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Category : The Writing Craft
Continuing my series on pre-writing, I’m talking today about different ways to plot your novel before sitting down to write. Figuring out your plot at the beginning of the writing process can help you:
- distribute your writing– knowing in advance all the pieces that your story will need to include keeps you from getting bogged down/spending an inordinate number of words on minutiae or set-up
- get a sense of your timeline– understanding the time frame of the events of your story helps you identify any out-of-place jumps or pauses
- develop a plan B when writer’s block hits– if you get stuck in a certain scene or beat, you know what’s coming next and can move ahead and come back later instead of coming to a grinding halt while you beat your head against the wall (but maybe that’s just me)
There are as many ways to plot a novel as there are authors, and no one approach is the “perfect” one, but most authors use some variation of several common approaches to story planning. These approaches can be organized from least to most detailed, and knowing your writing process and the plot areas you most often struggle with can help you determine which level of detail will be most helpful to you– some authors enjoy the organic plot development that takes place when they’re writing toward a climax without a more rigid plan in place, while others get bogged down in the middle if they haven’t figured out all of the plot points that will take the story from beginning to climax. With that in mind, here are three common approaches to story planning and the common plot problems they can help prevent.
1. The Compass: The Story Arc or Line
At its most basic, a story arc charts the rise and fall of tension in a story. From the stasis, or the way things are at the beginning, all
Analyzing sales trends is a tricky business. Predicting them is almost impossible. But when thinking of what type of crime novel sells, be it the cozy or the more violent thriller novel, there are a few clear issues that emerge. Are readers looking for reassurances that traditional narratives offer, or is violence the allure?
One model of analysis that is illuminating is the Nietzschean dialogue between Dionysian and Apollonian energies . If Apollo represents law and Dionysus chaos, then crime fiction is built on a fundamental friction between the two. And proportionally, the largest part of any crime novel is the narrative showing the seductive uprising of forces that threaten to destroy society. There may be a certain voyeurism at play here, as the reader is allowed to witness things he would not ordinarily see, as he is given a peek into lives that are as exciting as they are flawed. But ultimately the narrative thrust is towards the vindication of law.
That is one thing that is a recurrent feature: most crime fiction is redemptive. The plot and story are often driven by criminal subversions and focus on the damage done to peoples’ lives by criminals, while the protagonist, often a detective, struggles to catch the culprit, but in the end order is restored and justice served, often lawlessly where revenge is part of the plot. Justice is a prevailing theme, but it is one that is interpreted in many ways. The police procedural traditionally relies on the investigation and the judicial system to restore order, while other novels mete out poetic justice to the wrong doers. These are some of the shared themes of crime novels, but the approaches are all different.
Agatha Christie wrote addictive cozies that centre on a period of English history when class dominated social interactions. Her core strengths are her plotting and protagonists. Poirot remains an undeniable force among detectives. Christie’s novels are
Last week, I started a new series about some pre-writing strategies that can help you preemptively fix problem areas in your manuscripts. Since not every author is going to find every strategy helpful, however, I included a list of questions to ask yourself about your writing process to help you in figuring out which pre-writing exercises are worth your time. I’m talking today about some character development tools that you may find helpful if:
- you struggle with writing multi-dimensional characters/relationships
- you find yourself getting bored with your characters partway through a manuscript
- you’ve struggled in writing dialogue for specific characters
- you’ve ever been uncertain of a character’s motivation
- you’ve received feedback about characters acting “out of character” or being inconsistent.
If any of those sound like you, some of these tools/exercises can help pave the way for a smoother, more informed relationship with your characters throughout the writing process.
Interview Your Characters
I’ve mentioned this approach to character development before, but it’s worth repeating. I often read decent, well-written manuscripts that start out with several pages/chapters of backstory and character introduction that I, as the reader don’t need to know right away (and sometimes, at all). What generally happens is that as an author begins writing about a character, that character continues to grow/take shape in the author’s mind and all of that new information ends up in the manuscript, slowing down the opening of the story and delaying the action. While it’s true that a lot of authors learn about their characters by writing about them, that material shouldn’t necessarily end up in the book, and definitely shouldn’t be dumped in a big chunk at the beginning of the narrative. Instead, consider filling out an interview questionnaire for each character that figures substantially in your story, taking some time to answer/invent the answers to a wide variety of questions that reveal the character– physical appearance, family, childhood, education, places
Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. You can also check out her marketing skills on Fiverr. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.
PLEASE READ THROUGH TO THE END… EVEN IF YOU DIDN’T WIN I HAVE SOMETHING SPECIAL FOR YOU…
Last week I invited you to share with me the various projects you’ll be working in 2015. I believe there is something inspiring about writers sharing ideas with others. There is something about making a public commitment to PURSUE a project that makes it so much more real (and we all know how working on a book alone, on your own, can many times feel like you’re pretending at this whole writer thing). So I’m very glad that we got a good response to my post. I’m glad for the thirty-some of you who took me up on my challenge and made your 2015 goal project public.
And as promised, I’ve chosen a favorite! Here are some things that I considered when reading through the submissions:
- Does the project have a strong external plot? It’s easy to focus on the internal arc (what are their fears and how do the characters change on the inside?), but a pitch is all about the external. What happens TO these characters? That’s what I’m more concerned about at this stage in the game.
- Does the project sound different? I see a lot of pitches, a lot of story ideas, and so I’m alway on the lookout for a book that is unique. Something that either I haven’t heard before or something that is different enough from the status quo.
- Do I want to
In the spirit of new beginnings, I’m going to be spending several weeks talking about some of the pre-writing processes you may find helpful as you get started on your 2015 writing projects. The more manuscripts that come across my desk, the more I’m reminded that being a competent writer does not necessarily make someone a competent storyteller: I’ve read plenty of projects in which decent writing and a good story idea or concept were undermined by significant plot and character problems. And while the surest teacher in these areas is time/experience, there are many exercises and strategies you can employ at the front end of the writing process that can improve your story structure and character development.
Because not every writer needs help in every area, and because each writer’s writing process is different, the first step in creating your pre-writing strategy is to evaluate what kind of writer you are and what pre-writing exercises will be the most helpful to you, personally. The goal of pre-writing is not to give you a dozen hoops to jump through or a list of ways to help you procrastinate, but to help you make the most efficient use of your writing time by identifying your successes and preemptively shoring up your weaknesses. If your high school experience was anything like mine, you remember the frustration of being required to turn in junk like an outline, research notes, and a rough draft before you could turn in your final draft, just to prove that you went through the “correct” process for turning out a solid paper. (Well, Mrs. Jennings, I wrote my paper first and then created all that other stuff, so there!)
Pre-writing doesn’t have to be like that; you’re an adult, and one of
Sometimes life gets in the way of our writing and we reach a slump. We’re not lazy or without a plot for our story, rather, we’re exhausted from that other life, i.e., the one we’re not writing. There are many things tugging for our attention. You know them: jobs, finances, relationships, family, kids, kids who make poor choices, parents, parents who are ill, pets, pets that bark at Jehovah Witnesses and bust out windows, lost library books, and even cobwebs and dust bunnies. Escaping into our world of characters and plot might work for a day, but then reality knocks at our office door. (In my case, I no longer have an office; I’m at the end of the dining room table, making me visible to all I live with, sort of like being at Grand Central Station. I’ve invested in a cheap pair of headphones and they seem to block out the activity around me.)
But sometimes I just have to leave the feisty pets, the dust bunnies and the others I live with, and get out of the house. If life has made me too discouraged to do what I love—-to write, then I need time to think things through. I call it “having tea with my characters”. As I walk on a favorite park trail, I think about how each one of my characters would react if I invited them to a party with those finger sandwiches and my favorite Earl Grey. I take mental notes. If I had one of those smart phones, I could record my notes, but instead I rely on memory and the minute I get back to my car, I write down everything. Bits of conversations as tea was served, a new phrase Aunt Kazuko coined when she sat at the dinette table, the color of the sky when Nathan confessed that he missed Lucy, the brokenness Papa held when carted off
Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.
Instead of doing a list of resolutions or predictions or blah blah blah, we’re going to do something fun…
Let’s face it, if we’re serious about writing, we should be able to finish a book this year, right? So, let’s focus on THAT.
What book will you finish in 2015? It can be a novel. A nonfiction book. One you’ve been working on for years or one you’re starting today. Whatever it is, tell us about it! Give us a one-paragraph blurb. Really sell the thing. Make it shine. I’ll be reading the comments and will pick my personal favorite NEXT THURSDAY. Spread the word!
Any writer who has ever stared at a blank screen or sheet of paper, unable to come up with a story idea, knows the feeling of being creatively comatose. Try as you may, nothing comes to mind.
If that is ever you, don’t blow your brains out in frustration. Instead, feed in new ideas and have some laughs along the way. Here is an idea from childhood that will help you put the creativity back into creative writing.
As a youngster, you may have had a fold-over book that was divided into three sections. For example, the first scene shows a normal-looking man. Then you flip over a new top third section, and the man is wearing a pirate hat and an eye patch and has a parrot on his shoulder. You then flip over a new bottom third; and the man is dressed in policeman’s trousers with handcuffs, a billy club, and a pistol hanging from his belt.
Creative writers can play a mental version of this game. Imagine a business executive in a suit and holding a briefcase. Now, flip a new bottom section on him, and suddenly he’s wearing jogging shorts. Why? Well, maybe it’s because he’s actually a model on his way to a photo shoot for men’s sports gear. Or he’s an avid jogger who runs every day during lunch hour. Or he’s a bachelor and is so far behind on his laundry, he wore jogging shorts under his suit. Jot down all those ideas.
Now flip over the top section. Suddenly he’s wearing the upturned collar of a clergyman, has a neatly trimmed gray beard, and is wearing conservative wire-rimmed glasses. Why? Well, maybe he’s a reservist with the Army and serves part-time as a chaplain, or he’s a seminary professor who teaches ancient languages. Or perhaps he’s a con artist who travels from city to city posing as an evangelist. Write down all
Last week, in between hurriedly throwing a few Christmas decorations at my walls and attending “The Nutcracker” for approximately the 1,247th time, I managed to keep my yearly date with A Christmas Carol. I always caution myself that it cannot possibly be as good as I remember, but every year it’s better. With each successive reading, the charm and earnestness and pure skill of the writing is more apparent, and if you doubt this book’s place in a blog on the writing craft, you probably haven’t read it in awhile. This book was a labor of love for Dickens rather than a serial written to pay the bills, and it shows. Free from the need to sustain a story for months/years on end in order to keep the paychecks coming, Dickens demonstrates a previously unsuspected ability to tell a story taking place over a time span of less than twenty years (I’m looking at you, David Copperfield), and he lets himself go on description and characterization in way he was unable to do in a serial installment expected to advance the plot each week. We see him revel in this independence in the gleeful abandon with which he describes the riches of London shop windows at Christmas time, the passionate cries of the narrator which interrupt the story from time to time, and the flights of whimsy he indulges in in a book not expressly written for children.
Basically, Dickens wrote the story he wanted to write in the way he wanted to write it, regardless of how well it fit the mold he’d found most of his success with, and 160 years later, it’s still his most popular work. The longevity of the book (it’s never been out of print) should serve as a lesson to those authors who are navigating the tricky issue of how to balance profitability and passion– writing to pay the bills is all
If you caught the last couple of Tuesday posts, you’ll know I’ve been talking about the final stages of manuscript preparation– knowing when to stop polishing a manuscript, finding beta readers, etc. I pointed out that finding beta readers who are a good fit for your skill level and your genre is an important step in ensuring that the feedback you get from them is worthwhile and relevant so you don’t go crazy trying to apply conflicting or uninformed advice. Even when you’ve selected your beta readers wisely, however, it can still be overwhelming to revisit your manuscript with three or four different sets of feedback from three or four unique readers– even if all your readers are published sci-fi authors, each one is going to have a slightly different reaction to your book, and deciding which advice to apply and which to ignore can feel like one of those Choose Your Own Adventure books, in which every decision you make will result in a different outcome. (The good news here is that the editing decisions you make are highly unlikely to result in being thrown into a volcano or trampled by elephants, unlike CYOA.)
So, how do you decide what feedback, and how much, to apply? Here are a few guidelines to help you as you CYOFD– Choose Your Own Final Draft!
- Decide in advance how much rewriting you’re willing to do. If you don’t have the time and the fortitude to make major plot changes, or to rewrite the entire book from a different character’s perspective, you can cross off suggestions on this scale right away. Don’t waste time agonizing over whether or not a large-scale change would be a good idea if you know realistically that you’re not in a place to make a change like that. Turn your attention to smaller-scale suggestions and don’t drive yourself crazy with “but what it…?”.
- Create a plan