Tag Archives: novel

21 Aug

Storytelling: One Surprising Approach to Plotting

Plotting is probably the hardest thing I do. I can explain to you 29 different plot templates. And I often write about plotting a novel. Theory, I know. And I know that I can plot a story pretty well. It’s just HARD.

The problem is that there are a series of inter-connected scenes which build to a climax. The structure of events, though, needs to progress from an introduction of a character goal, dramatizing problems and obstacles to getting that goal, and then, finally some resolution, either a happy or sad ending.

OK. I can slot events into a novel structure from a structural viewpoint. For example, at the mid-point of a story, the hero’s journey, the Snowflake method and other plot paradigms might ask you to provide a bleak moment for the main character. There should be a mini-death: the death of hope–the character will never reach your goal; the death of a feeling of safety, and so on.

Knowing that is easy. The exact type of mini-death that is best for the current WIP, and figuring out how to dramatize that event (Show, Don’t Tell), is hard.

Storytellers Statue on Buena Vista Street in Disney California Adventure Park. One of the most amazing American storytellers that ever lived.

Storytellers Statue on Buena Vista Street in Disney California Adventure Park. One of the most amazing American storytellers that ever lived.

We are in the Business of Storytelling

What’s my answer to this straight-laced method of working? Storytelling.
Several articles recently reminded me that I am not just a writer, but a writer of stories. I am getting way to hung up on the theory and I am forgetting that i can just tell the story and have fun with it. Sure–I know that certain plot elements will make the story stronger, but those things are killing my joy in writing. So, I started telling my story.

Once upon a time, there were two water worlds. One world—Rison by name—was dying, the result of misguided scientists trying to act as God and control the natural forces of the planet. The inhabitants knew their time was limited and sought a refuge, a new home. The other water world—called Earth—caught the Risonian’s attention because the inhabitants only lived on land. Surely, they could share their water, the only place the creatures from the dying world would ask for.
Ah, but therein lies the problem. Sharing.

How do creatures put aside their own fears and self-interest and share? And, how can creatures do so willingly? When would the long-term benefits outweigh the short-term problems.

This could cause a war: if you don’t give us room on your planet, maybe we’ll just take over your planet.

The voice isn’t right. There’s not an opening scene. But right now, none of that matters because I don’t know the story. The first draft is to tell you the story; every draft after that is the question of how to craft the story in the most dramatic and compelling way for your readers. Right now, I’m just trying to tell a story. Crafting that into a novel will come later. Come. Listen to my story. . .

A side note: Did you know that if you have an iPhone, you can ask Siri to tell you a bedtime story. She’s told me so many bedtime stories, that she refuses to do it again–unless I beg.

01 Aug

Thanks, Optimus Prime: What the Transformers Can Teach Us About Plot

I am writing a science-fiction trilogy and I’d like it to have general appeal to kids and teens. So, recently, I went to see the new Transformers 4: Age of Extinction to see what I could learn. Here’s one of the official movie trailers.


If you can’t see this video, click here.

Transformer’s Major Plot Points

SPOILER ALERT: I analyze the plot of this movie, so if you haven’t seen the movie and don’t want to know what happens, stop reading!

Who? Yeager family POV
When? Five years after Chicago was destroyed in the Transformer battles.

  1. Inciting incident: Inventor-wannabe Cade Yeager and his friend, Lucas, buy a junk truck that turns out to be Optimus Prime.
    Cade’s promise to his long-lost wife: I will make sure our daughter graduates from high school; graduation is only a week away, so it seems like a slam-dunk. (The rules have changed: we are all targets now.)
  2. Plot Point 1: The evil guys—the Cemetary Wind macho dudes—come to collect Optimus Prime (to take advantage of the rare metal that transformers are made of) and threaten Yeager’s daughter, Tessa—the Yeagers all escape with the help of Tessa’s boyfriend, Shane (though Lucas is sacrificed to show the evil that chases them).
  3. First half of Act 2: Rescue Transformer named Brains from the KSI and the new warrior Transformer, Galvatron is activated to chase them.
  4. Midpoint: Galvatron and Optimus Prime battle. When Optimus Prime is captured, Tessa is also caught and winds up trapped in the alien spaceship owned by Lockdown, an alien bounty hunter. Yeager and Shane must rescue Tessa.
  5. Second half of Act 2: Optimus Prime and Tessa are rescued by Autobots, Yeager and Shane. Alien bounty hunter, Lockdown launches into deep space believing he has Optimus Prime on board.
  6. Plot Point 2: Optimus Prime reveals that Galvatron is really a re-birth of the evil Megatron, who will try to activate the Seed to destroy Earth. They must stop him. The bounty hunter transformer, Lockdown, (To Optimus Prime: You think you were born? You were built and they want you back.) gives KSI a “seed,” which they think will help them make more of the prized metal, but will really destroy Earth.
  7. Act 3. Optimus Prime releases the Dinobots (T-Rex Transformer robots) and attacks Galvatron and win (though Hong Kong, this time, is destroyed). Lockdown returns to claim Optimus Prime.
  8. Climax: Cade, Tessa and Shane take risks to help Optimus (thus proving the story’s theme, that humans can rise to the occasion), who is hurt, but ultimately defeats Lockdown.
  9. Promise kept: Tessa has lived to attend her high school graduation, and has a new-found respect for her Dad’s tinkering ways.

  10. Theme: Optimus Prime: How many more of my kind must be sacrificed for humans.
    Yeager: It’s not who we are, but who we can be.

There are several main subplots and you could analyze the story from one of the other ones. Here, I’ve concentrated on Cade/Tessa as the main plot. If you want to argue that this is Optimus Prime’s story, I could go for that; however, I think readers/movie fans are more likely to identify with the human characters.

In any case, my point is to learn something.

Action/Adventure or a Quieter Story

Looking at this plot analysis, I realize immediately that I’m not putting enough at stake early enough in the story. My Plot Point I involves the character making a decision. It’s not an action scene where the antagonists arrive to threaten a girl and to recapture a rogue transformer.

Of course–different stories have different needs. I describe quiet stories as having a pastel palette and there is indeed a place for stories like this. Transformer’s palette, however, is bold.

My question to answer: What sort of physical action/adventure palette do I want? Is my story a quiet story, or does it fall farther along the spectrum toward an action/adventure story?

Optimus-Prime-Transformers-

Glue for Act 2

The dreaded sagging middle is always a problem for me. In Transformers, the whole of Act 2 is about Rescue: rescue Brains from the KSI; rescue Optimus Prime and Tessa from Lockdown’s space ship. Notice that the Midpoint twists the story in a tangent direction when Tessa is captured and taken to the alien space ship. Of course, we are worried about Optimus Prime! But he’s a strong and able transformer who is likely to fight his way free at some point. Tessa, however, is a high school senior and it’s not fair that she is caught up in this conflict. It’s a nice way to keep the action going, to up the stakes and to play on the audience’s emotions.

My Act 2 hangs together well, and has a nice Midpoint twist. The same question lingers, though. Do I need/want more action/adventure?

The Last Lap: Pumping up Act 3

We transition into Act 3 with a revelation in Plot Point 3 that Galvatron = Megatron. With such an evil abroad, no one can relax. They MUST take the battle to him. And what a battle! Aliens v. aliens. Over Hong Kong! Dinobots, or a great combination of t-Rex with transformers! What’s not to like? We get lots of exclamation points!!!!

This is indeed a movie built on action sequences and it’s almost non-stop in Act 3.
No, I don’t want my story to be THAT action/adventure oriented. I’ll back off the Transformer’s palette a couple steps.

However, there are a couple nice moments. In the Hero’s Journey, there is often a death scene, followed by a resurrection scene. It’s the death of the hopes of the protagonist, and a renewal of the hope. Optimus Prime is impaled and we think he is dying. One of the story’s themes is that humans have potential. It’s crucial here that Cade, Tessa and Shane work as a team to help Optimus: they remove the “spear,” and help him to defeat the evil Lockdown.

My Act 3 has action, a chase, and some nice possibilities for physical action. As I write it, I must remember to include scenes that highlight the theme in an organic way. If I can find a reasonable Death/Resurrection moment, so much the better.

Thanks for the help, Optimus Prime

Studying popular movies like this can be one way to reevaluate your plot. I’m still early in the plotting process, so this is a perfect time to do this. It doesn’t solve my problems: but it forces me to ask the right questions. And at this stage, that’s what I need: questions that force me to think deeper about my story, the characters, and the plot.

22 Jul

Off-Stage Scenes Rarely Work – Unless You Are Scarlett

Here’s a common problem that I see in first drafts: the main action has happened off-stage.

Think about Scarlett O’Hara and the other southern women sitting at home waiting; in an attempt to avenge his wife, Frank and the Ku Klux Klan raid the shanty town whereupon Frank is shot dead. But the raid takes place off-stage.

NOOffStageScenes

Or, think about times when a weaker character stays home, while the adventurous character is off doing something. Sports stories are hard when the POV character is watching the on-field action.

This can be a real trap for children’s novels if an older sibling or parent is doing something fun/exciting/scary/etc off stage.

Another challenging situation is when a bully is planning something and the POV victim is just trying to avoid that.

Or, maybe you’ve planned a great scene, and the main character is present, but you don’t write that scene. Instead, what you write is something like this: “The next morning, Elise lay in bed and went over the previous night in her head.”

No. That doesn’t work!

Does this always need to be changed? No. But it’s a major problem and challenge as you revise. Here are some tips.

Recognize the problem. As you write the first draft and revise it, you should be evaluating the scenes. Ask: Who hurts the most in this scene. It should almost always be the main character. If it’s someone else, why isn’t THAT character the hero/ine of the story?

Put the POV Character in the action. When you find a scene where the main action is off-stage, look for ways to rethink the plot and scenes and put the main character in the thick of the action. It’s why Captain Kirk leaves the Enterprise and goes down to the planet over and over and over. Really? No Captain would be allowed to jeopardize his life that much and give over the control of the ship to a junior officer. It’s unrealistic–but great storytelling.

Make the story about how the off-stage action affects the POV character. In Gone with the Wind, Frank and the other men go off to avenge Scarlett’s honor, but the POV stays firmly with Scarlett. It’s about her growing realization of what the men have gone off to do, the opinion of the other women, and eventually the women’s reactions when the men come back. This is a risky way to write a scene, because the real stuff happens off stage; but it can work if you keep the focus right.

Write the scene. If your character is just thinking about what happened last night, it’s a simple fix. Write the @#$@#$@# scene! Sometime this happens when the author is afraid of the emotions in a powerful scene; the author avoids writing that scene and tries to jump forward in time. It never works. You must write the scene that you fear. you must write the exciting scene because your reader demands it; that is the exact reason why they come to your story. Don’t cheat them out of the emotionally experience.

02 Jul

NOVEL REVISION CHARTS: 2 Tools for Smart Re-Thinking of Your Story

An aid to smart revising based on Darcy Pattison’s techniques

Guest Post by
Claudia Finseth

I recently took Darcy’s Whole Novel Workshop and read her book, Novel Metamorphosis: Uncommon Ways to Revise. Between the two, there was a great deal of valuable new information to process. I’m very visual, so one way I worked through and organized the information was by creating charts. To what are mostly Darcy’s ideas, I added a few of my own, and some I’ve learned in other workshops. Darcy has asked me to share these charts here on her blog.

The first chart is The Novel Revision Chart. As Darcy teaches, there are many types of revision to consider once we have a draft of a novel.

Finseth's Novel Revision Chart

This Novel Revision Chart show the different types of revisions and helps you prioritize the revision tasks. CLICK TO VIEW FULL SIZE.




Darcy’s workshops are based on critique groups. Participants work in groups of four, reading and commenting on each other’s manuscripts and. Taking the three critiques of my novel, I made a list of all the types of revision my group suggested for my novel: not letting the tension flag, pulling all my theme threads all the way through the novel, keeping my character age-appropriate, etc.


Attend a Novel Revision Retreat

The Darcy Pattison Novel Revision Retreat will come to the Boston area in August, 2014. There are a limited number of spaces still available. See Anne Broyles site for details. Also available is a Build Your Website session and a Picture Book Workshop. Hurry! Spaces limited! And time is short!


Then, I identified where these types of revision landed on the Novel Revision Chart. If they landed somewhere on the Incremental Revision line, I figured I could work with what I had already written. The three types of revision mentioned in the previous paragraph all land there. If, however, the needed revisions landed on the Quantum Leap Revision line, then I figured maybe I should scrap this chapter or that and write it again from scratch. Or write the whole novel again in a new draft. Or take the novel apart and reorganize it in some major way. For instance, my second novel is probably really three novels. (Sigh.) But better I realize that now than waste time trying to fix it the way it is.

The point is, this chart can help writers identify how major or minor the next revision needs to be, as well as what kind of revision needs to be focused on next. It can save us spinning our wheels on the wrong kind of revision. How many times have we worked on verbs or sensory detail when what we needed was to introduce another character or change the beginning? Trust me: been there, done that, and it’s very annoying to realize I should have been working on a totally different kind of revision. The chart can make us smarter revisers.

The Line Edit Revision part of the chart is a reminder that the final revisions you do, once the novel is firmly shaped and sparkling with life, and just before submission, need to be these five types of micro-edits. Therefore, it is at the bottom of the chart.

Checklist for Revising Scenes.

But before we do any line editing, there’s the second chart to look at, A Checklist for Each Scene. As the first chart is a way of evaluating the revision needed overall, this second chart is for scene by scene revisions. As Darcy explains in Novel Metamorphosis: Uncommon Ways to Revise, each scene is a kind of whole of its own. Taking one scene at a time, a writer can use this chart in conjunction with Darcy’s book to make sure each scene includes all the elements required to create a tight, compelling scene that propels the reader into the next one.

Finseth Scene Checklist

After the major revisions and before the minor Line Edit revisions, you should do a scene check. CLICK TO SEE FULL SIZE.



I have these charts before me as I work. They are quick reminders of each step needed to flesh out and deepen a scene and ultimately write a novel that editors will want to publish because they are so rich and satisfying a read. I’ll make checks on the charts as I go, when I think I’ve accomplished each type of revision. And when I’m “done” I’ll put a big exclamation mark in sharpie marker, or a smiley face, or perhaps I’ll save them for the next novel.


Claudia FinsethClaudia Finseth is a writer and author living in Tacoma, Washington. She is published in non- fiction adult, poetry and short children’s stories in Cricket Magazine. Her goal now is to become an adept at the novel form. “Novels are hard!” she says. Her website is claudia.finseth.ca.

30 Jun

Do You Fear Starting a New Novel?

Today, I stare failure in the face.
Today, I am scared.
Today, I see possibilities as the possibility of failing.

In other words, I have finished all my self-imposed deadlines on other projects and cleared my plate of other tasks, so that I can start a new novel. And it terrifies me.

It’s an ambitious project, something I expect to turn into a trilogy. I have such hopes for this project: hopes that it will reach new readers; hopes that it will be fun to write and promote; hopes that it will be (I’m afraid to even say it!) a breakout novel for me.

And I am scared.

I’ve done my homework. Volcanoes feature large in this story, so last month while I was in the Pacific Northwest, I visited Mt. St. Helens.

Darcy Pattison at Mt. St. Helens

I recently visited Mt. St. Helens for research on the background for a new novel.



I’ve written samples for this story from different points of view, and even sold a short story based on the back story.

And yet–I am scared to sit down and start this. Yes, I’ve written the book on starting a novel and I’m still scared to start again. As ART AND FEAR puts it, I am scared that my fate is in my own hands–and that my hands are weak.

I SHOULD see the great possibilities of success.
I SHOULD approach this with excitement.
I SHOULD be so ramped up by now that the words would flow, as if bestowed from above, with angelic music swelling and…

No. Writing is work. It’s the hardest work I’ve ever done or ever hope to do. But it’s also the most exciting, most fun, and most rewarding work I will ever do.

So, at 8:30 this morning, I’ll turn on my Freedom app, giving myself three hours of uninterrupted time. I will make a start. A messy start. But a start. And that will be enough for today. Just make a start, that’s my goal for today.

12 May

The Conversation of Literature: What Are They Saying About Your Book?

We don’t write in a vacuum. Your story is in the context of the whole of literature, and specifically, the literature of your genre. How does your story add to, change, enhance the conversation?

superman

Superman No. 1, Millennium Edition, a reprint of the first ever Superman Comic.

This question was brought home to me as I picked up my son’s comic book. It’s a reproduction of the original Superman comic book from 1938 (Millennium Edition, Superman 1, December 2000, originally published as Superman No. 1 Summer 1939). Wow! It’s bad. Really.The characterization, the back story, indeed the characters are all pretty stale and cliched. But that’s my evaluation from this time, from 2014.

The reproduction starts with an introduction to the comic:

Until 1938 most comics were usually filled with reprint material spotlighting the more successful newspaper strips of the day. And while ACTION COMICS was one of the first titles filled with original material–created from scratch for less money than it would have cost to reprint existing comic strips–few could have been ready for the sensation its cover-featured star would cause! ACTION #1 spotlighted the debut performance of the world’s first–and still foremost–superhero: SUPERMAN!

This puts the fist story of Superman into context. No wonder there’s no mention of Jor-el and the struggle on Krypton (which is expounded in recent films). Mr. and Mrs. Kent are just described as an elderly couple. Clark’s first exploit is to prevent a lynching, then catch a singer who “rubbed out” her lover for cheating on her, and then to stop an incident of domestic violence. Not the stuff of super-fame. The stakes are low–Superman isn’t saving the world here.

But in the context of comics that just reprinted comic strips from the newspapers, Wow! Again, Wow! This was great stuff.

Two things strike me here: First, Superman had a humble beginning. Too often today, humble beginnings are overlooked or not allowed to even see the light of day. We want a fully developed story, with super-hero characters. But these type characters often need a small beginning. They develop over time as the story becomes part of the culture and join the conversations of our time. If the story captures any part of our imagination, they will become part of the conversation and the characters, the story, the plotlines–everything–will grow and develop. I wish there was a way to let more stories do this, to begin small, to join the conversations and to develop. Witness the Superman legends today, with rich back story on his parents, his struggles to fit into Earth, the dangers from other Kryptonite survivors, his love life with Lois Lane and so on.

Second, Superman was a product of 1938. His story joined the conversation of his time. His first act was to prevent a lynching. Would that speak to today’s audience? No. Domestic violence? Shrug. We’ve seen so many stories that are much better than the nine panels devoted to this small subplot.

How Does Your Story Join the Conversation

Today, werewolves and zombies are having a rich conversation in our culture. You’d have to be an ostrich to know nothing at all of the influx of werewolves stories. Well–if truth be told, I am almost an ostrich on these two subjects. Until I read Red Moon by Benjamin Percy, who brings the werewolf story alive in new ways. (Actually, I’m linking here to the audio version because the author narrates his own story in an impossibly deep voice that is fascinating to listen to.) This is no “Cry Wolf” story, but a fascinating look at how the ancient legend could possibly affect our lives today; and it’s told with impeccable prose that fascinated me with its amazing storytelling.

I shunned the whole zombie thing until my hairdresser raved about “Warm Bodies,” a movie that took Shakespeare’s Romeo and Juliet and updated it with zombies. Really? You could DO that? In other words, zombies were joining the conversation about romance and love. How do the things that separate men and women affect our lives? Can love really change things?

In other words, it’s almost impossible to live in today’s world and not know something about zombies and werewolves. The literary conversation is littered with these conversations that make connections which weave in and out of the canon of English and Western literature.

Saucy and Bubba. A Contemporary Hansel and Gretel Story.

Saucy and Bubba. A Contemporary Hansel and Gretel Story.

I call my recent story, SAUCY AND BUBBA, a contemporary Hansel and Gretel story because it puts it into a certain context: the discussion of step-mothers and how they treat the step-children. Mine is a twist on the old story–of course! In fact, it MUST be a twist on the old story, or it adds nothing to the conversation. Why would you rehash the same thing again. One reviewer said, “When a story can get me to even start to like the antagonist – like Saucy and Bubba does here – I know there’s a good book in my hands.” That’s what I wanted, a more nuanced look at the step-mother. I wanted the reader to have sympathy for her, even as they condemn her actions.

It’s like the original Superman comic: in today’s terms, it’s cliched. But it was hugely original for it’s time. It added to the conversations about justice and law-enforcement in interesting ways. If I simply repeated the Hansel and Gretel fairy tale, it would be a flop. Instead, we must think about how our stories fit into the context of our times. We must strive to join the conversation and to have something to add to the conversation. How can we add something different, interesting, conflicting, nuanced and so on? How are you enriching the conversation? How are you changing the conversation?

How does YOUR story join the conversation of our times?

12 May

Scene: Fast or Fast-Paced?

Is your scene fast or fast-paced? There’s a difference, an important difference.

A fast paced scene has lots of small changes happening, which keeps the reader on the edge of his/her seat. Think of it as the last few minutes of a basketball game where the ball changes hands often, and the score bounces back and forth.

These could be called small zigzags of action and emotion, or it could be a rapid list of beats or actions. Each action lasts a short time, before something else happens.

Fast-paced scenes aren't necessarily fast scenes.

Fast-paced scenes aren’t necessarily fast scenes.




A fast scene means that the whole scene is quickly over. The entire beginning, complication, development, and resolution of the scene takes just a few moments, a few lines.

Fast-paced scenes are almost always welcome.
Fast scenes have a place in fiction when you need something to happen in an economical manner.

However, you should avoid fast scenes for the Big Moments in your story. These are scenes such as the Opening, the climax of Act 1 (sometimes called the Inciting Incident) which moves the action into Act 2, several big moments in Act 2, the scene that send the action into Act 3, and of course, the Climax scene. Those scenes need to take up more space, and should probably be fast-paced. But there’s more happening, emotional content, twists, and surprises; these are extended scenes. These are the things that make a scene big. Of all the scenes, the longest will probably be the Climax scene, by a matter of pages.

There are fast-paced, fast (or short) scenes.
There are fast-paced, medium length scenes.
There are fast-paced, long scenes.

Make sure you know when and where to use each one.

14 Feb

How to Ruin Your Novel’s Opening with a Few Wrong Words

Choosing the right set of words–the diction of your novel–is crucial, especially in the opening pages of your novel. Novels are a context for making choices, and within that context, some words make sense and some don’t.

A novel sets up a certain setting, time period, tone, mood and sensibilities and you must not violate this. If you are writing a gothic romance, the language must reflect this. For thrillers, the fast paced action demands a certain vocabulary. Violating these restrictions means a bump in the reader’s experience that may make them put down the book.

Let’s look at some examples. This is from my book, SAUCY AND BUBBA: A HANSEL AND GRETEL TALE.
S&B COVER3-CS.inddJust from the title you know that this is a contemporary retelling of Hansel and Gretel and this sets up expectations for the language that will be used. This is a first look at Krissy, the stepmother.

Krissy was singing to herself. Gingerbread days were filled with music, too. Once a month, Krissy made a gingerbread house and took it into town to sell to the bakery for $200. The bakery displayed it in their picture window for a month, and then donated it to a day care. Each month, Krissy checked out a stack of architecture books and pored over them.

Let’s substitute a couple words and see if it bothers you as a reader:

Krissy was caterwauling to herself. Gingerbread days were crammed with music, too. Once a month, Krissy slapped together a gingerbread house and took it into town to peddle to the bakery for $200. The bakery displayed it in their picture window for a month, and then dumped it off at a day care. Each month, Krissy checked out a stack of architecture books and flipped through them.

I’ve been extreme here in word choice, of course. The key is to listen to your story. Where are the places where a single word might interrupt the narrative? Work hard to control your word choices and the overall diction of your story. And I’ll stay with you for the whole book.

11 Feb

Idea to Book: Outline + Character

How do you take an idea to a book? I am just starting the process again and every time, it overwhelms me. I know the process works, but it seems so daunting at this first stage. So, I only look forward to the next task, knowing that taking the first step will lead me onward.

For this story, I’ll approach it on several levels at once:

Outlining. This is the fourth book in an easy-reader series, so I know the general pattern that the book will follow over its ten chapters. Chapter one will introduce the story problem and chapter ten will wrap it up. That leaves eight chapters and each has a specific function in this short format. Chapter 2 introduces the subplot, chapter 4 intensifies it and chapter 6 resolves it. That leaves chapters 1, 3, 5, 7-10 for the wrap-up. Chapters 9 and 10 are the climax scene, split into two, with a cliff hanger at the end of chapter 9. In other words, I can slot actions into the functions of each chapter and make it work. Knowing each chapter’s function makes it easier–but not automatic. I’ll still need to shift things around and make allowances for this individual story.

Character Problem. Making my characters hurt is the second challenge. Squeezing them, making them uncomfortable, making them cry, dishing out grief and mayhem–it’s all part of the author’s job. I tend to be a peace-maker and find this to be quite difficult. But if I can manage to bring my character’s emotions to a breaking point by chapter 8, I’ll be able to move the reader. I’ll be searching for the pressure points for the character as the outline progresses. Hopefully, the emotional resolution in chapter 9-10 will be a twist, something unexpected by the reader.

Back and Forth Between Outline and Characters. The nice thing about focusing on just this much at first is that it is interactive. I’ll go back and forth between plot, character and the structure demanded by this series until the story starts to gel. Will it be easy and automatic? Oh, no. I’ll be pulling out my hair (metaphorically) for a couple days. But by the end of the week (I hope) there will be progress.

How do you start your story? Do you free-write, create a character background, or outline? Which parts interact as you create the basis for a new story?

Photo Credit: http://www.flickr.com/photos/bk/12392396893/

What Character Are You? Click to Enlarge. Photo Credit: http://www.flickr.com/photos/bk/12392396893/



21 Jan

Begin in the Muggle World: Opening Scenes

Where should your novel begin? The Harry Potter series doesn’t start with the death of Harry’s parents, because Harry wasn’t old enough to remember that. It doesn’t start with the first day in Hogwarts School because it wouldn’t bring us into Harry’s world with a strong enough sense of character and a strong sympathy for Harry.

Instead, JK Rowling begins the whole series in the Muggle world, with a misfit Harry trying to survive while living under the stairway.

Build Sympathy. One crucial goal of openings is to create sympathy for a character that will carry through many challenges and events. An orphaned child who is forced to live with disagreeable parents will most certainly get sympathy. Poor thing, to be treated so shabbily; it’s not fair. We love our underdogs, don’t we?
HPotterStairs
Start with the Normal World. For Harry and for the reader, the normal world is the Muggle world where there is no magic. It’s the right place to start, but the wrong place to linger. Readers should understand exactly what the normal situation is before something comes along to shake up the world of the story.

Start with a Day that is Different. Harry’s under-the-stairs world is normal, but it doesn’t stay normal. Immediately something is different. It’s a delicate balance to make sure the contrast is set up between normal and the exciting world introduced in the story. You want enough of the normal to set up the contrast, but too much gets boring. Normal is boring. Think hard about where you might start the story and what are the first small inklings (or big huge inklings, if you choose) of change. Start there or a bit later.

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