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TABLE OF CONTENTS
INTRODUCTION...3
CHAPTER ONE
PLOTTING SUCCESS.10
CHAPTER TWO
BUILDING YOUR STORY ARC...28
CHAPTER THREE
CHARACTER MOTIVATION....45
CHAPTER FOUR
CREATING CHARACTER SKETCHES...68
CHAPTER FIVE
NOVEL PLACE SETTINGS....90
CHAPTER SIX
RESEARCH, RESEARCH, RESEARCH.. 111
CHAPTER SEVEN
SCENE PLANNING FOR PERFECT PACING....... 130
CHAPTER EIGHT
PUTTING IT ALL TOGETHERTIME TO WRITE... 147
CHAPTER NINE
WRITING THE QUERY AND SYNOPSIS...171
CONCLUSION... 192
RESOURCES..194
INTRODUCTION
By investing in this e-book, youve taken the first BIG step toward
putting together a blueprint and building the foundation that will lead
you to the end of your novel manuscript, right into submitting it to
editors, and eventually possibly to seeing your book on bookstore
shelves. What youre about to do is stop and start at the same time.
I have an idea for a novel, a woman told me when I spoke with her
on the beach one day.
If I had a dime for every time someone has said one of these
statements or something like them to me, I wouldnt need to worry
about getting royalty checks. Id be rich.
When I was a lawyer and I told people what I did, very few people,
very few, said Ive always wanted to be a lawyer. Or I plan to go to
law school one day. Not many people are dying to be lawyers. Go
figure.
I left the legal world, and I began writing, and from what Ive
experienced, I think half the people in the world who have other jobs
would like to quit and become a writer too.
Not all of these people, though, will go from imagining that adventure
to actually embarking on it. But by reading this e-book, youre making
sure that you WILL be one of the people who actually undertakes the
novel-writing adventure. And youll have a wonderful time! Also, if
you work hard and you have talent, youll even find a treasure at the
end of your adventurea novel you can sell.
If you have started a novel but got derailed at some point, thats okay.
The reason you lost track was because you probably didnt prepare
fully enough. You can get that preparation done now and get right
back on track.
If you have written a novel but it didnt turn out the way youd hoped
it would, dont despair. One bad novel, or two, or three, or even ten,
doesnt mean you dont have a great novel in you. When a meal turns
out poorly it doesnt necessarily mean the cook was badit could have
been a bad recipe.
I dont know if you feel this wayI hope you dobut getting a novel
published has always been one of my biggest life goals. Ive wanted
to be an author since I was a little girl. You cant possibly imagine the
off-the-charts exhilaration I felt when I sold my first novelto none
other than Bantam Dell, one of the biggest publishers in the world!
I want you to experience that thrill too. Thats why Im teaching this
course. And thats why youre taking it, right?
During the next few weeks or months, you are going to, excuse me,
Emeril, for borrowing your line, Kick it up a notch. Youre going to
dive into your novel idea and take it from the seed it is now, plant it in
the rich ground of your imagination, nurture it with your creative skills,
water it with your efforts, and grow it with your enthusiasm and talent
into the new sprouts of a novel.
It takes action to get anything done in life. You know that, right?
Lets say Joe wants to build a house. He has a great idea for a house.
He can see it in his mind. Its two-story, shingled with big picture
windows. Hes excited about his idea for this house. He knows how to
build things, so he wants to jump in and get started on the house.
Joe runs down to the building supply store and orders lumber and
concrete and nails and pipes and sheet rock and siding and windows
and all kinds of stuff, and he piles it up. Then he just randomly picks
Now Bob, who owns the lot next door to Joe, wants to build a house
too. Joe thinks Bob is a little silly. While Joe piles up the building
supplies and start hammering, Bob is just sitting in a chair with a piece
of paper. He has some survey equipment and a measuring tape and
every once in awhile he gets up and wanders around and looks at his
lot and measures stuff. Joe thinks Bob is wasting his time. But finally,
Bob goes away and comes back with an architects drawing, and he
begins digging and then he pours a concrete foundation. Joe has
already built several walls, and hes feeling quite pleased with himself.
All Bob has is some concrete footings.
Some novelists are like the first guy and they are so brilliant, so gifted,
that they can actually pull off writing an amazing book without any
planning whatsoever. Wally Lamb, who wrote Shes Come Undone and
I Know This Much Is True, both Oprah Book Club picks, said all he had
in his mind when he started writing I know This Much Is True, was the
image of two brothers driving down the road in an old pick-up truck.
One brother had a mental illness, the other didnt.
Now, he wrote an incredibly long book just following this idea. Oprah
loved it. I bought it and wasnt as impressed. I thought it rambled. I
thought it was boring in many places. But then, my own novel hasnt
been picked by Oprahso what do I know?
The point is that some writers have the ability to jump in and start
hammering. Most of us, though, simply arent that brilliant. A writer
friend of mine recently told me about a writers group she belongs to.
She said one of the members of the group is working on a mystery
novel, and the way the writer is writing the mystery novel is to simply
make it up as he goes along. My friend said the story is boring. The
characters are boring, and the writing is awful. Not surprising. This
writer is one of us ordinary folks who needs a plan.
I didnt always plan books the way I do now. I tried a lot of different
ways of working on novels. I wrote five novels before I put this
method together on my sixth novel. It was that sixth novel, Alternate
Beauty, that sold to Bantam.
I made a lot of missteps along the way to getting my first novel sale,
and even though youre reading this e-book, youll probably make
some too. But its my hope that because youre reading this e-book,
youll make fewer missteps than I did.
Okay, were about to dive in. But first, lets get physical. What I
mean is lets talk about the physical items youll need to put together
your novel plan.
The point of what were doing in the first seven chapters of this e-book
is to prepare what goes into two important items that will become your
best buddies during the course of your novel planning and writing
process:
So if you dont have whats on this list, get what you need from an
office supply store:
1. Plot
2. Characters
3. Setting
4. Research
5. Scenes (if you use the Word doc template
Your scene card file will hold all your scene cards. (You can also do
your scene cards on the computer, print them out, hole-punch them,
and put them in a binder as wellwhatever works best for you.)
CHAPTER ONE
PLOTTING SUCCESS
We writers all bandy around the word, plot, easily. But what is plot
exactly?
Plot is simply the plan of your story. Its the movement of the people
in your story through situations and through settings to get to certain
goals.
For example, in my novel, Alternate Beauty, the idea I had was about
an alternate universe where fat is considered beautiful. I thought that
would be an interesting situation to explore.
Some ideas, however, start with the character. You wont have any
notion of what your character is going to do, but youll have a clear
picture of that character in your mind. This is what happened for me
with my novel, The End of the Beginning, a paranormal sci fi thriller
that Im currently shopping around.
Kali Madison popped into my head one day with about as much
confidence and power as she has in my novel. I could see her
clearlyher face and I could hear her talking. I knew she was a kick-
butt, no nonsense woman who was determined, tough, and stubborn
but also compassionate and honorable. I knew I wanted to put her in
a really unusual situation and give her a formidable and quite out of
the ordinary opponent. That was the idea I started with that
eventually became an over 900-page novel.
Im assuming that if youre reading this e-book you have at least the
grain of an idea. Now, youre going to learn how to take that idea and
turn it into a plot.
You do this with what I call the seed question for your plot.
Youre going to ask this question over and over and over and over.
For the Kali Madison idea, I did the same thing. What if Kali saw
something that made no sense to her at all? What if she left her job
as a homicide detective because of what she saw? What if she was
drawn to a new place and she met a witch who told her things that
Kali thought were totally insane? What if a murder investigation shed
been on before she left her job followed her to her new home? What if
it seemed like the murders had something to do with her personally?
Do you see how this works? Youre playing with what if.
Another question you can ask to put your plot together is Why?
Ask Why?
You can apply this why question to your what if scenarios to flesh out
your plot ideas.
The why takes me back to what if. What if she lost weight because
she was so happy that she no longer ate to cover her pain?
That what if led me to another why: Why, if she ate to cover pain,
wouldnt she just eat again once she started losing weight in the new
reality? Wouldnt that make her unhappy enough to binge again?
Why wouldnt she just go back to eating a lot?
That why, again, took me to a what if: What if she no longer wants to
eat to cover painsomething in her experience of this new universe
has changed her. She just doesnt know what it is.
Why?
What if?
You ask what if. That gives you information. Then you ask why. That
gives you information, which leads you back to what if.
Its impossible to structure the novel plotting process much more than
this. Its a general brainstorming process that requires your mind to
be free and full of possibility.
Ill tell you toward the end of this chapter some ways that you can
enhance your brainstorming process, but first, you need to know a
little more about plot.
The Elements of
of Plot
1. Conflict
2. Story question
3. Theme
1. CONFLICT
and Miranda tells the guide how much she loves her
husband. They climb and climb, and they finally get to the
top of the mountain. They look around and they suddenly
spot it: The Pentacle of Rorah. Its shiny and gold and
beautiful, and it slips easily into Mirandas backpack.
Miranda and her guide climb back down the mountain and
she gets on another plane and flies home. She goes
straight to the hospital where she finds her husband still
hanging on to life. The doctor takes the Pentacle of Rorah
and rubs it and chants some words that he just happens to
know, and the Pentacle emits a beautiful light that fills the
room, and Mirandas husband is healed.
But whats wrong with it? You DID see something wrong with it, didnt
you?
In real life, going after what you want and getting it easily is desirable.
Thats what youd like to have, right? You go after something. You
get it. Easy as pie.
Just because its what you want in real life doesnt mean its what you
want in your novels.
If you want to write a good novel, you need to become a truly evil
creator. You need to be so mean and nasty and downright ornery that
you delight in creating awful situations for your characters. You want
to throw every problem you can think of at your characters.
Okay, with this in mind, let me tell start the story of Miranda again,
once more, with conflict:
Doctor Roberts smiles and shakes his head. Ill tell you,
he says, only if you agree to have an affair with me. He
tells her hes been falling in love with her, and he wants
her. He tries to kiss her. She has to fight him off. She
begs him to tell her what the healing is. He refuses.
But, the other woman says, no one who has ever tried
to retrieve the Pentacle has ever survived. Thats why
her husband didnt talk more about it in his book. Even
people who -discuss the Pentacle usually end of up dead.
She calls her best friend to tell her friend whats going on
and to ask her friend for money to help pay for the trip.
Her friend tries to discourage her from flying to Mount
Kilimanjaro to find the Pentacle, and her friend wont give
her the money.
Okay, I could go on, but Im hoping you get the picture. A good story
has conflictproblems that the character must overcome to get what
she or he is trying to get.
To figure out the conflicts in your novel, you need to know two things:
There are three types of obstacles that your characters can face:
1. People
2. Situations (nature and society)
3. Self
--Her mother
--Her boss
--Her friends
--Society in general
--Her relationship with food
--Ronnie herselfher beliefs about herself
She has other obstacles too, but these are her main ones.
Each of her main obstacles will break down into problems that she has
to solve. A good novel is filled with problems. The problems will be
caused by one of the three obstaclesby a person, by a situation, or
by the character him or herself (by the characters own actions or
ways of thinking).
This is what you want in your novel. You want what is called layered
conflict. You want your main character or characters facing so many
obstacles and problems to getting what they want that it takes a whole
novel for them to overcome all the struggles.
In Mirandas story, for example, just so far in what I shared with you,
there are conflict layers. Miranda needs to save her husband.
Already, shes in conflict with the doctor, with the Pentacle Protectors,
and with her friend. Shell face other obstacles too as the story goes
on.
And notice in Mirandas story that her husband is facing obstacles too.
He needs to stay alive. Hes in conflict with the unseen watcher, with
his nurse, and with his wife, who doesnt believe him.
When you have a story with multiple viewpoints (more than one
person telling the story), each viewpoint character will need conflict
needs stopped by obstacles. Every viewpoint character will need
layers of conflict. These other characters and their conflicts will create
your subplots (which well talk about in just a bit).
So, while youre brainstorming your plot with your what if and your
why questions, you also create these needs vs. obstacles conflicts.
You create layers of conflict for each of your characters who will be
telling your story.
A good way to do this is to make lists as youre working with your plot
idea. List your characters and their needs/wants and the problems
your characters could face in trying to get their needs/wants met. Ive
provided a place for you to do this in the Chapter One section of your
Taskbook. I recommend that you use the Taskbook to help you make
your lists.
As you list the obstacles and problems, keep in mind that as one
problem is solved, another one needs to be right around the corner.
Things just need to keep getting worse and worse until finally your
character reaches what is commonly called the crisis point.
The crisis point is the place in the book where it seems like your main
character is ready to give up. He or she almost loses. The obstacles
have nearly defeated her.
This is where you bring the story to a head. Its the do or die point of
the book. Will your character win or lose? Triumph or fail?
Your choice is known as the climax point of your novel. Its where
your character either wins or loses.
If youre writing a tragedy, you will knock your character down once
and for all. You will have your character ultimately fail to get what she
wants. Her obstacles defeat her. Shes done.
Most of the time, youre not going to end your novel so bleakly. The
vast majority of popular fiction ends with the character overcoming his
or her obstacles. I dont know about you, but I much prefer to read
this kind of novel. I like the good guys to win in the end. (Happy
endings are easier to sell to publishers tookeep that in mind.)
If this is the kind of novel you want to write, then the climax point is
when you finally get to be the good guy in the plotting process.
Instead of being mean to your character, you get to bring her back
from the brink of destruction. You get to allow her to resolve her
problem, defeat her obstaclesbe they people, situations or herself
and finally win.
Using the Miranda example, if you were going to have Miranda defeat
the Pentacle Protectors, get the Pentacle of Rorah and return it to the
U.S. to save her husband, youd need to make sure she has the
qualities needed to defeat her enemy. Shed need to be strong and
determined and smart. Youll have had to put her in situations that
show thats what kind of person she is. If shes not, then youre going
to have to make sure that she has some awfully good people at her
side to help her overcome her problems. You cant take a wimp into
battle and have the wimp suddenly become a warrior at the end of the
scene unless youve explained why the transformation might be
possible.
When you have a satisfactory conclusion to your plot, your readers will
understand your character better at the end of the book than they did
at the beginning. Theyve grown to accept and get your characters,
and thats why the story conclusion is satisfying.
2. STORY QUESTION
Story questions are the questions you are raising in your readers
mind. Every novel needs to raise questions that keep the reader
turning pages.
A good novel raises questions on the first page and keeps asking
questions (or doesnt answer the questions already raised) until the
last page of the novel.
It happened, though.
If I did my job right, which I hope I did, that opening raised questions:
What is it? What happened? Why hasnt she told anyone? Why
would no one believe it? How was her life transformed?
When youre creating your story questions, you need to find a balance
between raising questions and answering them. Dont just keep
raising questions without answering any. Thats a great way to drive
your readers crazy.
Have you ever read a book where 100 pages into it you still have
absolutely no clue whats going onnone whatsoever? I dont know
about you, but I have a low frustration tolerance. If I dont get some
answers, at least a few, I get fed up and I dont want to keep reading.
3. THEME
Dont you have a message in your idea? Isnt there something youre
trying to say about the human condition or the world?
I hope you answered that question, Yes. Because this is the last
main element of plot.
Your plot needs a theme. The theme of your novel is some sort of
statement about human nature or about life. Its your message.
in order to allow the universe to weave its magic and put everything in
place.
If that theme sounds like a clich, thats okay. There arent that many
themes in the world. They can be used over and over again without
any harm. The message is as strong as the story that conveys it.
Your theme will resonate with your readers if your story is rock solid
under your theme.
Some plots will raise theme naturally. Some plots dont raise much
theme, and youll have to think about the message you want to share
with your readers and work it into your story. Remember that theme
is subtle. Dont beat your readers over the head with it. Just let the
story suggest the theme.
Before I tell you some good ways to brainstorm, let me throw one
more plot concept at you.
So far, weve been mostly talking about whats called the primary plot
of a novel. The primary plot is the main stuff happeningthe main
conflicts, questions, and theme.
But every good novel doesnt just have a primary plot. It has a
subplot or subplots too.
What are the subplots? Theyre the little story lines going on
underneath your big story line.
This subplot isnt essential to telling the main part of Ronnies story.
The main part of her story is her learning to find happiness inside
herself. I didnt really need a subplot. No novel really must have a
subplot.
Because when you have a lot of characters in conflict with each other,
you end up with lots of little stories. If you want these stories to meet
up and make sense, you need subplots.
Also, subplots create more problems. More problems make your novel
more interesting. They add depth and texture to your story.
Subplots also help reveal character, and they help grow and change a
character. Ronnie discovers something about herself as she deals with
the anti-skinny organization. Facing the discovery and doing
something about it helped her character grow and shift.
Subplots run parallel with the main plot. They contribute to the main
plot usually in two ways:
Okay, to round out your plotting, Im going to take you to one last
series of questions. Some of the questions are simply reviews of what
weve talked about already. Some are a little different. Youll
recognize these. Theyre from your old high school writing
Who?
What?
Where?
When?
Why?
WHO
Who are the most important characters in your story? Who are the
minor characters who will help move your story along? Make a list of
your characters as you plot. You dont have to name them yet. Youll
do that in the next chapter. But at least label them. For example, in
Mirandas story, I have, so far, the authors wife, the guide, the
dangerous nurse.
WHAT
What are the main problems facing your characters? The what is just
another way of looking at your obstacles.
WHERE
Where does your story take place? Well cover this in the fourth
chapter on setting, but as you plot your story, keep in mind that you
need to place your story somewhere.
WHEN
When does your story take place? Now? In the past? In the future?
Keep your where in mind as you plot.
WHY
Ive already explained one way to use the why question. You can also
use it to explain why your characters needs/wants are so important.
Why does your character want what he or she wants?
Now, before we get to your assignments, let me give you some ideas
on the actual brainstorming process.
Brainstorming Methods
You can brainstorm either alone or with one or more other people.
Ive done it both ways. Both work.
To brainstorm with another person, just ask the person to sit and
listen to you and then throw out anything that comes to mind.
Lay out what youve thought of so far and then explain where youre
stuck. Dont have enough obstacles for your characters? Start what
if-ing on that. Maybe youve created obstacles, but you have no idea
how your character can overcome them. Start what if-ing on that.
Dont have enough story questions? Focus on that.
You can do this in many ways. Here are three that work for me.
A) Talk to yourself.
Do this either out loud or in your head. Ask yourself what if and why
questions and jot down ideas.
Get paper and pen. Have your general plot idea in mind, then close
your eyes, get into deep relaxation (counting backwards and
visualizing yourself going down a flight of stairs works well, so does
tensing then relaxing all your muscles in turn).
Once youre in that place, invite your inner wise person to visit you.
Again, this person will look any way you want him or her or it to look.
My wise person is a Native American woman who, oddly enough,
wears no clothes. Shes very old and has long gray braids. Strangely,
her lack of clothes doesnt bother me. Im usually focused on her
brilliant blue eyes and on what shes telling me.
Once you are in your place and your wise person has arrived, tell your
wise inner person about your plot and ask him or her to give you
conflict or story question inputor whatever input you need. Sit
quietly after you ask your question. Wait until you feel compelled to
open your eyes and pick up your pen. Then do so and write whatever
comes to your mind. Dont censor it. Just write.
Youll be amazed at what kind of great stuff you can get from this
exercise.
And by the way, you can use this method to solve personal problems
too. Ask your personal questions to your wise person and youll get
answers that will help you.
When you go to bed at night, make sure you have a pad of paper and
pen beside your bed. Before you go to sleep, put your novel plot in
mind and think about whatever parts of it you need to work on. State
your intention in your head that your dreams will give you something
that will help you work out your plot.
Now go to sleep. When you wake up, write down whatever you
remember from your dreams.
Youll also start noticing that certain things will repeat in your dreams.
For example, I often dream of houses, and Ive learned that these
houses symbolize my own psyche, and I can learn things about myself
by paying attention to whats going on in the houses in my dreams.
When youre used to using your dreams for creative input, youll find
that you get a lot of plot ideas while you sleep. How about that for
efficient use of time?
And once again, your dreams can help you solve personal problems
too.
CHAPTER TWO
Once youve done the plotting work set out in Chapter One, you have
everything you need to put together a great story. But, what youre
going to discover in this chapter will take your story to the next level.
When I wrote the first edition of Novel Writing made Easy, I was able
to articulate the method by which you put a plot together, but I wasnt
able to put it all into a manageable box that made it TRULY easy to
construct your story. The reason for this is that when I constructed
my own stories, I did it without any real conscious thought about what
I was doing.
After I wrote the first edition of this e-book, I suffered a severe injury
that took me away from my writing and my work as a writing coach. I
was bedridden and then in rehab for nearly a year. During that time, I
needed something to distract me from my troubles. I began studying
screenwriting, and when I felt well enough, I started writing
screenplays.
Within this three act structure is an even more detailed structure. Its
that more detailed structure, which I studied for weeks by watching
movies and reading screenplays, that revealed to me the true framing
of a good novel.
4. The Pivotal Step (page 30): This is the springboard for the rest of
your story, the event that sets the remainder of the story into motion.
6. The Okay, Lets DO This Step (page 72): This is the point of
commitment in your story, the point at which your characters are
locked onto a course of action.
7. The Whats This? Step (page 80): This is the distraction point of
your story, where your biggest subplot shows up.
8. The Gotta Rhythm Going Steps (page 80 through 160): This is the
where the characters really get into it, the meat of the growing
conflict.
9. The Halfway There Step (page 160): This is the halfway point of
your story, the point at which something shifts and the story begins to
go in a usually subtly new direction.
10. The Getting Tired Steps (pages 160 to 218): This is where your
characters efforts begin to pay off less and less; failure is a
possibility.
11. The I Cant Do This Step (page 218): This is a BIG step, one that
is so tall that your main character(s) feel like they cant go any
further. It seems like defeat is at hand.
12. The I Think Im Going To Be Sick Steps (pages 218 through 247):
Your characters keep trudging ahead, but they feel lousy; the mood is
dark.
13. The I Have A Plan Step (page 247): This is a shallow step, and it
has a little wise man perched on it; your characters have an aha
moment and know what to do now, so they get a second wind.
14. The Rest of the Steps (pages 247 to 320): This is a burst of energy
that is the climax and resolution of the novel.
15. Ta Da! The Top (page 320): This is the ending scene of your novel,
where you wrap up the character(s) journey and give your reader
emotional satisfaction.
Yes, I know, Im asking a writer (right brain and all that) to do math.
Bear with me. Its worth it.
So lets say your target is 60,000 words. Decide on a font and find out
how many words are on a typical manuscript page in that font. (You
can count them or use the count feature in Microsoft Word by clicking
on Tools on the Tool Bar, then Word Count from the drop down menu.)
Once you know the number of words on a page, divide 60,000 by that
number. This gives you the number of manuscript pages you will
have. In this example, lets say you get 300 words per page. This
means your manuscript will be 200 pages long.
To figure out your page targets, use the targets I listed in the fifteen
parts of the staircase and the number of pages I said were in my
target manuscript in the following equation:
The equation youre creating is this: Page target in each staircase part
is to 320 as ____ [your page target] is to 200 [the number of pages in
your manuscript].
So, for example, the equation for the second part is 14 times 200 and
that amount divided by 320. So thats 2800 divided by 320, which is
8.75 (this is a target, remember, so you dont have to have the theme
show up exactly of the way through page 8; youd make your target
page 9).
You do this for every page target in the staircase. The second target
is page 29 (in the third part of The Staircase Method). So you multiply
29 times 200, which is 5800, and divide that by 320, which gives you
18.125. So your next target is page 18 of your manuscript.
So, to repeat, you multiply the page target I list in the method by the
number of pages you expect to have in your manuscript and then
divide that result by 320. Do this for every target in the staircase and
youll know where to plug in staircase elements in your own story.
1. THE LANDING
The landing is the first scene in your novel. Its where you hook your
reader. This is your first impression. Bore your reader here, and your
reader wont want to climb your staircase. He or she will put down
your manuscript.
The best place to start a novel is in the middle of the action. Leave
the back story for later. Jump into the middle of your characters life.
Draw the reader into the world.
If this is our novels first scene, how do we want to open the novel?
Id do something like this:
Why wont you tell me? She threw the words at him and
cringed at the strident tone. It betrayed her panic and
made her sound vulnerable.
Fine, she said. I wont tell anyone what you tell me.
This isnt perfect, and Id spend a lot more time on it than the two
minutes I just used to write this opening. But what I want you to see
is that we started right in the middle of the scenes action.
We didnt start by explaining that Peter is in the hospital and that hes
dying. We work that information in after we get into the action.
Notice also that I included detail and emotion. Your opening can have
dialogue and/or actual physical action or not. But it MUST have detail
and emotion to draw your reader into the story. Instead of the
camera used to capture the opening image of a movie, youre using
words to create a visual image for your reader. If you dont provide
detail, your reader will have a blank screen in his head.
We talked about theme in Chapter One. Your theme will come out as
your story plays out. But you want to hint at it early in the book. In a
way, a novel is a premise that you pose to the reader, and the story is
your argument for and against this premise.
To state your theme, you have one of your characters (and its usually
not the main character) say something that suggests the theme.
For example, in our Pentacle of Rorah story, I said the theme was
about giving up control. So on page 14 (or thereabouts) of our 320
page manuscript, the janitor might say to Miranda, Ive found things
work out best when I dont work too hard at them.
By stating your theme early, youre setting up the rest of the novel.
The story then becomes the pros and cons of the theme, the debate
that allows your reader to come to the conclusion you would like to get
across.
If you dont have a thematic purpose for your novel, the novel wont
hang together. Be sure you know why youre writing this manuscript.
Then state it early so you can build on your WHY as you tell the story.
This part of the novel is where you introduce your main characters.
Show us who they are now and what they need to change. This story,
if you do it well, is going to transform your story people. Now is when
you reveal their flaws so we see what theyre going to have to
overcome to achieve their goal.
Have your characters interact with their setting in a way that shows
the reader your characters vulnerabilities. Show us how their life isnt
working for them right now. Whats lacking? Whats a mess? What
do they long for?
These foundational steps need to get your reader to care about these
characters so your reader will want to climb the staircase (read the
novel) to see if the characters can change and grow.
This is the part of the staircase that launches your story. Up to this
point, youve been drawing us into your characters world. Now
something needs to happen to propel your character into the events of
the novel.
In Mirandas story, the Pivotal Step would be the moment when the
spear kills the authors wife. This is when Miranda knows that shes
getting into something much more dangerous than just taking a little
trip to find a way to heal her husband. She realizes shes going to face
a formidable foe if she goes ahead.
The Pivotal Step shifts the story. Its an event that shapes your
characters decisions from this point on.
For Miranda, the notion that shes going to easily get help for her
husband is speared as thoroughly as the authors wife as soon as the
attack occurs.
Your character has lived through the Pivotal Step. Its calling for her
to take action. But should she?
This is the part of your novel in which your character vacillates back
and forth. Should I face this challenge or shouldnt I?
Should I? Shouldnt I?
This part of your novel starts building the tension. Your character is
going to have to get beyond his or her limitations to face whats
coming. This part of the staircase is where the character struggles
with what its going to take to tackle the changes that will surely come
if she faces the challenge.
And dont get me wrong here. This part of the novel is not pages and
pages of inner debate. In a 320 page novel, this part of the staircase
is 42 pages long. No one wants to read 42 pages of can I do this or
not?
You still have scenes and action in this part of your manuscript, but
they all serve one goal: to show how your character is dealing with the
decision at hand.
For example, in Mirandas story, once the spear kills the authors wife,
Miranda has to decide whether shes ready to take on a murderous
group of anonymous killers who are hell bent on stopping her from
finding the Pentacle of Rorah. To make this decision, what would
Miranda do?
She tries to find out more about these protectors of the pentacle. Is
there a way to pacify them?
Nope.
Do you see how it works? Back and forth. Back and forth. The
scenes in this part of the book show your characters struggle with
accepting what shes going to have to do.
The event that leads to this decision has to be major. Here are a few
examples from well-known movies: Neo takes the pill in The Matrix,
Lukes aunt and uncle are killed in Star Wars, the aliens destroy the
helicopter in Independence Day, Sally meets Harry again in When
Harry Met Sally. In each of these examples, the event changes the
main character(s) lives. They are launched into the conflict of the rest
of the story.
In Mirandas story, what would make her decide once and for all to
take on these protectors and go after the Pentacle? Hmm. Lets see.
Well, remember the janitor? How about we kill him in a particularly
horrid way? Miranda discovers the body. And on the body is a note
filled with odd symbols. One of the symbols looks familiar to her. She
knows it from someplace in her past but she cant remember where.
She realizes that a search for the Pentacle of Rorah may lead to more
than just a healing tool for her husband. Something more is going on
here, and it relates to her past. She has to find out whats going on.
Shes committed to continuing. She CHOOSES to find a way to defeat
the protectors of the pentacle and get the pentacle to use for her
husbands healing AND find out how all this relates to her past.
Remember that in Chapter One I said that all good novels have a good
subplot or two or three? This is the point in your story where you
introduce the main subplot.
The reason you wait until now to bring up this secondary story is that
you have enough to do up to this point without dealing with too many
strings. Now that youve gotten your reader this far up the staircase
by introducing your characters and getting them past the Pivotal Step,
the should I or shouldnt I phase of the story, and youve committed
them to the rest of the story, you can step aside for a second and
introduce your main subplot.
In the Miranda story, were going to have two subplots. One will be
Mirandas attraction to the man who came to her house and who will
ultimately guide her to the pentacle. The main subplot, though, will be
Peters story. So this is the point in the story where we have him
realize hes being watched. We introduce his story line.
This point in the story often introduces new characters, and thats fine.
In Peters subplot, well meet the nurse he thinks may be something
other than what she claims, and we may meet a fellow patient who will
help him get out of the hospital later.
Now that your character is committed, shes going to really get into it.
Shes going to get into the meat of the growing conflict.
This is the heart of your novel, the place where you deliver on what
youve promised up to this point by setting up the story. If your novel
is a romance, this is the part of the story where the flirting, first
kisses, and push/pull of fighting and attraction occur. In an
action/mystery such as Mirandas story, this is the section of the novel
where things really heat up. This is where Miranda gets into whatever
adventures will help her get to the pentacle and solve the mystery of
why the pentacle is related to her past.
This part of the book has to fit with what a reader expects it to be. In
a funny book, this is the funniest part. In a detective story, this is
where the bulk of the detecting goes on. In an adventure like ours,
this is where the exotic events start happening. Miranda, for instance,
is going to have to be on the road in this part of the book. Your reader
will expect an expedition to Mount Kilimanjaro, and this is where that
expedition will happen.
If you think of your novel like a concert, this is the part where the
musical group plays its hits and satisfies its audience by giving them
what they came for.
Halfway through your book isnt just halfway through your book. Its
more than that. This is a subtle turning point in your story. Its not a
huge event like the commitment part of the staircase, but its still
significant.
not), or your character thinks things cant get much worse (but they
do).
In screenwriting, they say that the stakes are raised at the midpoint.
This is where we start getting down to business. The climax is
coming. We need to get the reader ready for it.
Of course, shes not. And in the next part of the staircase, well see
how wrong she was.
This is the where things start to slide beyond bad for your character.
Its been a struggle up to this point, but now things are slipping away
even further. If you think of your novel as a long chase, this is the
part where the pursuers are starting to close in on the quarry. Things
that were bad before are getting worse.
So for that brief moment, Miranda thought shed beaten her foe to the
Pentacle. But they appear and surround her, her guide and their
helpers. The protectors kill the helpers but Miranda and her guide
manage to get away. They have the pentacle, but they as they flee (in
this storys case, this section of the staircase really is a chase in this
story, but it wont always be in every story), their troubles compound.
Though it wont often be a literal chase, in this part of your novel, you
need to start the downhill slide for your main character. The series of
events in this section of your story pull your character inexorably
toward defeat, even though your character is scrapping like mad to
avoid that.
Your characters are slipping toward defeat and here it is: defeat. This
is the point in your novel where it looks like your characters are done
for. Its all over. Theyve lost. Theyre defeated.
This is the wreckage of your story. Theres no hope in this part of your
novel. It appears death (whether literal or symbolic as in the death of
a love affair or a persons dream) is imminent.
In a romance, this is where one part of the couple decides it will never
work and leaves. In a mystery novel, the solution appears totally
impossiblethe essential piece of information is missing. In a coming
of age novel, this is where the main characters dreams are seemingly
destroyed by failure.
In our Pentacle of Rorah story, this is where the protectors reclaim the
pentacle and prepare to kill Miranda and her guide.
Of course, the protectors dont kill Miranda and her guide immediately.
That would end the story, and we dont want that. So they keep
Miranda and her guide alive long enough to torture some information
out of them.
But Miranda feels defeated. Shes lost the pentacle. She realizes that
not only is her husband going to die, but she and this other man shes
come to love are going to die too.
In our story, Miranda is limp and numb. Shes dragged through the
snow and tied up. She doesnt resist. She screams in pain and cries
her frustration and anguish. She deals with what the protectors are
doing with no energy and no hope.
This is the moment weve all been waiting for, the moment when your
main character reaches deep inside and pulls out that last ditch idea
that could possibly save the day. This is where inspiration hits your
character (either with a big idea he or she comes up with on her own
or with a little help from another character).
In the protectors lair, the guide now says something that makes
Miranda think of those text messages. And something the protectors
do links up with one of those messages. She has her aha moment.
She now knows that if she can get her hands on her phone (which isnt
nearby but she has an idea how to get it), she can defeat the
protectors.
I have no idea what the message would say or how it relates, but you
get the idea. A part of Peters story has come into Mirandas story to
help her get the idea she needs to overcome her final set of obstacles.
And here we are at the climax, the final showdown. This is the big
scene. This is where your character implements his or her big plan.
This is the last battle, the last push to achieve the goal. Its the
culmination of your characters efforts, the burst through to the
resolution of your story.
In a romance, this part of the book is usually one characters wild rush
to find the other and profess his or her love. In a mystery or thriller,
this is where the mystery is solved.
Here is where the good guys and bad guys face off. And if the bad
guys are attitudes or feelings, this is where the character deals with
those.
In Mirandas story, this is the final battle with the protectors. This is
where she figures out what all this had to do with her past.
Heres the final scene of your novel, the end of the character(s)
journey. Here is where you wrap things up with a nice bow on top and
give your reader a much deserved view at the top of the steps, i.e.,
emotional satisfaction.
In Mirandas story, this scene would have to be her reunion with her
husband and his healing, thanks to the pentacle. It would be her
realization that she has attempted to over-control her life and her
decision to relax a little from this point on.
And there it is. The story has reached a conclusion, and the theme
has been proven. Youre done. The end.
So why do you want to use this method to organize your novel? Who
needs this much structure?
Even when you have a plot laid out, it can be a huge challenge to turn
that plot into a tidy package that holds together on the page. The
Staircase Method of organizing a novel is a powerful way to make sure
you have a tight, compelling story that contains all the essential story
elements that make for a great read.
And do you have to stick to the page targets Ive set out or those you
come up with for yourself using the equations Ive given you? Not
exactly.
These targets are just guidelines, something to steer your story by.
When youre writing, you may find that your theme doesnt get stated
until page 20 instead of 14. Thats okay. Youre close enough. But if
it doesnt pop out until page 80, you have a problem.
The rule of thumb is to try and put your staircase sections within 10 to
15 pages of your page targets. If you do this, youre going to have a
story that hangs together.
I have coached writers through novels with and without The Staircase
Method, and I can tell you that the writing always goes easier and
ALWAYS turns out better when writers use the method. Ive had many
of the people to whom Ive taught this method tell me that it was a
breakthrough for them, the pivotal piece of information that helped
their story fall into place.
Do yourself a favor and be sure you fill out the staircase sections in
your Taskbook for this chapter. At this point, you can fill in the
information in generalities. Well mold the sections into actual scenes
when we get to Chapter Seven.
CHAPTER THREE
CHARACTER MOTIVATION
If you did all the tasks in your Taskbook for Chapter One, which I truly
hope you did, you now have several pages of plot notes. This is what
you should have:
If you have done all this work, you have taken a HUGE step toward
planning your novel. Now youre ready to move on to the next part of
your planning processgetting to know your characters.
This chapter and the next one will focus on preparing the character
section of your novel planning binder. In this chapter, were going to
focus on your main characters.
3. A supporting character who can interact with your hero and heroine
and youre your hero or heroine someone to interact with and share
thoughts with.
A complex story will have more main characters, but start with at least
these.
The way to find the happy medium between too much and too little
character development is to focus on the basis of human behavior.
You want to focus on your characters motivation for action.
People dont take action for no reason at all. One of the biggest
mistakes you can make as a novelist is to forget this statement.
People dont take action for no reason at all. Said a different way:
People take action for some reason, either conscious or unconscious.
Before we talk about your novels characters, lets look at real people
for a second. If you want to create a believable fictional character,
you need to understand real-life characters, right?
Think about yourself for a second. Why do you do the things that you
do?
That doesnt help us much, does it? Okay, how about the word,
motivate? It means to provide with a motive.
This reason may not make sense to other people all the time, and
sometimes it may not even make sense to you, but the reason is
there. The reason is related to your needs or desireswhether those
needs or desires are conscious or unconscious. Being aware that
much of human motivation, and therefore human action, is
unconscious, i.e. not something that were consciously aware of, is a
big key to being able to create believable, rich characters in your
writing.
Beneath needs and desires is the real source of your actions. This
source is your beliefs. It is your beliefs that create your needs and
desires.
Lets say you desire chocolate. In fact, lets say you need chocolate.
(This is an example I can really relate to.)
It comes from one or more beliefs that you hold. Here are a few
beliefs that can lead to a desire or need for chocolate:
We often feel that way about beliefs. We think our beliefs are the
truth about the world. Thats how powerful beliefs are.
In truth, beliefs are simply conclusions weve drawn about the world
based on our experiences. They are choices that were making about
how we see the world.
Once we make those choices, i.e., take on our beliefs, we then form
our beliefs and desires. Its our beliefs, then, that are at the core of
our impetus to act. It is our beliefs that are at the foundation of all of
our motivations.
Now, think for a second about the last chapter. Remember that at the
core of your plot, youre concerned with conflict. And whats conflict?
Your characters wants coming up against obstacles.
Before I tell you how to create a MME and a MMB, let me explain why
you only need to do this for your main players in your story. Minor
characters, the ones that play peripheral roles in your novel, dont
need to be as complex as your main characters. If you make all your
characters complicated, your story will get bogged down.
Think about one of your favorite TV shows for a second. Since I like
Lost, Ill use it as an example. Even though there are at least a couple
dozen survivors of the plane crash on the island in Lost, we dont know
much about most of those characters. We see them. They
occasionally interact with the main characters, but theyre mostly in
the background.
That works because if we knew a lot about every character, the story
would move way too slowly. So the writers of the show have picked
the characters they want to focus on, and theyve let those characters
needs and desires be at the forefront.
This is what you need to do in your novel as well. So you only need to
know the Major Motivating Experiences and Major Motivating Beliefs of
your major characters.
going to act the way he or she acts in this novel. This is basically
complex psychology simplified tremendously.
In real life, all of us have multiple MMEs that then create multiple
MMBs. But for the purpose of a novel, you want to only create one or
two for your main characters.
I didnt want to just create a plaster man who feels warm and fuzzy
about a 300 pound woman without explaining why. At the start of
Alternate Beauty, Ronnie isnt the most sympathetic character in the
world. Its not abundantly clear why a man would love her. She starts
the book out a bit whiny, and I havent revealed her good qualities
yet. So why would this guy see past her exterior?
The second MME was the one where I looked for and found Tim and I
took a huge risk by inviting him to come be with me even though I
hadnt seen him in over 20 years. That experience created new beliefs
and solidified some beliefs that Id been trying to form before that:
Now, take a look at the beliefs that Gilbert formed as a result of his
experience with his brother:
Do you see how this works? Your character has some pivotal
experience. That experience causes your character to draw a
conclusion about him or herself, about others, or about how the world
works, or all three. This conclusion is a belief than then drives her
actions through the course of the novel.
So heres how you put the MME and MMB together to form character
motivation:
Lets apply this equation to the MMEs and MMBs I shared about my
life.
It may seem simplistic, and even a bit silly, when you dissect behavior
this way, but years of actions can often be traced back to one little
event. And you see how the MME isnt always something earth
shattering.
The second example I shared with you from my life had a more
positive impact. The beliefs that I have about miracles and following
whims has created in me a desire to take risks and go after what I
want.
Since Tim came into my life, I have worked harder and been more
focused on my goals than I ever was before. The result is that Ive
sold 4 books since then, and Ive begun many other projects that I
wouldnt have started if I didnt now believe that when you really want
something, you can have it, and when you follow your whims, great
things happen.
In Gilberts case, his belief that beauty is found within makes him want
to be with a woman who is, at her core, warm and loving. Even
though Ronnie weighs 300 pounds and is currently complaining about
everything, he sees past that to her warmth and kindness. Thats
what he loves, and thats why his action is to keep loving her even
when she tries to put her body size between them (figuratively, not
literally).
In real life, MMEs come first. MMBs come second. Wants come next.
Motivation follows wants, and actions are the result.
In order to make my story work, Kali has to put her life on the line for
a bunch of people she doesnt even know. Why would she do that?
This is the question I needed to answer when I created her MME and
MMB.
The friend was badly beaten by this man, and she fled her
husband. Kali took in her friend, but the husband came
after the friend and murdered her.
You can see why, given this experience and these beliefs, that Kali
would get involved in a complicated and bizarre situation that she
hated if it would help the weak, even if she didnt know the weak
people personally.
Lets walk through the process of creating an MME and MMB for this
story.
What does Miranda want? She wants to save her husband. She needs
to find the Pentacle of Rorah.
Miranda faces the Protectors. She has to figure out how to get to the
top of the mountain, which wouldnt be a picnic even if the Protectors
werent out to stop her. She needs money for the trip.
Now you need to know how the character will overcome the obstacles.
We didnt get this far in Mirandas story in the last chapter. So let me
think for a second.
Okay, lets say that Miranda needs to find out who the protectors are
exactly and how they can be stopped. And lets say that they can only
be stopped with some kind of mind control.
Thats one thing shes going to have to learn how to door shes at
least going to have to find someone to do it for her.
Shes also going to have to climb to the top of Mount Kilimanjaro. And
shes going to have to get money.
Now you need to know your crisis point, climax, and satisfactory
conclusion. Lets say the crisis point is when the group of people
Miranda gathers face off against the Protectors for one last battle. The
climax is when this group defeats the protectors. The satisfactory
conclusion is when Miranda finds out that she needed to listen to her
husband and not try to do everything on her own and be so stubborn
in order to get the Pentacle of Rorah to save his life. Remember that
in a good novel, your main character grows, learns, and changes.
Even though Miranda loves her husband, she obviously has issues
about trusting him or giving what he says credence.
Okay, now that you have all these aspects of your story in mind, what
kind of MME and what resulting MMB does Miranda need in order for
her to be a believable character in the story were creating.
And she needs to be smart and resourceful. She has to get money
and find out how to defeat the Protectors, right? She also needs to be
open-minded if mind control is going to be part of how she defeats the
protectors.
When Miranda was a child, she and her parents moved into
an old house outside of a small town that was rich in
Native American history. Soon after they moved into the
house, odd things began to happen. Mirandas pet
hamster died. Her mother had an accident that left her
with a broken leg. Her father, who was already an angry
man, prone to drinking, started drinking even more. And
other accidents began happening, each one more serious
than the last.
They all go back in and find the father, dead. But the
curse is gone, and after that, nothing odd happens in the
house again. Unfortunately, Mirandas mother is never the
same. She doesnt get over the grief of losing her
husband.
Okay, so this was a pretty traumatic MME, but that works for this
story. Do you see why? Mirandas story is an action/adventure. It
makes sense that a traumatic event would have shaped her.
She also saw a strong woman save her and her mother
and do whatever it too, including tie Miranda up, to get the
job done. Miranda learned that physical strength is an
important quality, and inspired by the neighbor, she takes
up mountain climbing just to prove to herself that shes
strong.
She also believes that when you love someone, the grief of
losing them can ruin your life.
These MMBs will guide Miranda to the actions we want her to take in
the story. They will move her to find out about the Protectors. They
will make her capable of climbing a mountain. They will give her the
resourcefulness to get the money she needs. They will give her the
will to keep trying to save her husband until the very end.
As you create your characters, you want to be thinking about how your
character needs to change. And then, you want to think about what is
going to motivate your character to make that change.
In a good plot, the events of the plot will combine with a characters
beliefs, which form his or her needs and desires, to bring about the
characters change. So in Mirandas story, in order for Miranda to
succeed in getting what she wants in this story (and what she wants is
to save her husband), she will need to let go of the need to control,
and shell need to listen to someone shes never listened to before.
If I was really writing this story, Id probably give Peter an MME and
MMB that will allow him to be the one who gets Miranda what she
needs to defeat the Protectors. Im not sure what that would be, but I
hope you get the idea of how all this fits together.
I just made up the MME and MMB for Miranda in about 20 minutes.
Why was I able to do it so quickly? I drew on several resources. You
can use the same resources to create MMEs and MMBs for your
characters:
1. Personal experiences.
When you think about how your own experiences influenced your life,
it helps you come up with scenarios for your characters. A good
exercise to help you get the hang of MMEs and MMBs is to make a
quick list of MMEs from your life. Write out things that have happened
to you that have resulted in beliefs that guide your actions today.
Then list the beliefs and list the actions you take as a result.
Think about why the people you know or the people you read about or
hear about in the news do what they do. Try and find the motivating
experiences and beliefs in other people. This will give you oodles of
material to work with in creating your characters MMEs and MMBs.
One last thing before we leave the subject of your main characters.
This is a good time to figure out who is going to be your main
viewpoint character or characters.
Character Viewpoint
You have three basic choices for how youre going to tell your story. It
depends on which of your characters heads you want to get into.
In this kind of novel, you tell the whole story from one viewpoint. In
other words, you are inside the head of only one person.
It is through this persons eyes that we will see and hear everything in
the story. You cant ever describe something that this person doesnt
see. You cant tell the reader what another character feels or thinks
unless that character tells the viewpoint character.
There are two ways to tell this kind of story: First person (I
viewpoint) or third person (he or she viewpoint).
We cant know what the doctor is thinking if the story is only being
told from Mirandas perspective. If you wanted to get across that the
doctor was thinking this, youd have to have someone overhear the
doctor saying that he thought this, or youd have to have Miranda
guess, based on her observation of his facial expressions and his
actions, what she thought he was thinking.
Never mind that the above paragraph is clichd. What else is wrong
with it?
Miranda would never describe her hair that way. For one thing, she
wouldnt even see it unless she was looking in a mirror.
This sounds a little silly, right? It sure does, unless youve established
that youre standing in front of a mirror.
In this kind of novel, more than one character can tell the story.
Multiple viewpoints can be useful in a novel with a lot of action and
subplots. If a lot of things are going on outside of the main
characters view that the reader is going to need to know about, youre
probably going to need more than one viewpoint character.
You will need to be careful if you use multiple viewpoints because you
will switch back and forth in your scenes between viewpoints. Youll
need to let your readers known which viewpoint youre using. And
youll have to make the switches seamless.
For example, lets say we have both Mirandas and Peters viewpoint in
Mirandas story. Heres the way youd write a scene that switches the
viewpoint.
3. Omniscient viewpoint.
If you want to get in everyones head and tell the reader everything,
youll need to step back and pretend that youre God telling the story.
The only time you want to choose this viewpoint is when youre writing
some very complicated, epic story where you need to get into the head
of dozens of characters.
Even then, I think novels are usually more compelling if you use
subjective viewpoint, i.e., tell the story from the perspective of one of
the characters. The reason for this is that if youre using viewpoint
well, the way you describe the scene will reflect the character.
Lets say Mirandas friend, Joanne, was present for this scene and wed
established that her friend was a worrier and was quite emotional.
Heres the way the scene would read if it was written from the friends
viewpoint:
See? Same scene but totally different because it was told through a
different characters eyes.
Viewpoint and writing it well is another reason why you want to know
your characters motivations. When you understand what they believe
and what makes them do what they do, you can make your scenes
come alive with real human action and reaction.
You want to make sure you do this part well because the rest of your
characterization will fall flat if your characters motivations are unclear,
or worse, are false or make no sense.
I highly recommend that you stop right now and do the Chapter Three
tasks in your Taskbook. Youll have trouble getting any further with
your characterization if you skip this step of the planning process.
I hope you have a lot of fun with this. If youre like me, youll
probably learn a lot about yourself as you go through this MME and
MMB process too. Thats good. The more you understand your own
motivations, the better youll be at creating great characters.
Also, heres a little bonus for you. You can use this MME and MMB
technique to help you in your personal life too. Heres how you do
that:
If you have a behavior/habit that you dont like, trace it back to a MME
and then look at the MMBs that you formed as a result. Now, think
about how you can change those MMBs. Keep in mind always that
beliefs are choices and can be changed. You can modify unwanted
behaviors in your personal life by using this process.
You didnt know that novel writing could lead to personal growth, did
you?
CHAPTER FOUR
If youve completed the tasks for Chapters One, Two and Three,
youve made a good start to planning your novel. In the last chapter,
we began working on preparing the character section of your novel
planning binder. In this chapter, well finish what you need to know to
complete that part of your binder.
Its time to get to know more about your main characters AND get to
know the rest of your characters. In this chapter, Im going to give
you a character creation method that will help you turn your
characters into complete story people, and Ill teach you how to use
that method so you have just what you need to make your characters
come to life on the page (and in your head and in the heads of your
readers).
Before we get into the nitty-gritty of this chapter, think for a second
about the novels you love. What makes them so great?
Well, of course, they have compelling plots, but even the most
compelling plot wont make a great novel if the plot isnt populated by
great characters. Wonderful novels are filled with characters so real
that your readers will react to those characters emotionally. You want
your reader to either love or hate your characters. You want your
reader to sympathize or disagree with your characters. If your
characters are this real, theyll come to life to your readers, and your
readers wont be able to forget your characters (or your novel).
When I wrote my very first novel, Memories and Murder (a book that
has yet to be publishedbut not because of its characters ), I gave
the draft of it to my parents to read. When my dad finished the
manuscript, he handed it to me and shook his head regretfully. Im
sorry, he said, I didnt like it.
The more he went on, the better I felt. I realized that he didnt dislike
the book because the writing was bad or the story was bad, he disliked
the book because my main character came to life for him, and he took
an intense dislike to her.
The truth is youre not going to please every reader with your
characters. The type of person I like may not be the type of person
you like. But if you can create a character that gets a reaction out of
your reader, good OR bad, youve created a good character.
In a way, they are. It comes down to balance. You must give your
readers enough information to make the character multi-dimensional
and complex. But you cant give your readers SO much information
that you bore them to death with too much information. You need to
get it just right.
To be sure you get just enough but not too much for your characters, I
highly recommend that you use a template. You can use any template
The one Ill be describing to you in this chapter and the one that youll
find in your Taskbook is the one that works for me. Ive taken bits and
pieces from different templates Ive tried over the years and come up
with the one that has a good amount of character informationthe
amount that gives that balance I said you need to find with your
characters.
One more thing before I move on to the templates and how to fill
them inheres the tough thing about these sketches you need to
create for your characters: You wont use about of what you create
in your sketches. Most of the character background and other
information will never make it into the novel. You wont need it.
To understand how this works, think of someone you know with whom
youre VERY close. Your spouse, a parent, a sibling, a best friend.
Now consider how much, on any given day, this person reveals of his
or her personality, emotional state, mental state, and/or background.
The amount is tiny, isnt it? Especially when you compare it to what
you know about this person. In most life situations, most people dont
reveal even a of what makes them the people that they are.
Your novel characters are similar. In fact, they reveal even less of
themselves, unless you want to write a REALLY long book or a boring,
tedious one.
Food/alcohol/restaurants
Sex/opposite sex/turn ons and offs
Home/surroundings/possessions
Car
Before I go on, let me remind you of Mirandas story and what Ive
determined about the plot and Mirandas character so far after chapter
one and chapter two:
You need to keep in mind your crisis point, climax, and satisfactory
conclusion as you create your characters, so let me remind you what I
came up with for Miranda:
I gave her a history to explain why she would be all of these things. I
wont repeat that story here. I would suggest, though, that you flip
back to that part of Chapter Two to find the experience we gave
Miranda. From that story, I gave Miranda these Major Motivating
Beliefs:
These MMBs will not only guide Mirandas actions in the story, they will
help me create the rest of her character sketch. Remember as I
create the sketch, that I built her MME and the MMB in such a way that
Miranda will be able to grow and change in the story. I decided that
Name
This one may seem like a no-brainer. But if you want to create great
characters, dont give short shrift to this part of your character sketch.
It will help you create a more real and layered character if you know
how your character got her name and if she likes it or not and whether
its origin is important.
Given what I know of her MME, Id say the Irish heritage is on her
mothers side. Her father was more malleable. I believe Ill give him a
British heritage (no offense to anyone with such a heritage), and
therefore Ill give her a maiden name of English originHuntington.
I want her husband to be a bit more of a romantic than she is, so for
fun, Ill give him a French heritage and that will make his last name,
and hers, Perrin. Which, by the way, means rock, which I think is
appropriate given the stubbornness issues going on here and the fact
that Miranda will have to climb a big rock, a mountain, to save her
husband.
Miranda likes her name because its a bit out of the ordinary, and that
gives her a sense of strength.
Do you see how the naming aspect of your character isnt as simple as
you might think? If you do it well, your naming process will help you
build a great character.
The book I used to help pick these names is The Writers Digest
Character Naming Sourcebook, which I list in the Resource section at
the end of this e-book.
Here again, dont just phone this section in. Choose an age that
makes sense for what your character needs to do in your story.
As for birth date, you dont always need this, but it can be helpful.
One tip Im going to give you in the Personality section below is that
the Zodiac can be a big help in building believable personalities for
your characters. It doesnt matter whether or not you believe in the
Zodiac. Just think of the 12 signs and their related characteristics as
personality blueprints. If you find one you like, that would fit your
character, at least in part, use it.
If you do use it, it means you need to choose a birthday that will fall
within that Zodiac sign. Because I want Miranda to be an Aries, Im
going to give her a birthday of April 3. (Aries is the Ram. This is my
signI know it from experience. Aries tend to be stubborn and
determined.) I want Miranda to be young, but not too young. Ill
make her 28 years old. The year of her birth will depend on what year
the story will take place.
Height/weight
This is basic info, but it can have a big impact on your story. In
Alternate Beauty, for example, Ronnies weight of 300 pounds is
integral to the story.
Physical Appearance
This part of the sketch is the body type, size etc. Create a clear word
picture of your character, but dont belabor minor points.
If I was doing this sketch for real, Id give at least another paragraph
of detail on Mirandas body, but this is enough to give you an idea of
how you need to create a body to fit what the character must do in
your story. Make the body work for the character AND against the
character.
Skin
Your characters skin color and skin quality can make your character
more interesting and also cause obstacles or help for your character.
Im not going to go into greater detail here, but keep in mind things
like birthmarks, blemishes, moles, etc. when you describe this aspect
of your character. Also is your characters skin soft or calloused, dry
or greasy? How does the skin smell?
Eyes/hair/face.
The same guidelines that apply to physical appearance and skin apply
here. Make these details work for and against your character.
Want help with colors and other features? I suggest Word Menu, a
book Ive included in the Resources section at the end of this e-book.
Ive also listed another character reference book, Building Believable
Characters, than can help you with facial features and hair colors.
For example, I could make Mirandas height the imperfection shed like
to change. That would mean shes uncomfortable with her power and
with standing out. But thats not in her character. I think Ill make
those short fingers the imperfection she doesnt like. Its not because
shes self conscious about the appearance of her fingersits that the
imperfection causes her logistical problems. This helps establish
Miranda as a no-nonsense woman more about action than the way
things look.
Notice that all these little details help tell the overall story of who your
character is.
Movement/gestures/facial expressions
Your characters are not going to stand still. Theyre going to move
and talk and think. You need to know what they look like when they
do these things.
Now, you dont have to know how they look when they do everything
that they do. Just pick a few choice details about movement, a few
choice gestures, and a few specific facial expressions.
For example, Miranda walks with a fast gait but shes extremely
graceful. She could be a model if she wanted to beshe glides
quickly. She keeps her arms still at her sides when she walks. Thats
her movement.
For gestures and facial expressions, as a rule of thumb, I try and pick
three or four of each for main characters.
Miranda, for example, often points at people like shes shooting a gun,
when shes talking. She also frequently rubs her jaw line with her little
finger. One of her facial expressions is a raised eyebrow grimace that
expresses doubt or impatience. These are just a couple of examples,
but they should give you an idea of what you need to do for your
characters.
This is how your character sounds. How deep or high is his or her
voice? Does the voice have a vibration, a hesitation, a stutter? Is it
smooth or rough or something in between? Does your character tend
to talk loudly or softly? What phrases does he or she often use? Does
he or she use a casual speaking style or something more formal or
something in between? What does your characters laugh sound like?
Miranda has a soft, almost whispery voice. It doesnt fit her stature or
her personality. On the phone, she sounds like a petite, shy woman.
She often says, Make me and Thats the way it goes. She speaks
in short sentences most of the time but often throws in large words
that people dont understand. Its a way of getting power. She has a
deep laugh thats loud and tends to erupt suddenly.
This is just a few tidbits; Id get far more detailed in a full sketch, but
it gives you an idea of what you need here.
Dress
Your characters fashion sense, or lack thereof, can say a lot about his
or her character.
Miranda, for example, mostly wears jeans or cargo pants and t-shirts,
but she likes dressing up in sexy dresses to go out once in awhile.
This suggests that shes no-nonsense, which she is, but she does have
a feminine, playful side.
Race/ethnic group
Religion/philosophy of life
You need to know how your character sees the world, the spirit aspect
of the universe. Does he or she believe in God? If so, what God?
What beliefs does your character have about faith and how the
universe works?
Miranda, for instance, has a lot of New Age philosophies. She believes
in spirit guides. She believes that there is a divine being but she
rejects mainstream religions and their limited way of thinking.
Family/background/schooling/job/military/arrested
What is your characters family history? You dont need to get too
carried away here. Usually grandparents, parents and siblings will
work. Sometimes youll need to know more about aunts, uncles, and
cousins, but for most stories, generalities on the size of the extended
family will do.
I usually start with a bit of history about the characters parents and
grandparents. How did the parents and grandparents meet? What
kind of people, generally, were they? What did they do for a living?
I would go on with this adult history to fill in quite a bit of detail about
Mirandas history with Peter. That history will play into the story, so I
need quite a bit of detail about it. Id also describe jobs shes held in
the pastnot just focus on her current career of running the nursery
with Peter.
Your characters job or career often reveals a lot about him or her.
Usually, your characters career or job will be obvious to you, but if
youre having trouble choosing one, Careers For Your Characters,
which I list in the Resources section at the end of this e-book, can help
you.
Does your character have a lot of friends? Not many friends? What
kind of people are they? How about pets? Any dogs or cats or
pythons that your character had or has?
See how the people and animals around your character reveal the
character?
Once youve created your characters MME and MMB, which you
learned to do last chapter, youve done much of the work of this
section. Youll also need to ferret out some trauma or note that your
character has experienced no trauma. Either way, those facts will
leave their mark on your character.
Miranda, for example, has experienced the trauma of losing her father,
and shes seen how that affected her mother. Its part of her MME and
MMB. Trauma often is part of the MME. She might also have some
lesser betrayals. I think, for instance, Ill give her the history of a
climbing partner who let her down on a climb and it caused an
accident that nearly killed her. This would make her less likely to trust
her guide when she goes after the Pentacle of Rorahit creates
another obstacle.
Know what the highlights are of your characters lifeboth good and
bad, but especially bad. The bad tends to stick to us longer and have
a more profound impact, sadly enough.
Goals
If you know all the information you worked on in chapter one, all the
stuff on those lists I had you make, you know how to fill in this
section. You know what your characters goals are.
Miranda, for instance, intends to save her husband. Her goal is to get
the Pentacle of Rorah. She has other goals too, Im sure, but the ones
that matter most are the ones relevant to the story.
Needs
Just as your chapter one prep filled in the last section, it fills in most of
this one too. Mirandas main needs have to do with what will
overcome the obstacles shell face in the story. But she also needs to
be in control. She needs to keep the people she loves safe.
Notice how this information has helped fill in Mirandas personality with
not a whole lot of thinking and work on my part.
For example, of the styles in that book, Id choose the Problem Solver
style for Miranda. Once I choose that style, the book tells me that
Miranda would be resourceful, disciplined, reliable, healthy, and would
be a high achiever (among other qualities). The book also lists the
interpersonal skills associated with a type. Miranda, for instance, if
this type, would be good under fire and not easily disturbed. That
fits her.
Not all the traits in a style will fit your character. Thats okay. No one
is perfectly predictable. Your characters shouldnt be either.
Or simply think about the people you know. Think about yourself.
Think about people in books and movies. Pull a little of this and a little
of that. Just be sure you create a character who makes sense as a
whole.
If you keep in mind the characters MME, MME and background, youll
pick traits that make sense. And if you keep in mind your plot
conflict, question, etc., youll pick traits that allow your character to do
whats needed in the story without behaving like a paper puppet.
Quirks/eccentricities
This is pretty quirky and eccentric. But I would make it relevant to the
story, and it reflects her self-discipline and her will.
You only need to pick one to three quirks for a main character. Or you
need to acknowledge that your character completely lacks quirks.
Bad Habits/vices
Some characters will have more serious bad habits/vices than others.
It will depend on your characters personality.
Prejudices/pet peeves/gripes
Know what your character hates and complains about. This will help
you keep your character real, and it will also help you create obstacles
for your character.
who are slow to act and who are simple-minded. She often complains
about how lazy people are. Shes prejudiced against people on
Welfare.
Often, this wont come into play at all in your novels, but if you know
how your character feels about these things, youll have a better
understanding of your character.
Opinions
Fears/phobias
What is your character afraid of? Fears can create motivation and
obstacles.
I could give her a phobia about heights, which could make her an all
the more impressive character. A climber afraid of heights? Even
though shes afraid of them, she forces herself to climb anyway to
prove her strength.
TV Shows/movies/books/music
What does your character like to watch, read, or listen to? Your
characters tastes will reveal your character.
Where has your character been? This can have a big impact on a
characters actions.
Miranda hasnt traveled outside the country before. She doesnt think
it will be all that different than the travels shes had in the U.S. This
could create some problems on her trip to Mount Kilimanjaro to get
the Pentacle of Rorah.
Food/alcohol/restaurants
What does your character like to eat and drink? Where does he or she
like to eat out? Or does he or she not like eating out?
Knowing this will determine how your character will act with the
opposite sex. Who will he or she be attracted to? Who will he or she
be repelled by?
Home/surroundings/possessions
Shes slept in hammocks on hikes and climbs, and she likes how it
feels, so she has one in her living room.
Car
You dont need great detail here unless the car is an integral part of
the story. But you do need to know what the car is.
Miranda has an old Nissan Pathfinder. Its beat up and rugged, but the
engine is in perfect condition.
Okay. I hope this gives you an idea of what you need to create a full
character sketch for a main character.
Always keep your plot in mind as you do your sketches. It will help
you create your characters.
When you fill in these sections in the minor character template, you
can put in at least half as much or less information. Instead of giving
a full description of each part of your character, just pick out one or
two details. All you need is some general information in each section.
Notice that the Crucial Experiences section of the minor character
sketch template doesnt include an MME and MMB as the major
character sketch template did. You dont need that background for
minor characters. (If you have it, though, by all means, use it.
To choose the right details for your minor characters, keep in mind the
story. What will your minor character need to do in the story?
Thats it for your characters. I recommend that you stop at the end of
this chapter and do the tasks for this chapter in your Taskbook. When
you follow the template and keep your story in mind, and youll find it
relatively easy to create great story characters.
Well, this is true to an extent. If you build good characters, you wont
be able to fully control them. Theyll take on a life of their own. And if
they do, youve done your job well.
CHAPTER FIVE
If youve done the tasks for Chapters One through Four, you now have
your plot work done and your character work done (or at least you
know how to do it, and if its not done, you know what to do to get it
done). Now its time to learn how to do the preparation work for the
place part of your novel. Its time to work on setting.
The writer creates the plot and then plunks it in a convenient setting.
If you could put your story in any setting and the story wouldnt
change, you are making the same mistake.
To avoid this mistake, you must be able to tie your story and your
characters to your setting in a way thats compelling. You need to
make sure that your setting is important to the story youre telling and
the people in your story.
You can assure a compelling setting by doing two things. First, make
sure the setting helps move the plot. Second, make sure the setting
helps develop your character (at least one of them, if not more).
For example, think about Gone With The Wind. Romance stories are a
dime a dozen. Love triangles are a common story technique. The
story of Gone With The Wind isnt unusual. In fact, its rather
mundane.
So what made Gone With The Wind such a success? What made
Scarlet OHara and Rhett Butler so memorable?
And Rhett? Well, hes not much of a character at alljust the rugged
ladys man.
Because of its context. Scarlets story played out against the backdrop
of the Civil War. The setting provided a powerful context that made
the story and the characters unforgettable.
In order to create this kind of compelling context for your story, you
need to do two things:
First, know why your story must be told in the place youve chosen for
it. Why is this THE setting for your story?
Ill give you two examples of a setting being THE one for a story. The
first example is the setting in my novel, Alternate Beauty.
You might think that the setting for Mirandas story is a no-brainer.
Its Mount Kilimanjaro, right?
Well, I could plunk it in pretty much any city, couldnt I? That would
give me lots of places for interesting happenings.
But I think for this story to work really well, I need some juxtaposition.
I need the story to take place in a highly unlikely setting.
But lets analyze it and see if it would work as a setting for Mirandas
story.
Sound like a good place for Mirandas trek to find the Pentacle of
Rorah? I think so.
To figure out why your story must be in the setting youre choosing,
think about the type of story youre telling. Think about what your
character needs to do and what obstacles will get in his or her way.
Also, think about the kind of person your main character and other
characters are.
In other words, use all the work youve done in the first three chapters
to help you figure out the best setting for your story. Let your plot
and your character be big neon arrows pointing you in the direction of
your perfect setting.
Heres a real life example that might help you through this process.
Lets say you want to have a party. You decide that the theme of the
party will be a country barbecue. (Thats the story of your party.) You
decide that the food will be ribs, cornbread, corn on the cob, baked
potatoes, baked beans, salad, beer and apple pie for dessert. (These
are the characters of your party).
Are you going to choose a fancy hotel? Are you going to have this
party in your living room?
Probably not. Youre probably going to have a party like this in your
backyard or in a park someplace.
Figuring out this party setting wasnt hard, was it, once you knew the
partys story and characters?
The second thing you need to do to create a context for your story is
you need to be able to draw connections between your story and the
mood of your setting.
That mood here is a truly palpable thingso much so that once you
get about 20 minutes away from here, the mood shifts noticeably.
When you get 1 hours from here, to the Interstate 5 corridor
between Olympia and Seattle, the mood shifts even more. It becomes
hectic, sometimes even frenetic. It becomes purposeful and
determined.
Do you see the connection, the parallel, between the mood of the
setting and the story itself?
Lets analyze the connection between Mirandas story and the town I
chose for the setting of her story.
See the connection between her story and the mood of the setting of
Granger?
Now think about the Mount Kilimanjaro setting. Doesnt the country of
Tanzania evoke an aura of mystery and adventure? I think it does.
A really great setting for that party would be an old barn filled with
hay and old rusty pitchforks, dont you think? Wouldnt that be
perfect?
This is how you connect setting mood to story. You weave them
together like youd weave the dcor and theme of a party.
Now that youve linked your setting to your story, you need to go
further. You need to link it to your character (at least to your main
characterand ideally several of your characters).
The way you do this when you write your novel is by always describing
your scenes through the eyes of a viewpoint character. Remember
viewpoint from Chapter Two?
When you have a character describe his or her surroundings from the
unique perspective of the character, your descriptions have more
power. They also have the ability to make your settings compelling if
your descriptions reflect how the settings are impacting your
character.
Seattle got a bad rap for its weather, but I loved it. I read
somewhere that Seattle got an average of only seventy-
one totally sunny days a year, so I guessed it was
understandable people whined about it. But I found
something comforting about gray skies; they were like a
security blanket. The sun was so demandingan insistent
taskmaster, a bright yellow drill sergeant forcing people to
go through their paces. In Seattle, sun made you feel like
you should be out doing something. Maybe if it were
sunny more often, it wouldnt have seemed so imperative
to be in action on clear days.
The setting here is Seattlea typical rainy Seattle day. Now, I could
have simply said it was a rainy Seattle day, or I could have described
the rain hitting Ronnies face, but instead, I focused on her REACTION
to the rain.
I linked that setting to Ronnies feelings about herself and her life. Do
you see how a setting reveals your character and helps tell her story?
By reading the two paragraphs above, you understand that Ronnie has
been hiding out from the world, and shes not real pleased with herself
about it. She feels guilty for not being in action toward her goals.
Another character might have groused about the rain and waxed
eloquent on how wonderful sunny Seattle days are. That would reveal
something about that character, too.
Powerful scenes that describe your setting come from setting that
scene through the eyes of your character. When the setting evokes an
emotional reaction in your character, youve created a compelling
setting.
Now, I just made this up, on the fly, so its not perfect, but do you see
how Miranda is reacting to her setting?
impacted Miranda, how it made her feel, Ive linked the setting to my
main character.
The bottom line of choosing the right setting for your novel is that if
your setting is linked to your plot and your characters, youve chosen a
compelling setting. This is the essential first step to preparing your
novels setting. If you do this step, youll avoid the mistake many
authors make with setting, and youll be well on your way to a great
novel.
Once youve chosen your setting, you need to create it. The actual
creation of setting in your novel has two parts. You need to create a
Big Picture Setting(s), and you need to create Little Picture Settings.
The big picture setting of your novel is the town or region or towns or
regions that will play host to the story. This is the overall settingthe
main stage of your story.
For big picture settings, you have two choices. You can either use a
real place or you can create a place.
The way you do your setting research, i.e. preparing your settings, will
depend, obviously, on whether you choose a real place or an
imaginary one.
When youre using real places, this is what youll need to prepare your
setting:
Maps
Statistics
You can generally find a website for almost any town, certainly every
city. These sites have a lot of census information that will tell you the
make-up of the population. This is important. You dont want to have
a huge Hispanic population in a city that has a small percentage of
Hispanic people. Get your facts right.
General information
Travel books and websites can tell you a lot about a place. What are
the areas of interest? Are there tourist attractions? Claims to fame?
Know the history and background of the setting you choose. This
history and background can play into your story. They can provide
obstacles for your characters or perhaps ways of overcoming
obstacles.
These aspects of your setting research you can get even if you never
leave home. If you really want to nail your big picture setting down,
however, the best thing you can do is on site research.
This is it. Do on site research and nail your big picture setting. When
you actually go to the place where you intend your novel to take place,
and you actually look around, youll see little details that you cant find
in books.
Using these details in your novel is a great way to thrill your readers.
Readers love to spot places in novels that they know in real life. When
you get the details right, youll delight your readers, and theyll want
to keep reading to see what other familiar places theyre going to spot
in your story world.
We all love the familiar. It makes us comfortable. You can make your
reader more comfortable by making your settings recognizable with
great detail.
To get that detail, GO to your big picture setting. Eight things will help
you get the most from your visit.
Pictures are your best friend when it comes to big picture settings. I
dont care how careful you are about paying attention to your
surroundings when you visit a setting; you wont remember all the
details. Take LOTS of pictures. Take way more than youll need. If
something catches your eye, take a picture of it.
When you take pictures, be sure you note what picture numbers go
with what locations. Before I started noting this, Id come home with
pictures and say, Whats this a picture of? You think youll
rememberyou often dont.
2. A video camera. If you can afford one, get one. Cameras will
work, but a video camera can capture how things relate to each other
better than pictures can.
Also, you can make verbal notes when you use your video camera. As
you pan your camera around an intersection, for example, you can tell
yourself which is north, south, etc. Its often easier to get oriented
with a video camera.
Now, Ive been to Kalaloch a dozen times, and I have a lot of pictures
of the place. But I knew I wanted a pivotal fight scene there, and I
wanted to get the details right. So my husband, Tim, and I drove up
to Kalaloch, and we hiked up the beach to the rocks where I
envisioned the scene, and I took pictures of the rocks and then
diagramed where my characters would be during the fight. This
helped me make my fight far more compelling and realistic.
Mark locations on a map with numbers or letters, and then note which
diagrams and which pictures relate to that location.
Ive done setting research by myself. It can be done. But its much
easier with a partner.
Now, obviously, you cant always visit your setting. Time or money
issues can make that impossible.
When this is the case, stick with your other sources, but still work to
get the details right.
If you dont think you can do justice to your setting without visiting it,
you have two choices.
Ill admit that one of the reasons I chose Seattle for Alternate Beauty
is that its within driving distance. But so are a lot of other places. I
picked the one that fit my story.
When you make up your big picture settings, you still will need many
of the sources I just described. Having information like that about a
setting similar to the one you want to create will help you create a
more believable fictional setting.
Dont get too carried away with this. You wont need to know every
street and every topographical distinction of your place. Most of the
town or city wont ever be visited by your story or character.
So draw a general diagram, and then figure out what area will be the
focal point of your story. For that area, get very detailed in the street
locations and names and other landmarks. Know what businesses and
homes are in the area. What are their names? What do the buildings
look like? If your characters are going to be in an area, you need to
know all about it.
But still, dont get too carried away. Ive known fantasy writers who
spend years creating the fictional world, and they get so caught up in
it that they never get around to actually writing the novel.
Once you have your big picture setting created, you can move on to
the more specific locations, the places where your scenes will take
place. The houses, the businesses, the gardens, the fields, the actual
specific places where scenes will take place. You need to lay the
foundation for most of these by creating them before you start to
write. These are the Little Picture Settings.
Although youll sometimes use real places for little picture settings
places like restaurants or storesmost of the time, youll be creating
your little picture settings from scratch.
To figure out where your little picture settings will be, think about your
story and your characters. In order to do what your characters will
need to do in your story, where will there need to be?
Ive tried winging it with little picture settings. Although you can do
this for settings you only use a time or two, its dangerous for ones
you use often.
Why?
Well, imagine youre writing along and you put your character in a
grocery store on page 20 of your novel. She has a conversation with a
man in aisle 12 on the left side of the store. She picks up a can of
green beans while she talks to him.
You keep writing, and now youre on page 222 of your novel. Your
character goes back into the grocery store. Shes in aisle 13 on the
right side of the store, and she picks up a can of peas.
See a problem?
Having your little picture settings prepared helps you get the lights
turned on so your character can move around without bumping into
things. It makes your job as a writer SO much easier. You dont have
to think so much as you write. You simply refer to the work youve
already done.
I suggest you diagram all of your major little picture settings. Know
the floor plan of your houses and businesses. Know the layout of your
parks and yards.
An easy way to diagram houses is to get house plans off the Internet.
I used to draw my own house diagrams until I discovered a great
website that Ive listed in the Resource section at the end of this e-
book.
Once you find a plan you like, print it out, then use white-out to
erase dimensions or other words on the plan. You can also get rid of
walls that dont suit you---you can make rooms bigger or smaller.
For businesses and yards, youll usually have to diagram them from
your imagination. But you can use existing businesses and yards as
examples to jump off from.
Remember, settings can also include cars. If you have several parts of
your story taking place inside a particular car, be sure you know the
interior of that car. You can get information on car interiors online
see the Resource section at the end of this e-book.
Once you have your little picture diagrams, you need to fill them in.
Furnish your houses. Decorate them. Put plants etc. in parks and
yards. Know what is where. In businesses, know what merchandise is
on what shelf.
When you put your little picture settings together in your planning
binder, have a section for each little picture setting. Put the diagram
first. Then as you find furniture or accessories that you want in the
setting, number them, and place the number on the appropriate
location of your diagram.
For example, lets say I was designing Mirandas living room. Id find a
house plan online, and Id then decide what furniture Miranda would
have. Id sketch in squares, rectangles, or circles to place that
furniture on my diagram. Then Id either write a line or two on a
separate piece of paper describing the furniture (if Im making it up),
or Id cut out a picture from a catalog or magazine, and Id assign a
number to the descriptions or pictures and then put those same
numbers on the rectangles or squares or circles that represent that
furniture on my diagram.
of). I numbered the list, and then I placed the numbers around the
characters home.
This way, when I wrote a scene, and I had another character looking a
particular direction in the room, I knew exactly what the character
would see. I didnt have to try and remember all this stuff and keep it
straight.
The novel draft for that thriller is over 900 pages long. If I had tried
to keep all my setting details in my head, I would have quickly gone
crazy AND probably made a mess of my scenes.
At the beginning of this chapter, I said that I was going to teach you
how to pave the way to creating rich detail in your novel. The way to
do that is to create the sort of setting roadmap that youll have when
you do the work Ive outlined in this chapter.
Thinking about and delineating the details of your settings before you
write will guarantee that you will fill your novel with rich detail. In
fact, your problem wont be having ENOUGH detail; it will be having
TOO MUCH detail.
So heres that same bit of bad news I gave you in the last chapter.
Just as with your character sketches, you wont use even of the all
this setting preparation that you do.
At least, I hope you dont use it. If you do, youre not going to write a
very compelling book. Youre going to bore your reader to death if you
tell the reader everything you know about your settings.
You need to choose your details carefully when you write. So youll
only focus on a few items in the rooms you create.
For example, even though I knew where all of the three dozen or so
pictures and sculptures were in that subterranean house I mentioned,
I only referred to a few in the manuscript.
First, when you really know a place, its easier to understand it well
enough to be able to nail it down with one or two details. Heres an
example of what I mean:
Because I know my house very well, if I could only share a few details
with you to give you a good visual on what my house is like, I know
which ones to pick. Id tell you that the house is nestled in a forest,
surrounded by trees. Id tell you that the house is dog-friendly, wall-
to-wall carpeted and full of comfy dog-hair covered furniture. Id tell
you that the 100 or so stuffed animals I collect perch all around the
house.
Now, I could give you a lot more detail, but that gives you a sense of
the place, doesnt it? Do you get the image of a fun, friendly place
that is meant for comfort and not show? I hope so.
In Chapter Seven, well be going over what it takes to write this novel
youve been preparing. In that chapter, Ill discuss the use of details
in a novel. For anyone who has read my other writing e-book, How to
Become a Writer ExtraordinaireThe Beginning Writers Roadmap To
Writing Success, much of Chapter Seven will be review; but trust me,
you can never go over these techniques too much. Repetition drills
them into your mind, which makes them easier for you to use
effectively.
The same, by the way, goes for the details of your novel. One of the
reasons all this preparation works so well is that it gets the information
so solidly into your head that the story, the characters, and the setting
come to life for you far more vividly than when you just touch on these
elements as you write.
In his book, Writing the Breakout Novel, author and agent, Donald
Maass lists these elements of a breakout novels setting:
All of this setting preparation of course takes time and is a lot of work,
but it SO simplifies the writing process. Instead of having to sit and
think about the setting as you write it, you simply look in your binder
and turn what youve already done into a scene on the page.
I recommend you stop now and do the tasks associated with this
chapter in your Taskbook. Do your settings work!
Have a blast with diagramming and creating your settings. Let your
inner kid come out and play.
Novel writing is a enjoyable and rewarding, but its also a lot of work.
Relish the kid parts of the process!
CHAPTER SIX
This means you are WAY ahead of the vast majority of people who
come up with an idea for a novel. Youre taking action.
You now have your plot work, your character work, and your setting
work done (or at least you know how to do it, and if its not done, you
know what to do to get it done). Now its time start filling in the
cracks, so to speak. Its time to figure out what questions you still
need answered in order to write this book and figure out how youre
going to find the answers.
First, what I discovered is that if you do your scene planning first, you
may plan a scene that simply wont work. Either what you want to
have happen isnt possible or it must be done in a way that doesnt fit
your scene.
Second, when you do your research first, the information you discover
in your research can help you create better scenes. Youll stumble
over facts and figures and other information that adds pizzazz to your
pacing. Do your pacing (scenes) first, and youll miss out on some of
the magic treasure youll discover during your research.
Okay, so before you can finish outlining your novel and creating its
scenes, you need to do your research. The key is doing just enough
research to help you write your novel while not doing TOO much.
The fourth and last section of your novel planning binder is research.
For many books, youll actually be able to fit your research into the
binder. For others, youll need a separate research binder. For the
900-page thriller I wrote, I had 6 two-inch binders full of research
material, and three shelves full of books tabbed with Post-it tabs.
Was that overkill on research? For that book, no. The book involves
an enormous amount of science and metaphysical concepts that
required a lot of background reading.
When it comes to research, you can go wrong in two ways. You can
do too much, getting so bogged down in research that you never get
around to starting the book. Or you can do too little, thinking you
dont need all the details and then telling a story that has no sense of
realism.
So I found out Ronnie was into fashion design. And boy was I NOT
happy. I dont care a whit about fashion. To me, fashion is a color I
like in a style that doesnt look goofy on me and in a cut and shape
that is comfortable to wear. I knew I was in for some major research.
The first thing you need to do when you realize that youre going to
have to know about something you dont currently know is make a list
of EXACTLY what you need to know. Get a focus before you start
just like this whole process is getting you a focus before you start your
novel. If you dont zero in on what aspects of a subject you need to
know about, youre going to get buried under way too much material
to handle.
To figure out exactly what you need to know, read over your plot
notes and your character sketches. Start jotting down what aspects of
your subject youre going to need information about. Get beyond the
broad topics and start finding what specific parts of the topics you
need to know about.
But I didnt need to know all of that. Given what I knew about my
character and my story, I figured out what parts of fashion I had to
find out about.
Because she was selling clothes and designing them and would be
talking about clothes, I needed to know what kinds of fabrics are
commonly used in womens fashion. I needed to be able to describe
the clothing in Ronnies store and the clothing she designed.
The plot of the book involved Ronnie starting a design business. This
meant I needed to know how the design business worked. How do
you get into it? What is the start-up process?
The broad topic is the whole salad bar. When you go to a salad bar,
you dont eat the whole thing, do you? Of course not. You only take
what you can eat.
And you probably dont take even a little of everything at the salad
bar. You pick and choose. Do the same with your research.
The way to determine the exact right amount of research you need to
do is to do a careful examination of your plot notes and all your plot
preparation and your character sketches and your setting preparation.
If something is going to be in the book that you dont know anything
about (or that you dont know enough about), you need to research it.
You dont, however, need to know everything about that topic. Learn
only what you need to know to write a believable scene in a book.
The warehouse just happens to have gun cleaning supplies (dont you
love it when stuff like that happens in fiction?I wouldnt allow such a
coincidence in a book but I can do it for this completely made-up
example.) As an aside, in a novel, if you needed to have something
like gun cleaning equipment be serendipitously available, youd need
to lay the groundwork early on for how that might be possible. For
instance, in this example, you could have a scene where two
teenagers were in the warehouse to clean guns and had to run out and
leave their supplies when some drug dealers showed up.
But back to our scene. Brian has to get this gun cleaned to save
himself and his wife.
He got them out and started taking the gun apart. The
thudding got louder. Brian worked faster.
Now, these were extreme examples, but Im sure you can tell that the
first one was the porridge is too hot example and the second one
was the porridge is too cold example. The first example, which by
the way, I owe for the most part to the information I grabbed off of
the website, http://www.chuckhawks.com/gun_cleaning.htm, is a
great illustration of what happens when you go overboard on research.
The problem with doing too much research is that you feel compelled
to put it in your manuscript. I mean, you know all this stuff, right?
You want the world to know you know it.
Then again, neither was the second one. It just kind of laid flat on the
page, didnt it? It was like reading a See Jane run childrens book.
The problem with too much and too little is that you cant write
compelling scenes with either amount. To write truly reader-grabbing
scenes, you need enough information so the reader feels like he or she
is there, but no so much that the reader feels like he or she has gone
back to school.
For our gun scene, I got too much information. All I really needed to
know was what supplies would be in a gun cleaning kit and how would
you use them. And I didnt need to know all the supplies. I certainly
didnt need to know why some supplies are better than others. And I
had no need for historical information of any kind.
Thinking about how youre going to write your scenes and about how
much information you need in a scene to make it believable and
compelling will help you get the right amount of research done. See
the scene in your mind, like youre watching a movie. Where will the
readers imagination camera be aimed?
I suggest you err on the side of too little research instead of too much.
Do what you think youll need, but even if you think you still dont
know enough, stop. Youll often find that you need less in the story
than you thought you did.
Many writers make research an excuse to put off writing. They love
saying, Im working on a novelIm doing the research, which
basically means that theyre reading everything they can get their
hands on and filling binder after binder with material because its
easier to research than it is to write.
Dont use research as a delay tactic. Think about what you need to
know, go after that and only that, then move on.
Writers get in trouble with research when they try and write a treatise
on a subject within their novel. Maybe Tom Clancy and James
Michener can get away with that, but most of us mere mortal authors
cant.
A great way to stay on track with your research and get just the right
amount is to plan your research. You need to make a research to do
list.
Anything you dont know about what youre going to be writing about
becomes a question. Write down everything you can think of, from
the smallest question to the largest.
To show you how this is done, lets figure out what research wed need
to do for Mirandas Pentacle of Rorah story. (I can only do this to an
extent because I havent completely planned out this plot or all the
characters, but Ill just use what we have so far to show you how to
make your research question list.)
We know that the crisis point of the story will be the battle
between Miranda and her helpers and the protectors, and
the climax is when this group defeats the protectors. So
we know that there will be a battlea physical
confrontation (with or without weaponswe didnt decide
that yet).
We know that the setting for the story is the fictional town
of Granger, in the Midwest and Mount Kilimanjaro in
Tanzania.
So, given what we know, heres a list of questions. Notice that theyre
in no particular order. I wrote them down as they came to me. This
question list is a big brainstorming process. Dont try and make it
linear. Let your subconscious mind guide you pulling out all the
questions you need answered:
Okay, I could keep going, but I think I have enough here to work with.
The idea is to write down every little question you can think of that
youll need to answer to tell your story and describe your characters
and their actions.
Once you have your list of questions, you can begin organizing them.
Start looking for general topics and make a new list. This will be your
master topic listthe main areas youre going to need to research.
--Mountain climbing
--Mount Kilimanjaro
--Travel info to and from Mount Kilimanjaro
--Hand-to-hand combat
--Weapons
--Furniture refinishing
--Embezzling
--Borrowing money
--Mind control
--Hospitals
--Nurses
--Doctors and medical terminology
Now that you have this main list, you can further refine your research
topics.
So for our Pentacle of Rorah topics, wed end up with a list like this:
--Mountain climbing
*Equipment
*Guides
*Technique
*Physical ability needed
*How to get the training
*Food
*Dangers
--Mount Kilimanjaro
*How to get there
*How to find a guide
*Weather
*Animals
*Some history
*Number of visitors
*Terrain, especially at summit
--Hand-to-hand combat
*Military type combat
*Martial arts
--Weapons
*Guns
*Knives
*Spears
*Crossbows
*Whips
--Furniture refinishing
*Chemicals used
*Materials needed
*Process
--Embezzling
*How to
*Possible targets
--Borrowing money
*Finding investors for a trip
*Loans from banks
--Mind control
*Government use of
*Telepathy
*Research thats been done
--Hospitals
*Intensive care set up
*Equipment in rooms
*Lay-out of a hospital
--Nurses
*Types of nurses
*Their duties
Mapping out your topics like this makes your research far easier and
far more effective.
I learned all this the hard way. When I wrote my first couple books, I
did the dive in approach. One of those books was a paranormal book
in which my main character visits a ghost town and has flashbacks to
his childhood, which happened in the late 1920s. The ghost town had
been a logging mill town. So I needed to know about logging, mills,
ghost towns, and what technology was around in the 1920s. I just
dove into the subjects and ended up reading a couple dozen books.
Most of what I read didnt help me, and by the time I was done, I still
didnt have some questions answered. I think maybe I was still in the
avoid writing mentality at the time.
Once you have your list of subtopics, youre ready to figure out where
youre going to get the information you need.
In the margins next to subtopics, note where you think you can find
the info.
I prefer to own most of the books I use for research because I like to
put tabs in them. I can mark on the tabs the topics that I need, and I
know right where to go in the book to get the information as I write.
So if I can afford it, I will buy what I need.
In the Resources section at the end of this e-book, Ive provided you
with two book references that describe in great detail how to use
traditional research channels. Im not going to go into any of that in
detail here. Instead, Ill tell you some of the more offbeat ways to get
the information you need.
Here are a few Internet sources that Ive found very helpful:
http://www.usatoday.com
http://www.nytimes.com
5. You can also find experts by contacting companies that are related
to the subject you have in mind. For example, if you want to speak to
someone who knows a lot about laying carpet, contact a carpet store.
Be careful with this though. Some topics can get you in trouble.
I called. The agent was very nice. He told me that it had come to
their attention that I was inquiring about destroying cryogenic
containers. He asked me a bunch of questions about whether I was a
terrorist or was associated with any terrorists. I assured him that I
wasnt either one. I gave him the name of my editor at Bantam to
confirm that I was indeed a novelist, and I told him why Id sent the e-
mail that I did. He thanked me and hung up.
Need to set your book in some other year besides the present?
http://www.fedstats.gov/
(For stats from over 100 federal agencies)
http://www.ojp.usdoj.gov/bjs/
(For crime and justice statistics)
http://www.cdc.gov/nchs/
(For health statistics)
http://www.bls.gov/
(For labor statistics)
Remember that the public library isnt your only offline source of
information. You can get research help from:
Hospitals and clinics (You can often get doctors and even
patients to talk to you.)
Here are some other tips to help you get the most from your research:
general topic for which you have multiple subtopics, get more
than one book. I, for instance, have at least a dozen books on
Wicca that I used for my paranormal novels. Some of it is
overlap, but I have found tidbits to use in every one of those
books.
When you seek out experts, ask for help correctly. The way you
ask for help can have a big impact on the kind of help you need.
Dont ramble. Dont give your expert the whole plot of your
book. Shes busyshe doesnt have time to listen to your great
plot. (Besides talking too much about your book before you
start writing it can suck the creative energy right out of the
book. Keep your enthusiasm to yourself so you can harness it
for writing.)
When you ask for help, simply state what you need to know.
Ask your question as narrowly as possible. For example, dont
say, I need to know about firearms. Say, I need information
on automatic weaponswhat kinds there are and what kind of
ammunition they use and where to go to learn to use one. Tell
the person what you already know and what holes youre trying
to fill in, and give a BRIEF explanation of why you need the
information.
When at all possible, copy the information you need. Dont take
notes. Notes can be misinterpreted, and if you tend to scribble
when you get excited about something like I do, they can be
hard to read. Use the copier. Print out pages from the internet.
Copy pages from books (you can do this if youre not going to
distribute them). Hole-punch all of this and put it in the
Research section of your Novel Planning Binder.
Whether you copy or take notes, be sure you note the source.
Copy the title page of a book to go with the pages you copy from
the book, or write down the title and other information. You
may think you wont need it, but you might have to find the
source again.
Once you get all your research materials, organize them in you
binder or binders by general topic, and within those general
topics, by subtopic. Tab the pages so you can find the
information easily.
Please stop at the end of this chapter and do the research planning
tasks in the Chapter Six Tasks section of your Taskbook. And start (or
even finish your research!)
Ill admit that research isnt my favorite part of novel planning. I get
impatient, I think. I want to know everything right now! I want to get
to the writing part, and research slows me down. I have, however,
learned a lot of fascinating things from my novel research.
And whats fun is that the research for one book can give you ideas for
another book. Its all fuel for the creative engine.
So have fun planning your research, and if you get started on the
actual research, enjoy that too. Just think of all the things youre
going to learn. (Maybe you can be on Jeopardy someday.)
CHAPTER
CHAPTER SEVEN
You may think that once you have a plot, character sketches, setting
diagrams and descriptions, and you have your research done, youre
ready to start writing your novel. Wrong!
If you were to start writing now, you probably wont write a very good
novel.
Good pacing.
Pacing is the rhythm of a novel. The ups and downs. The fasts and
slows. Get too much frenzied action for too long and your reader will
start feeling uncomfortable and not know why. Too much down time
and your reader will start feeling discouraged. Too fast for too long
and youll wear your reader out before the end of the book. Too slow
for too long and youll bore your reader to death.
A good novel has the right balance of up, down, fast, and slow.
You do not want to make either of these mistakes. You want to find
that perfect midpoint between too fast and too slow.
Remember conflict from Chapter One? To get conflict, you have a goal
and an obstacle.
The best way that Ive found to make sure your novel puzzle goes
together in a way that creates dynamite pacing is to create your novel
scene by scene. Instead of just sitting down to write your story like
one long narrative, you lay out your story in chunks. Each chunk is a
scene.
Each scene is like a mini-story, with conflict and purpose. Each scene
has a reason for being. It has a purpose. Its there because it does
something to reveal character (and its revealing character because
revealing that character drives the story along) or it simply establishes
part of the novels action. But it must have a reason to be there.
If you create your book in this way, scene by scene, you will stand a
far better chance of avoiding that dreaded end result that all novelists
want to avoida boring book.
In case you think youre above creating a boring book and you dont
need to bother with scenes, let me tell you about a book I recently
read. It was by an author who I wont name but who is VERY
successful, with dozens of published books, many of them bestsellers.
This woman has been writing and publishing for years. Youd think
she wouldnt make such a mistake.
What did she do? Well, let me tell you about one of the scenes in the
book.
In the scene, her main character, a detective who Ill call Jim, was on
a plane. He was flying from his home to meet with another detective
to help investigate a murder. The scene included a detailed
description of what he read while he was on the plane, what he ate,
and what he looked at from the plane window. The scene was three
and a half pages long.
I dont know for sure, but Im betting that these do-nothing scenes
made it into the book because of laziness. The author has gotten a bit
cocky over the years, and she probably thought she could just wing it.
Write your book scene by scene and plan your scenes and youll never
have a boring scene that has no reason to be in your novel. Im going
to explain exactly how to construct a purposeful scene and how to
order them. Ill also discuss two specific aspects of scene purpose
foreshadowing and flashbacks.
What Is A Scene?
Dramatic Scenes:
The problem is that if these big dramatic events dont move the plot
along in some way, they wont work. The scene will mess up the
pacing, not enhance it.
For example, think about Mirandas story for a minute. Lets say that
Miranda is on the plane heading to Mount Kilimanjaro. While on the
plane, the passengers begin to feel ill. Miranda starts feeling sick too.
But what does it have to do with the story? How does it move the plot
along?
But, you see? Drama for dramas sake and action for actions sake
does not make a scene good for your book.
The events in your dramatic scenes need to have some impact on your
characters. What happens must have some emotional consequence to
someone in your story.
Non-dramatic scenes:
To understand how this works, think about a good action movie. One
of my favorite, fun and mindless action movies is Independence Day.
Although Independence Day is full of action, it never feels frenzied or
rushed. Why? Because the action scenes (dramatic scenes) of aliens
blowing up cities and airplanes firing at the alien ships are interspersed
with quiet non-dramatic scenes.
For example, early in the movie, just before the aliens unleash their
powerful, city-destroying weapon, one of the characters is shown
playing chess with his father. Its a quiet, non-dramatic scene that
plays a powerful role in the movie. Its very mundane quality perks up
your attention. You know the quiet is simply the lull before the storm.
The scene also reveals charactershowing the type of relationship one
of the main characters has with his father. That relationship will play a
role later in the movie. The scene also reveals the main characters
brilliant mind, and it foreshadows future events in the movie. One
very quiet, non-dramatic scene gets a lot done.
The action in a scene is divided into three parts: goal, opponent, and
conflict.
Lets look at a scene from my novel, Alternate Beauty to see how this
subtlety works. Ill put the scene is as I wrote it first and discuss its
sequel, then Ill change the sequel to show you what a heavy handed
sequel looks like.
I flicked off the bedside lamp and curled into a tight a ball
as I could imagine, ignoring the crumbs. Oprahs wrong,
I told Cindy, whod tiptoed over to sniff my tears. The
key to happiness is living in world where fat is beautiful.
Okay, Ive only given you the end of the scene, but the conflict in the
scene was psychological. It was Ronnies attempt to come to terms
with her size and her inability to do so. She ends the scene defeated.
The sequel is the one line, If only, I thought, and I closed my eyes.
Doesnt that one sentence make you think that something is about to
change in her world? Doesnt it hint at something interesting
happening?
Thats all a sequel needs to do. Its like a little whisper, a small
suggestion.
Now, heres what a heavy handed sequel would look for that scene:
Do you see how this sequel goes overboard? Its too much. It
practically tells the reader whats to come.
some of the fun out of it, doesnt it? You want to be teased and
titillated, but you still want to be surprised.
Some scenes are VERY subtle. They have the sequel built into the
action. This kind of sequel is common in a multiple-viewpoint novel.
For example, lets say you have your main character chasing a
suspect. At the end of the scene, the suspect vanishes, right in front
of the characters eyes (this is actually a scene from one of my
novels). If you want to keep your pacing quick, youd stop the scene
when the subject vanishes. The action itself is your sequel. The fact
of the vanishing tells the reader that something mysterious is coming.
You dont need your character to think or do anything in response at
that point. You can choose to switch scenes abruptly and move on to
another, which is an effective technique for exciting pacing in multiple-
viewpoint stories.
Okay, now that you understand the elements of a scene and how
scenes are used to create pacing in a novel, you are ready to create
your own scenes. Although this can be done in many ways, the most
effective way Ive found by creating a numbered scene template within
the manuscript draft document.
You can also do your scene cards on the template provide on page #
of your Taskbook. Simply make copies of the template page, as many
as you need for as many scenes as you create. Then you can hole-
punch them and put them in a binder. These can be shuffled around
as easily as index cards.
The template method I use now puts the scene cards right into your
manuscript document. When you purchased the Novel Writing Made
Easy System, you received a Word document that includes this
template. The template puts the numbered scenes, with all elements
included, in italics. Between these scenes, the document formatting is
double-spaced with a paragraph indent, which is the format needed for
manuscript submission.
Just type in the information for each of the scenes elements. Theyll
be in italics so you can easily spot them as youre writing. When you
start writing your manuscript, you can write the scene itself between
the scene instructions, or you can write it above the scene instructions
and delete the scene instructions as you go along.
If you hand write your cards, use initials to designate the action part of
the scenes:
G is for goal.
O is for obstacle.
C is for confrontation.
P is for purpose.
S is for sequel
This helps you keep your scene elements straight as you lay out your
scenes.
To show you how this works, lets do a couple scene cards for our
Miranda idea. Before we do, let me remind you of whats going on at
the start of her story:
Doctor Roberts smiles and shakes his head. Ill tell you,
he says, only if you agree to have an affair with me. He
tells her hes been falling in love with her, and he wants
her. He tries to kiss her. She has to fight him off. She
begs him to tell her what the healing is. He refuses.
Using this plot information, heres a possible opening scene card for
the Pentacle of Rorah story:
Now, you may be wondering why all this took four scene cards. Isnt it
just one sceneof Miranda in the hospital? To the reader, it will seem
that way. But laying it out this specifically, in such small chunks helps
you get very clear about what your goals are with the events in the
story.
Notice that the first two scenes were dramatic scenes. Miranda was in
actual direct confrontation (as in intense dialogue or actual physical
action). The third scene is a non-dramatic scene. It acts as a bridge
between Mirandas initial disappointment and the hope that the janitor
offers. If Id gone directly from the second to the fourth scene, the
emotional impact of the janitors revelation would have been
diminished.
Also notice that the sequels in all these scenes are subtle. Theyre all
small actions that are there just to suggest what is to come next.
Now that you how to construct a scene and you know how to create a
scene card, lets look at a couple ways you can use a scene other than
to just to describe action or character. You can also use a scene to
foreshadow coming events or to flashback into the past.
Foreshadowing
This scene is connected to a future scene in the movie when Riggs has
to use that same move to get out of a situation where hes bound
underwater. If we hadnt watched him do the shoulder thing in the
early scene, his getting out of the underwater predicament would
seem way too convenient. But the scriptwriters foreshadowed the
later scene with the squad room scene.
That foreshadowing was good because the hint was quite subtle. It
just seemed like part of the joking around that Riggs did. He did other
things like that too.
Too many writers make one or the other mistake with foreshadowing.
They either miss it so that later solutions to problems seem to come
out of nowhere and therefore arent believable or tell too much so they
telegraph whats to come.
Flashbacks
If youre not a very adept writer, flashbacks can often seem clumsy
and intrusive. They can also be confusing.
chronological order, but that delayed the discovery of the dead body to
somewhere around page 150. The editor said that was too late. She
wanted to see the dead body by page 50 or so.
I couldnt cut the events of the other 100 pages because they were
integral to the plot (lots of foreshadowing and character revelation and
conflict). So I ended up starting the story later in the chronology and
then filling in with flashbacks.
When you use flashbacks, be sure you use good sequels in the
previous scene and in the flashback scene itself. In other words, give
the reader clear guidance about what is coming. Be sure your reader
knows youre in the past or present.
Using the last scene card above as an example, lets say we want to
flashback to a time in Mirandas life when she had to hunt for
something. At the end of scene, M4, the sequel would include
Mirandas thought that the situation reminded her of the time in
college when she needed to find her roommates secret. This thought
will pave the way for a flashback scene.
When you start a flashback scene, use the past perfect tense. In other
words, youd write something like this:
This had been past perfect tense cues the reader that youre flashing
back. Use it once or twice at the beginning of a flashback to help the
reader follow you. At the end of the scene, be sure you lead the
reader back to the present with a sequel. For example, you could end
this roommate secret scene with,
Now that you know how to construct scenes, you can start putting
your novel together. As you write your scene cards, be sure you keep
the just right goal in mind. You want to keep your reader engaged
all the way through the book.
Remember the story questions you came up with when you were
putting together your plot? Now is the time to use them.
Keep story questions in mind as you build your scenes. You want to
raise questions and answer them in a way that always keeps your
reader wondering about something but not making your reader wonder
about everything until the end of the book.
Write a couple scenes that raise questions. Then answer one while
raising more.
I answered the first question, but not before I raised the second one.
And then I answered the next one, what is the spiritual healing, but at
the same time, I raised a new onewhat exactly is the Pentacle or
Rorah and how can Miranda get it?
If you keep story questions in mind as you create your scene cards,
youll create powerful pacing that keeps your reader going through the
book.
Obviously, creating scene cards takes time. But not as much time as
you might think.
If youve laid out your plot and you know your characters, youll
actually create your scene cards pretty quickly. I did the scene cards
for my 900-page novel in less than three daysall 400 of them.
Second, youll never have one of those dead-time scenes in your book
like I described near the beginning of this chapter. Remember the
detective on the airplane? That scene was dead time. Such scenes
are bad for pacing.
Knowing what the goal, obstacle, and confrontation are in every scene
will prevent that sort of dead-time scene. Avoiding dead-time scenes
will give you a much better book.
So take what youve prepared so far and use it to help you craft well-
structured scenes. Layer those scenes together in a way that
continues to raises and answers story questions and in a way that
balances action with non-dramatic moments, and youll create a
manuscript with great pacing.
I recommend that you stop at the end of this chapter and do the tasks
for this chapter in your Taskbook. Get those scene cards done.
The beauty of scene cards is that you can always change them or
delete them. You can also add new ones.
You wont ever find yourself staring at a blank page wondering what
you should write. Your writing instructions are right there in front of
you on your scene cards.
CHAPTER EIGHT
This may sound like a set-up for failure or a self-fulfilling prophecy, but
its not. Its freedom. Youre giving yourself the freedom to write by
saying this to yourself.
If youre not having fun, you might not even be able to finish the draft.
It takes a disciplined person to plow through a novel, even when its
fun. If its pure drudgery, youll have a tough time making yourself
stick with it.
So get ready to play. Put any ideas of perfection away for the
moment. (If you have a very well-developed inner critic, tell him or
her that he or she is welcome to return when you start rewriting the
manuscript. Send your inner critic on vacation.)
Now, even though youre playing and you have permission to write
garbage, you really do want to write the best quality first draft you
can. This chapter will give you the nitty-gritty writing information you
need to do that.
There are two main aspects of great fiction writing. They are:
There are four areas of your story that require attention to using
details:
1. Mood/tone
2. Character
3. Setting
4. Dialogue
Getting the details right is a three step process. You need to:
Details in writing relate to our senses. The point of picking the best
words to add detail to your work is to evoke a response in the reader.
To do that, you want to plug into the human senses:
Sight
Smell
Sound
Taste
Touch
Of course, you wont use every one of these senses in all your writing
pieces, but being aware that at least one or more of these senses is
what youre trying to activate with your detail helps you be more
specific with your word choice.
Many writers get stuck on two of the senses. They focus on sight and
sound. Really one-dimensional writers focus just on sight. They only
describe things people see.
If you want your writing to be rich and detailed, you need to stay
aware of all of the five senses. When creating detail in your writing,
the more senses you draw on, the more clear the picture youre
creating will be.
Pleased
Happy
If you look happy up in the thesaurus, youll find the word pleased.
The thesaurus gurus clearly see happy and pleased as synonyms,
which they are.
When youre pleased, are you also happy? Sometimes. Probably not
always. Happy is a little further along the smile scale than pleased is.
The words are close together, but theyre not the same thing.
When it comes to getting the details just right in your writing, close
enough isnt good enough. You need to find the right words to
describe the right thing. Is your character pleased or happy?
Then there are the words that mean the same thing but they come
across differently.
Consider car vs. automobile. Same thing. But one sounds more
casual than the other.
Family tree and genealogy are the same thing, but again, one is more
casual.
The word or words you use to describe something can have incredible
impact on those four aspects of your writing that I mentioned above
mood/tone, character, setting, and dialogue.
Words that arent chosen carefully can not only blur the meaning you
intend, they can ruin an entire piece of writing.
Im going to give you examples of how to choose words for every type
of word or phrase youll use.
For example, instead of using container in the first sentence, I use the
word, Tupperware. Why? Two reasons. First, it gives the reader a
clearer mental picture of the container than if Id just said container.
Container doesnt evoke any particular image. It isnt detailed
enough. Tupperware brings up a picture.
Now, heres where balance comes in. I could have said, one of those
new Tupperware containers with the blue lids and the pressure seal.
That would certainly be more detail, but is it necessary detail? No. If
I used that much detail for every noun in this scene, the scene would
quickly get boring.
The next time I refer to the container, in the next sentence, I refer to
the side of the plastic. I also use an adjective, clear, which Ill talk
about in a minute. Using the word plastic, is another example of
detail. I could have written, against the side of the container or
against the side of the Tupperware. But just in case Tupperware
didnt evoke an image, I get more detailed with the word plastic.
Now move down to the first sentence of the second paragraph. I use
the noun, lasagna. I didnt have to do that. I could have said pasta.
But that wouldnt have given the reader a specific picture. So I use a
noun that creates a particular image of a specific kind of pasta. And
once again, I could have said spinach and beef lasagna made with
garlic red sauce. But this isnt a scene about culinary delightsits a
scene meant to evoke the frantic compulsion of Ronnies binge.
Bogging down the scene with too much detail about the food itself
would have made the scene less compelling.
In the last sentence, I use the noun, fat. Why did I use fat? I could
have used grease or oil or lard. I chose fat because it ties in with the
way Ronnie feels about herself. I chose the noun very carefully to
create not only an image, but a feeling (remember emotion?).
I also used the word clear to describe the plastic. I did this to give
the reader a better image of how the food looks in the container.
In the first sentence of the second paragraph, I use the words cold and
congealed as adjectives. They describe the noun, lasagna. They
evoke a pretty clear picture, right? And they dont make the lasagna
sound appealing, do they? That was my intention. Would I have
created the same picture if Id used the adjective uncooked with
lasagna? It wouldnt have been as powerful, would it?
In the next sentence, I have her grasping the container. Why grasp?
Why not hold? Why not hang onto? The word, grasp, creates an
image of intensity, doesnt it? A person who is grasping is more
emotional than someone who is holding. Again, the words are close,
but they create different images and different moods.
Lets talk about versions of the verb, to be for a second. Is, was,
am, are, were, etc. are not very powerful verbs. They dont create
images. They dont create emotion. They arent specific. But theyre
easy to use. So easy, in fact, that they tend to show up when they
shouldnt. They can be used effectively, but they can also be the sign
of lazy writing. When you can avoid them, avoid them.
Often, though, using a form of the verb, to be, will dilute your writing.
For example, I am hot can be I feel hot or better yet I bake. Or
even better, I sweat. He was afraid can be He feared. Or even
better would be an image like, He trembled.
Heres a good place to insert the old adage that all writers need to
remember: Show, dont tell.
Do not tell the reader whats going on. Show them. So, you dont tell
the reader that someones hot. You show that theyre hot by
describing the sweat or the red flush of their skin. You dont tell the
reader that someone is afraid. You show the reader that a person is
afraid by describing how he trembles or how his face turns white or
better yet, how he blanches. Notice, I didnt say His face is white.
Thats another of those to be verbs.
First, notice that I use only one real adverb in the passage. Adverbs
can be useful, but they should be applied very sparingly to your
writing. If you can choose a specific verb, one that gets the detail you
want right, you dont need an adverb. The same is true of nouns, too,
to some extent. Try and get your nouns as specific to get the detail
right as possible. But adverbs can clutter up your writing faster than
adjectives.
The one adverb I use is in the above passage is in the first sentence:
breathing heavily. I could have used another adjective like quickly
or deeply. Again, I used the word that created the mood I wanted.
See the theme of fat and heavy? Ronnie is feeling huge and ugly and
fat. This scene reflects that. I chose this adjective accordingly.
I could have used a specific verb in this sentence and avoided the
adverb altogetherI could have said, panting or gasping, but
neither of those got the detail the way I wanted it. In this case, an
adverb created the most detailed image that fit the mood of the
paragraph.
One of the best ways to describe things in your writing, to get the
details across, is to use comparison. This is like this. Or this IS this.
Tired as a dog
Hot as hell
As jumpy as a cat in a room full of rocking chairs
Innocent as a child
Soft as a babys, uh, ear
Running around like chickens with their heads cut off
Dark as night
You want to come up with fresh, new similes and metaphors as much
as possible. When you look at your comparisons, check for two
thingsfirst are they creating the detail you want to create? Second,
are they original or at least not horribly overused.
Metaphors add style and interest to the details in your writing. Just be
careful with them.
Writers who try and get too creative with metaphors end up writing
humor when they dont intend to. What if Id said, My shoulders sang
an aria of pain. Thats a metaphor, but not a very good one.
I used the comparison for another reason too. Snakes have a certain
connotation for most peoplesomething not particularly well-liked. I
wanted to get across Ronnies feeling about her neighbor in the scene
that this comparison is in. Shes alone and seeing her neighbor with a
handsome man, and shes jealous and feeling unfriendly. The snake
simile created a mood in addition to an image.
Example ThreeHer long blond hair swung through the air like a
streak of light.
Now that youve taken a look at using words with specificity to create
detail, well move on to using the right number of words, step three in
the process of getting the details right.
This is one of the most important parts of getting details just right.
And its also one of the trickiest parts.
Can you see this restaurants dining room in your mind? I hope so.
Did the paragraph bore you? I hope not.
I could go on with the above, but I think you get the picture.
Okay, how did I find the balance in the paragraph as I wrote it for the
book? Obviously, the second one was too much. The last one wasnt
enough. If I did my job right, the one thats in the novel is just right.
In this scene, my perspective was that upscale places are a little over
the top. To get that across in the paragraph, I wanted to focus on the
high-class elements of the roomthe silk-textured walls, the
mahogany chair rails, the gold-rimmed plates.
In the longer version I wrote above, youll notice that the perspective
isnt clear. I talk about the upscale stuff, yes, but I also linger on a lot
of other details, like the steak house next door and the weather
outside. Its muddled. And in the last, short version, the perspective
isnt discernible at all.
GOAL is what you want to accomplish with your words. My goal with
the above scene was to create a background of crisp formality. I
wanted Ronnie to feel a little out of place, a little uncomfortable.
Thats why I used words like stark archway and muted dining room
and identical tables.
In the longer version, again, the goal is unclear. Its just a grab-bag
of detail. It has no goal, just to mention as much detail as possible.
The short paragraph has a goalto get across that youre in an
expensive restaurant, and it does that, but not in a very interesting
way.
FOCUS is where you want the reader to look. If you think of your
words as a camera, what do you want the lens to capture? My focus
on the passage above was on the upscale, above the rest nature of
the place. This is why I used words like gleaming, shining, polished,
spotless, and placed just so. I zeroed in on what was bright and
showcase-like in the place.
Notice that in the longer version, the focus is all over the place. Yes, I
mention the upscale stuff, but as with perspective I get off track and
mention other aspects of the room too, things that dont have
anything to do with my focus, like which way the napkins are pointed.
And in the short paragraph, there is no focus. The camera isnt
pointed at anythingits telling the reader information, not showing
anything. Remembershow, dont tell.
In the longer paragraph, I led with the weather and a detail about the
date and the Seattle Derby and Green Lakethese things were not
only irrelevant to the scene, they draw attention away from what I
want to prioritize. In the short version, there is no slant.
Okay, now that you have the three steps to getting details just right
you know to keep all five senses in mind; you know to use words and
phrases that are specific and as original as possible, and you know to
pick out the most important details to paint a picture or create a
mood, and leave the rest out, youre ready to think about how to use
these details in the four areas of your writing that require that detail.
Remember the ones I mentioned at the beginning? Theyre
mood/tone, character, setting, and dialogue.
The process is similar for character and setting. Each, however, has a
different pitfall to avoid.
Lets apply the three-step process Ive outlined in this chapter (evoke
all senses, choose the best words, and use the right balance of details)
first to character.
Character
When youre describing setting and people and setting a mood and
using dialogue, it isnt a linear process. You dont first do one, then
the other, then the next. Writing is weaving with words. You have to
loop one aspect of your story (whether the store is real or made-up)
into another aspect and keep going back and forth between all
aspects.
Writers who arent adept with detail and havent practiced style, have
a tendency to start a scene with a description of the room or place,
then they go on to describe the mood, then they describe the people,
then they get to the dialogue. This sort of writing is cumbersome and
quite contrived.
Good writing integrates the detail into the action of the scene or the
information. If you want more examples of how to do that, read a lot
of books in the genre youre interested in. Youll probably find that the
books youre drawn to the most are ones that weave detail into the
work quite well.
Why did I say yes? I hated being away from the shop
during the busy lunch hour. But when Audrey called, the
called rushed forth.
A good rule of thumb is that in the whole of a scene, try and touch on
all the five senses or hit at least three.
When you choose your words and phrases to describe a person, use
that specificity and originality we talked about. Dont say light hair,
say blonde. Better than blonde is ash blonde or streaked blonde. Or
use a simile or metaphor. Just dont use clichs such as hair like
spun gold.
When you decide how much to tell about a person, think about those
four considerationsperspective, goal, focus, and slant. Whats your
perspective on this character or person? Whats your goal in
describing this person? What is your focuswhat do you want the
reader to know about this person? Whats the most important
information about the personwhat do you need to describe first?
And keep in mind that you dont have to tell the reader everything
about your character. Work it into the story. Give out your details bit
by bit as you reveal the other information you need the reader to
know.
Setting
Applying the steps to SETTING is very similar to the way you apply it
to character. You keep all the senses in mind. You use words with
specificity and originality. You get clear on your perspective, your
goal, your focus, and your slant.
When you want to paint the picture of a scene, you want to give the
reader enough information so they can imagine being thereyou want
them to feel like they ARE there. The most important pitfall to avoid
is the detail dump that I demonstrated with that long paragraph
rewrite of the opening of Alternate Beauty. It is NOT necessary for the
reader to know every detail of the room to feel like he or she is in it.
If youre not sure, still, how to nail down the setting without going
overboardthe situation or the place of your writing, think about what
you tend to notice in your own life. Consider that you never notice all
the details of a place. You never are aware of all aspects of a situation
at the same time. That would be sensory overload. You cant process
all that information at once. Neither can your reader. Dont
overwhelm your reader with too much information.
If you link a place or situation to a couple of the senses, and you pick
out the most important details using the four balancing techniques of
perspective, goal, focus, and slant, youll be able to choose just those
details necessary.
On the flip side, remember, dont ever TELL your reader what a place
or situation is like. Dont say the room was scary. Dont say the
situation was tense. Dont say the house was uninviting. Dont say
the situation was sad. SHOW the reader these things by giving them
details that create a scary, tense, uninviting or sad scene.
Okay, the last part of your writing that requires use of detail is
dialogue.
Dialogue
Example One
Why?
Because Im in danger.
Example Two
Why?
Forgive me. I just wrote that on the fly. Its not great literature. But
I hope you see the difference. In the first exchange, the speakers
stayed with generalities. In the second, there was detail that made
the interaction come to life more.
The trick with dialogue, as with all other aspects of writing, is to put in
just enough detail to make the dialogue rich and not so much that its
stilted and boring.
A rule of thumb for dialogue is put in a little less than would sound
normal in real life. Real people ramble. Dont let your characters
rambleunless rambling is an essential aspect of your character.
A more educated person might use the word automobile, but that word
would sound ridiculous coming out of the mouth of an inner city teen.
Remember who is talking and make the details match the personalities
youve created.
Ive tried to lay the process of using detail in your writing in an orderly
fashion, but as you write, it wont be so organized. Youll throw in
detail and get too much, and youll have to go back and cut. Youll
write several pages and realize you dont have enough detail, and
youll go back and add it.
You can do this as you write or you can just wait and make these
adjustments to your second and third and subsequent drafts. I do a
combination of both.
When you write, youll think you have a good balance but then notice
that you havent chosen the best words or phrases. Then youll go
back and change them. This is okay. Its part of the process.
Creating Emotion
Good fiction writing makes the reader feel. You want to evoke
emotion with your words.
Ever heard anyone say about a book, I didnt like it much. It left me
cold.?
What the person means is that the book didnt move them at all. It
made them feel nothing. When a reader feels nothing, a reader is
bored. You cant capture a reader without getting the reader to feel
something.
Evoking emotion from your reader hinges on your ability to use words
with skill. When you use a word, you need to think about the probable
impact it will have. Does that impact create the emotion you want
your reader to feel? If so, youve found the right word; if not, you
need to look further.
There are two aspects to word choicepicking the best nouns, verbs,
adjectives and adverbs to create the emotion you want your reader to
feel AND using the right metaphors or similes (comparisons) to create
the emotion you want your reader to feel.
Version One:
The walls were a putrid green and smelled like piss. The
ceiling was old and cracked; I was afraid it would fall on
my head any second.
Version Two:
So what was the emotion that the first version evoked from you? If
youre like me, you were disgusted or repelled. Right?
Now what about the second version? This version left me feeling
content and comforted. Same for you?
Now, why did these two versions have such a different emotional
impact?
Adjectiveputrid
Nounpiss
Adjectiveold, crackled
Verbswas afraid, would fall
Now look at the words that Newman used in the second version:
Adjectivecomforting
Nounelementary school
Adjectivesticky, sweet
Adjectivemuch-loved
Adjectivegentle
Nounhands
Verbheld
Adjectiveold, crackled (this is the same as version one but notice
how the metaphor softens the words)
Simile:
When you dissect out the word choices, its pretty easy to see how the
different emotions were created, doesnt it? When you keep the
reader in mind when you choose your words, you will be able to
choose words that evoke the emotion that youre aiming for.
Although the choice of your words is your most powerful weapon for
getting your reader to feel emotion, you have another available to
you: the rhythm of your words.
Well, did you notice a rhythm in that paragraph I just wrote? The
repetition of pattern created a beat, didnt it?
In fact, if you look at all the chapters in this book, youll notice a
certain rhythm. I vary my sentence lengths and paragraph lengths.
Long sentences tend to lull the reader, calm the reader. This is true
especially if the sentences are uninterrupted by a lot of punctuation.
Clauses that are set off by commas, like this one, break up a sentence
and change its rhythm.
This is true unless you string too many short sentences together at
once. If you do that, it can get simply grating.
To see how rhythm works, take a look at this passage from one of my
nonfiction books (you can use rhythm to evoke emotion in both fiction
AND nonfiction).
Notice how I start this piece with longer sentences. Not real long.
Just long enough to get my reader feeling relaxed and in hopefully a
good, peaceful mood. Even though Im talking about a dog obsessed
with a ball, I want my reader to feel good about it.
To keep this idea of rhythm in mind as you write, think about music.
Slow, lingering notes held for a long time create certain emotion.
Quick notes that are never held at all create a different emotion. The
mix of the two create something else entirely.
Before you start writing, though, I suggest you make a plan. Dont
just assume that youll get the novel done here and there, fitting it in
around your daily life. You need to take a look at your activities and
figure out how youre going to get this novel done.
If youve been working on the planning tasks whenever you can grab
some time, thats fine. But once you start writing, you need some
consistency and structure.
Try and schedule starting your novel when you dont have something
coming up that will take you away from your novel for longer than a
couple weeks. Youll have a hard time keeping the continuity if you do
that.
Be sure your schedule fits with your writing speed and your lifestyle.
How many pages a day is good? It depends on you.
Do, however, set a goal date. That date will help you stay on track.
Leave your finish time open-ended, and youre giving yourself
permission to procrastinate.
To help you keep your eyes on that goal, try a few motivational tricks
to keep you going. First, post the goal date where you can see it.
Second, make a mock up of your novel cover. This makes your goal
tangible. Third, repeat daily, Im writing a great novel that Ill sell to
a big publisher. Or go further, Im writing a bestselling novel.
After much trial and error, Ive found a method that works very well:
Write your pages for the day without rereading what youve done at
all. The next day, start your day with a read of the pages you wrote
the day before. Make small tweaks as you see fit, but dont agonize
over the words. Youre just reading to get the flow, so you can jump
back in. When youre done reading, start writing your pages for the
day. Do not keep messing with what youve done. Get something
down and move on. You can polish and fix things later.
Now, stop and do the tasks for this chapter in your Taskbook.
CHAPTER NINE
Planning and writing a novel, though a huge project, is only half your
job if you want to get your novel in the hands of readers. Once your
novel is completed, youll need to sell it. Youll need to find a
publisher.
But for every M.J. Rose, there are thousands, if not hundreds of
thousands of other authors struggling to sell a few dozen copies of
their self-published book from the back of their trunk. If you do
decide to go the self publish route, be aware that youre in for a lot of
work. A self published author has to do all the book distribution and
promotion. Its a tough road.
The only publishers youll be able to get to directly are the small to
medium sized publishers. If you want to go after the big guys, youll
need an agent.
And I dont want you to wait until youre finished with your manuscript
before you write your query letter and synopsis. Why? Because
writing a query letter and synopsis helps you clarify your novels focus.
It solidifies the story in your mind and puts your hook in the
forefront of your creative effort.
Ill explain what your hook is in just a minute, but first, let me talk a
bit more about why you want to do your query letter and synopsis
now. I want to do a little more convincing because, if youre like me,
you might be dismissing my advice.
When I first started, I also got this advice from a published novelist,
and I ignored it. Query letters and synopses are very challenging to
write. You need to distill your 400+ page story down into one or two
pages for a query letter and about 10 pages for a synopsis. Thats
tough to do. So its natural to resist the undertaking.
But in this case, the tough job you want to avoid is a job that will
make your other job, writing the manuscript itself, a lot easier. It is
VERY easy to get lost in the middle of writing a novel. Even after
youve done all the work Ive taught you to do here, you can lose your
focus when youre in the middle of writing. Having your query letter
and synopsis done will help you stay focused.
And what if you end up changing the novels plot or the characters or
anything else? No problem. Thats what computers are for. Just go
back and make your query letter and synopsis changes when youre
done.
Oh, and one more thing before we get into the meat of this subject.
Dont submit your query letter and synopsis until youve finished your
Okay, so lets get to it. Lets talk about what goes into a query letter
and synopsis.
Query Letter
2. Word countthe length of your novel. You can easily get the word
count if youre using Microsoft Word. Just click on Tools, then Word
Count. If you need to get word count the old fashioned way, count the
words on one average-looking page and multiply by the number of
pages. (Obviously, if youre following my advice and writing the novel
before you write the manuscript, you wont know the word count. But
put in your target word count. A good target for most books is around
80,000 words. Get over 100,000 words, and youll have trouble selling
the manuscript unless its very impressive. I made this mistake when
I sold Alternate Beauty. It was 160,000 words. Luckily, the editor
liked it enough to buy it anyway and then she had me cut it. I had to
cut it down to 105,000 words. Ughcutting that much of a book is
like trying to decide which leg to cut off.)
If you are submitting your query to more than one agent or editor, you
must say so. A simple, This is a simultaneous submission or I am
querying other agents [or publishers] simultaneously, will work fine.
Now you want to assume the close. Instead of asking if you can
send a partial or a full manuscript, say, I look forward to sending you
the full manuscript of My Great American Novel.
Now, how do you put these five elements together in a way that grabs
the editor or agent to whom youre submitting? You do it with three
part plan of attack:
The most effective way of getting your hook in front of the reader is to
start your query letter with your title centered in bold and the hook
centered below (youll see what Im talking about in the sample query
letter Ive included below).
A hook should make the reader want to know more. You either ask a
question they cant answer or suggest a situation that is unusual or
hint at a mystery they cant solve. You can also make your hook a
one-sentence summation thats humorous or sassy.
Also, letting the reader know that youre aware of the need for a
marketing angle tells him or her that youre promotion-savvy. You will
establish yourself as a professional writer with this awareness.
Okay, those are the elements that youre aiming for. Lets see how
they look in action. Heres the query letter I used to sell Alternate
Beauty to Bantam (notice that the title is differentBantam changed
the title after acquiring the manuscript (this happens a lot)):
Editor
Title
Publishing House
Street Address
City, State, Zip
INSIDE OUT
What if you woke up in a world where big is beautiful?
Have you ever wished you lived in a different world, one where, say, teachers make more
money than football players? Maybe youve wished you lived in a world where having a
potbelly makes you more popular than Winnie the Pooh. Veronica (Ronnie) Tremayne
not only did wish for a different world, she got what she wanted. After a particularly bad
day, she goes to sleep thinking the key to happiness is living in a world where fat is
beautiful. The next day, she wakes up in such a world.
At first, Ronnies experience is perfectshes considered a drop dead beauty in the new
reality and shes inundated with attention from men; shes finally able to achieve her
dream of being a fashion designer; she moves in the glitzy circles of the rich and famous.
Unfortunately, Ronnie begins to lose weight (not because she wants to), and she cant
seem to stop losing weight. As she is judged and rejected as much in this world as she
was in her old world, she finally has to take a hard look at her beliefs and what shes done
to create her own unhappiness. Will she finally be able to accept herself, or will she be
unhappy in any world?
Inside Out is a 160,000 word womens fiction manuscript for any woman who has ever
struggled with her body imagewhich is almost every woman in the U.S. With the
media spotlight aimed so often at actress weight issues and the diet industry growing
yearly, its the perfect time for Inside Out.
In addition to having a B.A. in Psychology from The College of William and Mary, I
have personal experience with using food to replace self-esteem, and I have both gained
and lost large amounts of weight. My insight into the struggles of the obese has helped
me create a sympathetic and believable character in Ronnie Tremayne. I write a weekly
column, The Up Beat, which has been running in The Daily World, Aberdeen,
Washingtons daily paper, since January 2000. I have published column reprints, poetry,
and short stories in various magazines.
I have enclosed a synopsis and the first 50 pages of Inside Out for your review. This is a
simultaneous submission. Thank you for your consideration. I look forward to sending
you the full manuscript.
Sincerely,
Now take a look at how I did with the elements of a good query.
Notice, first, under the book title at the top, my hook: What if you
woke up in a world where big is beautiful? Its a question that
suggests an unusual situation. Obviously it was unusual enough to
keep the editor reading.
The first two paragraphs summarize the story. Notice that I dont
dwell on details. I write the paragraphs like the cover copy of a book.
Notice also that I didnt give away the ending of the book. Youre not
trying to tell the whole story in your query. You just want to suggest
the plot and the characters struggle.
In the third paragraph, I state the genre and the word count. I
actually got the genre wrongthe editor decided to market the book
as chicklit. When I wrote this query, I had no idea what chicklit was
and even when I did find out what it was, I didnt think thats what my
book was. But youll find, once you sell a manuscript, that the author
doesnt know much at all, according to editors. You basically lose your
right to control much of anything. As Ive mentioned, my title was
changed, and I had to cut over 50,000 words of the manuscript too.
But hey, when one of the largest publishers in the world wants your
novel and theyre paying you a nice advance for it, you let the
publisher lead the way.
One aside here, though. Dont give up ALL control. Dont do anything
that doesnt feel right to you. When my Bantam editor first read my
novel, she wanted me to rewrite the book in a way that felt totally
wrong to me. I did some thinking and came up with a way to address
her concerns but rewrite in a way that felt right. Basically, we
compromised.
Okay, back to the query. The paragraph that states the word count
and genre also has marketing awareness. I mention how the topic of
the book is a focus on the media.
The next paragraph has my credentials. At the time, I hadnt sold any
books, so I put the writing credentials I had. Notice that I didnt list all
the publications in which my work had appeared. Since none of them
were terribly impressive, I felt it better to stay general. Also, I didnt
mention my law degree. Although a credential, its not relevant to my
ability to write a novel about a woman in an alternate universe where
fat is beautiful.
The last paragraph explains what I have enclosed, states that the
submission is a simultaneous one, and assumes the close.
Notice that the query is single spaced. I recommend using font, Times
New Roman, in query letters. Its smaller and allows you to get more
on a page. If you absolutely need to, you can go to 11 point font, but
dont go smaller than that. And a little trick to get more on a page,
make the lines between spaces a smaller font, like 8 point font, and
you can usually gain a line or two of space.
Okay, now that you have your query letter, youre ready to move on to
your synopsis.
Synopsis
A synopsis must have the feel of your novels content. In other words,
if your novel is very serious, so must be your synopsis. If your novel
is sassy, your synopsis needs to be sassy. If your novel is a thriller,
your synopsis better be thrilling.
You start with two to four paragraphs to set the stage for your story
and then continue to lay out, in story-telling form, the events of your
novel. You do this using present tense. Unlike most novels with use
past tense, a synopsis must be written in present tense.
I know youre probably feeling some level of panic right now. Youre
wondering how in the world youre going to get all novels critical
points in that amount of space. Dont worry.
The agent or editor knows you cant get everything in. He or she is
just looking for the big picturethe plot movement, the manuscripts
structure, and the characters realism. He or she also wants to see the
conflict and how that conflict is resolved.
Here is the synopsis I used for Alternate Beauty (note that the font is
Courier New, which is the recommended font for manuscripts and
synopses):
INSIDE OUT
by
SYNOPSIS
job.
she thinks, who needs the Three Stooges? I can provide all
here and down goes a purse, a jostle of the thigh there and
everywhere a.
cant comfort her. She cuts the evening short and returns
little odd, and as she moves into her day, encountering her
and she has no idea how, she has landed in some alternate
men, who lavish her with flowers (one even sends her a
lump it. And so Ronnie sleeps with most of the men she
goes out with, and she practices being what her mother
the company, 51% interest and Ronnie, who will design the
interest in food.
Jason and Ronnie go out for dinner and later make love.
day, Ronnie picks out new clothes from the shop, all in
size 24.
the letters before, but she doesnt know what they mean.
Hes upset with her smaller size (shes wearing size 22s by
size 20. When Cheryl sees Ronnie, she tells Ronnie if she
gets smaller, Cheryl will have to let her go. Paige also
tells Ronnie she needs to eat more, and Ronnie tries. But
she no longer craves rich food and cant seem to eat much.
same time. All those years of trying to eat only until she
was full, she thinks, and she finally has to get it now.
she cant seem to eat more. Hes sympathetic and tells her
loses form. Back up, and its crystal clear. She wonders
how she can get that crystal clear view of her own life,
the WWSP. The senator says shes exposing the group, which
she keeps making mistakes, she becomes enraged and cuts the
material, she sees the beauty in the color and texture and
knows she has created her own unhappiness with the way she
its the middle of the night and she cant visit Donna. So
weight loss.
calls Alanna and Bonnie, who rush over. They talk about
If you were to read Alternate Beauty, youd notice that the tone and
style of the novel is mimicked in this synopsis. When my editor read
this synopsis, she had a good idea of how Id written the book.
Writing your own synopsis will help you establish your own stylethe
one you want for your novel.
Now that you have a good query letter and synopsis, you have both a
sure target to keep you focused during your writing AND the essential
arsenal of what you need to land an agent or publisher when youre
done. The actual market research process, submission process, and
agent-choosing or editor-negotiating process are beyond the scope of
this e-book. I do, however, offer guidance and advice on these
aspects of your novel career to the writers who I coach. You can find
out more information my coaching service in the conclusion of this e-
book.
To close this chapter, I will offer just a couple more query tricks to
keep in mind when it is time to actually send the query letter:
Make sure you pick the best agent or editor at the agency or house. If
you cant find this information on the agent or editor website or in your
Writers Market book, call the agency or publishing house and describe
your genre and ask for the name of the appropriate person to contact.
DONT ask to speak to that person. That is a HUGE no-no.
You will get more and quicker responses when you make the response
process easier for the agent or editor.
Once you have your query and your synopsis done, youll feel great.
Trust me. Youll be charged up and ready to keep working on your
manuscript until its complete!
So before you get any further with your novel draft, please stop and
do the tasks associated with this chapter in your Taskbook. Once
youve done them, heres a little motivational trick for you: I suggest
is putting your query letter and synopsis where you can see them
every day. Its a great way to help you keep an eye on your goal of
finishing your manuscript.
CONCLUSION
If youve done all the tasks I laid out for you in your Taskbook,
applying what you learned in this e-book as you did the tasks, you
now have the foundation of your novel completed. Now, dont just let
your foundation sit there!
As Ive said many times in this e-book, be sure you have fun with all
aspects of planning and starting your novel. This is fun stuff, if you
allow it to be.
If someone were to walk into your home when you're in the middle of
reorganizing or remodeling, they'd think you were a total slob. If you
judged the end result by what you see in the middle of the process,
you'd be sure it would be a total failure. But then you keep working,
and pretty soon, everything starts falling into place and you finally end
up with a beautiful room or home that's far better than what you
started with.
This is totally normal, and Ive done the same thing. Many of the
writers Ive counseled have felt a version of this middle-place
uncertainty. You must find the day-to-day courage and determination
required to write a novel. Keep redirecting your thoughts to what you
want to create, the vision you have for it, not the mess you currently
have.
Just remember that any apprehension and uncertainty you may feel
about your novel is just your response to being in this middle-place. It
doesnt have anything to do with your ability to write this book or how
good the book could be when you're done.
RESOURCES
A more simple character naming resource, but also useful is The Best
Baby Name Book by Bruce Lanskyfull of great names.
You can find almost any kind of house plan you could possibly want to
help you sketch your scenes here: http://www.coolhouseplans.com
You can search for home styles and home sizes on this site.
If you dont get a lot of home dcor or furniture catalogs, you can find
them here: http://www.catalogs.com This site organizes catalogs by
subject. You can find catalogs on home dcor, rugs, office furniture,
yard and garden, etc. Many catalog subscriptions are free. Some
have a nominal cost. I highly recommend that you subscribe to as
many as you can. They will prove invaluable in helping you create
rich, believable scenes.
The Facts On File Guide To Research, by Jeff Lenburg. Written for the
student, it has some information that you wont need, but its a
comprehensive discussion of the resources you can find in a library.
Novel & Short Story MarketThis resource lists the major fiction
markets and many of the agents who represent novels. It also has
advice on how to write queries and synopses..
Ande lives in Washington State, on the coast, with her husband Tim
and her dog, Ducky.