direct conflict<\/em> with the want,\nbecause conflict is the engine of a story. For instance, someone who wants to\nbe rich because they think money will make them happy may have a need to accept\nthat money won\u2019t buy them happiness.<\/p>\n\n\n\n

Based on the\nconflict between the want and the need, you can glean the general outline of a\nplot.<\/p>\n\n\n\n

Example:<\/em>\nWhy does Hans want to break off this deal with the Devil? Does he feel morally\nobligated to do so? That\u2019s the easy answer, but if it\u2019s as simple as that, then\nthere\u2019s not much difference between his want and his need, and therefore not a\ngood answer; there\u2019s not enough conflict.<\/p>\n\n\n\n

Here\u2019s where you\nbegin to use your imagination and set up the foundation for the plot. Let\u2019s say\ninstead that Hans falls in love with a Jewish woman and wants to be with her,\nbut mysterious supernatural forces are keeping them apart. When he stumbles\nupon the secret of the Devil pact, he realizes he must break the pact in order\nto be with her.<\/p>\n\n\n\n

This focuses our\nwant down to something specific: Hans wants to be with his Jewish girlfriend\u2014he\nwants love<\/em>. So what\u2019s keeping him\nfrom immediately attaining his goal? Let\u2019s give him a weakness\u2014let\u2019s say that\nHans\u2019 critical flaw is that he\u2019s actually scared of conflict. He\u2019s a coward and\ndoesn\u2019t want to rock the boat, let alone upend the entire world order or get on\nthe bad side of the Devil himself. This is understandable\u2014which makes it a\ngreat character flaw.<\/p>\n\n\n\n

Now we can\npinpoint a need: Hans needs<\/em> to stop\nbeing a coward. He won\u2019t get what he wants\u2014love\u2014until he grows a backbone.<\/p>\n\n\n\n

The Lie<\/em><\/strong> is the incorrect thing your character\nbelieves about the world that\u2019s causing the need.<\/strong><\/p>\n\n\n\n

Example:<\/em>\nHans believes sticking your neck out will only get your head chopped off. The\nsystem is too big to fight, and all those who try are doomed to fail.<\/p>\n\n\n\n

Finally,\nthe ghost<\/em> is why your character\nbelieves the lie.<\/strong> It\u2019s the backstory of how they\nbecame the person they are at the beginning of the book.<\/p>\n\n\n\n

Example:<\/em>\nHans watched the Nazis brutally murder his family when his parents tried to\nrevolt against the evil regime. He therefore grew up (in an orphanage) keeping\nhis head down, desperately trying to blend in, and constantly afraid that he or\nsomeone else he cared for would meet the same fate as his parents if they\nstepped out of line.<\/p>\n\n\n\n

<\/a>*\nStep 5: Decide if your protagonist will get what they want and\/or need at the\nend of the story\u2026in other words, decide on the tone<\/em> of your story<\/strong><\/p>\n\n\n\n

This is\nbasically deciding if you\u2019ll have a happy, unhappy, or bittersweet ending. A\nhappy ending is if the hero gets what they want and<\/em> what they need at the end (ex. the vast majority of Hollywood\nmovies). An unhappy ending is if they either get what they want but not what\nthey need (ex. The Godfather<\/em>) or get\nneither (ex. 1984<\/em>). A bittersweet\nending is if the hero doesn\u2019t get what they want, but they do get what they\nneed (ex. Up<\/em>).<\/p>\n\n\n\n

You can decide\nto change the ending later, but the tone<\/em>\nshould be consistent throughout your story. This means if your story is largely\nupbeat and fun, then an unhappy ending would be jarring and piss off your\nreaders; vice versa for a depressing story with an out-of-nowhere happy ending.\nThe best endings are the ones that make\nsense, <\/em>i.e. are tonally consistent with what came before.<\/em><\/p>\n\n\n\n

Your strengths as a writer and the nature of the material you\u2019re\nworking with matter here, too. For instance, I\u2019m good with humor, and anything\ninvolving a deal with the Devil is not gonna be super-serious\u2026but then again, a\nstory that involves Nazis won\u2019t be a laugh riot, either (unless it\u2019s a satire\nala The Producers,<\/em> but that\u2019s not what we\u2019re doing here). <\/p>\n\n\n\n

Example:\n<\/em>The tone throughout will be\ndark, but softened with a lot of black humor to keep things from becoming\nunbearably dark. The ending will be bittersweet; the woman Hans loves will die\nor leave forever or something, but he\u2019ll save the world anyway\u2014he won\u2019t get\nwhat he wants, but he\u2019ll get what he needs.<\/p>\n\n\n\n

\u2026Important note here\u2014the plot point of a woman dying so the male lead\ncan grow as a person is a tired and sexist clich\u00e9, so if I were to actually\nwrite this story, I\u2019d need to avoid that particular outcome. I\u2019m not sure right\nnow what I would do instead, but I\u2019d figure it out later.<\/p>\n\n\n\n

<\/a>*\nStep 6: Do some worldbuilding<\/strong><\/p>\n\n\n\n

Depending on your genre, you might need to do a little, a lot, or none.\nFantasy, sci-fi, and paranormal all require a lot of worldbuilding, while the other\ngenres might only require a detailed understanding of people\u2019s relationships to\none another\u2014internal<\/em> worldbuilding, you could say.<\/p>\n\n\n\n

Example:<\/em> \u2026I\u2019m not gonna\ndo this here because it would take forever, since paranormal requires a lot of\nworldbuilding. Suffice it to say I\u2019d answer the following questions at a\nminimum, in a little or a lot of detail depending on how important I thought\nthe answers were: What year does this story take place? How\nexactly did Germany win WWII with the Devil\u2019s help? What are the terms of the\ndeal? How far does Germany\u2019s influence expand? What are world politics like?\nWhat happened to the Jews? What happened to Hitler? Is the world aware of the\nparanormal, or is it a secret? Do other countries have deals with the Devil,\ntoo? Are there demons & angels running around? Can you trick the Devil?\nKill the Devil? Are there multiple devils? How could the deal ultimately be\nbroken? What happens if\/when the deal is broken?<\/p>\n\n\n\n

<\/a>* Step 7: Determine\nwhere your protagonist is, mentally and physically, at the beginning of the\nstory<\/strong><\/p>\n\n\n\n

Here\u2019s where you\ncan finally get specific with the details of your main character. For some\nreason people like to obsess about what their protagonist looks like, but you\nshouldn\u2019t bother putting a lot of thought into their physical appearance unless\nit\u2019s important to the story or signals something about their character. For\ninstance, if a woman has scars on her face but spends a lot of time covering\nthem up with makeup, that detail suggests past trauma she\u2019s trying to hide,\nwhich is significant. If she has brown hair\u2026whatever. Make a note of it so you\ndon\u2019t forget in case you need to reference it later and move on.<\/p>\n\n\n\n

What\u2019s really\nimportant is what your main character is doing at the beginning of the story.\nWhere and when is this story taking place? Where exactly is the protagonist\nphysically in the world? Why are they there? Who are the people around them,\nand who\u2019s important to them? What are their hopes and dreams? What are their\nhobbies? What\u2019s their average day like?<\/p>\n\n\n\n

Example: <\/em>Hans\nlives in an alternate reality version of Munich in \u201cmodern day\u201d (around 2020),\nwhere the Nazi regime controls everything. He\u2019s a low-level clerical worker at\nthe Ministry of Control, a branch of the government charged with investigating\nand containing strange occurrences throughout the country, like if The\nX-Files<\/em> was an entire ministry instead of just Mulder and Scully (\u2026I\nborrowed this idea from the excellent video game Control<\/em>\u2026great artists do\nit all the time!). It\u2019s Hans\u2019 job to simply catalogue strange objects into a\ndatabase. At work he keeps a low profile and has no ambitions to rise the ranks\nor do anything else with his life other than survive. He lives in a small\napartment and has a roommate (a lifelong friend he met at the orphanage) and a\ncircle of friends he spends a lot of time with (and maybe a drinking problem),\nbut he makes a point of staying out of politics and keeping his head down. He\nhas a violin that he plays sometimes (or maybe a guitar\u2026I dunno, will go with\nviolin for now though it might become too maudlin); it\u2019s the only thing he has\nleft of his family. <\/p>\n\n\n\n

He has brown\neyes (always sad) and blond hair (always disheveled), is in his mid-20s, on the\ntaller side with a slim build. Attractive, but not a heartthrob.<\/p>\n\n\n\n

\u2026This is good enough for now. If I were actually writing this story I\u2019d flesh out Hans\u2019 backstory a little more, but not too much more\u2026the act of writing will fill in a lot of the details.<\/p>\n\n\n\n

<\/a>*\nStep 8: ID the other main characters who aren\u2019t the protagonist, including the\nprimary antagonist<\/strong><\/p>\n\n\n\n

Now that you\nknow your protagonist\u2019s want, need, lie, and ghost, you can flesh out other\npeople who should logically be in the story (sometimes called a character web).<\/em> You don\u2019t need to go\ninto extreme detail with these characters, either. They don\u2019t all need separate\nwants, needs, lies, and ghosts, though this might be the case for the most\nimportant ones, like the primary antagonist.<\/p>\n\n\n\n

What\u2019s important\nis how they relate to the protagonist. They help or hinder the protagonist by\nencouraging them to change or not to change, either implicitly or explicitly.<\/p>\n\n\n\n

Example: <\/em>Hans\u2019\nroommate is his best friend and enabler. He likes to party hard, and encourages\nHans to maintain the status quo (he\u2019s an ally<\/em>, but also a hinderance<\/em>).<\/p>\n\n\n\n

Hans\u2019 love interest\nis a singer who\u2019s also secretly Jewish and working for a resistance group.\nShe\u2019s brave, and encourages Hans to go against the status quo by using his\nposition in the Ministry to help her cause (she\u2019s an ally<\/em> as well as a benefit<\/em>).<\/p>\n\n\n\n

The main\nantagonist is a high-ranking Nazi officer with paranormal abilities, who is\ntasked with keeping the deal with the Devil a secret and eliminating anyone who\nmight threaten the established world order (he or she is an enemy<\/em> as well\nas a hinderance<\/em>).<\/p>\n\n\n\n

\u2026Again, if I\nwere actually writing this story I\u2019d expand more on these characters, but this\nis good enough to get started. The act of writing will fill in a lot of details.<\/p>\n\n\n\n

<\/a>*\nStep 9: Flesh out an overarching plot<\/strong><\/p>\n\n\n\n

Finally! Fleshing\nout a plot comes down to filling in the details of how your protagonist gets\nfrom their want to their need. The story beats are defined by the conflict\nbetween the want and the need, with the protagonist trying to get what they\nwant but running into resistance both internally and externally because they\ndon\u2019t have what they need.<\/p>\n\n\n\n

Example:\n<\/em>Hans wants love, but he needs to stop being a coward\nin order to get it. This means he\u2019ll constantly face situations where he\u2019s\nrequired to be brave, but will either be only partially successful or fail\ncompletely until the end, when he finally succeeds. From this simple\ndescription, we can see the broad outlines of a beginning, middle, and end to\nthe story.<\/p>\n\n\n\n

Act 1 will go something like this: Establish Hans\u2019 current life and enough of his backstory so we understand why he\u2019s where he is (avoid info-dumping\u2014reveal info as needed, not all at once). We meet his roommate and other friends. Establish Hans\u2019 weakness\u2014he\u2019s a coward\u2014by showing him faced with a few minor obstacles in his life and at work that require some bravery on his part, but he fails to overcome because of his cowardice\u2014this establishes his need & the lie he believes about the world<\/strong><\/em>.<\/strong> Also make it clear why he\u2019s a coward; show him playing his violin and thinking about what happened to his parents or whatever (it\u2019s important to make him sympathetic; cowards aren\u2019t sympathetic unless you know why<\/em> they\u2019re the way they are)\u2014this establishes his ghost<\/strong><\/em>. <\/p>\n\n\n\n

Build\nthe world through Hans<\/em>. As we follow a day in the life of\nHans, we establish what this alternate reality is like and the rules of the\nworld. We\u2019ll either do a 3rd<\/sup>-person tight POV, or a 1st<\/sup>-person\nPOV, to establish that Hans has a wicked sense of humor\u2014this will give the\nstory some levity, and make Hans likeable (everybody likes a person with a\nsense of humor). He goes to work, gets ragged on by his terrible boss, goes\nhome and parties with his friends, tries (and fails) not to think about his\nterrible childhood, etc. At some point we might catch a glimpse of the main\nantagonist, but right now the antagonist doesn\u2019t care about Hans, so the\nantagonist isn\u2019t a main part of the story yet.<\/p>\n\n\n\n

Inciting incident, i.e. what shocks Hans out of his daily grind: <\/em>Hans meets and falls in love with a Jewish woman at some point within the first 20% of the story. Maybe they meet when he sees her singing at a club, and they bond over music because he also plays the violin. Eventually he realizes she\u2019s Jewish and living under a false identity. He wants to be with her, but the Nazi regime forbids it and they\u2019ll eventually find out who she is\u2014this establishes the<\/strong> want<\/strong><\/em>. There\u2019s also some kind of supernatural force keeping them apart\u2014part of the pact with the Devil\u2014that I\u2019d flesh out later.<\/p>\n\n\n\n

Plot\nPoint 1: <\/em>Sometime soon after, through his job at\nthe Ministry of Control, Hans stumbles upon the Nazi\u2019s big secret, their pact with\nthe Devil (figure out exactly how later). He realizes the pact is why he can\u2019t\nbe with the woman he loves (again – work out the specifics of why later), and\nhe therefore needs to break the deal. However, doing so will require bravery on\nhis part\u2014fulfilling his need. End of Act 1!<\/p>\n\n\n\n

Act 2 is a bunch of Hans trying to learn more about the Devil\u2019s deal and\nput an end to it. Sometimes he succeeds, but mostly he fails due to his\ncowardice. His girlfriend pushes him forward, while his best friend and the\nantagonist try to hold him back. Stuff happens in a\none-step-forward\/two-steps-back sort of way (as in the stakes keep rising,\nthings keep getting harder), until Plot Point 2\/Beginning of Act 3 (don\u2019t know\nwhat this\u2019ll be yet).<\/p>\n\n\n\n

Act 3 is the culmination\nof everything that\u2019s happened before. Don\u2019t know exactly how it\u2019ll end, but\nsomehow he\u2019ll finally find his courage and break the deal with the Devil,\neither destroying the Nazi regime in the present day or resetting the timeline\nback to our own where the Nazis lose WWII (maybe he\u2019ll wipe himself from\nexistence, and that\u2019ll be his big final choice and ultimate act of courage\u2026I\u2019d\nprobably go with that).<\/p>\n\n\n\n

Notice that Act\n1 is by far the most fleshed out, which makes sense because that\u2019s the whole\npoint of all these steps. Once you know how your story will begin, the rest\nwill flow from there\u2026that\u2019s how I do it, anyway.<\/p>\n\n\n\n

And that\u2019s it!\nYou\u2019re ready to start writing! Go nuts!<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Let\u2019s say you\u2019ve confirmed your what-if idea is worth expanding into a whole story. Yay! Now what? This is where most people get stuck after they decide they want to write a novel. They might write a few pages, or even a few chapters, and then stall out. Part of this is waning interest and … <\/p>\n

Continue reading “9 Steps to Start Your Story”<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2},"_links_to":"","_links_to_target":""},"categories":[495,501],"tags":[556,558,557,553,552,555,554],"class_list":["post-2517","post","type-post","status-publish","format-standard","hentry","category-construction","category-how-to-begin","tag-fat-tootsie","tag-germany-won-wwii-story","tag-hellboy","tag-the-ghost","tag-the-lie","tag-the-need","tag-the-want"],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p9Vyi8-EB","_links":{"self":[{"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/posts\/2517","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/comments?post=2517"}],"version-history":[{"count":9,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/posts\/2517\/revisions"}],"predecessor-version":[{"id":2529,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/posts\/2517\/revisions\/2529"}],"wp:attachment":[{"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/media?parent=2517"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/categories?post=2517"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/tags?post=2517"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}