Chief Editor M. Neff

For writers trying to break in, they need to appease agents and editors reading the work. If they're missing an inciting incident and first major plot point, they're sunk, period. I know that for a fact after 15 years of pitch conference. So the issue becomes, how loose can the plotting be, so to speak, and still get over the line to be fitted for a brass ring? For those self-publishing, it's the wild west. For more literary authors, certainly more flexibility in some cases. For veteran authors with a good readership, also more room to try new things. As for me, I know my last novel wasn't rigidly following a continuum of points in the same way a screenplay would, however, it didn't veer off into character-inspired tangents. There were tangents, but not spontaneous ones, rather controlled ones that still supported the main story. I wanted to hit that sweet spot between 85,000 to 95,000 and couldn't afford to get crazy. However, one could still spontaneously veer off now and then, but still more or less follow a coherent genre plotting scheme. It makes rising action development much more steady and sure. It would be curious to do a study of King's early work and later work in the context of plot. However, I believe his scathing comment that linked plotting to bad writers was a deliberate knock and very petty. He didn't have to put it that way even if he did believe plotting to be a bad idea (which I don't believe he does since his novels are not plotless). In summary, my many years of workshopping and editing have taught me that new writers are better off following the rules of good fiction writing, simply because 99.9% of them flounder in predictable ways--weak story being one of the ways. Later, perhaps, they can experiment. But hey, if you get published, that's usually a pretty good sign you did something right... course, there are exceptions even to this.

All good points. And you're right, it does work out for him. IMO don't you think we need to look at King's work in the context of a long career writing horror and becoming popular as a result? So many popular authors can engage in flights of fancy, just the kind a breakout author would be disallowed from attempting. The word count sweet spot for most adult novels is 85,000 to 95,000. This requires a reasonably tight and coherent plot line with limited sub-plot tangents and viewpoints. This is what agents and publishing house editors are looking for. Some "release of control" but in the context of the bigger picture. I know what King says in the context of his own work, but this context would not be repeated by anyone else. In the hands of an inexpert writer, it could mean sag or a loss of momentum. If Sarah and Conner are racing to Jupiter, a diversion to the casino planet for three chapters worth of blackjack might not work (this actually happened in a screenplay collaboration). But as you note, the risk, not being overly controlling... I agree, and I'm not saying that characters cannot voice their concerns and take the story in new directions (in the context of the primary high-concept premise which should remain immutable), I'm saying that caution is advised. This circumstance can happen limitless times. Does the writer allow the rail jumping every time? Thoughts? I'm glad you pointed out the "pickle" of over-editing. That is worth a full topic discussion.

"PLOT IS THE LAST RESORT OF BAD WRITERS." - Stephen King Can I now scrape my jaw off the floor? Amazing statement especially considering plots are a strength of his stories, as well as the films, obviously. So let me get this straight. The last resort plots in MISERY and THE SHINING were just that? Were the plot points and reversals whispered to him by Jack Nicholson's character when the screenplay was being written? And are King novels now consider plotless by the author himself all these many years later? The last time I read a plotless novel was in a post-modern daze of Beckett and his contemporaries like Donald Barthelme. The statement is utterly absurd, even by King's standards. But I don't have to be a therapist to ascertain his motive. It's telling that rather than voice his objection to plotting in the context of novel writing alone, he bombasted it forth like the voice of God in an auditorium full of people and cameras, and in the context of it being defined as "the last resort of bad writers." You don't have to be a genius to see this was a choice, not an accident. He was swiping maliciously at rival authors who have stated the polar opposite about plot, namely J.K. Rowling. In fact, it almost feels like a dig at her. He's narcissistically letting everyone know that he is beyond such artifice due to his superior and innate artistic ability. Only "bad writers" consider plotting. Don't we all know that? Regardless, this is horrible advice for new writers. I've never heard worse. Sure, pen your SFF or thriller novel then pitch it as all character-driven while quoting King's bogus maxim above and see how far that gets you with an agent or publishing house editor. Agents and editors want strong plot, no question. Twenty years of workshops and pitch sessions have taught me that over and over and over. How many poor openings and saggy middles have I seen? Countless. How many times have I read rejections based on inexpert plotting? King is also dead wrong about his uncertainty over writing being teachable. The very nature of good writer workshops and classes contradict him. Great books on novel writing contradict him. Common sense contradicts him. Writers can be taught an enormous number of basics and advanced nuances, from complex sentence structure to denouement wrap up. All beginners don't even know what they don't know. Instruction is indispensable. I've never witnessed a writer who was able to write a competitive commercial or literary novel simply by reading a lot of books. Not once, not even close. Below is part of an interview with R.L. Stine, one of the bestselling authors of all time, who refutes King's assertions about plotting and pantsing.

My beef with the platitudes is just that they're platitudes, thus generic and thus do very little to inform much less focus a new writer on a realistic approach. I have the same issues you do, and the totality of his little show also feels very facile to me, as if it's something he had to hurry and slap together for this event.

Good points, Elise, you've bifurcated this little lecture perfectly. Given my own background, the former fault is inexcusable and sends the message IMO that craft takes a backseat...

Yes, Ted Talking, agreed, and there is encouraging pep for on-the-fencers, however, does the good outweigh the bad? If I were going to winnow out poor vids on novel writing, I would delete this one based on his terrible advice that will sink new novel writers, i.e., as you note above, sending in subs before ms is ready (not to mention barely noting the importance of embracing craft right from the start). Who wants an ms clunking along with editorial red flags in the first place?

How to write wondrous, award-winning novels... "or at least be happier whilst trying"... Quite a range there. So the end game might be therapy based? Happiness? And if you know little about novel writing, how does it logically follow you can set realistic goals for anything related to novel writing? Shouldn't something about the craft be squeezed in there? For starters. #3 : Be prepared to fail. I had to add, he's confusing agent rejection boilerplate with actual slight praise for his work. Did I hear that right?

The personality goes on to state that a lot of work and planning will work it's magic to evolve, by inference, even a bad story idea into a "great story." Let's be hyperbolic about this for the sake of example. Writer X has a story idea that pretty much mimics The Hunger Games... Need I continue to elaborate?

While this video is based on helping people write a novel, or to at least be happier while trying, I have to confess that I did not feel happier after watching this. The overall tone did not make me want to run to my keyboard and start working on a new manuscript (forget that I’m already at it typing this post). On the contrary, I kind of got depressed. [MORE BELOW]

In the topic thread below you will find several responses by veteran writers and authors critical of Stephen King's personal opinions regarding plotting, and further reaction to his disparaging of authors who themselves utilize plot and story planning techniques (for example, J.K. Rowling). We here at Algonkian Author Connect believe the dialogue concerning this issue is important, especially for writers relatively new to novel writing. Feel free to contact us with any thoughts you might have. Thank you.

Nothing is original? False. The "Hunger Games" idea was original when first conceived for BATTLE ROYALE. It ceased any claim to originality once recycled into "The Hunger Games," but prior to that it was original. All story ideas currently extant were once original at one time in the past. Classic examples? [MORE INFO]

That said, I agree with Joe that this video might do more harm than good when it comes to giving writers advice. It sounds like Hank is (as we've been hammering on so hard here) a pantser. From the way he described his process, it sounds like he sort of wanders through the story and sees where his interest (and the characters) take him. [MORE BELOW]

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. ________________________

What makes for good drama is a constant. To begin, we combine Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure joins "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. We concur. NOTE: "Plot Point" is defined here as a major occurrence that emphatically changes the course of the story. In the genre novel as a whole, we see three to five major plot points depending on various factors: a first PP that begins the rising action, second PP defined by the first major reversal, a third PP defined by a possible second major reversal, a climax PP, and a theoretical PP residing in the denouement, i.e., we think the story is going to resolve a certain way after climax, but a surprise happens that resolves it in a way not expected. Algonkian Writer Conferences developed the Six Act Two-Goal novel planning outline for all writers of novel-length dramatic fiction, regardless of genre, as well as narrative non-fiction. The point is to utilize a tightly plotted act structure, similar to that used by screenplay writers, to effectively brainstorm and produce competitive, suspenseful plots for the genre novel (fantasy, SF, YA/MG, mystery, thriller, crime, historical, women's fiction, etc.). Upmarket or literary fiction utilizing strong plot lines also benefit (see examples below). We do not dismiss other forms of novel outlining out of hand, simply recommend this one as being a strong and tested framework not only for breaking into mainstream publishing, but for later translating the novel into a film as efficiently as possible. In the opening of a story ignited directly or indirectly by the antagonist, the protagonist(s) are focused to embark on their primary task, challenge, journey, or struggle (first major plot point), and thus follows a "first major goal" to win that struggle, thereby initiating the second act of the story (Syd Field model); however, by the middle of the second act or later, the protagonist(s) realize they have pursued the wrong goal. A second goal is now needed. The protagonist(s) are therefore forced to alter their course and struggle to accomplish a new and presumably more productive means-to-an-end. To put it simply, storming the walls didn't work and now the Trojan Horse solution is needed. Finding the wizard wasn't sufficient, now the little band of heroes must steal the Wicked Witch's broom. Acquiring a reasonably priced rest home for her mentally unstable father failed, now the impoverished daughter must prepare a room in her basement. Attempting to flee got his knees pulped by a sledge hammer, now the captive author must connive a more subtle and deceptive means of escape. The fusion of the Siegal and Field models we outline below thus becomes a tighter six act model for the novel or narrative nonfiction. However, before you begin using the SATG, take note that your most important elements to sketch and produce from the onset are your: High Concept Story Protagonist Hook and Core Wound Defined (+ General "P" Definition ) Antagonist The Novel "Agon" Rich and Potent Setting BTW, keep in mind that you construct your novel in units of scene, and every scene drives the plot line(s) forward. NOTE: we use examples of novels, stories and films below that will likely be familiar to the widest range of readers. These include ANTIGONE, TO KILL A MOCKINGBIRD, THE HUNGER GAMES, HUCKLEBERRY FINN, ONE FLEW OVER THE CUCKOO'S NEST, GLADIATOR, THE GREAT GATSBY, WAR OF THE WORLDS, CATCHER IN THE RYE, CITIZEN KANE, HARRY POTTER, DA VINCI CODE, THE MALTESE FALCON, THE SUN ALSO RISES, COLD MOUNTAIN, THE WIZARD OF OZ, and MISERY. But make no mistake, the rules governing the art of fiction, or good storytelling, remain steady regardless of genre, and have pretty much been fixed since Apollonius of Rhodes wrote about the Argonauts. And if you happen to be one of those writers who believes that writing a novel "your way" or simply "from the heart" or "only with my character's direction" means avoiding or denying the critical elements of commercial fiction and good storytelling found below, it‘s best to move on quickly from this page and seek the Elysium of your desire. All best wishes to you. ACT ZERO Backstory to Set Up the Tale You must carefully forge your backstory before you begin. Understand the issues below. This does not directly appear in the story except by use of flashback and via other methods to DELIVER EXPOSITION: Writers set up the disaster that is coming in the story. Forces need to already be in motion in order to create conflict for the characters. Usually the emphasis for the backstory will be on the antagonist, but even protagonists carry baggage into the story. Years and years of planning might have gone into the collision course. ACT ONE (Page 1 - 30+) Issues of The Hook: Protagonist Intro - Antagonist First? - Inciting Incident - Extreme Importance of Setting - Establishment of Characters - The MacGuffin - In Media Res - Crucial Sympathy Factors - Something Bad Happens - Exposition - Theme? What needs to be done from the start? Why is the hook of Act I critical to this novel and to being taken seriously as a writer? The author showcases their BEST PROSE AND NARRATIVE SKILLS. Opening scenes clearly use show-don't-tell effects to render the protagonist and major characters as necessary. Scenes themselves have clear beginnings, middles, and ends. Point of view is rendered masterfully on both a distant and close level. Narrative and story progression don't feel overly derivative, but rather fresh and suspenseful, definitely engaging. And btw, Algonkian Writer Conferences recommend you consider utilizing the SCENE STORYBOARD GUIDE at this point to sketch important scenes ahead of time (crucial). Act I foreshadows the primary external conflict or complication (related to the protagonist goal in ACT II) to come. SYMPATHY FACTORS in the first 20 pages, or fewer, are critical for connecting the reader with your protagonist. We must see the character playing out their role in active scenes. We learn about them, their strengths and weaknesses, idiosyncrasies and flaws, and we learn these things by virtue of their actions, various internal concerns and conflict, and in the way other characters react to them in real time (vital--set up SECONDARY CHARACTERS whose role, at least in part, it is to reveal the traits and inclinations of the protagonist). Conflict begins on one or two of three levels (primary story conflict, inner conflict(s), and interpersonal conflict). THREE LEVELS OF CONFLICT. Setting is established (and it must be one that works TO CREATE VERVE AND OPPORTUNITIES). IN MEDIA RES may be employed here ("beginning in the middle"), ie, beginning where it most benefits the story, at a point of action, turmoil, or during a lively or curious event, etc. Something bad, irritating or tension-causing usually happens (Chief Bromden gets electro-shocked in the CUCKOO'S NEST or Jake debates his impotency with his ex-girlfriend in THE SUN ALSO RISES) or has just happened (murder victim found in the mayor's plum tree). An INCITING INCIDENT may take place that sets in motion events leading to the FIRST MAJOR PLOT POINT (see Act II below). In the movie, GLADIATOR, Commodus murders his Emperor father (Inciting Incident) which inevitably leads to the Emperor's general, Maximus, realizing the murder. He defies Commodus and faces execution (Plot Point) as a result. In King's MISERY, the author protagonist gets in a car accident and is rendered helpless (Inciting Incident). Kathy Bates finds him and imprisons him in her house (Plot Point). In ONE FLEW OVER THE CUCKOO'S NEST, McMurphy is sent to the asylum as a result of a fight (Inciting Incident) and later bets the inmates that he can shake up the Big Nurse and not get sent to the shock shop (Plot Point). The author cleverly PARCELS IN EXPOSITION in a variety of ways, via narrative, dialogue, characters, flashbacks, etc. NOTE that all major exposition must be delivered before or during the scene wherein the FIRST MAJOR PLOT POINT takes place. All information necessary to understand the story going forward must be known. Pardon the cliche, but exposition horse before the plot point cart at all times. In THE SUN ALSO RISES, Jake delivers the final round of exposition about his love, Brett Ashley, to his rival, Robert Cohn, just as Robert is making it known he wants Brett for himself. Jake reveals Brett's background and future plans (Exposition), and Robert indicates his plans for pursuing her (Plot Point). THE MACGUFFIN, if any, might well be introduced or foreshadowed as an object (or even goal) which catalyzes the plot line, or at least assists creates a source of mystery or tension (THE MALTESE FALCON or the mysterious head scar on HARRY POTTER). Something called THEME might well get a foothold here. Does the author have a message or a bigger point she or he wishes to portray in the plot, or by means of the character struggles, their conflicts and arcs, or perhaps by means of the setting itself? All the above? And theme doesn't have to be the exclusive province of literary or upmarket literature. Regardless, here are some great examples of theme from the dark classics. Please read and consider writing a "theme statement" for your own novel. It can't help but inform your work and make it richer and more relevant to the reader. The ANTAGONIST AND HIS OR HER MINIONS (if any), are introduced to a meaningful degree, along with more characters as necessary, or sidekicks of the protagonist. Note to Writer: don't create a minor or major character who doesn't somehow play a role in the development of the plot(s) and/or the protagonist arc. And they must create a presence on the stage of the page, either by virtue of their personality, position, attitude of the moment, or all of the above. You must consider and weigh and sketch each character carefully. Imagine they are all in a film. Will they seem gratuitous or vital to you? Sufficiently energetic or too quiet? The PRIMARY ANTAGONIST might remain a mystery (Lord Voldemort in HARRY POTTER), or be introduced first (the Big Nurse in CUCKOO'S NEST or the Opus Dei albino in DA VINCI CODE or the Wicked Witch in WIZARD OF OZ) to produce dramatic concern once protagonist accepts the goal. NOTE: The above is a very important dramatic effect. If you understand to a meaningful degree the power of the antagonist, whoever she or he may be, then instinctive concern for the protagonist enters the reader's mind as soon as she or he accepts the goal in ACT TWO (see below). ACT TWO (Page 10+ - 50+) More Hook: Write the Story Statement - Establishment of Major Goal - Primary External Conflict or Complication Begins - First Major Plot Point and Plot Line - Protagonist Psychology - Rising Action What's the mission? The goal? What must be done? Created? Accomplished? Defeated? Defy the dictator of the city and bury brother's body (ANTIGONE)? Place a bet that will shake up 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 or catalyze the plot line going forward. Note to Writer: If you can't write a simple story statement like above (which builds into your hook/log line) then you don't have a work of commercial fiction. Keep in mind that the PLOT LINE is an elaboration of the statement, of the primary complication. Also, look over the brief summaries of films and novels in the SAMPLE LOG LINES PDF. These contain the simple statement, but more elaborated into a short hook. Necessary Preparation Steps for the Author: (members utilize the AAS technique guides) Write the story statement. Make it clear. Brainstorm necessary complications, reversals, and conflicts on all levels. Write a short synopsis to reveal the major elements and clarify. Sketch the plot line(s) with notes on the proper settings. Write the hook/log line and listen to how it sounds. The FIRST MAJOR PLOT POINT therefore takes place that establishes your protagonist‘s overall goal. In other words, the course of the action or plot changes, often drastically, and usually with a change of setting. Success seems possible. The RISING ACTION of the story truly begins with the launch of the primary external conflict or complication. A means to achieve the goal is decided. The work begins, the war begins, the feet hit the bricks, the plan to reunite the lovers is initiated. The graph has begun to rise and it won't stop until after the CLIMAX. In other words, the protagonist commits to the goal(s). But why? What is the motivation? What are the internal and external issues involved? She or he may go willingly into the situation because the alternative is worse, or to help an apparent victim. She or he may undertake the task not realizing the true dangers or complications ahead, out of ignorance. Another character might trick or push the protagonist into situation. ACT THREE (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 goal evolves. The FIRST GOAL (the means to the end) within the master goal (the final desired result) is pursued (see STORY STATEMENT above), but this will eventually lead your protagonist to a firewall or dead end, or what is known as the MAJOR REVERSAL in the parlance of our times (Dorothy gets to Oz, but no Kansas until the broomstick is fetched). Members should utilize the AAS craft and technique guide modules. 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, 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 (ONE FLEW OVER THE CUCKOO'S NEST). The Wicked witch makes Dorothy and company take a poppy snooze right on the verge of OZ, and later, the Guard at OZ tells them no one gets in, no way, no how! 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). Meanwhile, Scarecrow hassles with crows, Tin Man is rusted, Lion overcompensates for cowardice, and Witch throws fireball. And know that "minor complications" can be fairly serious. In WAR OF THE WORLDS the major character had to bludgeon an insane curate to prevent him from giving away their hiding place to the Martians. You get the picture. But how many of them? Good question. Assignment: open up and read three of the best novels in your genre that you can find. Analyze the scenes and pick out the reversals and complications. Make a list. Report back. 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 (see above). 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).o Pinch Points Reveal and Reinforce the Antagonist Aims Pinch Points: an example or 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 way as a scene that provides a glimpse into the villain's mind. The antagonist reaffirms his or her goal to delay, injure, stop, crush, or kill the protagonist. The intent is manifest and the concern for the protagonist is elevated. There should be two and situated near the 3/8 mark and the 3/5 mark in the manuscript. In ONE FLEW OVER THE CUCKOO'S NEST a pinch point takes place at the 3/5 mark when the Big Nurse informs the assembled hospital staff just what kind of cruel fate is in store for McMurphy. Crisis Point or MAJOR REVERSAL = Second Major Plot Point We've already noted what happened to Dorothy. 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 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. ACT FOUR (Page 200+ - 375+) Second Major Plot Point - New Rising Action and Suspense - Conflict Levels - Climax - Victory at a Cost Opens with the SECOND MAJOR PLOT POINT as protagonist pursues the new and truly productive goal (the author of MISERY decides to write the novel Kathy wants in order to enact his new scheme to escape). The characters get that final clue, the missing piece to the puzzle, which allows them to make the necessary changes to successfully complete the plot line. Success seems more possible than ever despite MINOR REVERSALS OR COMPLICATIONS which may continue to take place. The final clue or missing piece to the puzzle is found. Possible surprise or twist takes place (the traitor is revealed--or this is reserved for CLIMAX or DENOUEMENT) All three conflict levels continue to build, however, some interpersonal conflicts may be resolved by this point. This builds to CLIMAX, and the protagonist will usually win out over the antagonist, but victory or success must come at a price (such as the death of a favorite character: the sheriff in MISERY is killed by Kathy just before climax). Climax should be the most intense plot point in the story, but the intensity and nature of that intensity depends on the needs of the genre and the nature of the story. While the climax is the moment when the decisive event occurs, plot development is a process that occurs throughout your novel (see above). As we've noted, the reader must see how main character behaves at the start of the novel, and understand how her/his nature is challenged by the main goal. In HUCKLEBERRY FINN, Huck thinks about going against morality of the day and writing Miss Watson where the Phelps family is holding Jim. Instead, he follows his conscience and he and Tom free Jim, and Tom is shot in the leg in the attempt (victory at a cost). You can also have a double climax. For example, in HARRY POTTER, when the heroes find and escape with a magical hoarcrux, that's a climax, but a climax is when Harry finally defeats the chief antagonist, Lord Voldemort. After the climax, you must show the reader the outcome, and how it is good or bad for the main character. Important! ACT FIVE (Page 300+ - 400+) Denouement - Loose Ends Wrapped - Theme Wrap - Conclusions - Resolutions - A Final Surprise? Denouement wherein all loose ends resolved, a final surprise perhaps, hint of the sequel perhaps, but readers on their way with the emotions the writer wants them to feel (Fitzgerald actually saved final exposition regarding Gatsby for the denouement following Gatsby's death). Internal Resolution and With Theme or No What does the protagonist and possibly other characters learn as a result of climax? How does this manifest itself going forward? How are things different? How are they changed, especially the protagonist? In CATCHER IN THE RYE, Holden leaves it ambiguous as to whether he's "better" or not, and many would say there is no "better" anyway; he just has to grow up, painfully and with a lot of depression thrown in for good measure. On the other hand, we look to the last line of the novel for another take on the conclusion: "Don't ever tell anybody anything. If you do, you start missing everybody." Perhaps then, the conclusion to Holden's initial conflict (the tension between wanting to connect but hating everyone) is that he did in fact connect – in one way or another – with everyone he met. The new question isn't whether or not one should connect, but whether or not the pain of inevitable loss is worth the initial gain. From SPARKNOTES, we have a slice of theme from TO KILL A MOCKINGBIRD: The most important theme of this novel is the book's exploration of the moral nature of human beings--that is, whether people are essentially good or essentially evil. The novel approaches this question by dramatizing Scout and Jem's transition from a perspective of childhood innocence, in which they assume that people are good because they have never seen evil, to a more adult perspective, in which they have confronted evil and must incorporate it into their understanding of the world. As a result of this portrayal of the transition from innocence to experience, one of the book's important subthemes involves the threat that hatred, prejudice, and ignorance pose to the innocent: people such as Tom Robinson and Boo Radley are not prepared for the evil that they encounter, and, as a result, they are destroyed. Even Jem is victimized to an extent by his discovery of the evil of racism during and after the trial. Whereas Scout is able to maintain her basic faith in human nature despite Tom's conviction, Jem's faith in justice and in humanity is badly damaged, and he retreats into a state of disillusionment. So we beat on, boats against the current, borne back ceaselessly into the past. _______________ ________________________________ [url={url}]View the full article[/url]

HOOK OR LOG WITH CORE WOUND AND CONFLICT Your hook line (also known as logline) is your first chance to get a New York or Hollywood professional interested in your novel. It can be utilized in your query to hook the agent into requesting the project. It is especially useful for those pitch sessions at conferences, lunches, in the elevator, or anywhere else. When a prospective agent or editor asks you what your book is about, your high-concept hook line is your answer. Writing one also encourages a realization of those primary elements that will make your novel into a work of powerful fiction. The great novel, more often than not, comprises two stories: the exterior story or plot line, and an interior story focused primarily on the protagonist, one that defines and catalyzes her or his evolutionary arc throughout the novel. For example, a protagonist with a flaw or core wound that prevents her from achieving a worthwhile goal is forced to respond to a lifechanging event instigated by an antagonist, and in the process of responding to that lifechanging event (usually with the help of an ally) she is forced to overcome her flaw. In doing so, she becomes far more capable of achieving her goal in defiance of the antagonist. The key elements of conflict, complication, and dramatic rising action are all pretty much related and serve to keep the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to post-slush damnation. You need tension on the page, and the best way to accomplish this is to create conflict and complication in the plot, and narrative as well. Elements of a Hook or Logline (examples below) Character(s) – Who is the protagonist? What is his/her main goal? What is their CORE WOUND (see below)? Conflict – Who is the antagonist? Is she/he implied or clear in the hook line? What obstacle do they create to frustrate the protagonist? Distinction – What is the primary unique element of your story that makes it stand out? Setting – for a novel, adding a little about the setting, time period, and possibly genre (if it’s not obvious) is a VERY good idea. Action – Your hook line should radiate verve and energy. Which hook as follows catches your interest more? A woman has an affair and runs off with her new beau, OR, a neglected wife begins a torrid affair with an ex-con, soon kidnapping her children to flee the state and join him in Vegas. As for "core wounds," consider conscious motivation stimulated by both memory and subconscious pain. The "core wound" drives the character in certain unique ways, perhaps leads them on a journey to prove themselves. Resolution, if it ever comes, will make them happier, healthier, or more in tune with the world around them. Every core wound is based on a basic knowledge that we are unacceptable as we are, so we have to adjust and change to be perceived as good. Fundamental and popular core wounds include loss of a parent, a broken heart, an ultimate mistake (the character could spend a lifetime trying to make amends), a big secret (the revelation of which could ruin or harm the character), or perhaps a perceived terrible failure in the character's past (a primary desire forever denied by a moment's hesitation or a small mistake). From Psychology Today: "Core wounds tend to be things like a sense of not being enough, of being unlovable to a parent, of feeling stupid, dirty, unwanted, or ugly. No matter what your core wound may be, you can guarantee that your wound influences who you are and how you behave..." "Every core wound is based on a basic knowledge that we are unacceptable as we are, so we have to adjust and change to be perceived as good. It influences our self-esteem and the very fabric of our thoughts." And one core wound is usually enough. As famous screenplay writer Peter Russell points out: Note that the sample hooks or loglines below are divided into two basic parts: the CORE WOUND and the resulting dramatic complication that drives conflict. "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. * The protagonist is scorned and tormented, thus the core wound, and as a result he seeks to fulfill an almost impossible task. "Summer 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 protagonist is betrayed by her friend and thus her core wound, and as a result she must take steps to reach a closure wherein conflict will surely result. "The Bartimaeus Trilogy" by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinni who joins the mage to confront a danger that threatens their entire world. * Humiliated into a core wound by an elder magician, the story line erupts into a conflict with the entire world at stake. Note it is a simple matter 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. Take note! _________________ ________________________________ [url={url}]View the full article[/url]

Aspire to be a great genre author? So what's your high concept? If you fail to grasp the vital importance of this second question, you will fail to conceive much less write a publishable genre novel - thriller, mystery, fantasy, horror, crime, SF, you name it. Just not going to happen. Don't let any writer group or self-appointed writer guru online or writer conference panel tell you otherwise. You're competing with tens of thousands of other aspiring authors in your genre. Consider. WHAT IS GOING TO MAKE YOUR NOVEL STAND OUT from the morass of throat-gulping hopefuls who don't know any better? Believe it or not, 99.5% of the writers in workshops all across the country *do not* arrive with a high-concept story. If anything, their aborning novel child is destined for still birth. They strut forward proudly waving their middle or low concept tale while noting how their hired editor from Stanford, or Iowa, or the Johns Hopkins MA program just "loves it!" As a professional, you inwardly groan, listen to them jabber, and realize within 30 seconds or less that you've heard a version of this story at least twenty times already. One of our NWOE contributors, famous literary agent Richard Curtis, talks about this sad phenomenon in The Seven Sins of Novel Rejection: "Writers don't always realize that stories that may seem unique to them are trite in the eyes of agents and editors. For every plot you write, we may see dozens of similar submissions. I freely confess to being easily bored, and I've stopped castigating myself for it, for I realize boredom is a critical symptom that a manuscript has gone wrong." Btw, did anyone warn the hapless writers noted above of this trite condition before they submitted to Richard?... No. Of course not. And why? Because they didn't know any better. Now consider this. *You* will be the bad guy because you are ethically obligated to inform them in the next workshop that their story ideas are cooked to a char. You do so in the most tactful way imaginable, and you make it clear you will brainstorm the solution with them. Nonetheless, the usual symptoms are observed: face drops, eyes freeze over, lower lip begins to quiver, and if the writer happens to be a narcissist, they naturally begin to snarl and plot disruption. But let's return to the issue at hand. First of all, what kind of story isn't a high concept? Several writer websites mimic each other and define a "low concept" story in this manner: 1. Not easily explained; 2. Character driven; 3. Talks about everyday life... Well, let's pause and reflect. One could actually possess a high concept novel yet be unable, at least temporarily, to express or "explain" it properly in one or two lines. We must differentiate between the actual product and the communication of that product, and by doing so, invalidate the relevancy of the first point above. In truth, with proper communication, one can explain (term should be "pitch") either a low or high concept, therefore, the nature of the concept itself, it's relative complexity or simplicity, staleness or freshness, has nothing to do with the difficulty of pitching or discussing it, and everything to do with the ineptitude of the person attempting it. As for point two above, a low concept pitch or hook line might be "character driven," but it doesn't need to be. It could be plot driven and still be low concept, therefore, "character" or "plot" driven isn't the real issue here (see Log Lines and Hooks With Core Wounds--character plays a big role in hooks). And as for point three, this is actually a false statement. For example, one could pitch or discuss a story idea that sounds like a GAME OF THRONES rehash, and last we checked, ice-eyed zombies bent on global acts of decapitation cannot be classified as everyday life. Which also points out what? The aspiring author MUST know their genre inside out, else how can they reasonably determine what is an overdone story idea and what is not? Alright, so how do we define a high concept? First from Wikipedia as it relates to film: "The term is often applied to films that are pitched and developed almost entirely upon an engaging premise with broad appeal, rather than standing upon complex character study, cinematography, or other strengths that relate more to the artistic execution of a production. Extreme examples of high-concept films are Snakes on a Plane and Hobo with a Shotgun, which describe their entire premises in their titles." Will we be fortunate enough to possess a novel title that describes our premise so efficiently? Most likely not, but we must possess a high-concept genre story nonetheless if we expect to be as competitive as need be while immersed in this insanely competitive market. A high concept must therefore be defined as "a story premise that presents itself as sufficiently unique and commercially viable at the same time." In other words, the premise when expressed as a hook or logline doesn't sound like one professionals have heard a hundred times in the past month. Instead, it immediately presents itself as relatively fresh, like a story publishers can market, perhaps even one that might make its way into television or film. Let's look at examples from various genres (note they're all sufficiently unique): DRAGON RIPPER by Melanie Bacon (historical mystery) - Jack the Ripper's daugher, fresh off the murder of her father and anxious to prove herself in a man's world, teams with the sister of Sherlock Holmes to fight an ancient evil society threatening the streets of London with murder and mayhem. GONE GIRL by Gillian Flynn (domestic thriller) - An unhappy and frustrated husband returns home to find his wife mysteriously missing, not knowing she has faked her disappearance and written false diary entries to implicate him in first degree murder. DON QUIXOTE by Miguel de Cervantes (literary classic) - A delusional 50-year-old Spanish nobleman obsessed with chivalric notions asks a fat farmer to join him as his dutiful sidekick and the two venture forth to fight windmills. THE HAND OF FATIMA by Ildefonso Falcones (historical fiction) - 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. THE BARTIMAEUS TRILOGY by Jonathan Stroud (young adult fantasy) - In seeking revenge on an elder magician who humiliated him, an apprentice mage unleashes a powerful Djinni who later joins him to confront a danger that threatens their entire world. Again, strive to understand your genre before you initiate your first steps towards writing a novel, and in this way, with a little wisdom and imagination, you've got a chance at inventing a high-concept that will sell to both New York and Hollywood. We should all be so lucky! Scimus Via. ________________________________ [url={url}]View the full article[/url]

Writing and editing a first novel of any kind is a long, hard slog even when armed with the right information and guidance. But if you're immersed in an atmosphere of foolish and erroneous advice, as most struggling novel writers are, the task becomes impossible. - Michael Neff __________________________ It's like acid rain. It never ceases to scar, harm the environment, and ruin vacations. We're talking about bad writer advice, of course (btw, see our first article on this subject). While perusing several collections of "Worst Writer Advice" found sprouting like toxic tulips after a simple Google search (most of it authored by insufferable rank amateurs working for the ad-driven content industry, and who wisely appear between ages 12 and 17), I found the various fallacies and idiocies about novel writing contained therein to be worth pointing out. Much of it was reminiscent of childish Twitter rumor, and therefore, potentially harmful to aborning novelists. Should one even bother though to set this straight? It makes you feel a little like the baffled ex-astronaut prodded into revealing Earth really is a globe when addressing a convention of flat earth fanatics, i.e., "I can't believe I'm even talking about this." And btw, I also visited the kingdom of Reedsy, one of the more popular writer advice hangouts. I was investigating their article on writing for NaNoWriMo, aka National Writing Month, but I found the surge of cheerleading blather concerning this competition to be a grand welcome mat for bad advice scuffery. No surprise there (not *everything* was bad advice, though most points required far more elaboration, and enough dark neoplasms did exist to cripple a writer's ability to succeed, e.g., "Follow whatever crazy character shows up and leads you down the rabbit hole, and let yourself be surprised!”). Yes, yes, leave the plot behind, just follow that crazy down the hole, and once you've reached the bottom, sitting with your crazy on a toilet in a squalid gas station bathroom just south of Pismo Beach, look up and squint to see that small crack of light high above you. Overall, I felt as if I were being lectured by children who had just discovered how to type, and it made me think... Could I now toss aside decades of experience and acquired knowledge regarding the topic of novel writing, and quite simply, like them, sally forth and tap out a new "epic novel" in a month? We are awash in wunderkind. Where do they come from? What do they want? Not long ago, a Reedsy-like writer in a Zoom workshop enthusiastically erupted, "The best thing about writer groups is that no one is necessarily right. Writers are free to approach novel writing in any number of ways, even if they have to INVENT IT AS THEY GO." I informed her that was actually the worst thing about writer groups (btw, was the inverse "necessarily wrong" also true?), and the "invent it as they go" was itself an invention of ignorant narcissism on the "go" only to rejection. Next, I asked her if she knew the definition of a plot point, whereupon she evaporated into electronic memory. I never saw her again, but apparently, "no right way to write a novel" was an important standard for her, one she clung to tenaciously. And btw, she's not alone. Such "writers" don't wish their "creativity" to be "controlled" or "diluted" with rules meant for "some." In all fairness, it's likely she'd absorbed such foolish and ruinous maxims after ingesting the literary advice equivalent of cyanide, the kind one inevitably discovers puddling around the web (see Google search above). Where else?... Oh right, I forgot. She could have learned it from her writer group? Where is the nearest cliff? Maybe this act of investigatory literary journalism will rescue your dream from ruination, or not. As one of the wise sages we'll review points out, "don't listen to experts if it makes you feel bad.. just follow your instincts." Again, I repeat, where is the nearest cliff? Regardless, more favorites below, from mind boggling to laughable. WE will not provide them with free publicity by naming or linking to them. As follows: "Some people, however, will say that no book will ever succeed without an outline. This is terrible writing advice. If you don't want to use an outline and want to go straight to writing then go ahead - don't allow anyone to tell you otherwise." (Some people? In two decades I've never heard anyone make this sweeping statement; however, I do belong to the non-pantsing school. I adamantly advocate for productive planning and/or outlining in advance, especially for aspiring genre-specific authors relatively new to the field. WE article on this issue here.) Some people are fortunate and they don’t have a lot of time commitments on their hands. These writers might get their book written, edited, and on their way to publishing in just a few weeks. This in no way means it’s not good! It just means they were able to spend a lot of consecutive time on it. (Some writer people known to this writer person are able to conceive, write, edit, and publish their novel in a few weeks... Tell me who. Show me the novel. This reminds me of the ancient Jack Kerouac novel-typing-in-one-sitting stunt, but not quite as extreme. Nevertheless, preposterous no matter how you look at it.) Join a writing group either in person or virtually and give them extracts of your work. (We've debunked that solution here.) Write in your own voice, with your natural grammar. Let copyeditors and proofreaders worry about your grammar later. (Your "natural grammar"? As both a line and developmental editor, this green light to ignore reasonable grammar can result in eye popping hybrids. Consistent and obvious bad grammar is a red flag to professionals. There are irritating nuances to grammar, yes, but advising writers to ignore grammar rules in general is wrong.) Most of the writing and publishing industry is shockingly elitist, and most of what they teach is bad advice that doesn’t work. (The portion of the industry that might present itself to some as elitist is not that portion of the industry currently engaged in freelance editorial work, i.e., unless the editor in question happens to be a former publishing house editor or literary agent. In that case, they are feverishly searching for jobs and will not be inclined to act snotty. The broad brush allegation that "most of what they teach is bad advice" is plain ridiculous, if for no other reason than the allegation is too sweeping. Most? Really? No examples given here. No names. Who provides unproductive advice and who does not varies widely.) (FYI, the statement above, and below, was made by an instructional-and-self-publication website) Nothing about reading books about writing—or subscribing to blogs about writing—is going to help you do that... But I have yet to find a book about writing that’s a better use of your time than actually writing. (I'm still bandaging my jaw. Well said, I must say. The writer has yet "to find a book about writing" that's any good? Waste of time? For example, "Screenwriter's Problem Solver" by Syd Field teaches nothing worthwhile? "Art of Fiction" by John Gardner? And so forth? We addressed this issue quite well on WE. It's hard to believe this issue has to be debated. I've only ever heard one person say this in twenty years, and that was an MFA prof attempting to sell his program to a writer workshop. And I'll maintain that if you cannot communicate writing advice using the written word, then you cannot communicate it verbally either. ) Read as much writing as you can in your genre (the kind of books you want to write)?... I actually tell people not to do this... Instead, read only the minimum amount necessary to know what the general consensus is in that field. (Huh? This fellow actually finds harm in immersing in one's chosen genre? Read the minimum amount? What does that mean? How does he define? We never find out. It's just overall ridiculous.) Do you find it hard to believe that a portion of the above isn't just an invention? I'd prefer it that way actually. Far more disturbing to see fellow writers (or alleged writers) passing this pap around as if valid. God bless Novel Writing on Edge. ________________________________ [url={url}]View the full article[/url]

You will discover below a series of scholarly, researchable, frank and indispensable guides to conceiving and writing the commercial genre novel, as well as the plot-driven literary novel - all derived from our sister site, Novel Writing on Edge. However, the nature of the developmental peels and prods as presented makes an initial big assumption, namely, that you are honestly desirous of true publication either by a classic publisher or traditional literary press, and therefore, willing to birth the most dynamic and can't-put-it-down novel you possibly can. Further, you are also naturally desirous of great sets, mind-altering theme, unforgettable characters, and cinematic scenes, among other things. Does that go without saying? Perhaps, but you must know, it won't be easy. First of all, the method-based assertions and information we've gathered and elevated before your eyes below will shiver many of you like a 6.5 on the literary Richter scale because it will contradict some or much of what you've been told about novel writing elsewhere - at writer conferences, for example, by your writer's group, or by various content-marketing websites operated by amateurs (75%+) playing to their demographic. Second of all, we don't cut corners or hold back to simplify matters for off-track or rank beginners who might be driven away (starting right about now) by the realization of just how much needs to be learned and applied. And though more of you might be driven away immediately following the forthcoming assertion, it is nonetheless true: there are no "SEVEN EASY STEPS" or other shortcut gimmicks that will catapult you into becoming the author of an authentically fine novel. Anyone who believes otherwise is sadly ignorant. Nonetheless, if you are astute and mature enough to know there are many things about novel writing you don't know, but must learn, you've come to the right place. And yes, there is a whole mass of matter to absorb. We make no apologies. Our mission is to take you from A to Z. You should consider all that follows to be a kind of master primer, i.e., whatever is necessary to sufficiently comprehend the novel writing universe. We divide the exploration into three sections, each with their own rubrics. Just know, it makes no sense to begin writing a novel you plan on selling to publishers or even smaller presses without first having a relatively good idea whether they'll want to buy it in the first place. This concept is radical to many beginners, but it shouldn't be. And the concept that you can't balance an artistic approach with pragmatic story considerations is not only indefensible but contradictory. The first category approaches the reality of novel writing vs. the myths and the source of those myths. For many of you, it will create emotional responses up and down the spectrum from humor to melancholy and back, depending of course on your mood and experience thus far with the aforementioned universe. Regardless, the overall point is to make a valiant attempt to filter out the many falsehoods and misperceptions with extreme prejudice in order to begin the journey of novel writing with a clear head and a view towards realistic expectation. The second two categories are relatively self-explanatory. Just know, it makes no sense to begin writing a novel you plan on selling to publishers or even smaller presses without first having a relatively good idea whether they'll want to buy it in the first place. This concept is radical to many beginners, but it shouldn't be. And the concept that you can't balance an artistic approach with pragmatic story considerations is not only indefensible but contradictory. Btw, you might wonder if it's advisable to pass on any of the articles below, but it isn't. Everything we've included is considered vital. Even if you believe you have a certain element pretty well covered, don't believe you know it all. Most likely, you don't. Also, the potential exists that you've read or received advice that is counter productive. The advice featured here, however, is based on decades of experience in the business (e.g., hundreds of sessions at the New York Pitch Conference and many more hundreds in writer workshops across the U.S.), as well as lessons learned from great novel authors, playwrights, and screenplay writers - more about this model-and-context methodology found here (feel free to leave comments on any of the items that follow). Before we begin, a favorite quote from one of America's greatest authors, Truman Capote: As certain young people practice the piano or the violin four and five hours a day, so I played with my papers and pens... My literary tasks kept me fully occupied; my apprenticeship at the altar of technique, craft; the devilish intricacies of paragraphing, punctuation, dialogue placement. Not to mention the grand overall design, the great demanding arc of middle-beginning-end. One had to learn so much, and from so many sources. NOVEL WRITING TRIP WIRES, CHECKLISTS, EGO, AND VITAL FIRST STEPS The Author Dawn - Rise and Blink (tell us why) https://www.novelwritingonedge.com/2020/11/the-author-dawn-rise-and-blink.html Ten Carefully Chosen First Steps For Starting the Novel (immerse, prep, reflect) https://www.novelwritingonedge.com/2020/11/best-10-steps-for-starting-novel-all.html The Epiphany Light You Must Enter (major vision adjustment) https://www.novelwritingonedge.com/2020/11/aspiring-authors-must-cross-epiphany.html Top Ten Worst Pieces of Writing Advice (and it gets worse) https://www.novelwritingonedge.com/2015/04/top-ten-worst-pieces-of-writing-advice.html Top Worst "Worst Writer Advice" - Outrageous and Mind Boggling https://www.novelwritingonedge.com/2020/11/top-worst-worst-writer-advice-advice.html Avoid Bad Writing by Name Authors! https://www.novelwritingonedge.com/2008/10/new-writers-must-be-careful-of.html Bullet Point Reasons Why Editors Reject https://www.novelwritingonedge.com/2017/02/timeless-and-valuable-editors-rejection.html Writer Groups - More Harm Than Good? https://www.novelwritingonedge.com/2020/10/problems-with-writer-groups-where-to.html Seven Critical Novel Rejection Sins https://www.novelwritingonedge.com/2020/10/seven-narrative-rejection-sins-bad.html Novel-Into-Film Checklist https://www.novelwritingonedge.com/2019/07/check-points-to-turn-novel-into-film.html Important: Coverage Checklist for Aspiring Authors https://www.novelwritingonedge.com/2020/11/important-coverage-checklist-for.html Top Seven Reasons Passionate Writers Fail https://www.novelwritingonedge.com/2015/05/top-seven-reasons-why-aspiring-authors.html Writer Ego and the Imaginary Bob (Could this be you?) https://www.novelwritingonedge.com/2020/11/writer-ego-and-imaginary-bob.html DEVELOPMENT REALITY - MAJOR POINTS OF PLOT AND MUCH MORE We endeavor to list the points below in the order they should be read, however, it isn't a perfect arrangement due to overlapping. Ideally, the high-concept premise must come first in any case. What is Your High-Concept Premise? https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html The Need For Human Drama in the Novel https://www.novelwritingonedge.com/2020/11/theme-plot-strong-character.html Loglines and Core Wounds as Development Tool https://www.novelwritingonedge.com/2020/10/hook-lines-with-core-wounds.html The Novel's "Agon" - Vital Core Conflict https://www.novelwritingonedge.com/2020/11/the-novels-agon-primary-conflict.html A Statement of Theme From the Dark Classics https://www.novelwritingonedge.com/2020/10/cuckoos-rhinoceri-and-miss-l-i-admit.html Can You Choose a Great Title? Will You? https://www.novelwritingonedge.com/2020/10/choosing-great-title-before-publication.html Setting is 60% - Maximizing Opportunities For Verve https://www.novelwritingonedge.com/2020/11/great-settings-maximize-opportunity.html A Clever Dose of Antagonistic Force https://www.novelwritingonedge.com/2020/10/antagonists-in-novel-most-important.html The Six Act Two-Goal Novel (premise, reversals, complications, major points) https://www.novelwritingonedge.com/2020/11/the-six-act-two-goal-novel.html Classics Deliver the Key to Exposition https://www.novelwritingonedge.com/2020/11/learning-exposition-from-classics.html Sympathy Factors in the Hook (protagonist or major character) https://www.novelwritingonedge.com/2020/11/protagonist-sympathy-factors-in-hook.html Deep and Fresh Traits for Secondary Characters https://www.novelwritingonedge.com/2020/10/deep-and-fresh-traits-for-majors.html ADVANCED NARRATIVE TECHNIQUE, SCENES, AND PROSE STYLE Dialogue - Never a Gratuitous or Boring Word https://www.novelwritingonedge.com/2020/10/dialogue-never-gratuitous-word-or.html Writing Novel Scenes - Drama, Sex, and Sass https://www.novelwritingonedge.com/2020/12/scenes-to-z-glue-drama-sex-sass.html Storyboard Considerations for Producing Effective Scenes https://www.novelwritingonedge.com/2013/02/algonkian-writer-conferences-michael.html Four Levels of Third Person Point of View https://novelwritingonedge.com/2020/08/four-levels-of-third-person-pov.html Experiments in High Impact Narrative https://www.novelwritingonedge.com/2020/12/experiments-in-high-impact-narrative.html A Great Damp Loaf of Description https://www.novelwritingonedge.com/2020/12/a-great-damp-loaf-of-description.html Prose Narrative Enhancement https://www.novelwritingonedge.com/2020/09/the-prose-description-questionnaire.html Brilliant Fiction Narrative in Four Stages https://www.novelwritingonedge.com/2020/11/writing-brilliant-fiction-narrative-in.html Narrative Enhancement Via Nabokov https://www.novelwritingonedge.com/2020/09/narrative-enhancement-via-nabokov.html "To Be" or Not? Too Much "Was" Will Hurt Your MS https://www.novelwritingonedge.com/2020/10/boot-was-for-more-verve.html The Sublime Inner Voice of Godwin https://www.novelwritingonedge.com/2020/10/interior-monologue-by-gail-godwin.html ________________________________

Prepared for appropriate frustration and tapped out fingers? Using our favorite "stand on the shoulders of the classics" approach, we're going to examine the role of detailed character description when it comes to enhancing prose narrative. We've touched on this previously with our High Impact Narrative article and a caboose of Enhancement via Nabokov, but we're not done yet. Let's look at various examples and techniques. A GREAT DAMP LOAF From Annie Proulx's "The Shipping News": "A great damp loaf of a body. At six he weighed eighty pounds. At sixteen he was buried under a casement of flesh. Head shaped like a crenshaw, no neck, reddish hair ruched back. Features as bunched as kissed fingertips. Eyes the color of plastic. The monstrous chin, a freakish shelf jutting from the lower face." Note that Proulx first makes a single statement of character impression before moving on to details, i.e., "A great damp loaf of a body." Note also, "shaped like a crenshaw." Consider your setting and choose an aspect of it to create a comparison to your own character. If your character lived in a desert town you might say, "his face unshaved for days, rough as prickly cactus." "Ed Punch talked out of the middle of his mouth. While he talked he examined Quoyle, noticed the cheap tweed jacket the size of a horse blanket, fingernails that looked regularly held to a grind stone. He smelled submission in Quoyle, guessed he was butter of fair spreading consistency." Consider and sketch a few metaphors to physically describe a unique character you've created. If you don't have one, perhaps you should get one ASAP? In any case, the more interesting the appearance, the easier your job. Begin with a single statement of impression and include simile or metaphor based on your novel's unique setting (is it sufficiently unique?). Note the above is third person POV. WATCHING THE MOUTH WITH ITALO From Italo Calvino's "Under the Jaguar Sun": "Right in the midst of chewing, Olivia's lips paused, almost stopped, though without completely interrupting their continuity of movement, which slowed down, as if reluctant to allow an inner echo to fade, while her gaze became fixed, intent on no specific object, in apparent alarm. Her face had a special concentration that I had observed during meals ever since we began our trip to Mexico. I followed the tension as it moved from her lips to her nostrils, flaring one moment, contracting the next, (the plasticity of the nose is quite limited -- especially for a delicate, harmonious nose like Olivia's -- and each barely perceptible attempt to expand the capacity of the nostrils in the longitudinal direction actually makes them thinner, while the corresponding reflex movement, accentuating their breadth, then seems a kind of withdrawal of the whole nose into the surface of the face)." "Right in the midst of chewing..." The character is engaged in an action. Focus on one physical attribute, then another. "As though" what? Consider, she or he, looks "as though" or "as if"? Where are the eyes? What are they doing? Is the face twitching, moving? How? And now, time to unleash the PDQ here at WE. Look it over carefully. This is a brainstorming tool for description in prose narrative - ideal onion peeler. Apply at least five PDQ questions to your character's face. Note the questions and include the responses. Take your time and think about it carefully... Note the example above is first person POV. UPDIKE'S MOTHER IS ANGRY (from John Updike's "The Centaur") "A glance at my mother's mottled throat told me she was angry. Suddenly I wanted to get out: she had injected into the confusion a shrill heat that made everything cling. I rarely knew exactly why she was mad; it would come and go like weather. Was it really that my father and grandfather absurdly debating sounded to her like murder? Was it something I had done, my arrogant slowness? Anxious to exempt myself from her rage, I sat down in my stiff peat jacket and tried the coffee again. It was still too hot. A sip seared my sense of taste away." Now describe a character who is familiar to you, like a family member, and depict them in a charged emotional state. Also, add at least one rumination like Updike did above, i.e., "Was it something I had done, my arrogant slowness?" CHABON AND NEFF'S HUNSECKER LOOKS PACINO From Michael Neff's "All the Dark We Will Not See" "First of all, Mr. Basil R. Hunsecker acted and looked the stereotypical bad boss: a middle-aged prick in three-piece gray and tacky pink tie who disturbingly resembled Al Pacino in Dog Day Afternoon (narrow head and brooding Italian look), only an older version, with a thinner face, pock-marked cheeks, and big, protruding, blue-bone eyes that sucked in everything and contrasted in an irritating way with his sallow brown skin—as if he were the victim of one too many spray tans. His odor, somewhat unique, like cooked shellfish marinated in mildew. What Manny didn‘t know was that Hunsecker remained the owner not only of a rare, painful, and mummifying disease that ate away the body fat between his skin and muscles, but also of more than one post-pubescent social trauma, his memory way to full of punky kids screeching at him: Hey, pizzaaa face, you fucking shithead pizzaaa face!" From Michael Chabon's "Amazing Adventures of Kavalier and Klay" "Then a hand as massive and hard as an elk's horn, lashed by tough sinews to an arm like the limb of an oak, grabs the boy by the shoulder and drags him back to the wings... "You know better, young man," says the giant, well over eight feet tall, to whom the massive hand belongs. He has the brow of an ape and the posture of a bear and the accent of a Viennese professor of medicine. He can rip open a steel drum like a can of tobacco, lift a train carriage by one corner, play the violin like Paganini, and calculate the velocity of asteroids and comets, one of which bears his name." Apply the techniques and lengthy description of Neff and Chabon to describe a unique or outrageous individual of your own creation. Be bold and imaginative with your strokes. Use metaphor, simile, the wallop of a single first impression. Feel free to make the character move and speak if you wish. Be aggressive and prototype your sketch first. Now, are you on your way to becoming a masterful prose stylist? Perhaps, but this is just the beginning. ________________________________ View the full article

Once more, the classics speak to us. What is one of the primary reasons novels get rejected? The narrative is too passive. It ultimately falls flat, quiet and dull. Details are insufficient, metaphors lacking, lack of energy obvious, circumstances predictable (see also Narrative Enhancement via Nabokov). So what to do? At WE we believe in learning from great authors whose shoulders we stand on. Therefore, we've developed a means of addressing this issue. We wish you to seek inspiration from the prose extractions below and utilize them for purposes of defeating passivity via emulation. In other words, you will intentionally choose and compose fictional subject matter for your novel that entertains, frightens, or enthralls the reader. And how? By creating a circumstance, place, thing, or event that is unique and curious by virtue of its very nature. Let's engage in a few writing "prompts." You must prod the imagination and peel the onion. By the way, in the context of your own novel, your task will be much easier if you've chosen an overall setting that lends itself to vibrancy and engagement in the first place. From Robert Grave's "Claudius the God" Graves was a genius at utilizing set and circumstantial details to create verisimilitude in this novel of Romans battling ancient Britons. Note this unusual event and the associated imagery. Also, note the profound and engaging use of "delayed cognition" technique. Read the paragraph carefully. The author intentionally postpones the full explanation of the primary phenomenon we encounter in this scene, thereby creating suspense in the narrative. The reader can't wait for the truth. "A British outpost was stationed in the pine copse at the farther end, and as the moon rose these watchful men saw a sight and heard a sound which filled their hearts with the utmost dismay. (Graves doesn't come right out with what this is, but rather introduces a sight and sound "which filled their hearts with dismay." As the reader completes this sentence, a dramatic question, an enigma is created.) A great bird with a long shining bill, a huge grey body and legs fifteen feet long suddenly rose through the mist a javelin's throw away and came stalking towards them, stopping every now and then to boom hoarsely, flap his wings, preen his feathers with his dreadful bill and boom again. The Heron King! They crouched in their bivouacs, terrified, hoping that this apparition would disappear, but it came slowly on and on. At last it seemed to notice their camp-fire. It jerked its head angrily and hurried towards them, with outspread wings, booming louder and louder. They sprang up and ran for their lives. The Heron King pursued them through the copse with a fearful chuckling laughter, then turned and slowly promenaded along the edge of the marsh, booming dully at intervals... (Not until the next sentence does the reader learn the true nature of the Heron King.) The Heron King was a French soldier from the great marshes which lie to the west of Marseille, where the shepherds are accustomed to walk on long stilts as a means of striding across soft patches too wide to jump. Posides had rigged this man up in a wicker-work basket... head and bill improvised of stuff-covered lathes and fastened to his head. He knew the habits of herons and imitated the walk with his stilts..." Graves turns reality on its head. First the monster, then the exposition. Following on the Graves example above, consider using your imagination to invent a rather fantastical circumstance (in the context of your own novel) with the delayed cognition technique. In other words, portray a phenomenon with a surprise true identity, and depict this circumstance through the viewpoint of a character who is surprised or shocked by it, then use your narrator to explain the true nature as Graves did above. From Jerzy Kosinski's "The Painted Bird": "From behind the cemetery appeared a mob of village women with rakes and shovels. It was led by several younger women who shouted and waved their hands …The women held Ludmila down flat against the grass. They sat on her hands and legs and began beating her with the rakes, ripping her skin with their fingernails, tearing out her hair, spitting into her face. Lekh tried to push through, but they barred his way. He tried to fight, but they knocked him down and hit him brutally. He ceased to struggle and several women turned him over on his back and straddled him. Then the women killed Ludmila's dog with vicious shovel blows." Using the example above, write a short vignette that describes a group of human beings engaged in a task both energetic and filled with conflict. Use characters from your own novel. Invent as necessary. As we've said, and will say again, imagination is your best friend. Be aggressive with it. "Here and there I saw ax cuts on tree trunks. I remembered that Olga had told me that such cuts were made by peasants trying to cast evil spells on their enemies. Striking the juicy flesh of the tree with an ax, one had to utter the name of a hated person and visualize his face. The cut would then bring disease and death to the enemy. There were many such scars on the trees around me. People here must have had many enemies, and they were quite busy in their efforts to bring them disaster." Write a second short vignette describing a single visual phenomena of sufficient complexity that will surprise the reader with its unusual nature, and which also makes a statement on the human condition. Be original! This should be something unusual and taken from your novel. If you don't have it, improvise. From Ralph Ellison's "The Invisible Man": "On Eighth Avenue, the market carts were parked hub to hub along the curb, improvised canopies shading the withering fruits and vegetables. I could smell the stench of decaying cabbage. A watermelon huckster stood in the shade beside his truck, holding up a long slice of orange-meated melon, crying his wares with hoarse appeals to nostalgia, memories of childhood, green shade and summer coolness. Stale and wilted flowers, rejected downtown, blazed feverishly on a cart, like glamorous rags festering beneath a futile spray from a punctured fruit juice can. The crowd were boiling figures seen through steaming glass from inside a washing machine." From Italo Calvino's "Under The Jaguar Sun" "Waiting for evening to fall, we sat in one of the cafes under the arcades of the zocalo, the regular little square that is the heart of every old city of the colony -- green, with short, carefully pruned trees called almendros, though they bear no resemblance to almond trees. The tiny paper flags and the banners that greeted the official candidate did their best to convey a festive air to the zocalo. The proper Oaxaca families strolled under the arcades. American hippies waited for the old woman who supplied them with mescaline. Ragged vendors unfurled colored fabrics on the ground. From another square nearby came the echo of the loudspeakers of a sparsely attended rally of the opposition. Crouched on the ground, heavy women were frying tortillas and greens." With inspiration from both Ralph Ellison and Italo Calvino, imagine you are a camera sweeping across a big set with many different items included. Describe a place and note colors, movement, sounds and smells. Include bits of things, details of the set, types of people and their activities. Be vibrant with your description. Find something unique about the place you describe, and if you can't do that, find or invent a place wherein a unique or anomalous thing exists. Big doses of imagination. How many times do we need say it? Living there, you'll be free, if you truly wish to be. ________________________________ View the full article

A WATERSHED EVENT FOR SERIOUS WRITERS Whatever the stage of your project or writing life, know that all writers, if they desire to become commercially published, must see and enter the Epiphany Light. First of all, what is the "Epiphany Light"? The EL is a state of mind crucial to any aspiring author desirous of commercial or serious literary publication, and one which clearly divides the 99% from the 1% of those who've learned the hard way how challenging it is to have their expertise and projects taken seriously by professionals in the publishing business. But are the percentages so drastic as depicted here? Yes, and probably even more so. Consider the very small number of first time authors who emerge with publishing contracts from major houses, imprints, or even well-regarded traditional presses, and then compare these few hundred to the hundreds of thousands of writers in America struggling valiantly yet vainly to accomplish the same feat. Viewed from this perspective, as we near the EL, we eventually come to a knowledge of true writer pathos on a scale unimagined: instances of duress and disappointment inflicted each day on hundreds if not thousands of writers as their manuscripts are routinely rejected by agents or publishers. But how does the EL finally come about, or rather, fail to come about? Before the light can be viewed and entered, before writers can possess a state of mind that enables a forward movement towards success (by any reasonable artistic standard), they must, by one means or another, view their project through the eyes of an editorial professional in their chosen genre. So why doesn't it come easy? It isn't natural, has to be learned, and circumstances of one kind or another arise to prevent this crucial vision. Viewed from this perspective, as we near the EL, we eventually come to a knowledge of true writer pathos on a scale unimagined: instances of duress and disappointment inflicted each day on hundreds if not thousands of writers as their manuscripts are routinely rejected by agents or publishers. Whether it be a failure to properly immerse in the contemporary world of their chosen genre (reading books and interviews, studying deals at Publisher’s Marketplace, talking with publishing house editors at conferences or elsewhere), or an inability to rise above limitations imposed by their current writer’s group (consistently providing encouraging yet unproductive advice), or bad advice from those they believe possess an adequate comprehension of the current book market (e.g., freelance editors of one stripe or another who are removed from current market realities or who fail to differentiate necessary tropes from overused tropes), the writer is deprived of the consciousness necessary to make crucial edits or changes to the story. Put quite simply, if you write mysteries loved by your friends and fellow writers, and perhaps even your paid freelance editor (who most likely has never worked in the New York publishing business), but can’t produce a thing other than pale imitations of Miss Marple, no editor or agent who represents the mystery genre will ever take you or your work seriously. Regardless, the writer naturally grows frustrated and tired of unsuccessful efforts (if they‘re smart), and if determined not to fail, seeks new sources of information and inspiration. Now the question becomes, how do writers transcend life in the 99% and enter the EL to arrive in the one percent promised land? What might lead them to a cognizance of reality? It can happen in various ways, by accident or no, but always preceded by trial and error groping as false signals are received concerning the commercial viability of their writing (see above) thus leading to false confidence. Regardless, the writer naturally grows frustrated and tired of unsuccessful efforts (if they‘re smart), and if determined not to fail, seeks new sources of information and inspiration. Perhaps by happenstance the writer reads an article that clicks with them, or speaks to a professional who waves the red flag regarding what they’re doing wrong or what is specifically missing from their voice or manuscript that results in rejection after rejection--whatever the source of cognizance, the writer, perhaps for the first time, declines to fall back on old sources of corroboration. If you are nearing the Epiphany Light, or you’ve entered it already, much of what we say here will resonate with you. If you have endured months or years of rejections, perhaps you need to point your toe over the line, just to test. And don’t feel down about all this, or discouraged. Learn from it. Understand that all writers make the same mistakes, learn the same lessons, fall down and get up. The neophyte mystery writer holding her Miss Marple close and dear, as she might a mother’s warmth, must one day leave home and apply for a job with a suitable resume. ____________________ ________________________________ [url={url}]View the full article[/url]

OUTSIDE OF NARCISSISM, IMPATIENCE AND BAD ADVICE ARE A WRITER'S WORST ENEMIES. If you ever attend writer events, you will never cease to hear utterances of bad writing advice, the popular kind that circulate like ruinous viral memes through the nervous systems of America's aborning novel writers. And each time you are exposed, you either chuckle or swear, depending on your mood and the circumstance. You might make a daring attempt to kill the meme in its tracks before it can infect someone else, or you might just stare at the writer with a dumbfounded look and ask, "Where the hell did you hear that?" Yes, the primal question: WHERE THE HELL DID YOU HEAR THAT? Inevitably, many will point to their writer's group. Ahhhh, of course, you think. Why just recently at an Algonkian event, one of my faculty (a former senior editor at Random House) and I were faced with an individual who adamantly asserted to us both that using only one point of view to write a novel was mandatory. No exceptions! I'm not kidding or exaggerating. I asked, "Where the hell did you hear that?" She'd learned it from her writer's group. It must therefore be true. No doubt because they had told her this for seven years, and her workshop leader affirmed it, and as further proof the preposterous assertion was correct, a member of her group held an MA from Johns Hopkins! So in the face of this onslaught we displayed the typical dumbfounded reaction, and to our further astonishment, the writer just dug in and continued to resist our many proofs to the absolute contrary. As a matter of fact, one of the novels the writer was supposed to have read before the retreat was HOUSE OF SAND AND FOG. Of course, she didn't read it, but she did at least admit it contained more than one point of view. Uh oh! Moments later though, to bolster the writer group firewall of defensive ignorance, she said, "Well even F. Scott Fitzgerald screwed up once in Gatsby and shifted to a different point of view... So it just goes to show, anyone can screw up like that and use more than one point of view." Stunned yet again following this mind-blowing comment, the two of us finally recovered to note several more novels that contained multiple POV, from WUTHERING HEIGHTS to THE POISONWOOD BIBLE to THE MARTIAN CHRONICLES to various thrillers and even to Rowling's later Harry Potter books. We figured that somewhere between Emily and J.K. this extremely stubborn person might actually stop and realize that perhaps her writer group had been steering her wrong. Sadly though, I don't believe she ever learned. Perhaps the bond with the group was too strong and the consensus delusion regarding single POV helped maintain their social cohesion. Perhaps her own narcissism disallowed her? Both? Who knows? I just know that the writer never once admitted she was wrong. No sign of epiphany was ever forthcoming. Instead, she lapsed into borderline hysteria, though recovered the final two days and went to work on another novel. I sent her at least 20 examples of multiple POV following the retreat and received only a very terse note in return. All in all, it was the most singular and remarkable act of writer ignorance I've ever witnessed, but one cannot blame the writer out of hand. Bad advice was one of her worst enemies, if not her worst. If you go to a writer's group respecting the leader and your peers and they tell you XYZ nonsense year after year, how can you not believe it? Nevertheless, we workshop leaders and teachers tire of being the target of theatrical repercussions at such time the narcissist writer discovers the world is not flat and the sun doesn't revolve around them. On the plus side, the exasperating event above prompted me to finally work towards creating a master list of bad writer advice--something I've wanted to do for years. I searched on Google not only to help with my own recollections but to investigate anything I might have missed, and the first article I came across was in Lit Reactor: "The Ten Worst Pieces of Writing Advice You Will Ever Hear." Lit Reactor seems to be a decent place for newbie writers seeking community and inspiration, but I have to take a few exceptions with the article above. I firmly agree with a lot of it, for example, WRITE WHAT YOU KNOW is really bad advice. How could speculative or historical fiction writers ever pen a page if this were true? But the author goes on to choose other literary adages we've all grown old with and claims that they too are actually very bad advice. One of them is SHOW DON'T TELL. So that's one of the worst pieces of writer advice? Huh? Now, let's pull in the reins for a second. As a writer I've never seen SHOW DON'T TELL as a hard and fast rule that covers all conditions and circumstances. Obviously, one may need to "tell" at such time a certain type of exposition needs to be artfully delivered and dialogue isn't sufficient. Like most writers I've known, I see SHOW DON'T TELL as a helpful guideline, especially for newbies who tend to lump pages of exposition in their opening chapter, or otherwise drone on and on about an important event in the story when they should be depicting in a live-action scene. As in other instances in the Lit Reactor article above, the author isn't necessarily wrong when she counterpoints the age-old literary adage, as I did above, but the difference between us is that she posits SHOW DON'T TELL as an unbreakable rule, and when exceptions are offered up they stand as proof that the adage is actually bad advice. Logic dictates, however, that one can find several conditions to counterpoint the negative examples and then we're even. My point is that the unfortunate act of singling out the SHOW DON'T TELL guideline as bad advice is, in itself, bad advice--my apologies to the author of the article, and she is welcome to debate this here, but seriously, how the heck would you apply the anti-SDT logic to screenplay writers or playwrights when so much more is SHOW DON'T TELL? Let's recap. We now have three slings of really bad writing advice to list. We'll build the list as we go: Only one point of view per novel Write what you know "Show don't tell" is bad advice Next. At every Algonkian event, I hear a writer state this to me sooner or later: "Writer's shouldn't use flashbacks in their novels." Yes. Another, Where the hell did you hear that? Of course flashbacks are acceptable, if used artfully. They are just one technique in the fiction writing toolkit, and the types of flashbacks vary from a brief memory to a full chapter, or more. Novels that use a framing device of looking back into the past after having first established a contemporary setting (e.g., A Separate Peace or I Claudius) are themselves one immense act of flashback. But like the first example in the beginning of this post, the writer's group can sometimes be at fault for spreading this unproductive advice, but in all fairness, is the writer group the true source? When questioned about origin, the writer spreading the viral meme regarding flashbacks more often than not says, "I heard it at a writer conference." And then I ask, from whom? And they answer, "Uhh, someone, an agent, um... on a panel." Trauma time! The soul-searing memories return to haunt me. Years ago, I sat on a panel with five other agents at the San Francisco Writer's Conference listening to a new and incredibly ignorant agent drone on and on about the craft of writing (though she wasn't a writer and had never been an editor--in fact, like so many young agents, her only past experience involved reading query letters and wading the slush-pile), and every other utterance from this person's mouth about fiction writing was just plain wrong. I sat biting my tongue as long as I could, and then attempted to qualify and gently negate her assertions, and succeeded to some degree, but despite this calamity, I learned something. Here before me sat over 200 people, writers in their early stages, looking for good advice. And were they getting it? No, a hundred times NO. Past memories began to gel and I realized that the single biggest source of bad advice for writers might well be the typical American writer conference--and of course, these writers return to their hometown groups to repeat what they've heard, e.g., no flashbacks, show don't tell sucks, don't worry about your title... Don't worry about your title? Back to a writer conference. I attended a panel at another large writer conference on the west coast in 2014. It was a panel of writers who had recently been published. There were about 75 people in the room. A poor neophyte stood and asked the assembled writers if he had to worry about his title before he was published, and the consensus answer from the panel? No. You don't... I sat there dumbfounded. So basically, these people told this guy that pitching his novel or nonfiction with a crappy, foolish, or hackneyed title was perfectly fine. Not to worry! Call it whatever you want. Must I spend any more space telling you why this was not only not perfectly fine, but perfectly stupid and self-defeating? A bad title is like a warning siren going out ahead of your pitch, whether it be an oral pitch or query letter. It makes a horrible whining sound of warning, and it seems to be saying to those who read or listen: This is a terrible writer, stop listening, stop reading, run screaming! Now, time to add three more to the list: Avoid flashbacks in your fiction Don't worry about your title Any writer conference is helpful Pitching the MFA Though I don't hear it as much as I used to, I nevertheless hear it from young writers who have been conditioned to falsely believe that they will never write well or be taken seriously as writers unless and until they possess an MFA. My response to this: nothing could be a bigger lie. I'm sorry, I can't mince words or dance around the reality for the sake of anyone. This isn't to say that the right student can't benefit from the right MFA program (e.g., at Florida State)--they can, of course. I'm addressing the members of the Literary Academic Complex (LAC), also known as the Literary Industrial Complex (LIC), who relentlessly promote the marketing myth that the odds are you'll never amount to much as a writer without an MFA. Yes, no fooling. Just click to the article at WE regarding the MFA, and when you arrive, click on the link to an MFA writer poll and you will see Gary Shteyngart quacking forth on this very subject ("You have to get an MFA"). No conflict of interest here? Gary has an MFA, and how could this smiling goofy guy be steering us wrong? Thanks, Gary, for doing your part to convince America's youth to incur millions in debt to obtain MFA degrees of highly dubious worth. However, if we could overhear Gary talking in whispers at one of his terribly boring academic cocktail parties, you would get the real skinny, and it would sound something like this: One of the fatal flaws of MFA programs consists of using a writer group of fellow students (who know as little or less than you) to critique your work for the purpose of improving it, which brings me around to another bit of really bad advice: JOIN A WRITER GROUP. I wrote an article here at WE that pretty much sums up why being in a writer group for critique and guidance can be a train wreck in any number of ways. Again, like the MFA, you're supposing that people who know as little or less than you (otherwise why would they be there?) are capable of providing constructive advice, but since you aren't knowledgeable enough to know one way or another whether or not the advice is good, you should never take it without follow-up investigation--and if you're going to be constantly reality-checking what you hear, why stay in the group at all?... Yes, it's a social fest, it can be fun, or it can be oppressive and even ugly. Did you know, THE ELEMENTS OF WRITING GOOD FICTION CANNOT BE TAUGHT? I didn't know it either until Isabella Allende told me so. She believes, as I do, that great authors are self-made, not baked from a workshop recipe, but she goes on further to say that students of novel writing are only capable of learning a limited subset of craft. Why? I'm not sure. She's not as extreme as the Iowa mantra that states "Writing Cannot be Taught, only talent developed," but she's closing in on it. From the video below (final 30%): Hmmm, why not? We teach it effectively in Algonkian workshops and in online programs--quite effectively I might add. Tension and suspense derive from a number of sources, and all these are knowable, and examples can be displayed. We can't fold on our teaching methods because Isabella Allende believes otherwise. To each his own. Btw, I love her writing. Finally, we come around to our number ten on the list: Don't plan or outline your novel, let the character write the novel, or even more simply, "Just start writing." How many times have I heard that? And guess where? At a writer conference, of course. A certain type of author is asked whether or not they plot or outline ahead of time. They smile and say something like, "I've been asked this question before, and I have to say no, I don't outline. It just all comes to me, the character inhabits me..." or some such drivel. But let's be logical. If you understand the primary foundations for writing a novel you know your plot line must develop certain points as it moves forward, and you know also that you must write separate scenes in the novel to perform certain tasks relevant to the plot line, as well as to the character arcs, etc. It's a complex undertaking, and one that demands a certain amount of planning. If you are some kind of genius and can keep it all in your head, more power to you, but if you are like me, you need to organize and place ideas on paper (or on the computer). Also, logic dictates that if your novel plot lines are a series of circumstances, reversals, and events that tie together, it only makes sense that you better know how point A gets to point M before you will know how point M gets to point Z. Consider, do screenplay writers or playwrights just start writing without any planning? Of course not. So why should the novel be different? And we're not talking about Beckett or Joycean flights of fancy, we're talking about the vast bulk of commercial novels, whether they be upmarket or genre. Btw, here we have a bunch of freelance editors confirming this awful advice. Interesting, yes, but if you look closely you'll see they are trying to sell you their editorial services. Perhaps the less you plan your novel, the more work they'll have to do? Now for the summary. The Writer's Edge top ten worst pieces of writing advice: Only one point of view per novel Write what you know "Show don't tell" is bad advice (OMG!) Avoid flashbacks in your fiction Don't worry about your title (someone else will) Any writer conference is helpful (beware--all events are not created equal) You need to get an MFA (or you wont' be taken seriously) Join a writer group (to improve your writing and get good feedback) The art of fiction can't be taught (and "writing can't be taught") Don't outline or plan your novel (let it happen) ________________________________ [url={url}]View the full article[/url]

The following are classic examples of minor complications occurring in the novel. And what do we mean by that? The basic definition: whatever "complicates" the story but is not directly related to the major dramatic complication or central plot conflict. Minors may erupt in the same way tornadoes spin off from hurricanes, or they may be unrelated: a surprise event, a dropped glass, a bellicose salesman wearing a Prussian spike helmet, i.e., whatever irritates, provokes, or disturbs, and in usually such a way as to either advance the story, cause suspense, shove the character into revealing a trait, or some combination thereof. "The Sun Also Rises" by Ernest Hemingway Scene 8: Robert Cohn, friend of the narrator, enters the scene while narrator is having a conversation with another character by the name of Harvey. Very soon, Harvey baits Cohn, insults him. As a result, Cohn behaves unsure of himself. Cohn's girlfriend then enters scene and begins to expose Cohn, attempting to embarrass him badly. Scene 27: Later, another character, Brett‘s fiance Michael, insults Cohn, comparing him to a steer who is "always hanging about so." Rather than intelligently rebut his tormentor, Cohn becomes furious and leaves the scene. "Therese Racquin" by Emile Zola Laurent and Therese are having an affair and decide it will best serve their interest if they kill Therese's husband, Camille. As Laurent is throwing Camille from a boat into the Seine river, Camille savagely bites Laurent's neck. This is a strong minor complication, for the reader senses this bite mark will return to haunt Laurent. "The Great Gatsby" by F. Scott Fitzgerald Scene 4: Jordon Baker reveals to the narrator, Nick, details of Tom Buchanan's affair with Myrtle. This never develops to a real "subplot" status, but is a cause of tension and suspense. Unlike some minor complications, this one weaves skillfully into the storyline, for in the end, it is Myrtle who is killed by Daisy as she drives Gatsby's car. Scene 6: Minor complication causes verbal fencing between Tom and Daisy, thus putting Nick on edge and enabling him to more thoroughly assess Tom Buchanan's personality. "Claudius The God," by Robert Graves (minor complications of geography)"The occultist led them over three or four miles of rough, boggy country, until they reached the marsh proper. It stank, and the willo the wisp darted about it, and to reach the beginning of the secret track the Guards had to wade thigh-deep after their guide through a slimy pool full of leeches ... (minor complication in environment requires innovation) "Each man had his shield slung across his back and a big chalk circle smudged on it. This was to keep touch in the dark without shouting to each other... Aulus had observed that deer follow each other through dark forests guided by the gleam of the white fur patches on each other's rumps... " ________________________________[url={url}]View the full article[/url]

So now you're writing the novel, or rewriting it, or preparing to? There is so much to consider your head has exploded and now you're groping for the parts. Nevertheless, we strongly recommend in this phase somewhere between false confidence and mortifying epiphany that you wisely execute your novel a scene at a time. No better organizing principle than this. Forget chapters, for the moment. Know that each scene serves a purpose, often more than one, e.g., pushing the plot forward while introducing a major secondary character. Each scene also evolves with its own beginning, middle, and end (see the steamy example below). Btw, if you've not yet done so, great idea to absorb the Six Act Two-Goal Novel before continuing. Also, please review the First Ten Steps, as well as our crucial articles on setting, antagonists, and delivering exposition. Why? Because the points below will make way more sense if viewed in the proper context. KEY CONCEPTS: story premise, storyboard, dramatic plot instances, novel elements, protagonist vs. antagonist, inciting incident, character evolution, genre novel analysis, inter-scene narrative, sex scene in three parts. Most Important First Scenes For starters, below are the first five dramatic plot instances that will appear in your genre novel-in-progress as you develop the novel based on a defined premise and with an aim towards creating a tale just as suspenseful and engaging as any great film. Note that scenes might not appear in the exact order presented below (except in the case of inciting incident before first major PP). The protagonist might walk onto the stage first or immediately following portrayal of the antagonist, or not be present until after the inciting incident, etc. Nonetheless, these five plot instances occur in their own customized scene (sometimes more than one); and never forget that every major scene, and nearly every minor one, drives plot momentum and complexity in both novels and screenplays as well: PORTRAYAL OF ANTAGONIST - We witness antagonist power and influence, in whatever way it's made manifest in the context of the story, e.g., the Opus Dei albino hunts his target in the DA VINCI CODE; Assef torments his victims in THE KITE RUNNER; Javert displays his powers and ruthless fanaticism in LES MISERRABLES; the crazed slasher in SCREAM dispatches his first victim... NOTE: the plot instance below can easily be contained within this plot instance also, however, we believe it more powerful if they're distinct. ANTAGONIST IN POSSESSION OF MAJOR GOAL - What will the protagonist and antagonist struggle to possess or control as the story moves forward? The mafia capo ruthlessly rules the casino; the Big Nurse controls the asylum; Tom Buchanan dominates his wife Daisy; a tyrannical King owns the "Sacred Life Stone." PORTRAYAL OF PROTAGONIST - The protagonist appears on the page or in the film and the reader knows instinctively she or he will be matched against the antagonist (esp if the antagonist is seen first). Thus, the fate of the protagonist is foreshadowed and "dramatic irony" is manifest, i.e., the reader realizes potential doom, tragedy, or failure even before the protagonist does (thus greatly increasing concern and suspense). For this scene and others that follow keep in mind the protagonist sympathy factors--important for the first scenes!!! INCITING INCIDENT SCENE - The initial plot instance that sets in motion an inevitable course towards the first major plot point. Katniss takes her sister's place in THE HUNGER GAMES; the general decides to search for Private Ryan in SAVING PRIVATE RYAN; the disappearance of Amy in GONE GIRL engages the town. FIRST MAJOR PLOT POINT SCENE - Following the INCITING INCIDENT, the protagonist, in one way or another, declares or indicates they will engage in the challenge, fight, or struggle to defeat, curtail, or foil the antagonist; thus, the core rising action or conflict of the novel is launched, as well as beginning the second act of a film: the Hobbits begin their journey to destroy the Ring; Gatsby makes it clear he will reclaim Daisy; Sarah Conner joins the struggle against the Terminator. Scene Writing by Steps Now, a couple of points about scene writing in general. Unless you're a veteran, strongly recommend the following advice. 1. Storyboard the scene. What does that mean? In other words, sketching on paper the layout of the scene with major characters and objects to assist with spatial placement and movement as necessary. This could ideally involve a bit of artful drawing combined with scene notes. In your scene notes, include the major characters and the particular set details (where, what, who). State the purpose of the scene in one or two lines and know its relation to the overall plot line going forward, e.g., from the points above, you would state "Inciting incident" and go from there. Don't overlook all the novel elements that must be established in and around these first five dramatic scenes, and that includes the bulk of necessary exposition, setting details, introduction of major characters and important secondary ones, establishment of the primary conflict or "agon," and more. Refer to the Six Act Two-Goal for additional information. 2. Chart and establish all the major plot instances that follow on the first five above, e.g., your first major reversal. List them and add notes for each one as you consider their role in the novel. Just know, they're not set in stone yet. Editorial development will follow. Refer to the Six Act Two-Goal for additional information. 3. Following on above, and as additional guidance, locate the inciting incident and first major plot point scene in at least three of your favorite genre novels. Analyze these scenes, note how they develop, and begin to write your own experimental scenes based on our notes here, and what you've observed in the examples. THIS IS IMPORTANT! If you begin in this manner, you'll not only get it straight but build confidence in your own ability. The successful development of these crucial first scenes will serve as a vital guidepost going forward. 4. Within the first 50 pages of the novels you've chosen, also note via your careful analysis all the scenes that adjoin, support, and complement the five major dramatic scenes already noted above. Make a list of them and write down the purpose they serve in the novel. THIS WILL BE INVALUABLE to you going forward. Trust us! Also, overview the types of "glue narrative" (or pre-scene and post-scene narrative: example below) you find between distinct scenes. What purpose do they serve in the novel? Write down your glue narrative observations gathered from the novels you're reading. 5. Character Evolution - as part of the process of sketching and developing your first scenes, take note of character development and roles as the story chugs forward, momentum increasing. Consider the point-of-view character in the particular scene (if written third person POV, this character might well vary from scene to scene) and their predisposition, character traits, back story, and anything else that might be relevant. Why? Because the viewpoint of this character will inevitably bring a certain tone and filter to the scene. See the NWOE notes on this here. Also, keep in mind that quite often, whatever happens in the scene will bring some degree of change to the character in question--small or large. What will it be? Why will it matter? What purpose will it serve?... Keep in mind too the character's overall arc throughout the novel. Is the scene supporting it, or perhaps, is the scene changing it? That can happen. 6. Once you've drafted a few scenes, up to and including your INCITING INCIDENT, return to them after a few weeks (see Self-Editing Technique) and verify proper application and emphasis of all the major elements. Do you see the cinema? Do you feel the momentum? Is the exposition parceled in properly? Is the suspense there? Is the setting serving its purpose? Is the point of view correct? Are all these scenes developing character and pushing the plot forward at the same time? BTW, here is another article on advanced scene development. Worth a read. Inter-scene Narrative and Sex "Glue narrative" also known to us as inter-scene narrative. Like scene narrative, it delivers the major elements we've discussed so far (exposition, setting, etc.), but outside the framework of an actual scene. It's not live action narrative that makes you feel as if the characters and circumstances are evolving dynamically in front of your eyes, no, rather it mimics a near omniscient or "sweeping" narrator style, immersing the reader in a panoramic world of time shifts, brief flashbacks, energetic exposition, and wide-angle camera vistas--whatever is necessary to relate the story outside the confines of the formal scene. Quite often, the narrative in question possesses an anecdotal quality to it, whether related in first or third person, and more often than not, dialogue is absent (though exceptions exist, e.g, a short anecdotal flashback wherein a character is heard speaking one or two lines). The example below of this type of narrative is borrowed from another article on NWOE entitled Brilliant Fiction Narrative in Four Stages . Senna and her father set the traps together, for Senna possessed the power to see the trails of the animals they hunted--often dangerous trails that led the two of them into wounding thickets or up the slick trunks of tamarand trees, following wild Cholu monkeys that set traps for predators like themselves. Father never saw the thin shimmering trails in the air, scattered all around and leading every which way, looking as if interweaving spiders had drawn impossibly gigantic webs. He could not mark the passage of living creatures through the world, and his blindness to it seemed like a failure to him. Senna knew he felt jealous. Her instincts often contradicted his own hunting wisdom, and that especially irritated him. But to Senna, her "trail eyes," as she called them, felt natural, her ability effortless and always part of her vision. The newer the path of the animal, the more blue the shimmer. Older ones glowed in hues of green or waned to yellow, and the truly ancient ones softened to a dark red. Father could only fume, or act annoyed, depending on the hour and his mood. Senna avoided him if his mood darkened, and she feared that further development of her power might make him feel even more obsolete and angry, for her power grew each day. [transition to live action scene - set-up then into dialogue] With the arrival of summer, the two of them journeyed once more in search of the Cholu monkeys, knowing full well the dangers, but Cholu fur brought huge rewards in the marketplace in Ulaanbatar, the closest town. Father insisted on taking the lead during their foray as they ascended into highland country where the tamarand trees thrived in the cooler temperatures of the Massanutten foothills. Senna agreed without a word, just nodded. Over the past year, she'd began to change her mind about hunting the Cholu. She found the practice rather cruel, despite the rewards. She could have sworn that a Cholu once tried to speak to her as it was dying. But the gods knew, talking Cholus or no, Senna and her father desperately needed coin to stay alive--the kind only Ulaanbatar provided. "We will bag a dozen Cholu this time out," her father said. "I'm not sure we should," Senna said, her voice weak with anticipation of the consequences. "What do you mean?"... So you see, a distinct difference between inter-scene and scene narrative that creates a strong camera eye focus. And now, a short sex scene by Jennifer Weiner from her novel WHO DO YOU LOVE? Noted below, the beginning, middle, end. Man's point of view, and it ends with his fantasy: BEGINNING (set-up, light the match, emotional response, reflection) They walked in silence through the parking lot. When they got to his car, he hugged her, holding her tightly against him, an embrace still on the right side of propriety, one that could still be considered friendly, but only just. When they broke apart, her face was flushed, her eyes shining. "I hope it won't be another three years before we see each other again." MIDDLE (decision, action, emotion escalates, narrative verve escalates) Instead of answering, Rachel reached for him, putting her small, warm hand on the back of his neck, lifting her lips to his. They kissed, first lightly, then more urgently, his tongue in her mouth, her hips tilted against his, her breasts against his chest, her whole body sending a message that was undeniable. "Want to come up?" he asked. She'd left her bags in his apartment, with the understanding that they'd pick them up after dinner and he'd take her to the hotel she'd booked. More than once, when they'd been talking, he'd offered her his bed, saying he'd sleep on the couch, and Rachel had turned him down, politely but firmly. Without a word, she climbed into the passenger seat, smiling at him, saying, "Yes." They started kissing again. Her tongue fluttered against his, and his hands were deep in the softness of her hair, and it was like time unspooled, carrying them right back to when they were teenagers. END (verve and action ebb, resolution, reflection) He pulled her against him, thinking that he'd never get her close enough, that if he could fold her inside of him, like a mother tucking a baby into her coat, he'd do it. He'd keep her warm, he'd keep her safe, he'd keep her with him, always. _____________ ________________________________ [url={url}]View the full article[/url]