Novel Writing on Edge - Nuance, Bewares, Results
Platitudes, entitled amateurism, popular delusions, and erroneous information are all conspicuously absent. From concept to query, our best craft archives.
38 topics in this forum
-
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 acros…
Last reply by Artemis, -
- 0 replies
- 145 views
Revision is Emotional “Revision! Whatever that is.” And thus Gotham’s own Arlaina Tibensky kicked off our Fiction Writing Conference a couple of weeks ago, with a panel on strategies for revising. Which was perfect, because by asking, “What even is this?” Arlaina freed the other writers in the room to come back with an unexpected answer. Revision is… emotional. “The first thing is accepting that even though you’ve been working on your book, and you think you’ve finished it, it’s really not your book yet,” said Kate Fagan, sportswriter and author of the novel The Three Lives of Cate Kay. “You’ve got to mourn that.” …
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.7k views
Let's get to the point. Yes, we know CATCHER IN THE RYE and HUCKLEBERRY FINN and THE GREAT GATSBY could never have been famous novels without the engaging first person voice of their protagonists. And yes, first person is fashionable now in select genres (only because certain successful novels in the near past were hacked out in first person, e.g., GONE GIRL and THE HUNGER GAMES, thus leading New York publishing to illogical conclusions and a very poor memory for history--think HARRY POTTER or THE BOOK THIEF for starters); however, multiple third person is the best and most cinematic way to relate a dynamic work of fiction, as will be demonstrated. Unl…
Last reply by Chief Editor M. Neff, -
- 3 replies
- 10k views
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 cinemati…
Last reply by Chief Editor M. Neff, -
- 2 replies
- 2k views
SEE ALSO: NWOE Bad Novel Writing Advice - Beware and Serious? Novel Writing on Edge is dedicated to the art of novel writing and assisting you to become published by a major commercial imprint or well-regarded literary press. Platitudes, entitled amateurism, popular delusions, and poorly presented or erroneous information are all conspicuously absent from this website. As the official blog of Algonkian Writer Conferences, it's mission is to provide you, the aspiring novel or narrative non-fiction author, with the realistic skills and knowledge it takes to succeed in the difficult book market of the 21st century. We tell it straight up. It's not…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.8k views
If you've won a Pulitzer you might consider disregarding the advice in this section, but it's not advisable. No article here at NOWE could be more representative of the Algonkian model-and-context method of novel writing than this. Look at the percentage of authors on the shelf right now who create a character in the hook (first 10 to 15 pages) that will engage reader sympathy, and without hesitation. Quite a few? A novel hook with an interesting, unique, and sympathetic character makes agents sit up and take notice. This is vital to avoiding a rejection slip, but of course, all must be accomplish in artful fashion. A few examples of what …
Last reply by Chief Editor M. Neff, -
- 0 replies
- 37 views
Revision is Emotional “Revision! Whatever that is.” And thus Gotham’s own Arlaina Tibensky kicked off our Fiction Writing Conference a couple of weeks ago, with a panel on strategies for revising. Which was perfect, because by asking, “What even is this?” Arlaina freed the other writers in the room to come back with an unexpected answer. Revision is… emotional. “The first thing is accepting that even though you’ve been working on your book, and you think you’ve finished it, it’s really not your book yet,” said Kate Fagan, sportswriter and author of the novel The Three Lives of Cate Kay. “You’ve got to mourn that.” When she first sends …
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.6k views
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…
Last reply by Chief Editor M. Neff, -
- 1 reply
- 2.6k views
Without them many of the best selling novels of all time would simply cease to exist, their supporting beams cut away, the shell of remaining "story" quietly imploding to ignominy and self-publication. Consider the impact on a scene, any scene, as soon as the author moves the chess piece of antagonist onto the page. The mere presence of a Javert from "Les Miserables," Assef from "The Kite Runner," or Nurse Ratched from "One Flew Over the Cuckoo's Nest," immediately energizes the environment. The narrative and dialogue literally crackle and groan with antagonist. What chances do you as a writer have of getting your novel manuscript, regardless of genre, commer…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 289 views
Antagonists are quite often the most memorable characters in literature, regardless of genre. Without them many of the best selling novels of all time would simply cease to exist, their supporting beams cut away, the shell of remaining "story" quietly imploding to ignominy and self-publication. Consider the impact on a scene, any scene, as soon as the author moves the chess piece of antagonist onto the page. The mere presence of a Javert from "Les Misérables," Assef from "The Kite Runner," or Nurse Ratched from "One Flew Over the Cuckoo's Nest," immediately energizes the environment. The narrative and dialogue literally crackle and groan with antagonist. What chance…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1k views
DO NOT ALLOW "TO BE" VERBS TO DOMINATE YOUR NARRATIVE Overuse of "was" and "were": an all too common feature of many young manuscripts. Yes, Janet Evanovich might use them a lot, or another author like Orson Scott Card, sure, but why do you wish to copy them? You're not Evanovich or Card, so the odds you can get away with instances of passive writing are much slimmer. Besides, why not write prose narrative that possesses more verve due to the liberal application of stronger verbs and more interesting sentence structure? Even Janet could benefit now and then! Let's make a comparison. And keep an eye on "had" and "have" also:"Her love for the Kensai had driven her mad…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.1k views
Ken Atchity has made hundreds of film and television deals for storytellers wanting their books to be films–including movies, series, and reality shows–since he began producing in 1987 after retiring from his tenured professorship at Occidental College. Also, as literary manager his authors have logged nearly twenty New York Times bestsellers. His own most recent novels are The Messiah Matrix and Brae Mackenzie. Dr. Atchity is also the creator of the free on-demand webinar presentation “Sell Your Story to Hollywoodâ€� for aspiring storytellers available at realfasthollywooddeal.com. Common Problems in Novel-To-Film Adaptation “There’s no third act…it ju…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.3k views
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 Sc…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.7k views
More to know than you might guess. Secondary characters in a story, novel, or screenplay, both major and minor, must be utilized to serve the story in several important ways. They deliver crucial exposition at the right time ("She's not who you think she is."), create complications and interpersonal conflicts that spice or jolt the narrative ("You can't shut me up!"), play a role in ushering the protagonist down the plot path ("If you don't leave now, the game will be lost.") or make it easier for the author to reveal facets of the protagonist's background or personality ("Have you told her you served time in prison?"), become an actual obstacle to the protagonist (…
Last reply by Chief Editor M. Neff, -
- 1 reply
- 1.9k views
For starters... Let's place this in a context rarely mentioned elsewhere. At such time dialogue becomes difficult or perplexing for writers to produce, it's usually because they have failed on some level to create interesting characters in the first place, or because they do not properly understand the role of each relevant character in the scene (please stop and read this article now if you've not already done so), or both. To complicate further, the writer may not actually understand the role of the scene in the novel. Put these three conditions together and artful dialogue becomes impossible regardless of other factors. KEY CONCEPTS: screenplay emulation, dialog…
Last reply by EditorAdmin, -
- 1 reply
- 307 views
From the desk of Richard Curtis. If you do something so horrendous as to provoke your agent to declare, "Life is too short," you'd better start looking for someone else to handle your work. It means you have tried his or her patience beyond its limit. You're a walking dead author. We recently described good timing as one of the most important virtues a literary agent can bring to the job. There's another that most good agents possess, and that's patience. If timing is the art of "when to," patience is the art of "when not to." Unfortunately, that often means when not to knock my head against a wall, wring an author's throat, or hop in a taxi, race over to a publisher's …
Last reply by Artemis, -
- 0 replies
- 1.5k views
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…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.2k views
Note, MARKET VALUE FIRST... Listed below are a summation of "coverage" checkpoints utilized by various screenplay and novel ms readers in both Hollywood and New York. Not every publisher intern or assistant will necessarily employ all these categories (a mistake), however, they're a great checklist for you, the aspring author, to help ascertain whether or not you're meeting your goals for a successful commercial genre novel. MARKET VALUE: Originality, freshness - high concept Clear target readership? Hook Quality STRUCTURE: Act Zero backstory development Exposition delivery Effective setup with inciting incident Plot line…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.1k views
The Ruminations of Gail Godwin Gail Godwin excels at observing and ruminating on the human condition. Much of the power of her narrative depends on her ability to create interesting characters whom she then dissects. The following excerpts are from her novel, Evensong, the story of Margaret Bonner, the pastor of a church in a small town, and how she interprets and reacts to the characters in her life. "Would Gus and Charles, as involved in their building and doctoring as Adrian and I were in our school mastering and pastoring, be able to live up to the words better than we were doing? I hoped so. I hoped so for their sakes. I sketched a Celtic cross…
Last reply by Chief Editor M. Neff, -
- 2 replies
- 2.6k views
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…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 254 views
Senior editor Charlene Castor of Algonkian Author Connect interviews Michael Neff, the CEO and Chief Production Editor of Algonkian Writer Conferences. Q: What made you and Algonkian decide to start this novel editing service? NEFF: Manuscripts to Market is a natural outgrowth of our writer events and programs. Writers are always asking for something like this, especially following the New York Write to Pitch. Over the years, I've spent many hours helping alums get published, in one way or another. CC: That makes sense, of course, but seriously, Michael, does the world need another novel editing service? NEFF: Yes and no. The world does not need another common…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.1k views
A snapshot below from the Algonkian Writer Conference Competitive Fiction Guide on the subject of learning the craft of narrative enhancement from a variety of successful authors. This example features Nabokov. Nabokov’s narrative in Lolita pushes forward largely due to his gift for discerning meaning and detail in everyday life (which is necessary since Humbert H. is a hard character to cheer on) and reporting it with the flair of a phenomenal writer. Basically, however, you can break Nabokov’s categories into observations, ruminations, and fantasy. Here we see examples as Humbert wanders a department story looking to buy underwear for Lolita: Narrator observes…
Last reply by Chief Editor M. Neff, -
- 0 replies
- 1.1k views
So what's your edge? I just finished reading two very mediocre books, both very atmospheric, but without much story because the story was buried somewhere in that atmosphere (and, in one case, lyricism, as one book was written by a poet and she was so in love with her writing she didn't realize there wasn't actually a story). I'm not going to tell you what either book is because one is a Pulitzer Prize winning 'classic' and I don't feel like debating its merits. The other was represented by an agent I'm going to send my current novel to, so a little self-preservation is called for! While dragging myself to the final chapters of these books, I realized that…
Last reply by Chief Editor M. Neff, -
- 4 replies
- 1.8k views
NARRATIVE AND PROSE ENHANCEMENT DRILLS (“prose drills” for short) As a prose writer, if you cannot yet consider your style rightfully defined as a cross between Toni Morrison and Ray Bradbury, then you should work on developing a more powerful literary voice. After all, if you're going to try to become published, you might as well write as well as possible No? But do you have what it takes? Consider, all writer styles and voices are in a very large part a fusion of past immersions into good (or bad) literature. It‘s so true that you only write as well as you read. The writing of great authors soaks into you, becomes part of you, defines your ability to peel the …
Last reply by Chief Editor M. Neff, -
Using the Rowling "Harry Potter" approach, you create a sympathetic underdog and render highly imaginative events with masterful narrative while also introducing more characters who are unique and endearing to the reader. Meanwhile, as mysteries writhe beneath the surface and the reader is absolutely gripped, you introduce the trope (e.g., a roving killer troll) in a circumstance that can't help but create immediate concern. Which tropes must you employ in fantasy fiction vs. those you must reconsider, and perhaps discard or alter? What techniques might an unknown writer use to avoid overdone-to-a-char tropes and create a competitive fantasy fiction novel that trumps t…
Last reply by Chief Editor M. Neff,
ALGONKIAN SUCCESS STORIES
What should you accept as credible?
Where it All Began
