Chief Editor M. Neff

Another title with "Bones" in it....

Dilbert is the perfect conclusion!

How can anyone dare disagree with Isabel? Actually, it's easy.

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

Coming to this late, King is way off base when it comes to plotting. He's always attempting to signal that he is the superior author. Unlike the rank and file, he doesn't need to plot. Such BS!

Over the years he contradicts himself.

This is coming along!

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

So few accolades! LOL! There's another cache of twice this much, but who has the time to post it all? Connie

First of all, let's look at what a pitch should never be. This is a modified example from a past pitch conference. Despite the fact that this writer received our pitch models in advance, the following is what they produced for the first day of the conference. The title and author's name are withheld for privacy reasons. As follows: Sixteen-year-old Warren’s grandfather was his world: Chicago firefighter, Marine, master builder, musician, upstanding Polish-American man. Now Warren’s a stranger in his own house. His mother, a doctor, is guilty and distant; his father, a fire chief, means well but fails. His siblings seemed to get all his grandfather’s gifts: discipline, heroism, talent, craft. Warren tries his best to mimic their feats – swimming, piano-playing, building, firefighting – battling in spirit to take his grandfather back. He tries, and he fails. He resents and fears his awesome big brother, who guards the family heritage like a hero of yore; he envies and resents his kid brother’s grandstanding and musical gifts. Warren’s part of the family and not, home but not home, with no one and nothing but his grandfather’s picture – his one guiding light – to call his own. In the end, shame and pride drive him to dream of revenge: unable to belong in his grandfather’s world, unwilling to accept the world that he’s left, will Warren set this house on fire? Before you compare the above example to the examples below, you'll note that this pitch contains an ample amount of set-up. We learn about the kid and his life circumstances. Okay, great, and a wrap statement in the second paragraph. But what is missing? Consider, we know zero about the plot. There is no hint of it, not a sign. The writer leads us to believe the kid will lead towards a revenge of some kind, but what kind? He apparently has no journey to undertake, no challenge to overcome, no complicating obstacle as far as we can see. What must Warren do? What will Warren do? Who knows? And it's the failure to answer these questions that cuts the heart out of this pitch. The professional hearing it, or reading it, will immediately see there is no plot evident. Not exactly a good idea. We recommend instead the following as effective models for a novel pitch session. Keep the core body of the pitch to 150-200 words. Note too that your pitch is a diagnostic tool that helps professionals determine the strong and weak points of your novel, thus enabling productive discussion on matters of premise, character, and plot development. Take special note of inciting incident, protagonist intro, setting, stakes, plot points, and cliff-hangers. SURVIVING THE FOREST by Adiva Geffen Historical Women's Fiction (PROTAGONIST INTRO AND SETTING) Shurka is a happy young woman who lives a fairy tale life with her beloved husband and their two young children, in a pretty house in a village in Poland. She believes that nothing can hurt them. Or so she thinks. Then, World War II breaks out (INCITING INCIDENT) and the happy family quickly understands that their happiness has come to a brutal end. The family is forced to flee and find shelter in a neighboring ghetto (STAKES AND FIRST MAJOR PLOT POINT) where they discover the Gestapo is taking Jews away on trucks every night, never to be seen again. Backs against the wall, the family makes the brave and very difficult choice to flee into the depths of a dark forest (EXTENSION OF FIRST MAJOR PLOT POINT). There, surrounded by animals, they know this is their only chance to escape the real beasts. They have no idea what will await them, but they know that doing nothing is not an option if they wish to survive. (CLIFF-HANGER: WILL THEY SURVIVE? WHAT PRICE MUST BE PAID?) ______ GIRL IN CABIN 13 by A. J. Rivers Detective Murder Mystery (PROTAGONIST INTRO AND SETTING) FBI agent Emma Griffin is sent undercover to the small sleepy town of Feathered Nest to uncover the truth behind the strings of disappearances that has left the town terrified (STAKES AND INCITING INCIDENT). To Emma there is nothing that can lay buried forever. Even though her own childhood has been plagued by deaths and disappearances. Her mother’s death, her father’s disappearance, and her boyfriend’s disappearance--the only cases that she hasn’t solved. Her obsession with finding out the truth behind her past was what led her to join the FBI. Now, she must face what may be her biggest case. In Cabin 13 there lies an uneasy feeling. The feeling of her movements being watched. When a knock on her door revealed a body on her porch and her name written on a piece of paper in the dead man’s hand. Suddenly her worlds collide. (FIRST MAJOR PLOT POINT) With the past still haunting her, Emma must fight past her own demons to stop the body count from rising. The woods have secrets. And this idyllic town has dark and murderous ones. Either she reveals them or risk them claiming her too. (CLIFF-HANGER AND ADDITIONAL STAKES - WILL SHE SAVE THE "FARM" AND LIVE TO TELL THE STORY?) _____ Now, go and write the pitch for your novel following a thorough analysis of the above examples, and please, take your time. Once done, put it aside for a few days then read it again and ask yourself this question: WILL THIS MAKE SOMEONE WANT TO BUY MY BOOK? _________________________________________________

At least seven of our alums have gone on to publication by major presses in imprints.

Algonkian Novel Writing and MS Revision Courses Pre-MFA, Post-MFA, or No MFA - Get Your Novel on a Realistic Path to Publication In Cooperation and Partnership With Algonkian Writer Conferences and the New York Pitch Works Studied or Referenced in the Novel Writing Program NOTE: writers are not responsible for reading all the following works. These works are referenced and portions of them studied in the context of the program. THE KITE RUNNER by Khaled Hosseini TO KILL A MOCKINGBIRD by Harper Lee LES MISERABLES by Victor Hugo BEL CANTO by Ann Patchett 3RD DEGREE BY Patterson and Gross THE CONCRETE BLONDE by Michael Connelly WUTHERING HEIGHTS by Emily Bronte ANNE OF GREEN GABLES by Lucy Maud THE ALCHEMYST by Michael Scott MISERY by Stephen King COLD MOUNTAIN by Charles Frazier THE MALTESE FALCON by Dashiell Hammett ISSAC'S STORM by Erik Larson ANTIGONE by Sophocles ONE FLEW OVER THE CUCKOO'S NEST by Ken Kesey WISE BLOOD by Flannery O'Connor CATCHER IN THE RYE by J.D. Salinger WAR OF THE WORLDS by H.G. Wells THE INVISIBLE MAN by Ralph Ellison UNDER THE JAGUAR SUN by Italo Calvino THE AMAZING ADVENTURES OF KAVALIER AND KLAY by Michael Chabon THE PAINTED BIRD by Jerzy Kosinski EVENSONG by Gail Godwin THE SHIPPING NEWS by Annie Proulx HISS OF DEATH by Rita Mae Brown SUMMER'S SISTERS by Judy Blume THE BARTIMAEUS TRILOGY by Jonathan Stroud GET SHORTY by Elmore Leonard THE HUNGER GAMES by Suzanne Collins THE GOLDEN COMPASS by Philip Pullman THE QUEEN'S GAMBLE by Barbara Kyle THE NOTEBOOK by Nicholas Sparks MATCH ME IF YOU CAN by Susan Elizabeth Phillips HARRY POTTER (series) by J.K. Rowling CLAUDIUS THE GOD by Robert Graves POISONWOOD BIBLE by Barbara Kingsolver FIRST FIVE PEOPLE YOU MEET IN HEAVEN by Mitch Albom SECRET LIFE OF BEES by Sue Monk Kidd LIFE OF PI by Yann Martel WIZARD OF OZ by L. Frank Baum THE HAND OF FATIMA by Ildefonso Falcones de Sierra THE GREAT GATSBY by F. Scott Fitzgerald SOUND AND THE FURY by William Faulkner THE ROAD by Cormac McCarthy THE SUN ALSO RISES by Earnest Hemmingway YEAR OF THE RHINOCEROS by Michael Neff CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME by Mark Haddon HUCKLEBERRY FINN by Mark Twain Home About the Algonkian NWEP Novels and Authors Studied Frequently Asked Questions Program Syllabus - Part I and II Application - Registration Program Sample 2024

Algonkian Novel Writing and MS Revision Courses Pre-MFA, Post-MFA, or No MFA - Get Your Novel on a Realistic Path to Publication In Cooperation and Partnership With Algonkian Writer Conferences and the New York Pitch Works Studied or Referenced in the Novel Writing Program NOTE: writers are not responsible for reading all the following works. These works are referenced and portions of them studied in the context of the program. THE KITE RUNNER by Khaled Hosseini TO KILL A MOCKINGBIRD by Harper Lee LES MISERABLES by Victor Hugo BEL CANTO by Ann Patchett 3RD DEGREE BY Patterson and Gross THE CONCRETE BLONDE by Michael Connelly WUTHERING HEIGHTS by Emily Bronte ANNE OF GREEN GABLES by Lucy Maud THE ALCHEMYST by Michael Scott MISERY by Stephen King COLD MOUNTAIN by Charles Frazier THE MALTESE FALCON by Dashiell Hammett ISSAC'S STORM by Erik Larson ANTIGONE by Sophocles ONE FLEW OVER THE CUCKOO'S NEST by Ken Kesey WISE BLOOD by Flannery O'Connor CATCHER IN THE RYE by J.D. Salinger WAR OF THE WORLDS by H.G. Wells THE INVISIBLE MAN by Ralph Ellison UNDER THE JAGUAR SUN by Italo Calvino THE AMAZING ADVENTURES OF KAVALIER AND KLAY by Michael Chabon THE PAINTED BIRD by Jerzy Kosinski EVENSONG by Gail Godwin THE SHIPPING NEWS by Annie Proulx HISS OF DEATH by Rita Mae Brown SUMMER'S SISTERS by Judy Blume THE BARTIMAEUS TRILOGY by Jonathan Stroud GET SHORTY by Elmore Leonard THE HUNGER GAMES by Suzanne Collins THE GOLDEN COMPASS by Philip Pullman THE QUEEN'S GAMBLE by Barbara Kyle THE NOTEBOOK by Nicholas Sparks MATCH ME IF YOU CAN by Susan Elizabeth Phillips HARRY POTTER (series) by J.K. Rowling CLAUDIUS THE GOD by Robert Graves POISONWOOD BIBLE by Barbara Kingsolver FIRST FIVE PEOPLE YOU MEET IN HEAVEN by Mitch Albom SECRET LIFE OF BEES by Sue Monk Kidd LIFE OF PI by Yann Martel WIZARD OF OZ by L. Frank Baum THE HAND OF FATIMA by Ildefonso Falcones de Sierra THE GREAT GATSBY by F. Scott Fitzgerald SOUND AND THE FURY by William Faulkner THE ROAD by Cormac McCarthy THE SUN ALSO RISES by Earnest Hemmingway YEAR OF THE RHINOCEROS by Michael Neff CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME by Mark Haddon HUCKLEBERRY FINN by Mark Twain

Literary and Genre Novel Writing At Your Own Pace Below you will find our program syllabus. In our quest to get you as close to the brass ring as possible, we've developed this series of multi-genre commercial writing courses that enable you to write or rewrite your novel a step at a time, and at your own pace, while also reality-checking all core and peripheral elements of your work-in-progress. Initial focus is placed on developing story premise and proper market position, major antagonist and protagonist features, primary plot conflict(s), and overall setting decisions. The next set of crucial elements are addressed in turn (see syllabus below) and addressed again, as appropriate, by Algonkian editorial faculty once the sell sheet stage is achieved. How long will it take you to write or rewrite your novel to commercial or literary quality? Everyone is different, and it depends on a host of factors. However, you will subtract at least two years of trial-and-error rewrites off the time frame using our methodology and editorial guidance. Btw, the methodology we utilize in the courses we refer to as the "model-and-context method." In other words, we demonstrate practical application of necessary and advanced technique as learned from a suitable variety of masterful fiction authors in a variety of genres (models), then guide you to apply said craft as appropriate and necessary in the context of your work-in-progress. NOTE: WRITERS ARE NOT REQUIRED TO READ THE FOLLOWING NOVELS IF TIME DOES NOT PERMIT - ALL ARE REFERENCED IN CONTEXT DURING THE COURSE OF THE PROGRAM The Program Syllabus Art of Novel Writing - Part I - Eight Course Modules Module I The Act of Story Statement and Protagonist's Goal; Conjuring Your Breakout Title; Market Positioning and Vital Comparables; Utilizing the Short Synopsis Pitch to Create and Define Novel Basics Including Rising Plot Action, Exposition, Backstory, Climax, Denouement, and Theme. Works studied or referenced: ISSAC'S STORM, ANTIGONE, ONE FLEW OVER THE CUCKOO'S NEST, COLD MOUNTAIN, HISS OF DEATH, SUMMER'S SISTERS, THE BARTIMAEUS TRILOGY, THE HAND OF FATIMA, THE GREAT GATSBY. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Part I Program Sample. Module II Choosing the Antagonist; Antagonist Role in Energizing Plot Lines and Defining Dramatic Tension; Social Reaction and Psyche Profile of Antagonists; Traits and Physical Nature of the Antagonist; Anecdotes Featuring Your Antagonist; Antagonist Relation to Three-Level Conflict Dynamic. Works studied or referenced: THE KITE RUNNER, TO KILL A MOCKINGBIRD, THE GREAT GATSBY, LES MISERABLES, ANNE OF GREEN GABLES. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing a Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Part I Program Sample. Module III Using the Hook Line to Bait and Test Your Commercial High Concept; Hook Elements; the Coming of the "Agon" and Creating the Three-Level Conflict Dynamic; Writing Conflict Lines; Using the Right Setting to Maximize Opportunities for Unique Circumstance, Complications, Character and Verve. Works studied or referenced: ISSAC'S STORM, HISS OF DEATH, SUMMER'S SISTERS, THE BARTIMAEUS TRILOGY, THE HAND OF FATIMA, THE HUNGER GAMES, SOUND AND THE FURY, THE ROAD. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Part I Program Sample. Module IV Personality Types and the Counter Trait; Importance of Backstory; Elements of Character Animation; Protagonist Makes Plot or Vice Versa; Sympathetic Character Factors in the Hook; Defining the Transformational Character Arc. Works studied or referenced in Module: CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, FIRST FIVE PEOPLE YOU MEET IN HEAVEN, SECRET LIFE OF BEES, LIFE OF PI, BEL CANTO, PATTERSON AND GROSS, WINESBURG OHIO. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Part I Program Sample. Module V Synopsis as a Planning Tool; Methods for Delivering Exposition; How Does Theme Define and Pervade the Novel? Character Symbolism and Making a Theme Statement That Will Layer Into the Novel. Works studied or referenced in Module: ONE FLEW OVER THE CUCKOO'S NEST, WISE BLOOD, THE SUN ALSO RISES, RHINOCEROS (the play), MAN'S FATE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Part I Program Sample. Module VI Coming of the Six Act Two-Goal Novel; Act 0 - Developing the Backstory; Act I, Part I - the Critical Act of Opening Scene, Foreshadowing the Primary Conflict, In Media Res; Act I, Part II - Inciting Incident, Exposition Parceling, the MacGuffin, Theme Start, Antagonist Intro With Possible Minions. Works studied or referenced in Module: CATCHER IN THE RYE, WAR OF THE WORLDS, MISERY, COLD MOUNTAIN, THE MALTESE FALCON, HUCKLEBERRY FINN, THE HUNGER GAMES, HARRY POTTER, TO KILL A MOCKINGBIRD, GLADIATOR AND CITIZEN KANE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Part I Program Sample. Module VII Act II - More Hook: Story Statement Redux, Establishment of Major Goal, Primary External Conflict or Complication Begins, First Major Plot Point and Plot Line, Protagonist Psychology, Rising Action; Act III - Plot Line Evolution, Minor Reversals, Complications, thee Levels of Conflict, Major Reversal Time, Plot Points. Works studied or referenced in Module: CATCHER IN THE RYE, WAR OF THE WORLDS, MISERY, COLD MOUNTAIN, THE MALTESE FALCON, HUCKLEBERRY FINN, THE HUNGER GAMES, HARRY POTTER, TO KILL A MOCKINGBIRD, GLADIATOR AND CITIZEN KANE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Part I Program Sample. Module VIII Act IV - New Rising Action and Suspense, Conflict Levels Revisited, the Final Puzzle Piece, Surprise or Twist, Climax, Victory at a Cost; Act V - Denouement, Loose Ends, Theme Resolution, End of Protagonist Arc. Works studied or referenced in Module: CATCHER IN THE RYE, WAR OF THE WORLDS, MISERY, COLD MOUNTAIN, THE MALTESE FALCON, HUCKLEBERRY FINN, THE HUNGER GAMES, HARRY POTTER, TO KILL A MOCKINGBIRD, GLADIATOR AND CITIZEN KANE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Part I Program Sample. Primary elements studied and applied in the eight modules of Part II: The act of creating narrative suspense. Dynamic description and competitive narrative cinema. Utilizing character personality to create tone and verve. The four levels of storytelling viewpoint. Levels of successive narrative transformation. Complications and conflict in fiction narrative. Approaches and experiments in masterful dialogue. Establishment of active and aggressive style. Coaxing imagination and unpredictability in narrative and storytelling. Art of Novel Writing - Part II - Eight Course Modules Module I Mastering the Art of Point-of-View: Four Levels of Third Person Point of View; Advantages of 3POV; Effective First Person POV Transition From 3POV; Choice of Viewpoint Character and Effect on Tone; Four Stage Narrative Transformation. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress - Part II Program Sample. Module II Mastering the "Art of Fiction" Narrative: Spatial Orientation in the Scene, Quality Ruminations to Add Dimension and Arc, Transforming the Quiet Set and Circumstance with Imaginative Leaps of Interior Monologue, External Complications, Emotions, Musings, and Narrator Observations. Writing Concise and Artful Dialogue, Mastering the Right Genre Style and Voice. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress - Part II Program Sample. Module III Mastering the Art of High Impact Subject Matter and Issues of Proper Narrative Composition : Creating Social Energy and Conflict, Ways to Aggressively Milk Imagination, Complex Visual Phenomena Reflecting the Human Condition. Creating the Color, Movement, Sounds and Smells of the Meta-Cinematic Narrative Experience. Injecting Pre-event complications, and Fantastical Circumstance Creating "Delayed Cognition" Technique. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress - Part II Program Sample. Module IV Mastering the "Art of Fiction" Narrative: Complex Description of Characters Using Both Third and First Person POV, Metaphor Sketching to Describe Unique Characters, the "Single Statement of Impression," Deriving Unique Metaphors From Setting, Using the "PDQ" to Brainstorm Approaches to Challenging Subjects in Prose Narrative, Details of Face and Body Movement, Charged Emotional States, Occasional Acts of Bold and Imaginative Appearance. Balancing Prose For High-Impact Subject Matter VS. Upmarket Prose Narrative. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress - Part II Program Sample. Module V Mastering the Art of Narrative Composition: High-Impact Subject Matter VS. Upmarket Prose Narrative, Mastering Style and Voice, Using FIGHT CLUB to Write Your Own Version In Order to Practice Those Narrative Elements Make Chuck Palahniuk a Great Author; Using THE RIVER KING to Write Your Own Version In Order to Practice Those Narrative Elements That Make Alice Hoffman a Great Author. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress - Part II Program Sample. Module VI The First 5000 Words of the Novel Hook Incorporating Elements From Prior Modules : Four Levels of 3POV Narrative, Level III Narrative Minimum, Transitions to Reflective Interior Monologue, Interior Fantasy, Ruminations or Musings, At Least Five Minor Complications. Narrative That Allows For Color, Sound, and Smells; Narrative That Creates Impact On the Page in a Dynamic and Cinematic Manner. Color, Tension, Curiosities, Mystery, Conflict, With a Goal of Not a Single Quiet Paragraph. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress - Part II Program Sample. Module VII Self-Coverage Narrative Scorebox and Reference to Part I of Program Regarding Act I and Act II as Appropriate For Inclusion of Proper Plot Elements, Sympathetic Character Elements, etc.. the First 50 Pages of the Novel Incorporating Elements From Prior Modules : Brilliant First Person POV, or All Four Levels of 3POV Narrative; Level III Quality Narrative Minimum Striving Towards Level IV, Transitions to Reflective Interior Monologue, Ruminations and Musings, As Many Minor Complications As Necessary. Narrative That Allows For Color, Sound, and Smells; Narrative That Creates Impact On the Page in a Dynamic and Cinematic Manner. Color, Tension, Curiosities, Mystery, Conflict, and All 50 Pages With a Goal of Not a Single Quiet Paragraph. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress - Part II Program Sample. Module VIII Post Coverage: the Next 50 Pages of the Novel Incorporating Elements From Prior Modules (for a total of 100) : Brilliant First Person POV, or All Four Levels of 3POV Narrative; Level III Quality Narrative Minimum Striving Towards Level IV, Transitions to Reflective Interior Monologue, Ruminations and Musings, As Many Minor Complications As Necessary. Narrative That Allows For Color, Sound, and Smells; Narrative That Creates Impact On the Page in a Dynamic and Cinematic Manner. Color, Tension, Curiosities, Mystery, Conflict, and All 50 Pages With a Goal of Not a Single Quiet Paragraph. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress - Part II Program Sample.

MODULE SAMPLE FROM THE PROGRAM The sample below is one part of a single module in the second half of the novel writing program. The purpose of this is to simply give you a sample of the module, not define all that came before. FOUR LEVELS OF THIRD PERSON NARRATIVE POINT OF VIEW Let's get right to the point on this issue. Yes, we know that CATCHER IN THE RYE and HUCKLEBERRY FINN would never have been famous novels without the engaging first person voice of their protagonists. And yes, first person seems to be in vogue with paranormal YA and some fantasy here and there, however, third person point of view is the best way to relate a dynamic work of fiction, hands down. Unless the first person voice is so remarkable, unique and/or compelling that the novel could not exist without it, third person is strongly advised. For purposes of this study, we define four levels of third person point of view (3POV) as follows: Author-POV 3POV Distant 3POV Close 3POV First-Close The Author-POV or APOV, refers to the author, the detached or "omniscient narrator" who steps in now and then to set the scene or make artful commentary at the right time (just *please* don't address the reader directly because that is so irritating and breaks the reader's immersion into the fictional dream). 3POV Distant or 3POV-D occurs at such time the narrative focuses on a specific character and we watch her or his actions as if we are the camera actively filming this character. 3POV Close or 3POV-C takes us into the character's head and camera viewpoint shifts to the character, i.e., we see or experience, for the most part, only what the character is viewing or experiencing. 3POV First-Close or 3POV-FC dives deeper into the character's head and effectively mimics first person POV, but naturally without the usual limits of first person POV because the author can cut from the 3POV-FC and pull all the way back to APOV. CONTINUE READING AND RETURN HERE FOUR STAGE NARRATIVE TRANSFORMATION What's one of the best ways to ensure a publishing contract? Master the art of writing fiction narrative, of course. But what does that mean, and are you sure you know the difference between relatively quiet fiction narrative and verve-packed narrative? Are you setting your standards high enough? Are you aware of the level of craft and attention to detail that will make you a great writer with not only a solid career, but a huge number of conference appearances wherein you can, with little effort, and in front of hundreds of people, act like a legend in your own mind? Writers set standards for themselves, often ignorant of how high the standards need to be raised in order for them to be as competitive as possible in this current marketplace. Rather than tell, let's show examples of how to take somewhat ordinary, perhaps even vaguely interesting narrative, and make it as competitive and energetic as possible by adding imagery, metaphor, emotion, more active verbs and better sentence structure. CONTINUE READING AND RETURN HERE MODULE ASSIGNMENT (three parts) as follows: PART 1 In 3POV, use the following scenario to write a scene. The scenario as follows: your protagonist narrator attends an antique car show (you choose location, season and types of cars), observes the cars, the sounds, the smells, the people, meets someone they know (you choose character), dialogue ensues. Then quite suddenly, the car show is invaded by a large gang of hooded men (you choose color of hoods and accents) who "steal the show" and hold the cars hostage, demanding the wealthy and terrified owners wire money to the gang's bank in Hungary via iPhone, or else they will bullet-riddle the priceless cars into mangled junk. Then something goes terribly wrong. But why? You figure it out. And btw, the character your protagonist met earlier is killed by a stray bullet. Your protagonist must act. What will she or he do? Fight? Escape? Save someone else? All of above? A few things: Consider this a scene in a novel. Confine the length to not more than 1,000 words. You must transition effectively through all four levels of 3POV as defined in this Module. You must elevate the prose narrative to a level commensurate with Level 3 as defined in this Module. PART 2 Utilizing the same scenario and bulleted goals above, now translate it through a completely different viewpoint. Choose any character you wish, just make certain the character you choose brings their own viewpoint and tone to the work, e.g., an eccentric friend of the protagonist, the person who gets shot, one of the gang, the snobby manager of the car show, a child with his parents? 1000 word limit. PART 3 Taking a favorite narrative sample from your own work-in-progress, or a suitable work, elevate it to the third level of narrative transformation, as defined above, and transition through all four 3POV levels. Limit of 500 words.

Algonkian Novel Writing and MS Revision Courses Pre-MFA, Post-MFA, or No MFA - Get Your Novel on a Realistic Path to Publication In Cooperation and Partnership With Algonkian Writer Conferences and the New York Pitch Applying the Six Act Two-Goal Structure to Writing the Novel Algonkian developed the Six Act Two-Goal novel structure for writers of book-length fiction and nonfiction. The plot-point and reversal method will be utilized by all writers in the novel writing program to effectively brainstorm and outline a competitive and suspenseful plot for the commercial novel, regardless of genre (SF/F, thriller/detective, historical, etc.). Upmarket or literary fiction work with a strong plot also benefits. In short, the approach combines Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure becomes the "Act 5" in Siegal's version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story, and we concur with this. In the opening hook, the protagonist(s) are focused on a major goal begun by the first major plot point that starts the second act (in the Field model), but by the middle of the second act, or later, they realize they have pursued the wrong goal. The protagonist(s) are forced to alter their course and struggle for a more accurate goal or means to achieve the final end (even if that doesn't happen the way they expect). The fusion of the Siegal and Field models thus becomes a tighter six act model for the novel or narrative nonfiction. NOTE: the sample below is one part of a single module in the first half of the novel writing program. The notes are in the context of other modules which came before and defined the progress of the novel up until this point. ___________ ACT THREE TO FIRST MAJOR REVERSAL (Page 50+ - 250+) Plot Line Evolution: Minor Reversals - Complications - Thee Levels of Conflict - Major Reversal Time - Plot Points - The Martians are Winning The dramatic pursuit of the protagonist's major objective evolves. Plot tension is rising. The FIRST GOAL (a means to the final end) within the context of the bigger overall objective is pursued (as we noted in prior lessons), but this must eventually lead your protagonist to a dead end, and with potentially serious consequences. This becomes the FIRST MAJOR REVERSAL. In other words, we thought we were on the way back to Kansas until we realized the broomstick must be stolen. We thought an escape from home prison was possible in MISERY until our captor whacked our leg with ten pounds of iron. NOTE: This act pulls out all the stops to create tension, angst, conflict, and issues for the protagonist and appropriate characters to resolve: MINOR REVERSALS TAKE PLACE: protagonist(s) struggle, perhaps score small victories of one sort or another, but these are almost always reversed. For example, in ONE FLEW OVER THE CUCKOO'S NEST, McMurphy organizes the inmates and theatrically pretends to watch the World Series in defiance of the Big Nurse, but she makes her will known later and punishes him. MINOR COMPLICATIONS TAKE PLACE: in other words, things happen that have a notable negative physical or emotional impact on the protagonist or those he/she cares about. These are not as strong as minor reversals, but action must be taken to overcome them. McMurphy takes the inmates out for a boat ride, but conflict at the dock with the boat captain and a need to make a quick escape takes place (ONE FLEW OVER). And know that "minor complications" can be fairly serious. In WAR OF THE WORLDS the major character had to bludgeon an insane minister to death in order to prevent him from giving away their hiding place to the Martians. Whether upmarket or genre, MINOR COMPLICATIONS combine with MINOR REVERSALS to continually spike the narrative and story. It can't be easy for the protagonist and/or her companions. If too easy, you inevitably build to classic mid-novel sag. Tension runs out, wheels spin, and an inexperienced writer pads the middle with lumps of dull narrative and quiet situation. Ugh. "Best Wishes" rejection letter on the way. Off to a minor eBook publisher who will publish you if you have more than 100 Facebook members. Note: as a bonus, complications and reversals also assist greatly in maintaining all three levels of conflict. Also, prior to climax, we may have a smart and strong reversal or complication which serves to introduce a twist or an unexpected event in the story (sometimes called a MIDPOINT CLIMAX). Pinch Points Reveal the Antagonist Aims Sans Filter Pinch Points take place: an example or a reminder of the nature and implications of the antagonistic force, that is not filtered by the hero's experience. We see it for ourselves in a direct form as in a brief cut away scene that describes an impending thunderstorm, a peek into the villian's mind. There should be two and they should be at about the 3/8 mark and the 3/5 mark in the manuscript. In ONE FLEW OVER THE CUCKOO'S NEST a pinch point took place at the 3/5 mark when the Big Nurse informed the assembled hospital staff just what kind of cruel fate was in store for McMurphy. Crisis Point or FIRST MAJOR REVERSAL = Second Major Plot Point In Stephen King's MISERY, after the captive author protagonist has his knees sledge-hammered by Kathy Bates (God, that hurt!) to prevent him from trying to escape again, he knows he's been using the wrong means to pursue the master goal (ie, to escape). He must now reboot and choose another path, a second goal to achieve the master objective or goal (escape). To accomplish, the author conceives a new plan of theatrical cooperation with his captor, the new goal within the master goal being to trick her into passivity and lure her into a trap whereupon he can knock her senseless. In general, at this point, backstory issues, mysterious strangers, twists and turns and events all point out that your protagonist is on the wrong track, and the antagonist graph is rising. The Martians are conquering Earth and the Big Nurse is slowly tightening a noose around McMurphy's neck. Once more, success seems possible. INTERNAL CONFLICT IS ON THE INCREASE ALSO. Of course, and so is interpersonal conflict. All three levels of conflict are rising! But back to the protagonist for a moment ... Why should she or he turn back now? Why doesn't he/she? What's at stake? Is there a DILEMMA? What makes your protagonist realize the unavoidable importance of her/his original goal? What gives it new meaning? Does someone die? Do the stakes raise? Does reputation suffer or threaten to diminish? We must have a answer. This is true drama. Storytelling at its finest. MODULE ASSIGNMENT as follows: List at least three minor reversals and three complications that will take place in this Act (you will likely have more). Place them in the context of the story and sketch the circumstances for each--not more than 50 words each for a total of not more than 300 words. In 100 words or less, note how your minor reversals and complications will contribute to the three levels of conflict. Note your "mid-point climax" if you have one. If not, why not? See the note above. Work up a twist or unexpected event. In 100 words or less, sketch the nature of your antagonist pinch points. Why do they occur when they do? What are the circumstances? Sketch the first major plot reversal. Set the scene for us. What happens? Why? What is the aftermath? Finally, what is at stake for the protagonist? Why doesn't he or she turn back now? And if she or he does turn back or retreat for a short time, what remotivates them back to the struggle?

Algonkian Novel Writing and MS Revision Courses Pre-MFA, Post-MFA, or No MFA - Get Your Novel on a Realistic Path to Publication In Cooperation and Partnership With Algonkian Writer Conferences and the New York Pitch Why is This Novel Writing Program Unique? A number of significant things, as follows: Our "model-and-context" and "cross-module method" approach to studying and applying proper technique on all vital levels while your novel is being effectively developed and edited at the same time. Our detailed 16 module syllabus that exhaustively covers all the major novel elements as well as the authors studied or referenced. The array of fiction works studied and referenced in the program modules. The books and analytical fiction articles studied in the program. Our layer by layer approach to teaching you how to write multi-angled and unpredictable cinematic narrative, taking show-don't-tell to its ultimate expression. Our program faculty which consists of seasoned NYC professionals who have not only sold and developed major commercial projects, but who are also fiction writers themselves with publication records; and as a bonus, the faculty are literary agents actively looking for new projects for both film and book purposes. Keep in mind, it is always in our very best interest to get you an agent or book contract, since this is great publicity for our program. The fact that advice and critique on all levels derives exclusively from faculty professionals. In our opinion, this approach is crucial. If you wish to learn how to build your own house, and then actually do so, or invest your money wisely and then actually invest it, you know better than to seek advice from inexperienced non-professionals. Why? Because the issues are important and the stakes are high. Why should they be less high when you are writing a break out novel with the goal of becoming a career author? How Much Hand Holding is Necessary? From experience, the designers of this program knew that every writer entering it would most likely require serious ms rewrites as well as instruction in advanced narrative and structural technique, and therefore, be insufficiently close to a publishable manuscript. The aim and method of the program is to get you as close as possible via the modules, and once done, a faculty consultant assumes control from that point in order to provide professional editorial input and hands-on query guidance. NOTE: if you are participating in this program as an Algonkian alum you do not have to register a payment for it, however, to gain the benefit of indefinite and private editorial consults, an arrangement for compensation must be made with the professional developmental editor on staff--whatever both parties agree is appropriate and necessary. Having noted this, however, faculty will review final sell sheets prior to query, and for all writers regardless. Feel free to contact us on this issue. Once you are in the editorial consult and agent query phase, your communications with a faculty member are not limited to a set number of emails or phone calls, but are indefinite in consideration of the fact that varying projects and writers require varying amounts of time to come to successful completion. Does Every Writer Have the Potential to Succeed? Nearly everyone has the potential to write a breakout novel and go on to become a successful commercial author, but precious few finally accomplish the task. Why is this the rule? Writer conferences, author workshops, books, ms editors, and even the most pointless of MFA programs play a part in a writer's evolution, but none of these provide the overall pragmatic means and method to finish the job (and quite often, not even to start it). If this were not the case, an imaginative and ambitious writer would only have to attend an MFA program at Iowa, for example, and become a published author in due course. But this rarely if ever happens, despite expenditures in the range of $30,000 to $80,000 (Iowa Grad Program for two full years). And aside from this lack of comprehensive and realistic training, many other factors come into play that hamper the aspiring commercial author, everything from prickly skin to incompetent writer groups to misunderstandings of market dynamics. Consider. Would you try to build a livable and quite stylish home on your own without an architect and a professional home builder simply because you had the ability to hammer a few boards together with nails? Of course not. You would acquire the expertise and skills before you began. And yet, new writers approach the creation of a thing equally or more complex, such as the writing of a competitive commercial novel, in the belief they can do so because they have a story idea, can type words on a page, and have read a few magazines about writing. They consult with other new writers as ignorant as themselves and proceed to build a house called a novel, but one that will not risk their lives because fortunately for them, it is all on paper. What Type of Aspiring Authors Should Apply? Serious, self-starting writers willing to conceive, write and craft their novel in the due course of completing this program, and who are willing to accept critical guidance from professionals in the business. We emphasize "serious" because this program is rigorous and challenging, and not like a college extension cyber-class or a typical online workshop. The more knowledge and skills you acquire, the more you apply, returning as necessary to edit until a review by a faculty editor takes place. Aspiring authors, regardless of manuscript stage, benefit from this approach and editorial mentorship. It's about starting with the first sentence and proceeding to the denouement. The program methodically addresses all structural, premise, and narrative aspects of your novel, and in a manner beneficial to making it more competitive while also evolving your writer skill set, no matter your level at the start of the program. How Does This Program Apply to All Genres? The art of good storytelling never changes. The courses and modules approach the art of writing commercial fiction in a manner that applies to upmarket/literary and all commercial genres. See the Six Act Two-Goal Novel page on "Novel Writing on Edge" to get an idea of what we're talking about. The courses accomplish three primary goals. They enable you to: Learn and practice advanced premise-plot and character technique. Learn and practice advanced narrative and prose style craft. Learn and apply said technique, narrative craft, and knowledge to your own work-in-progress. Come to a firm understanding of the role today's market plays in getting your novel published. Genres we work with include upmarket/literary, general fiction, SF adult and YA/MG, fantasy adult and YA/MG (as well as New Adult), urban fantasy, mysteries of all types, detective/true crime, suspense/thrillers, women's fiction both serious and light, as well as paranormal romance. What About Start Date, Time Involved? There is no arbitrary start date. You begin the first module and proceed through the next 15 modules once you've entered the program, or at such time you decide to begin. In theory, you might wish to review a few modules first, take some notes and consider before starting the first assignment. Once you have begun, you progress through the program, writing or rewriting your novel a step at a time at your own pace, returning to prior modules as needed and editing further based on new skills developed and knowledge gained. The amount of time it will take any particular writer to complete the entire novel writing program, receive professionals reviews, return to edit their work, and move on to the agent query process (or else to further project development), will depend entirely on each writer's background knowledge, skill set, and novel manuscript quality upon entering the program. Also, given the fact that most people work and have other lives, we estimate a minimum of 18 weeks to complete the program--though if it takes longer, so be it. Additionally, our writers can also take whatever breaks or hiatus they need, for whatever reason, and suffer no detrimental issues as a result. How Do I Graduate? Successful completion of Parts I and II. Application of work, editorial direction, and critical lessons learned to your novel-in-progress manuscript as evidenced by story development outlines, prose samples, and other criteria as deemed appropriate by program faculty. Completion of the self-coverage novel scorebox. Completion of all extra assignments and readings related to the program. Completion of faculty review and adoption of further edits as necessary. Joint approval of your publication plan going forward.

Develop, Write, or Rewrite Your Breakout Novel Step-by-Step Courses Followed by Editorial Consults and Agent Query Process Originally brainstormed by the faculty of Algonkian Writer Conferences, this program was later tested by NYC publishing professionals for practical and time-sensitive utilization by genre writers (SF/F, YA, Mystery, Thriller, Historical, etc.) as well as upmarket literary writers. Now you'll find it designed not only for those currently in the process of writing the novel, or beginning one, but for those rewriting it as well. The ultimate goal is to get you as close to the brass ring as possible, to make your novel as commercially competitive as it needs to be on all levels while avoiding critical missteps and bad advice. And it does not matter what stage your novel is currently in, or where you are in your writing life. The program steps and methodology, as well as the faculty, enable you to learn and grow as a writer together with your novel, and at your own pace. Your work is thoroughly reviewed by our faculty (see the FAQ for details) and together you set publication goals, engage in necessary manuscript edits, and at the appropriate time, initiate the agent discovery process and the writing of the query letter. Faculty consists of New York Pitch Conference workshop leaders, in particular Paula Munier and Michael Neff. Algonkian Novel Writing Program Links Novels and Authors Studied Frequently Asked Questions Program Syllabus - Part I and II (with program samples) Application Form - Registration ___________________

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

Underwhelmed by Neil.

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

Don, good point: "Out of this, I decided that at the heart of each main character should be motivation driven essentially by fear or desire, and decisions often driven by misunderstanding or misbelief." Btw, this here a good article on character "core wound" that might well enhance your discovery: Loglines and Hooks With Core Wounds WWW.NOVELWRITINGONEDGE.COM Novel Writing on Edge is a time-tested and trusted source for all genres on the topics of novel writing, development, editing, and publishing. Michael

I get what he means though. It's a way of speaking to your target audience--not perfect, of course, but a start. It would help with a certain amount of focus. With AOZ I was writing to an older readership by design.

Various interviews and reviews over the years conducted with writers who attended the New York Pitch Conference (Ripley Greer Studios). Reasonably detailed. A few meander but they contain sufficiently good advice for neophyte writers. Halie and Lee Ann walk down the New York Pitch Conference memory lane, talking about how it turned them around as writers, and helped make them friends for life. The above is from one of the older conferences with more limited programming, however, even at that time we utilized pre-pitch workshops to conduct novel analysis and go forward with edits.

Your words on the page are an example of good commercial fiction prose, no question, but your dialogue feels too predictable, familiar, too quiet. There are no surprises. Consider this as the opening scene of a new movie or television show. Would it even work for Narnia? Certainly not for The Witcher. Also, the tone and scene is relatively quiet. Make the failure to be chosen more dramatic, more flashy, more threatening. For example, have her seized by elite guardian demons or magically transmogrified to a raggedy Scab before everyone's eyes. Perhaps consider using a Scab viewpoint to witness all this. Why not? It would require a whole different viewpoint, a darker filter on the proceedings. Perhaps the Scab hates the princess and once she loses out, he/she thinks, "Now, it's my turn to guide this little princess in the ways of Scabbery." (I'm being slightly humorous here). But it could end with a sense of jeopardy, not simply a disappointment. Ramp up the emotions and suspense.