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  1. <?xml version='1.0' encoding='UTF-8'?><rss xmlns:atom="http://www.w3.org/2005/Atom" xmlns:openSearch="http://a9.com/-/spec/opensearchrss/1.0/" xmlns:blogger="http://schemas.google.com/blogger/2008" xmlns:georss="http://www.georss.org/georss" xmlns:gd="http://schemas.google.com/g/2005" xmlns:thr="http://purl.org/syndication/thread/1.0" version="2.0"><channel><atom:id>tag:blogger.com,1999:blog-1017951724114846163</atom:id><lastBuildDate>Sat, 13 Apr 2024 11:48:23 +0000</lastBuildDate><category>novel development</category><category>advanced writing craft</category><category>character development</category><category>novel rejection reasons</category><category>bad writing advice</category><category>literary agents</category><category>bad writer groups</category><category>novel outline</category><category>query and pitching</category><category>Michael Neff</category><category>Novel pitches</category><category>book publicity</category><category>new york pitch conference</category><category>Algonkian Writer Conferences</category><category>Publishing</category><category>Writing</category><category>book marketing</category><category>book promotion</category><category>major characters</category><category>Arts</category><category>Authors</category><category>Creative writing</category><category>MFA</category><category>Marketing</category><category>Novel into film</category><category>Thoughts on Writing</category><category>Writers</category><category>Writers Resources</category><category>character roles in novel</category><category>promotion</category><category>Accountancy</category><category>Accounts payable</category><category>Agencies</category><category>Angela&#39;s Ashes</category><category>Art</category><category>Best Served Deadly</category><category>Book Publishing</category><category>Business</category><category>C. L. Hoang</category><category>Company</category><category>Contract</category><category>Corey Lynn Fayman</category><category>Critique groups</category><category>Devil&#39;s Bay</category><category>Eat Pray Love</category><category>Edting</category><category>Fairleigh Dickinson University</category><category>Goucher College</category><category>Graduate school</category><category>Hollins University</category><category>Into Thin Air</category><category>Iowa Writers Workshop</category><category>Jenny Milchman</category><category>Jodi Picoult</category><category>Literary magazine</category><category>Literature</category><category>Manuscripts to Market</category><category>Master&#39;s degree</category><category>Michael-Ann Ward</category><category>New York Write to Pitch 2022</category><category>Novels</category><category>Out of Africa</category><category>PR</category><category>Pamela Fagan Hutchins</category><category>Piper Robbin and the American Oz Maker</category><category>Poetry</category><category>Public relations</category><category>Publishing and Printing</category><category>Publishing in the 21st Century</category><category>Query letter</category><category>Richard Curtis</category><category>Running with Scissors</category><category>Samantha Chang</category><category>Short story</category><category>Social Media</category><category>The Literary Review</category><category>The Year of Magical Thinking</category><category>The novel</category><category>Three Cups of Tea</category><category>Walter Cummins</category><category>Writer</category><category>advice for authors</category><category>audience</category><category>bad writer</category><category>bad writing examples</category><category>best writer conferences</category><category>blog tours</category><category>book signings</category><category>chemistry</category><category>cover design</category><category>editing</category><category>fantasy tropes</category><category>freelance consultants</category><category>giveaways</category><category>memoirs</category><category>novel and fiction tropes</category><category>press releases</category><category>publicity</category><category>readers</category><category>reasons novel rejected</category><category>reasons writers rejected</category><category>secondary characters</category><category>self-editing</category><category>success</category><category>writer beware</category><title>Novel Writing on Edge - Development Maxims and Master Class Narrative From Algonkian</title><description>Tie-breaking advice for serious writers devoted to novel writing and planning.</description><link>http://www.novelwritingonedge.com/</link><managingEditor>noreply@blogger.com (Michael Neff)</managingEditor><generator>Blogger</generator><openSearch:totalResults>97</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>25</openSearch:itemsPerPage><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-922622382881968416</guid><pubDate>Fri, 20 Oct 2023 21:18:00 +0000</pubDate><atom:updated>2023-12-06T12:21:41.719-05:00</atom:updated><title>The Pub Board - Your Best Friend and Worst Enemy</title><description>&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;/span&gt;&lt;/p&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;/span&gt;&lt;div style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtIBcT9ZO1pURl9ZL7Vq2E5Sr7HRrq02J9UtiJp5tSNc2U1_ZOAQbGYiVGMGbR7areVqE0hnExx_h1xvXycgZjQPZ8bkeP0Mf7nrkQzI5jjKR4qfC5AmkhyuwYhcPsNWuRjIyhzRUoY-QPb3dGZhuhfCjqp-B9YtNixztFaDwEC3XitUFlOqLpcr4NQpM/s320/boardpub.jpg&quot; imageanchor=&quot;1&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;232&quot; data-original-width=&quot;320&quot; height=&quot;232&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtIBcT9ZO1pURl9ZL7Vq2E5Sr7HRrq02J9UtiJp5tSNc2U1_ZOAQbGYiVGMGbR7areVqE0hnExx_h1xvXycgZjQPZ8bkeP0Mf7nrkQzI5jjKR4qfC5AmkhyuwYhcPsNWuRjIyhzRUoY-QPb3dGZhuhfCjqp-B9YtNixztFaDwEC3XitUFlOqLpcr4NQpM/s1600/boardpub.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;So your agent has finally found a sympathetic editor for your wondrously impatient manuscript?&lt;/b&gt;&lt;/span&gt;&lt;/div&gt;&lt;/div&gt;&lt;p&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;And they work at a major publishing house, imprint, or press. Now you think you&#39;re in tight? Whooo! &lt;i&gt;Think again&lt;/i&gt;. The obstacle course has just begun. Your credentials and manuscript are facing the gauntlet of THE PUB BOARD!&amp;nbsp; &lt;br /&gt;&lt;/span&gt;&lt;/p&gt;
  2.  
  3.  
  4.  
  5. &lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;The &lt;i&gt;what?&lt;/i&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;b&gt;A group of chair-bound editors and professional types at the press who down or up their thumbs for the stack of proposals sitting in front of them&lt;/b&gt;; and it varies from place to place, but more often than not, the pub board meets once a month. They include the specific editor who is a fan of your manuscript, of course, but what about other players and professions? &lt;br /&gt;&lt;/span&gt;&lt;/p&gt;
  6.  
  7.  
  8.  
  9. &lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;Let&#39;s back up for a second. &lt;b&gt;Pre-pub board editorial meetings can occur for the purpose of winnowing forth the absolute best proposals&lt;/b&gt;, thereby giving the editors a running start before sales and marketing weigh in to potentially cast doubts. And let&#39;s face it, if this group of editors don&#39;t see sufficient potential in the proposal (novel) despite the devotion of your new fan editor, your future career with this organization stops there. The Pub Board will never see it.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;We can verge off here into the politics of human organization, but that&#39;s a subject for your social-psyche class, or some derivation thereof.&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;Now back to the working parts of the Pub Board. Traditional publishers will send reps from the Sales and Marketing departments to Pub Board meetings. The sales types focus on sales to major bookstores and chains like Barnes &amp;amp; Noble. Their jobs are on the line, like everyone else&#39;s. What if they get it wrong and a thumbs up results in a first novel that sputters to dust on the shelf? How much dust can collect before feeding the tropical fish becomes a daily pursuit?&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;i&gt;Where do the fingers point after the thumbs go wrong?&lt;/i&gt; &lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;In contrast, the marketing types are focused on selling the proposed novel directly to the reader. Among other things, they examine the author&#39;s platform. Is it good enough? &lt;b&gt;Do they have 5,650,876 followers on social media?&lt;/b&gt; No? Does sales believe the bookstores might wish to stock the novel? Well, too bad. The platform isn&#39;t good enough. The thumb goes down. And like the sales type, the marketing type foresees a future of feeding the fish if too many poor decisions are made. So what does this mean in terms of fight-vs-flight decision-making? It&#39;s much easier to be negative and wax positive only when it feels like there is sufficient support and enthusiasm all around the room, and that way, you see, if things go south later on when the book flops, the fingers will point everywhere, or perhaps, not point at all.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;Consider, how many humans are willing to accept responsibility when their jobs are on the line?&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;So as you might surmise, Sales and Marketing thump the heaviest fists at the table.They can be expert or inexpert, experienced or green as ivy, whatever, it does not matter. If they get fidgety over the prospect of success, gravity rules the thumb.&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;b style=&quot;font-family: helvetica;&quot;&gt;And don&#39;t forget Accounting!&amp;nbsp;&lt;/b&gt;
  10.  
  11.  
  12.  
  13. &lt;/p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;Accounting figures the cost of book production, and they&#39;ll crunch the numbers on you.The more pages your novel has, the more expensive to produce. Aside from pages, the accounting types might argue that an especially fancy cover will work hard to cause the novel to remain in the red. Then guess what happens?&lt;/span&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;You must keep in mind that Pub Board politics and dialogue fail to take into account such vital and earth-moving novel elements as plot, characters, and theme.&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;I wonder why? Does anyone know? &lt;/span&gt;&lt;br /&gt;&lt;/p&gt;&lt;p&gt;&lt;/p&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2023/10/the-pub-board-your-best-friend-and.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtIBcT9ZO1pURl9ZL7Vq2E5Sr7HRrq02J9UtiJp5tSNc2U1_ZOAQbGYiVGMGbR7areVqE0hnExx_h1xvXycgZjQPZ8bkeP0Mf7nrkQzI5jjKR4qfC5AmkhyuwYhcPsNWuRjIyhzRUoY-QPb3dGZhuhfCjqp-B9YtNixztFaDwEC3XitUFlOqLpcr4NQpM/s72-c/boardpub.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-8923209800807455066</guid><pubDate>Thu, 31 Aug 2023 18:51:00 +0000</pubDate><atom:updated>2023-08-31T15:03:57.986-04:00</atom:updated><title>Thoughts on Pitching a Memoir to New York - A True Story</title><description>&lt;p&gt;&lt;b&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;Several times a year I&#39;ll receive an email from a memoir writer wanting to know if attending one of our writer events is worth it. The answer is always a mixed bag depending on several factors; however, for purposes of meaningful sample, I&#39;ve decided to include a recent response to a concerned memoir writer who inquired about the potential of the &lt;a href=&quot;https://newyorkwritetopitch.com&quot; target=&quot;_blank&quot;&gt;Write to Pitch Conference&lt;/a&gt; to sell her project.&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;&lt;span&gt;&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;/span&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnH1yfod4bEcVD4DBBBEt3yi7OHDqXX_Ct4BwR0BeXSewcdCrbQNYH3GlCfzgZIVM5SilkadL47kzUya8XKPN9agC9zkJPGtVGhDrcQjMPm-VZKHekjEK1PX4nZzfdwAnjUFLNDNGeRXOr_YW7IBgn5e2EdCpfWCMQXR83bMy5VxStHTiCyfEsVSLKgac/s900/narcissistbooks.jpg&quot; imageanchor=&quot;1&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;900&quot; data-original-width=&quot;600&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnH1yfod4bEcVD4DBBBEt3yi7OHDqXX_Ct4BwR0BeXSewcdCrbQNYH3GlCfzgZIVM5SilkadL47kzUya8XKPN9agC9zkJPGtVGhDrcQjMPm-VZKHekjEK1PX4nZzfdwAnjUFLNDNGeRXOr_YW7IBgn5e2EdCpfWCMQXR83bMy5VxStHTiCyfEsVSLKgac/s320/narcissistbooks.jpg&quot; width=&quot;213&quot; /&gt;&lt;/a&gt;&lt;/div&gt;Dear Madeline,&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;You appear to desire real
  14. honesty, so I&#39;ll take a chance and provide you with that. As you read
  15. what I have to say, keep in mind that I respect memoir writers for
  16. having the courage to tell their stories&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;I
  17. quite understand your trepidation regarding the conference in New York. The brutal truth is that memoir
  18. rarely sells at any writer conference, and for similar reasons. The
  19. writers are usually not even quasi-famous (thereby disabling marketing
  20. attempts to sell the book at least partially on the basis of the author&#39;s background). The
  21. memoirs in question almost never have valid marketing hooks (according to marketing), i.e., they&#39;re not high concept. Much of memoir subject matter inevitably falls into categories
  22. already tapped out (according to marketing, for example, cancer recovery, bad family, marriage horrors, parental abuse and alcoholism, career drama, growing up in poverty, growing up in poverty with cancer, etc). In addition, many memoir writers can be
  23. very resistant to editorial direction as compared to fiction writers (yes,
  24. it&#39;s true--I&#39;ve seen it myself more than once)., thus running up the dreaded narcissist red flag. &lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;As the messenger of this brutal truth, I know that editors
  25. and agents are very wary as a result of the above. Writers who display even the slightest sensitivity during pitch sessions are often coddled and falsely encouraged just to avoid the potential of drama.&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;No one wants to be seen as &quot;unkind.&quot;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;On the flip side, we&#39;ve
  26. had oversensitive memoir writers attend and later complain that the professionals they pitched really didn&#39;t take memoir in the first place, but
  27. the dark truth was that the editors or agents didn&#39;t wish to offend the
  28. writer (because memoir is so personal), and therefore behaved as if
  29. memoir just wasn&#39;t viable for them, unfortunately using boilerplate
  30. excuses (rather like those found in responses to query letters--won&#39;t
  31. work for our list, etc.).&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;The truth is these same professionals would
  32. certainly get excited if they actually saw sufficient reason to
  33. pitch the project at an editorial meeting without raising severe doubts on the part
  34. of marketing. Memoirs that have sold at &lt;a href=&quot;https://algonkianconferences.com&quot; target=&quot;_blank&quot;&gt;Algonkian Writer Conference&lt;/a&gt; events all had high-concept marketing hooks, and in general, an aura of uniqueness
  35. about them. There may
  36. be exceptions to this circumstance, of course. &lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;I hope this helps.&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;Best,&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: Montserrat;&quot;&gt;Michael&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;p&gt;&lt;/p&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2023/08/thoughts-on-pitching-memoir-to-new-york.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnH1yfod4bEcVD4DBBBEt3yi7OHDqXX_Ct4BwR0BeXSewcdCrbQNYH3GlCfzgZIVM5SilkadL47kzUya8XKPN9agC9zkJPGtVGhDrcQjMPm-VZKHekjEK1PX4nZzfdwAnjUFLNDNGeRXOr_YW7IBgn5e2EdCpfWCMQXR83bMy5VxStHTiCyfEsVSLKgac/s72-c/narcissistbooks.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-1103755695537051312</guid><pubDate>Tue, 25 Jul 2023 19:34:00 +0000</pubDate><atom:updated>2023-12-06T12:22:43.655-05:00</atom:updated><title>How Not to Get Blacklisted by the Publishing Business</title><description>&lt;div dir=&quot;ltr&quot; style=&quot;text-align: left;&quot; trbidi=&quot;on&quot;&gt;
  37. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;
  38. &lt;br /&gt;&lt;/div&gt;
  39. &lt;div class=&quot;MsoNormal&quot;&gt;
  40. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXrTYrQQoAPCjHLb6ElqF07BB1HlNMFIgTC18VX50EPuUKklSWM-m2E-uyQmJX5O94Wm8j4aEKLYr4ENNGTK43LKGY9JkiSf1es1f-7q6uU4yLm7NeDdkP-UYdE7XPdgBGF43-6zaErfenkPlSI2WWhCd5T-Nqe5C4PaHVeeGPkH9n9hzOF538_xHOdSQ/s320/eovl.jpg&quot; imageanchor=&quot;1&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;320&quot; data-original-width=&quot;320&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXrTYrQQoAPCjHLb6ElqF07BB1HlNMFIgTC18VX50EPuUKklSWM-m2E-uyQmJX5O94Wm8j4aEKLYr4ENNGTK43LKGY9JkiSf1es1f-7q6uU4yLm7NeDdkP-UYdE7XPdgBGF43-6zaErfenkPlSI2WWhCd5T-Nqe5C4PaHVeeGPkH9n9hzOF538_xHOdSQ/s1600/eovl.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;By &lt;a href=&quot;http://www.facebook.com/ChrisStewartTheRealWriter&quot; target=&quot;_blank&quot;&gt;Chris Stewart&lt;/a&gt;&lt;/div&gt;
  41. &lt;div class=&quot;MsoNormal&quot;&gt;
  42. &lt;br /&gt;&lt;/div&gt;
  43. &lt;div class=&quot;MsoNormal&quot;&gt;
  44. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;b&gt;As someone who organizes readings and a large literary arts
  45. festival with workshops, author appearances, and exhibitors, I
  46. have developed a list of writers who I will not work with again. And rest
  47. assured, I’m not the only one who does this. &lt;/b&gt;&lt;/span&gt;&lt;/div&gt;
  48. &lt;div class=&quot;MsoNormal&quot;&gt;
  49. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  50. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  51. Why? Because they didn’t follow directions. It’s that
  52. simple. Who&#39;s on it? Writers who acted like the organizer/staff were their personal assistant/manager.&amp;nbsp;&lt;/span&gt;&lt;/div&gt;
  53. &lt;div class=&quot;MsoNormal&quot;&gt;
  54. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  55. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  56. Take note of the following ways to avoid this blacklist and
  57. be a true professional!&lt;br /&gt;&lt;/span&gt;
  58. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br style=&quot;mso-special-character: line-break;&quot; /&gt;&lt;/span&gt;&lt;/div&gt;
  59. &lt;div class=&quot;MsoNormal&quot;&gt;
  60. &lt;b style=&quot;font-family: helvetica;&quot;&gt;KNOW YOUR OWN SCHEDULE&lt;/b&gt;&lt;/div&gt;
  61. &lt;div class=&quot;MsoNormal&quot;&gt;
  62. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  63. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  64. Double booking is such a big no-no we can’t believe you’re
  65. not aware of this already yourself. Whatever you have to do to make sure you
  66. know the days you are already booked: DO IT. Back out of our event at the last
  67. minute because you “forgot” you already had a gig? You’re on the list. &lt;/span&gt;&lt;/div&gt;
  68. &lt;div class=&quot;MsoNormal&quot;&gt;
  69. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  70. &lt;div class=&quot;MsoNormal&quot;&gt;
  71. &lt;b style=&quot;font-family: helvetica;&quot;&gt;SEND THE REQUIRED INFORMATION&lt;/b&gt;&lt;/div&gt;
  72. &lt;div class=&quot;MsoNormal&quot;&gt;
  73. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  74. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  75. It should be no surprise to you that we need your bio and
  76. right away—possibly a short one &lt;u&gt;and&lt;/u&gt; a long one. We also need a high resolution
  77. digital photo of the appropriate size with good lighting, not a selfie taken in
  78. the bathroom with your cell phone or with the light behind you. We need ordering
  79. information for your book. Possibly your dietary restrictions or lunch/dinner
  80. order. Special seating or parking needs. Have that at the ready to send right
  81. away. Don’t have them? Get them together and email them to yourself now so you
  82. will. &lt;/span&gt;&lt;/div&gt;
  83. &lt;div class=&quot;MsoNormal&quot;&gt;
  84. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  85. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  86. Have a publicity team? Great! They are usually more
  87. organized than authors. But pick only ONE person for us to work with. &lt;/span&gt;&lt;/div&gt;
  88. &lt;div class=&quot;MsoNormal&quot;&gt;
  89. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  90. &lt;div class=&quot;MsoNormal&quot;&gt;
  91. &lt;b style=&quot;font-family: helvetica;&quot;&gt;SEND THE REQUIRED INFORMATION &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;AS REQUESTED&lt;/i&gt;&lt;/b&gt;&lt;/div&gt;
  92. &lt;div class=&quot;MsoNormal&quot;&gt;
  93. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  94. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  95. If we ask for your short bio, we mean about 100 words.
  96. Not half a page, a full page, or two pages. Put your current, key publications, awards, job in there and include your website so people can find out more. You should not send a link to your
  97. website or write back “it’s on my website which is in my signature block.” You will be asked again to send the bio and if you again don’t comply, you
  98. won’t have a bio listed.&lt;span style=&quot;mso-spacerun: yes;&quot;&gt; &lt;/span&gt;Same with the
  99. photo and book order info. If we give you the format in which we want these and
  100. you send a link to your book on Amazon, Barnes &amp;amp; Noble, or your publisher’s
  101. website you will be asked again, etc. If you&#39;re a &quot;famous writer&quot; we will chase you for the info but you&#39;ll go on the list.&lt;/span&gt;&lt;/div&gt;
  102. &lt;div class=&quot;MsoNormal&quot;&gt;
  103. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  104. &lt;div class=&quot;MsoNormal&quot;&gt;
  105. &lt;b style=&quot;font-family: helvetica;&quot;&gt;MEET THE DEADLINE&lt;/b&gt;&lt;/div&gt;
  106. &lt;div class=&quot;MsoNormal&quot;&gt;
  107. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  108. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  109. When we tell you the deadline by which we need the
  110. information we are not picking a random date. We have a deadline for ordering
  111. your book and/or getting it to the host so he/she can read it before your
  112. reading or interview. We are collecting information to layout and send to the
  113. printer for marketing materials: brochures, programs, postcards. For posting on
  114. the website and social media. &lt;/span&gt;&lt;/div&gt;
  115. &lt;div class=&quot;MsoNormal&quot;&gt;
  116. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  117. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  118. Decided at the last minute you want to change or send your picture now that it’s too late? Yeah,
  119. no. Not changing the program which is already at the printer and would incur fees. &lt;/span&gt;&lt;/div&gt;
  120. &lt;div class=&quot;MsoNormal&quot;&gt;
  121. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  122. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;b&gt;PUBLICIZE!&lt;/b&gt;
  123.  
  124. &lt;br /&gt;&lt;/span&gt;
  125. &lt;div class=&quot;MsoNormal&quot;&gt;
  126. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  127. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  128. Organizers count on participants publicizing the event they
  129. are part of, which helps extend the organization’s reach and hopefully means
  130. high attendance on the day/evening. Post our event on your website, your
  131. Facebook/Twitter/Tumblr/wherever pages. Follow our social media pages and share
  132. info from them. Let people know about your part, but also share the info about
  133. other writers, exhibitors, etc. if it’s a larger event or festival.&lt;/span&gt;&lt;/div&gt;
  134. &lt;div class=&quot;MsoNormal&quot;&gt;
  135. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  136. &lt;div class=&quot;MsoNormal&quot;&gt;
  137. &lt;b style=&quot;font-family: helvetica;&quot;&gt;DON’T EMAIL WITH 101 QUESTIONS&lt;/b&gt;&lt;/div&gt;
  138. &lt;div class=&quot;MsoNormal&quot;&gt;
  139. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  140. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  141. We are aware of our own schedule. We know when we want to
  142. release final details to authors, etc. Don&#39;t stalk us for weeks before asking where you’re parking, what
  143. building/room you’re in, or asking if your book has arrived yet. We will send out the logistics email when everything is finalized and in plenty of time.&lt;/span&gt;&lt;/div&gt;
  144. &lt;div class=&quot;MsoNormal&quot;&gt;
  145. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  146. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  147. Please don’t “check in.” If we wanted to check in we would
  148. have. Basic information is, by now, on the organization’s website: location,
  149. day, time, parking. Do your own homework until you hear from us. That’s what
  150. websites are for. If it’s a few days before and no email, check your spam
  151. folder, then call.&lt;/span&gt;&lt;/div&gt;
  152. &lt;div class=&quot;MsoNormal&quot;&gt;
  153. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  154. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  155. How a reading works or an interview or a Q&amp;amp;A is not
  156. rocket science. You shouldn’t need a minute by minute breakdown of what is
  157. expected.&lt;/span&gt;&lt;/div&gt;
  158. &lt;div class=&quot;MsoNormal&quot;&gt;
  159. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  160. &lt;div class=&quot;MsoNormal&quot;&gt;
  161. &lt;b style=&quot;font-family: helvetica;&quot;&gt;BE ON TIME—NOT EARLY AND NOT LATE&lt;/b&gt;&lt;/div&gt;
  162. &lt;div class=&quot;MsoNormal&quot;&gt;
  163. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  164. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  165. On the day of the event, don’t show up two hours before your reading if you’re part
  166. of an event that runs for several hours, or a festival, wanting to check in or
  167. with questions. Check in at the appointed time—an hour before is best. Wait
  168. until the session before yours has started so it’s quieter and we can focus on
  169. you.&lt;/span&gt;&lt;/div&gt;
  170. &lt;div class=&quot;MsoNormal&quot;&gt;
  171. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  172. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  173. Don’t wander off to other sessions, to lunch,
  174. whatever, and not be there on time for the start of your event. Keep track of
  175. the time and return at least fifteen minutes before your part starts. &lt;/span&gt;&lt;/div&gt;
  176. &lt;span style=&quot;font-family: helvetica; font-size: 11pt; line-height: 115%;&quot;&gt;&lt;br clear=&quot;all&quot; style=&quot;break-before: page; page-break-before: always;&quot; /&gt;
  177. &lt;/span&gt;
  178.  
  179. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;
  180. &lt;div class=&quot;MsoNormal&quot;&gt;
  181. &lt;b style=&quot;font-family: helvetica;&quot;&gt;CHECK IN&lt;/b&gt;&lt;/div&gt;
  182. &lt;div class=&quot;MsoNormal&quot;&gt;
  183. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  184. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  185. Always check in! Otherwise, you are considered a “no show”
  186. and we are scrambling to figure out what to do without you, sending people to
  187. look for you, spending time calling/texting you when there are ten other things
  188. requiring our attention. &lt;/span&gt;&lt;/div&gt;
  189. &lt;div class=&quot;MsoNormal&quot;&gt;
  190. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  191. &lt;div class=&quot;MsoNormal&quot;&gt;
  192. &lt;b style=&quot;font-family: helvetica;&quot;&gt;NO TEXTS/CALLS WITH QUESTIONS ON THE DAY&lt;/b&gt;&lt;/div&gt;
  193. &lt;div class=&quot;MsoNormal&quot;&gt;
  194. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  195. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  196. We simply do not have time to take your call. The ringer on
  197. our cell is mostly likely turned off. If you want to reach us because you’re
  198. going to be late due to traffic or a car breakdown, text us and give us your
  199. name and ETA. If there is a host for your session, text them as well. Don’t
  200. text us and ask us to tell them. We may not see them in time and guess what? We have ten other things requiring our attention.&lt;span style=&quot;mso-spacerun: yes;&quot;&gt; &lt;/span&gt;What? You don’t have their phone number? You
  201. know my response to that.&lt;/span&gt;&lt;/div&gt;
  202. &lt;div class=&quot;MsoNormal&quot;&gt;
  203. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  204. &lt;div class=&quot;MsoNormal&quot;&gt;
  205. &lt;b style=&quot;font-family: helvetica;&quot;&gt;DON’T GO ROGUE&lt;/b&gt;&lt;/div&gt;
  206. &lt;div class=&quot;MsoNormal&quot;&gt;
  207. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  208. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  209. If we didn’t offer or ask about your tech needs then please don&#39;t email asking if you can show a short film the day before the event. Or even weeks
  210. before. Tech has already been decided. We’ve had the final walk-though. We would have to hire a tech person at the venue which
  211. is not in our budget. You also may not call the venue yourself and ask for them
  212. to do this for you. We have a contract with them and you are not part of it. Put whatever you want to show on your website and have
  213. people view it on their smartphones during or after the session.&lt;/span&gt;&lt;/div&gt;
  214. &lt;div class=&quot;MsoNormal&quot;&gt;
  215. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  216. &lt;div class=&quot;MsoNormal&quot;&gt;
  217. &lt;b style=&quot;font-family: helvetica;&quot;&gt;STICK TO YOUR TIME LIMITS&lt;/b&gt;&lt;/div&gt;
  218. &lt;div class=&quot;MsoNormal&quot;&gt;
  219. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  220. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  221. We probably gave you a time limit for your reading or, if
  222. you’re a host of a reading/session at a festival for us, how long your session
  223. is. If you’re a writer, choose appropriate material and practice reading it to
  224. make sure you are just under your time. So if we said seven minutes that’s what
  225. you prepare. Not three minutes. Not nine minutes. Your running under/over
  226. screws up the schedule. Minutes add up. &lt;/span&gt;&lt;/div&gt;
  227. &lt;div class=&quot;MsoNormal&quot;&gt;
  228. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  229. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  230. If you’re a host, don’t run over. Manage/track your time. If
  231. the host of the session before you didn’t do that and their session ran into
  232. yours, let us know later (they will go on the list!), but that doesn’t mean you
  233. can do the same to the session’s host and authors after you.&lt;/span&gt;&lt;/div&gt;
  234. &lt;div class=&quot;MsoNormal&quot;&gt;
  235. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  236. &lt;div class=&quot;MsoNormal&quot;&gt;
  237. &lt;b style=&quot;font-family: helvetica;&quot;&gt;STAY THE WHOLE TIME – PARTICIPATE!&lt;/b&gt;&lt;/div&gt;
  238. &lt;div class=&quot;MsoNormal&quot;&gt;
  239. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  240. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  241. Go to other sessions if you’re at a festival. Stay the whole
  242. evening if it’s a larger event/reading. Take pictures. Post on social media
  243. using the event hashtag and quote writers/speakers. Tag people. Share other
  244. people’s posts. &lt;/span&gt;&lt;/div&gt;
  245. &lt;div class=&quot;MsoNormal&quot;&gt;
  246. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  247. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  248. If you just do your part and leave you were not really a
  249. participant making a contribution to our event and community. &lt;/span&gt;&lt;/div&gt;
  250. &lt;div class=&quot;MsoNormal&quot;&gt;
  251. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  252. &lt;div class=&quot;MsoNormal&quot;&gt;
  253. &lt;b style=&quot;font-family: helvetica;&quot;&gt;IF SOMETHING GOES WRONG, BE GRACIOUS&lt;/b&gt;&lt;/div&gt;
  254. &lt;div class=&quot;MsoNormal&quot;&gt;
  255. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  256. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  257. Organizers are juggling more than you know depending on the
  258. size of the event: partners and their expectations, venues, catering,
  259. audio/visual recording, marketing, publicity, security, tech, tables, chairs, signage, exhibitors, book
  260. orders, the schedule, volunteers, parking, transportation/hotel for visiting
  261. writers, walk-throughs, last minute changes. &lt;/span&gt;&lt;/div&gt;
  262. &lt;div class=&quot;MsoNormal&quot;&gt;
  263. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  264. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  265. We are horrified that your name was spelled wrong or the
  266. parking lot was closed or someone else took your vegan lunchbox. We didn’t do
  267. it on purpose and we can’t fix it now. Don’t call/text us asking for restaurant
  268. recommendations or the nearest parking lot. These are all accessible to you via
  269. your own phone.&lt;/span&gt;&lt;/div&gt;
  270. &lt;div class=&quot;MsoNormal&quot;&gt;
  271. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  272. &lt;div class=&quot;MsoNormal&quot;&gt;
  273. &lt;b style=&quot;font-family: helvetica;&quot;&gt;BOTTOM LINE&lt;/b&gt;&lt;/div&gt;
  274. &lt;div class=&quot;MsoNormal&quot;&gt;
  275. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  276. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  277. We are doing our best to make everyone comfortable and happy
  278. while dealing with the banner falling off of the front of the building, microphones with dead
  279. batteries, a famous writer needing directions over the phone instead of using
  280. their GPS, volunteers who didn’t show up, the session room that’s locked so no
  281. one can get in, obvious questions from people who could answer them by simply
  282. opening and reading the program or checking the map.&lt;/span&gt;&lt;/div&gt;
  283. &lt;div class=&quot;MsoNormal&quot;&gt;
  284. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  285. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  286. There are plenty of people ready to criticize every aspect
  287. of an event with massive amounts of know-it-all disdain. People who have never
  288. organized anything in their life but who think they’d be geniuses at it.&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;Don’t be that person. You have no idea what
  289. was discussed, promised by venue/partners/caterers/etc., not allowed or
  290. not available, or didn’t work on the day. &lt;/span&gt;&lt;/div&gt;
  291. &lt;div class=&quot;MsoNormal&quot;&gt;
  292. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  293. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  294. Be a help, not a hindrance. How? Remember that the event is
  295. not about you (unless you’re the headliner, in which case, still be gracious,
  296. not a diva). Do your homework. Do your prep. Bring your own water and a granola
  297. bar, just in case. Leave early, map out additional parking, check in, tweet
  298. about how much fun you’re having, smile. &lt;/span&gt;&lt;/div&gt;
  299. &lt;div class=&quot;MsoNormal&quot;&gt;
  300. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  301. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  302. We are excited to have you at our event! We think you’re
  303. fantastic! But be responsible for yourself. If you can’t be, hire someone who
  304. will be able to handle your needs/details or risk not being invited back and
  305. word getting around that you are not a professional or too much work. &lt;/span&gt;&lt;/div&gt;
  306. &lt;div class=&quot;MsoNormal&quot;&gt;
  307. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  308. &lt;div class=&quot;MsoNormal&quot;&gt;&lt;span style=&quot;font-family: helvetica;&quot;&gt;
  309. Your call. &lt;/span&gt;&lt;/div&gt;
  310. &lt;div class=&quot;MsoNormal&quot;&gt;
  311. &lt;span style=&quot;font-family: helvetica;&quot;&gt;_______________________&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  312. &lt;div class=&quot;MsoNormal&quot;&gt;
  313. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  314. &lt;div class=&quot;MsoNormal&quot;&gt;
  315. &lt;span style=&quot;font-family: helvetica;&quot;&gt;&lt;a href=&quot;mailto:therealwriter@gmail.com&quot; target=&quot;_blank&quot;&gt;Chris Stewart&lt;/a&gt; is Editor-in-Chief of Del Sol Press (&lt;a href=&quot;https://twitter.com/DelSolPressBks&quot; target=&quot;_blank&quot;&gt;@DelSolPressBks&lt;/a&gt;). Find tips, tools, information, and inspiration on her website: &lt;a href=&quot;http://www.therealwriter.com/&quot; target=&quot;_blank&quot;&gt;The Real Writer&lt;/a&gt;.&amp;nbsp;&lt;/span&gt;&lt;/div&gt;
  316. &lt;/div&gt;
  317. &lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2023/07/how-not-to-get-blacklisted-by.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXrTYrQQoAPCjHLb6ElqF07BB1HlNMFIgTC18VX50EPuUKklSWM-m2E-uyQmJX5O94Wm8j4aEKLYr4ENNGTK43LKGY9JkiSf1es1f-7q6uU4yLm7NeDdkP-UYdE7XPdgBGF43-6zaErfenkPlSI2WWhCd5T-Nqe5C4PaHVeeGPkH9n9hzOF538_xHOdSQ/s72-c/eovl.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-3672905401824620891</guid><pubDate>Mon, 24 Jul 2023 14:48:00 +0000</pubDate><atom:updated>2023-12-06T12:25:57.856-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">advanced writing craft</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><title>IMPORTANT: Coverage Checklist for Aspiring Authors</title><description>
  318.  
  319. &lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;Note, MARKET VALUE FIRST...&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;
  320. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYMv-HJBCdrCi2gJFMTmifQcryI3li15kImBvWpbgsgCsKl8m6ti2nIBj8FKV92TS3C_VPsrHV1_VyFPQ6eJew3tFgbM8D77j-nibAQ8awJ0a3LhvH9ZMJ4DKRHj081wBVFLyWcLRjOYRYNAsWZIFtJsuip1NL7ovhmBnbUx5n9ondMW2MUUQ2KReCiDY/s233/filmshoot.jpg&quot; imageanchor=&quot;1&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;175&quot; data-original-width=&quot;233&quot; height=&quot;175&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYMv-HJBCdrCi2gJFMTmifQcryI3li15kImBvWpbgsgCsKl8m6ti2nIBj8FKV92TS3C_VPsrHV1_VyFPQ6eJew3tFgbM8D77j-nibAQ8awJ0a3LhvH9ZMJ4DKRHj081wBVFLyWcLRjOYRYNAsWZIFtJsuip1NL7ovhmBnbUx5n9ondMW2MUUQ2KReCiDY/s1600/filmshoot.jpg&quot; width=&quot;233&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;b&gt;Listed below are a summation of &quot;coverage&quot; checkpoints utilized by various screenplay and novel ms readers in both Hollywood and New York.&lt;/b&gt; Not every publisher intern or assistant will necessarily employ all these categories (a mistake), however, they&#39;re a great checklist for you, the aspiring author, to help ascertain whether or not you&#39;re meeting your goals for a successful commercial genre novel.
  321.  &lt;br /&gt;&lt;br /&gt;
  322.    
  323.    
  324.    &lt;hr style=&quot;background-color: white; color: #222222; font-family: arial, verdana, sans-serif; font-size: 11px; text-align: justify;&quot; /&gt;&lt;span face=&quot;arial, verdana, sans-serif&quot; style=&quot;background-color: white; color: #222222; font-size: x-small; text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;span face=&quot;arial, verdana, sans-serif&quot; style=&quot;background-color: white; color: #222222; font-size: 14px; text-align: justify;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;MARKET VALUE:&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;ul class=&quot;bbc&quot; style=&quot;background-color: white; color: #222222; font-family: arial, verdana, sans-serif; font-size: 11px; margin: 0px; padding: 10px 0px 10px 20px; text-align: justify;&quot;&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Originality, freshness - high concept&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Clear target readership?&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Hook Quality&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;&lt;span face=&quot;arial, verdana, sans-serif&quot; style=&quot;background-color: white; color: #222222; font-size: 14px; text-align: justify;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;br /&gt;STRUCTURE:&amp;nbsp;&lt;/span&gt;&amp;nbsp;&amp;nbsp;&lt;/b&gt;&lt;/span&gt;&lt;ul class=&quot;bbc&quot; style=&quot;background-color: white; color: #222222; font-family: arial, verdana, sans-serif; font-size: 11px; margin: 0px; padding: 10px 0px 10px 20px; text-align: justify;&quot;&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Act Zero backstory development&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Exposition delivery&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Effective setup with inciting incident&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Plot line arc, and subplots (if appropriate)&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Well designed reversals (major and minor)&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Pinch points (at least two)&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Catalytic situation driven&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Conflict, tension, rising action,&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Every scene relevant (i.e., to driving plot forward)&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Effective, believable climax&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Resolution/Denouement&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;&lt;span face=&quot;arial, verdana, sans-serif&quot; style=&quot;background-color: white; color: #222222; font-size: 14px; text-align: justify;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;br /&gt;CHARACTERS:&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;ul class=&quot;bbc&quot; style=&quot;background-color: white; color: #222222; font-family: arial, verdana, sans-serif; font-size: 11px; margin: 0px; padding: 10px 0px 10px 20px; text-align: justify;&quot;&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Antagonist Quality and Role&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Consistent opposition&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Protagonist goals&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Sympathetic protagonist&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Protagonist arc&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Secondary character quality and roles&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;&lt;span face=&quot;arial, verdana, sans-serif&quot; style=&quot;background-color: white; color: #222222; font-size: 14px; text-align: justify;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;br /&gt;NARRATIVE DEVELOPMENT:&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;ul class=&quot;bbc&quot; style=&quot;background-color: white; color: #222222; font-family: arial, verdana, sans-serif; font-size: 11px; margin: 0px; padding: 10px 0px 10px 20px; text-align: justify;&quot;&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Scene length and structure&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Effective transitions and cliffhangers&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Quality prose narrative (genre appropriate)&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Tension on every page&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Dialogue mastery&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Narrative composition (quality of set and engaging circumstances)&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Cinematic imagery (both static and dynamic)&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Proper point-of-view&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Appropriate use of craft technique&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;&lt;/li&gt;&lt;li style=&quot;list-style: outside; margin: 0px; padding: 0px;&quot;&gt;&lt;span style=&quot;font-size: 14px;&quot;&gt;&lt;b class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;Interior Monologue and rumination&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;&lt;/span&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/important-coverage-checklist-for.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYMv-HJBCdrCi2gJFMTmifQcryI3li15kImBvWpbgsgCsKl8m6ti2nIBj8FKV92TS3C_VPsrHV1_VyFPQ6eJew3tFgbM8D77j-nibAQ8awJ0a3LhvH9ZMJ4DKRHj081wBVFLyWcLRjOYRYNAsWZIFtJsuip1NL7ovhmBnbUx5n9ondMW2MUUQ2KReCiDY/s72-c/filmshoot.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-6178374681779889268</guid><pubDate>Tue, 04 Jul 2023 14:26:00 +0000</pubDate><atom:updated>2023-12-06T12:28:19.521-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">character development</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><title>The Enlightenment of Tragedy - Dramatic Art Primer</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;
  325.  Before the novel, there was drama...&lt;/b&gt;
  326. &lt;br /&gt;&lt;br /&gt;
  327. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOkZwWi0i6XATW99Iq5GdgiJwXnSdlQVLbydD2XYAZ4KH3ws3dACUcq5fDiH93MRi-t_Ek2kJFWwANqAIVZbdukUs5u8JVl1nVYYnidgoQN80HHu5nze-wvSaCaXrYQRUiYJ8KlvxdLx_mNf5WPS6XMr0NNVR3q5Fanubp-SbmUu6gHcEVnKBB-EGUCqU/s320/macbeth.jpg&quot; imageanchor=&quot;1&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;232&quot; data-original-width=&quot;320&quot; height=&quot;232&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOkZwWi0i6XATW99Iq5GdgiJwXnSdlQVLbydD2XYAZ4KH3ws3dACUcq5fDiH93MRi-t_Ek2kJFWwANqAIVZbdukUs5u8JVl1nVYYnidgoQN80HHu5nze-wvSaCaXrYQRUiYJ8KlvxdLx_mNf5WPS6XMr0NNVR3q5Fanubp-SbmUu6gHcEVnKBB-EGUCqU/s1600/macbeth.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;Ancient dramatists understood the requirements of a good tale, one in which willful human beings engaged in major conflict, the goal being to possess or achieve something of value. A designated character, by virtue of position and personality, became the antagonist, naturally defying the efforts of the protagonist, or hero, to overcome. This basic conflict scenario resurfaces again and again in a myriad of forms, not only in life, but in novels, short stories, and of course, film and television. &lt;b&gt;What makes true dramatic conflict so universally effective is not only its ability to create tension, suspense, and powerful characters, but its unique method for portraying the need for value in human existence.&lt;/b&gt;
  328. &lt;br /&gt;&lt;br /&gt;
  329. Below we&#39;ve created a drama primer with quotes (&quot;European Theories of the Drama&quot;) from three important dramatists to illustrate the nature of the drama and it&#39;s overwhelming relevancy to novel writing discussion here at WE. It&#39;s all pretty simple and brief, actually, but the major points are invaluable to the novel writing mindset.
  330. &lt;br /&gt;
  331.  
  332. &lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;u&gt;KEY CONCEPTS&lt;/u&gt;: calamity, value in human life, universal human desire, dramatic art, essential character of drama, the &quot;discovery,&quot; the wound, social conflict, the enlightenment of tragedy, tragic flaw, fear and pity. &lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;&lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;
  333. &lt;hr /&gt;
  334.  
  335. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;J. W. Krutch&lt;/span&gt;&lt;/h2&gt;
  336. &lt;ul&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  337.  
  338. ― Its action [drama] is usually, if not always, calamitous, because it is only in calamity that the human spirit has the opportunity to reveal itself triumphant over the outward universe which fails to conquer it.
  339. &lt;br /&gt;&lt;br /&gt;
  340. ― &lt;b&gt;Tragedy reveals value in human life … The death of a loved character, for example, reveals a value, something worth cherishing about life or humanity.&lt;/b&gt;
  341. &lt;br /&gt;&lt;br /&gt;
  342. ― Art should, at least in part, satisfy the universal human desire to find in the world some justice, some meaning, or at the very least, some recognizable order.
  343. &lt;br /&gt;&lt;br /&gt;
  344. ― &lt;b&gt;The highest dramatic art is not achieved by pitting the most gigantic will against the most absolute necessity. The agonized struggle of a weak will, seeking to adjust itself to an inhospitable environment, may contain elements of poignant drama.&lt;/b&gt;
  345. &lt;br /&gt;&lt;br /&gt;
  346. ― The essential character of drama is social conflict in which the conscious will, exerted for the accomplishment of specific and understandable aims, is sufficiently strong to bring the conflict to a
  347. point of crisis.
  348. &lt;br /&gt;&lt;br /&gt;
  349. ― &lt;b&gt;Drama should lead up to and away from a central crisis, and this crisis should consist in a discovery by the protagonist which has an indelible effect on his or her thought and emotion and completely alters his or her course of action&lt;/b&gt;.&lt;br /&gt;
  350.  &lt;/span&gt;&lt;/ul&gt;
  351.  
  352. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Arthur Miller&lt;/span&gt;&lt;/h2&gt;
  353. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  354. For Arthur Miller, the underlying struggle is that of the individual attempting to gain his or her &quot;rightful&quot; position in society.
  355. &lt;b&gt;&quot;Sometimes he is the one who has been displaced from it, sometimes one who seeks to attain it for the first time, but the wound from which the inevitable events spiral is the wound of indignity.&quot;
  356. &lt;/b&gt;&lt;br /&gt;&lt;br /&gt;
  357. It is this &quot;tragic flaw,&quot;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt; this unwillingness to remain passive&lt;/span&gt;&lt;/b&gt; in the face of what she or he conceives to be a challenge to personal dignity, that causes the protagonist to initiate the action of the tale, i.e., the rising drama.
  358. If the struggle of the protagonist is just, if she or he contests for a fair evaluation, then those conditions which deny this reveal a wrong, or an evil in the world. Thus, the &quot;enlightenment of tragedy.&quot;
  359. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  360. Pathos is achieved in struggling for a goal that cannot possibly be won&lt;/b&gt;, however possible it seemed in the beginning.&lt;br /&gt;
  361.  
  362. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;John Dryden&lt;/span&gt;&lt;/h2&gt;&lt;b&gt;
  363. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  364. Insofar as the protagonist is concerned, the primary emotional reactions on the part of the reader are fear and pity. &lt;/span&gt;&lt;/b&gt;Fear during the course of the drama that the protagonist will meet a tragic fate, and pity for the protagonist at such time this occurs. Pity, or sympathy, cannot occur unless the character is respected. Thus, it is true concern for the protagonist that produces the highest emotion.&amp;nbsp;&lt;div&gt;&lt;br /&gt;
  365.  
  366. ___________
  367.  
  368.  
  369. &lt;br /&gt;
  370. &lt;/div&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/theme-plot-strong-character.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOkZwWi0i6XATW99Iq5GdgiJwXnSdlQVLbydD2XYAZ4KH3ws3dACUcq5fDiH93MRi-t_Ek2kJFWwANqAIVZbdukUs5u8JVl1nVYYnidgoQN80HHu5nze-wvSaCaXrYQRUiYJ8KlvxdLx_mNf5WPS6XMr0NNVR3q5Fanubp-SbmUu6gHcEVnKBB-EGUCqU/s72-c/macbeth.jpg" height="72" width="72"/><thr:total>1</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-3005850554448996937</guid><pubDate>Thu, 22 Jun 2023 16:37:00 +0000</pubDate><atom:updated>2023-12-06T12:29:36.106-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">advanced writing craft</category><category domain="http://www.blogger.com/atom/ns#">character development</category><title>A Great Damp Loaf of Description - Experiments in Fictional Imagery</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;Prepared for appropriate frustration and tapped out fingers?
  371. &lt;/b&gt;&lt;br /&gt;&lt;br /&gt;
  372. Using our favorite &quot;stand on the shoulders of the classics&quot; approach, we&#39;re going to examine the role of detailed character description when it comes to enhancing prose narrative. We&#39;ve touched on this previously with our &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/experiments-in-high-impact-narrative.html&quot; target=&quot;_blank&quot;&gt;High Impact Narrative&lt;/a&gt; article and a caboose of &lt;a href=&quot;https://www.novelwritingonedge.com/2020/09/narrative-enhancement-via-nabokov.html&quot; target=&quot;_blank&quot;&gt;Enhancement via Nabokov&lt;/a&gt;, but we&#39;re not done yet. Let&#39;s look at various examples and techniques.&lt;br /&gt;&lt;/span&gt;
  373.  
  374. &lt;h4 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;A GREAT DAMP LOAF&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/h4&gt;
  375. &lt;div&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAV3bYaqNRElRhLlwBpxrIwLqTqOmxfoAoTJUYtBmY5OxVMFZIPf9AuVaL-n1gDy0lLo69srfyzBrCSdGgWlJyVKW4GmCnSyoKxvCdLGYJ2XrL329cXjDVg7nwDckhwafbdsopfe2IZThmj1tSfo4RFMpABk1DyGENm_IWgU2-ohLHS1Ks6B46U2YhF98/s320/shopping.jpg&quot; imageanchor=&quot;1&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;241&quot; data-original-width=&quot;320&quot; height=&quot;241&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAV3bYaqNRElRhLlwBpxrIwLqTqOmxfoAoTJUYtBmY5OxVMFZIPf9AuVaL-n1gDy0lLo69srfyzBrCSdGgWlJyVKW4GmCnSyoKxvCdLGYJ2XrL329cXjDVg7nwDckhwafbdsopfe2IZThmj1tSfo4RFMpABk1DyGENm_IWgU2-ohLHS1Ks6B46U2YhF98/s1600/shopping.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;span style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;From Annie Proulx&#39;s &quot;The Shipping News&quot;:&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  376.  
  377. &lt;ul&gt;&lt;b&gt;&quot;A great damp loaf of a body. At six he weighed eighty pounds. At sixteen he was buried under a casement of flesh. Head shaped like a crenshaw, no neck, reddish hair ruched back. Features as bunched as kissed fingertips. Eyes the color of plastic. The monstrous chin, a freakish shelf jutting from the lower face.&quot;&lt;/b&gt;&lt;/ul&gt;
  378.  
  379. Note that Proulx first makes a single statement of character impression before moving on to details, i.e., &quot;A great damp loaf of a body.&quot; Note also, &quot;shaped like a crenshaw.&quot; Consider your setting and choose an aspect of it to create a comparison to your own character. If your character lived in a desert town you might say, &quot;his face unshaved for days, rough as prickly cactus.&quot;&lt;br /&gt;
  380. &lt;ul&gt;&lt;b&gt;
  381. &quot;Ed Punch talked out of the middle of his mouth. While he talked he examined Quoyle, noticed the cheap tweed jacket the size of a horse blanket, fingernails that looked regularly held to a grind stone. He smelled submission in Quoyle, guessed he was butter of fair spreading consistency.&quot;
  382. &lt;/b&gt;&lt;/ul&gt;
  383.  
  384. Consider and sketch a few metaphors to physically describe a unique character you&#39;ve created. If you don&#39;t have one, perhaps you should get one ASAP? In any case, the more interesting the appearance, the easier your job. Begin with a single statement of impression and include simile or metaphor based on your novel&#39;s unique setting (is it sufficiently unique?). Note the above is third person POV.
  385. &lt;br /&gt;
  386.  
  387. &lt;hr /&gt;&lt;h4 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;WATCHING THE MOUTH WITH ITALO&amp;nbsp;&lt;/span&gt;&amp;nbsp;&lt;/h4&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWA1TsLRPalVmD99Np9uq2Mga1vVUg-Wjb9IeDA0K74VuOJ1746qsMkBFeiMEc9eYSVNNPqttxSoC4PQK0QSnq9L7d89-_dhZTsVE62A02gRona4rRt9ygH3zvEi-9rbGwXD0X9mUU6E/s310/jaguar.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;163&quot; data-original-width=&quot;310&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWA1TsLRPalVmD99Np9uq2Mga1vVUg-Wjb9IeDA0K74VuOJ1746qsMkBFeiMEc9eYSVNNPqttxSoC4PQK0QSnq9L7d89-_dhZTsVE62A02gRona4rRt9ygH3zvEi-9rbGwXD0X9mUU6E/s0/jaguar.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;From Italo Calvino&#39;s &quot;Under the Jaguar Sun&quot;:
  388. &lt;br /&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  389. &lt;ul&gt;&lt;b&gt;&quot;Right in the midst of chewing, Olivia&#39;s lips paused, almost stopped, though without completely interrupting their continuity of movement, which slowed down, as if reluctant to allow an inner echo to fade, while her gaze became fixed, intent on no specific object, in apparent alarm. Her face had a special concentration that I had observed during meals ever since we began our trip to Mexico. I followed the tension as it moved from her lips to her nostrils, flaring one moment, contracting the next, (the plasticity of the nose is quite limited -- especially for a delicate, harmonious nose like Olivia&#39;s -- and each barely perceptible attempt to expand the capacity of the nostrils in the longitudinal direction actually makes them thinner, while the corresponding reflex movement, accentuating their breadth, then seems a kind of withdrawal of the whole nose into the surface of the face).&quot;
  390. &lt;/b&gt;&lt;/ul&gt;
  391.  
  392. &quot;Right in the midst of chewing...&quot; The character is engaged in an action. Focus on one physical attribute, then another. &quot;As though&quot; what? Consider, she or he, looks &quot;as though&quot; or &quot;as if&quot;? Where are the eyes? What are they doing? Is the face twitching, moving? How? And now, time to &lt;a href=&quot;https://www.novelwritingonedge.com/2020/09/the-prose-description-questionnaire.html&quot; target=&quot;_blank&quot;&gt;unleash the PNE&lt;/a&gt; here at WE. Look it over carefully. This is an ideal brainstorming prompter for prose narrative conception and description - the perfect onion peeler.
  393. &lt;br /&gt;&lt;br /&gt;
  394. Apply at least &lt;a href=&quot;https://www.novelwritingonedge.com/2020/09/the-prose-description-questionnaire.html&quot; target=&quot;_blank&quot;&gt;five PNE questions&lt;/a&gt; to your character&#39;s face and overall appearance. Take your time and think about it carefully... Note the example above is first person POV, but third person POV works as well.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;
  395.  
  396. &lt;hr /&gt;&lt;h4 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  397. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  398. UPDIKE&#39;S MOTHER IS ANGRY&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/h4&gt;&lt;/div&gt;
  399. &lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixbsQzP2Ulc4t4mczG-IxTg2AGKE8f_ef3fLX-6pc2EPyZ9Fsse-ha0KINNyObnKiq1RmsFEA0hdGgBO8Rpao5yYcDss8nFtMe4ToLRc6_jVxSf1AV8XXeDvSIysdjMy2atNrXsYrdbBY/s1024/centaur.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;768&quot; data-original-width=&quot;1024&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixbsQzP2Ulc4t4mczG-IxTg2AGKE8f_ef3fLX-6pc2EPyZ9Fsse-ha0KINNyObnKiq1RmsFEA0hdGgBO8Rpao5yYcDss8nFtMe4ToLRc6_jVxSf1AV8XXeDvSIysdjMy2atNrXsYrdbBY/s320/centaur.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;(from John Updike&#39;s &quot;The Centaur&quot;)&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  400.  
  401. &lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;ul&gt;&lt;b&gt;&quot;A glance at my mother&#39;s mottled throat told me she was angry. Suddenly I wanted to get out: she had injected into the confusion a shrill heat that made everything cling. I rarely knew exactly why she was mad; it would come and go like weather. Was it really that my father and grandfather absurdly debating sounded to her like murder? Was it something I had done, my arrogant slowness? Anxious to exempt myself from her rage, I sat down in my stiff peat jacket and tried the coffee again. It was still too hot. A sip seared my sense of taste away.&quot;
  402. &lt;/b&gt;&lt;/ul&gt;
  403.  
  404. Now describe a character who is familiar to you, like a family member, and depict them in a charged emotional state. Also, add at least one rumination like Updike did above, i.e., &quot;Was it something I had done, my arrogant slowness?&quot;
  405. &lt;br /&gt;
  406.  
  407. &lt;hr /&gt;&lt;h4 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  408.  
  409. CHABON AND NEFF&#39;S HUNSECKER LOOKS PACINO&lt;/span&gt;&amp;nbsp;&lt;/h4&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4CMB2SusN6oyydlUgxYHX1N_gqbmpd1TF9uNrzUS2sUlLzLAWcFK9arAsPD70E5R26oXzYzz3YejJiMIpMnI50bP03M4w7pKebbdU29URJoF5ZPK5oodkTvu3sssXl0MQry3DwxOGApg/s475/30537056._SY475_.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;475&quot; data-original-width=&quot;317&quot; height=&quot;423&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4CMB2SusN6oyydlUgxYHX1N_gqbmpd1TF9uNrzUS2sUlLzLAWcFK9arAsPD70E5R26oXzYzz3YejJiMIpMnI50bP03M4w7pKebbdU29URJoF5ZPK5oodkTvu3sssXl0MQry3DwxOGApg/w283-h423/30537056._SY475_.jpg&quot; width=&quot;283&quot; /&gt;&lt;/a&gt;&lt;/div&gt;From Michael Neff&#39;s &quot;All the Dark We Will Not See&quot;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;
  410. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;ul&gt;&lt;b&gt;
  411. &quot;First of all, Mr. Basil R. Hunsecker acted and looked the stereotypical bad boss: a middle-aged prick in three-piece gray and tacky pink tie who disturbingly resembled Al Pacino in Dog Day Afternoon (narrow head and brooding Italian look), only an older version, with a thinner face, pock-marked cheeks, and big, protruding, blue-bone eyes that sucked in everything and contrasted in an irritating way with his sallow brown skin—as if he were the victim of one too many spray tans. His odor, somewhat unique, like cooked shellfish marinated in mildew. What Manny didn‘t know was that Hunsecker remained the owner not only of a rare, painful, and mummifying disease that ate away the body fat between his skin and muscles, but also of more than one post-pubescent social trauma, his memory way to full of punky kids screeching at him: Hey, pizzaaa face, you fucking shithead pizzaaa face!”&lt;/b&gt;&lt;/ul&gt;
  412.  
  413. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;From Michael Chabon&#39;s &quot;Amazing Adventures of Kavalier and Klay&quot;&lt;br /&gt;
  414. &lt;ul&gt;&lt;b&gt;
  415. &quot;Then a hand as massive and hard as an elk‘s horn, lashed by tough sinews to an arm like the limb of an oak, grabs the boy by the shoulder and drags him back to the wings... &quot;You know better, young man,&quot; says the giant, well over eight feet tall, to whom the massive hand belongs. He has the brow of an ape and the posture of a bear and the accent of a Viennese professor of medicine. He can rip open a steel drum like a can of tobacco, lift a train carriage by one corner, play the violin like Paganini, and calculate the velocity of asteroids and comets, one of which bears his name.&quot;&lt;/b&gt;&lt;/ul&gt;Apply the techniques and lengthy description of Neff and Chabon to describe a unique or outrageous individual of your own creation. Be bold and imaginative with your strokes. Use metaphor, simile, the wallop of a single first impression. Feel free to make the character move and speak if you wish. Be aggressive and prototype your sketch first.
  416. &lt;br /&gt;&lt;br /&gt;
  417. Now, are you on your way to becoming a masterful prose stylist? Perhaps, but this is just the beginning.
  418. &lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/12/a-great-damp-loaf-of-description.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAV3bYaqNRElRhLlwBpxrIwLqTqOmxfoAoTJUYtBmY5OxVMFZIPf9AuVaL-n1gDy0lLo69srfyzBrCSdGgWlJyVKW4GmCnSyoKxvCdLGYJ2XrL329cXjDVg7nwDckhwafbdsopfe2IZThmj1tSfo4RFMpABk1DyGENm_IWgU2-ohLHS1Ks6B46U2YhF98/s72-c/shopping.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-8244794514108614635</guid><pubDate>Wed, 21 Jun 2023 16:04:00 +0000</pubDate><atom:updated>2023-12-06T12:30:47.355-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">bad writer groups</category><title>OMG! Offended Writer Syndrome!</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;color: #990000; font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoj1faFaKT0InsoXvJrUOKTnZMMvSKA4v5x4CZWeHgYS-rqXurAB2WqhQ4kVZc8XUCXqpd6mO0SXM1XJzmyeyHODvmFWz95EUEMKiAA3F_5VTbCNa6Bis6fep1_X0ClzoUaK3ZnKJAtpNxqlqlQcvF-z8zSoYsFZLRpGm9kEfjKA8-QKAohXFFktNZdfY/s235/drama.png&quot; imageanchor=&quot;1&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;204&quot; data-original-width=&quot;235&quot; height=&quot;204&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoj1faFaKT0InsoXvJrUOKTnZMMvSKA4v5x4CZWeHgYS-rqXurAB2WqhQ4kVZc8XUCXqpd6mO0SXM1XJzmyeyHODvmFWz95EUEMKiAA3F_5VTbCNa6Bis6fep1_X0ClzoUaK3ZnKJAtpNxqlqlQcvF-z8zSoYsFZLRpGm9kEfjKA8-QKAohXFFktNZdfY/s1600/drama.png&quot; width=&quot;235&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;i&gt;Have you ever been in writer workshops and reacted to criticism of your writing or story by demanding the other writer defend their decision in such detail that it served your purpose of making certain they never gave you unfavorable critique again?&lt;/i&gt;&lt;/span&gt;&lt;/div&gt;
  419.  
  420.  &lt;div&gt;&lt;span style=&quot;font-family: trebuchet;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  421.  
  422.  &lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;Hell hath no fury like a thin-skinned narcissist with a needy manuscript... But wait!&lt;/b&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  423.  
  424.  &lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;Could you be one of them? In case you&#39;re not sure if your skin qualifies, Algonkian psychologists have developed a few skin test questions below. Feel free to respond honestly to yourself as you read each one. Everyone wishes to avoid time-wasting instances of Offended Writer Syndrome (OWS) that often takes place in writer workshops all across America. Even at this very moment!&lt;/span&gt;&lt;/div&gt;
  425.  
  426.  &lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 18px; text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  427.  
  428.  &lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 18px; text-align: justify;&quot;&gt;Now, time to take &lt;span style=&quot;color: #cc0000;&quot;&gt;&lt;b&gt;THE THIN SKIN TEST&lt;/b&gt;&lt;/span&gt;:&lt;/span&gt;&lt;/div&gt;
  429.  
  430.  &lt;div&gt;&lt;ul style=&quot;text-align: left;&quot;&gt;
  431.    &lt;li&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&lt;b&gt;Has any writer ever prefaced their critique of your work by first saying to you, &quot;Don&#39;t hate me, please?&quot;&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;
  432.    &lt;li&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&lt;b&gt;Do you sense that writers who unfavorably critique your work are &quot;loading the gun&quot; and taking aim?&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;
  433.    &lt;li&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&lt;b&gt;Do you rush to defend your work when a reader gives you criticism rather than absorb and weigh it carefully?&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;
  434.    &lt;li&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&lt;b&gt;Do you feel a need to say unkind things about a writer&#39;s work if you perceive she or he was unkind to you first?&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;
  435.    &lt;li&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&lt;b&gt;Have you ever chastised any writer for what you consider to be improper or incorrect critique of your work?&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;
  436.    &lt;li&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&lt;b&gt;Have you ever been in writer workshops and reacted to criticism of your writing or story by demanding the other writer defend their decision in such detail that it served your purpose of making certain they never gave you unfavorable critique again?&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;
  437.    &lt;li&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&lt;b&gt;Do you receive critique you oppose in good humor, but routinely seek the negation of it from those you know will agree with your version of reality?&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;
  438.    &lt;li&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&lt;b&gt;Do you feel a bout of OWS coming on after reading the above questions?&lt;/b&gt;&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;
  439.  
  440.  &lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px; text-align: justify;&quot;&gt;&amp;nbsp;If you answered yes to three or more of the above questions, writer workshops are definitely not for you. Please discontinue attending such events. They won&#39;t help you and you can&#39;t help but make them less productive for everyone else.&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 18px; text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;&lt;span style=&quot;font-size: 18px;&quot;&gt;You might even make *yourself* miserable.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;&lt;span style=&quot;font-size: 18px;&quot;&gt;___&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  441.  
  442. &lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/10/spotting-thin-skinned-narcissist.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoj1faFaKT0InsoXvJrUOKTnZMMvSKA4v5x4CZWeHgYS-rqXurAB2WqhQ4kVZc8XUCXqpd6mO0SXM1XJzmyeyHODvmFWz95EUEMKiAA3F_5VTbCNa6Bis6fep1_X0ClzoUaK3ZnKJAtpNxqlqlQcvF-z8zSoYsFZLRpGm9kEfjKA8-QKAohXFFktNZdfY/s72-c/drama.png" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-7459338920217410797</guid><pubDate>Sat, 11 Jun 2022 17:58:00 +0000</pubDate><atom:updated>2022-06-12T03:02:20.801-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">novel development</category><title>The Author Dawn - Rise and Blink</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;What should be brewing in the mind of the aborning author right from the start?&lt;/b&gt;
  443. &lt;br /&gt;
  444.  
  445.  &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG1UMPoC3Eu7BIic7H9VgS4GIyeZx_3V3sObJuYCS0I5pFSVC-eU7ejOrOaY3m8D0kJZqjY-3pmX7tVnmvc8viI1AllC_Yb7dKmh0IeEaLMw6OKSy3X3NVDl9FWC4vk8I5K3PKJvksNDE/s381/newday.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;374&quot; data-original-width=&quot;381&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG1UMPoC3Eu7BIic7H9VgS4GIyeZx_3V3sObJuYCS0I5pFSVC-eU7ejOrOaY3m8D0kJZqjY-3pmX7tVnmvc8viI1AllC_Yb7dKmh0IeEaLMw6OKSy3X3NVDl9FWC4vk8I5K3PKJvksNDE/s16000/newday.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  446.    
  447. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Let&#39;s Talk About Passion&lt;/span&gt;&lt;/h2&gt;
  448.    
  449. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;div&gt;&lt;span style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;A few basic questions first. Why are you writing a novel? For reasons of ambition, ego? Well, why not? Most of us, in one way or another, tend the ego. We want recognition, validation, a chance to prove our ability to others and thereby rise above (careful... verging on narcissism). We may need to prove
  450. something to ourselves, or more simply, gain a degree of independence from an unsatisfactory mode of
  451. existence, the existential nausea of daily grind. We might require purpose, a desire to fill our lives with a mission, and what better way to achieve than by writing a novel? Then, of course, there is the pure need to create, the godlike urge shared by true artists... or perhaps your particular desire to write the novel results from some or all the above working in synergy.&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;
  452. Regardless, please consider your answers,&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;even before&amp;nbsp;&lt;/span&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/best-10-steps-for-starting-novel-all.html&quot; style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot; target=&quot;_blank&quot;&gt;the first steps&lt;/a&gt;&lt;span style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&amp;nbsp;towards actually developing and writing the novel are taken. B&lt;/span&gt;&lt;span style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;e honest with yourself, and pause to consider writing a novel because you also have &lt;/span&gt;&lt;i style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;something of value you wish to say&lt;/i&gt;&lt;span style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;--a potent concept, alien to many. You might desire to expose a social injustice, restore an unusual footnote of history, or reveal a new world of experience. Whatever your genre, the realization it must be said, and &lt;/span&gt;&lt;i style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;b&gt;only you&lt;/b&gt;&lt;/i&gt;&lt;span style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt; can say it, gifts you with passion (and perhaps even a theme).&amp;nbsp;&lt;/span&gt;&lt;/div&gt;
  453.  
  454. &lt;div&gt;
  455.  
  456. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Core Vision and Realization&lt;/span&gt;&lt;/h2&gt;
  457.  
  458.  &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;The following are non-negotiable:&lt;br /&gt;&lt;ul&gt;
  459.  
  460. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; Ego must be &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/writer-ego-and-imaginary-bob.html&quot; target=&quot;_blank&quot;&gt;sufficiently tamed&lt;/a&gt;, enough to allow full realization that the aborning author is a beginner in every sense of the word, and on every level.
  461. &lt;br /&gt;&lt;br /&gt;
  462. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; Aborning authors must consider themselves apprentices to the craft of novel writing.
  463. &lt;br /&gt;&lt;br /&gt;
  464. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; The &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/aspiring-authors-must-cross-epiphany.html&quot; target=&quot;_blank&quot;&gt;Epiphany Light&lt;/a&gt; must be entered. This viewpoint must be front and center.
  465.  &lt;br /&gt;&lt;br /&gt;
  466. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; The &quot;Art of Fiction&quot; must be satisfied. Passionate writers fail to become published either because either they do not sufficiently understand the art, or are unwilling to make those compromises necessary to satisfy it. See &lt;a href=&quot;https://www.novelwritingonedge.com/2015/05/top-seven-reasons-why-aspiring-authors.html&quot; target=&quot;_blank&quot;&gt;Reasons Why Passionate Writers Fail&lt;/a&gt;.
  467. &lt;br /&gt;&lt;br /&gt;
  468. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; The most powerful novels focus, at their core, on human beings in conflict with one another. Regardless of window dressing, characters are defined by their actions in the context of a dramatic story.
  469. &lt;br /&gt;&lt;br /&gt;
  470. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt;  In order to become published, authors must also demonstrate a degree of mastery suitable to their chosen genre; and in order to do that, they must become intimately familiar with their chosen genre (no exceptions). &lt;br /&gt;&lt;/ul&gt;
  471.  
  472. Now that you&#39;ve absorbed the above, we&#39;ll bridge from that last bullet over to &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/best-10-steps-for-starting-novel-all.html&quot;&gt;Best Ten Steps for Starting the Novel&lt;/a&gt;.
  473. &lt;br /&gt;&lt;br /&gt;&lt;i&gt;
  474. From the heart, but smart&lt;/i&gt;. &lt;i&gt;There are no great writers, only great rewriters.&lt;/i&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;
  475.  &lt;hr /&gt;
  476.  
  477.  
  478.  
  479.  
  480. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/the-author-dawn-rise-and-blink.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG1UMPoC3Eu7BIic7H9VgS4GIyeZx_3V3sObJuYCS0I5pFSVC-eU7ejOrOaY3m8D0kJZqjY-3pmX7tVnmvc8viI1AllC_Yb7dKmh0IeEaLMw6OKSy3X3NVDl9FWC4vk8I5K3PKJvksNDE/s72-c/newday.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-5795655910187584141</guid><pubDate>Mon, 02 May 2022 13:11:00 +0000</pubDate><atom:updated>2022-05-04T13:48:43.849-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">advanced writing craft</category><title>Experiments in High Impact Narrative - Jerzy, Ralph, Italo, and Graves</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;Once more, the classics speak to us.&lt;/b&gt;
  481. &lt;br /&gt;&lt;br /&gt;What is one of the primary reasons novels get rejected? The narrative is too passive. It&amp;nbsp; ultimately falls flat, quiet and dull. Details are insufficient, metaphors lacking, lack of energy obvious, circumstances predictable (see also &lt;a href=&quot;https://www.novelwritingonedge.com/2020/09/narrative-enhancement-via-nabokov.html&quot; target=&quot;_blank&quot;&gt;Narrative Enhancement via Nabokov&lt;/a&gt;). So what to do? At WE we believe in learning from great authors whose shoulders we stand on. Therefore, we&#39;ve developed a means of addressing this issue. We wish you to seek inspiration from the prose extractions below and utilize them for purposes of defeating passivity via emulation. In other words, you will intentionally choose and compose fictional subject matter for your novel that entertains, frightens, or enthralls the reader. And how? By creating a circumstance, place, thing, or event that is unique and curious&amp;nbsp;&lt;i&gt;&lt;b&gt;by virtue of its very nature&lt;/b&gt;&lt;/i&gt;.
  482. &lt;br /&gt;&lt;br /&gt;
  483. Let&#39;s engage in a few writing &quot;prompts.&quot; You must prod the imagination and peel the onion. By the way, in the context of your own novel, your task will be much easier if you&#39;ve &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/great-settings-maximize-opportunity.html&quot; target=&quot;_blank&quot;&gt;chosen an overall setting&lt;/a&gt; that lends itself to vibrancy and engagement in the first place.&amp;nbsp;&lt;br /&gt;
  484.  
  485.  
  486. &lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;From Robert Grave&#39;s &quot;Claudius the God&quot;&lt;/span&gt;&lt;/h3&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEluhKD2imXuLLx0q9YPzs2USo3tPNJ-PAyrbBLIYLnH7RZ6J7J4ozy5RCqLeZNHlE0SzlmNu06xm8k6Vm23Cl4dJNec2KdjovufY1MmotznY10GmppTA1cSXgIvTHx2mk_0FuT3JcqJQ/s1732/claudius.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1732&quot; data-original-width=&quot;1500&quot; height=&quot;390&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEluhKD2imXuLLx0q9YPzs2USo3tPNJ-PAyrbBLIYLnH7RZ6J7J4ozy5RCqLeZNHlE0SzlmNu06xm8k6Vm23Cl4dJNec2KdjovufY1MmotznY10GmppTA1cSXgIvTHx2mk_0FuT3JcqJQ/w338-h390/claudius.jpg&quot; width=&quot;338&quot; /&gt;&lt;/a&gt;&lt;/div&gt;Graves was a genius at utilizing set and circumstantial details to create verisimilitude in this novel of Romans battling ancient Britons. Note this unusual event and the associated imagery. Also, note the profound and engaging use of &quot;&lt;b&gt;delayed cognition&lt;/b&gt;&quot; technique. Read the paragraph carefully. The author intentionally postpones the full explanation of the primary phenomenon we encounter in this scene, thereby creating suspense in the narrative. The reader can&#39;t wait for the truth.&lt;ul&gt;
  487.  
  488. &lt;b&gt;&quot;A British outpost was stationed in the pine copse at the farther end, and as the moon rose these watchful men saw a sight and heard a sound which filled their hearts with the utmost dismay. (Graves doesn&#39;t come right out with what this is, but rather introduces a sight and sound &quot;which filled their hearts with dismay.&quot; As the reader completes this sentence, a dramatic question, an enigma is created.)  A great bird with a long shining bill, a huge grey body and legs fifteen feet long suddenly rose through the mist a javelin&#39;s throw away and came stalking towards them, stopping every now and then to boom hoarsely, flap his wings, preen his feathers with his dreadful bill and boom again. The Heron King! They crouched in their bivouacs, terrified, hoping that this apparition would disappear, but it came slowly on and on.
  489.  &lt;br /&gt;&lt;br /&gt;
  490.  At last it seemed to notice their camp-fire. It jerked its head angrily and hurried towards them, with outspread wings, booming louder and louder. They sprang up and ran for their lives. The Heron King pursued them through the copse with a fearful chuckling laughter, then turned and slowly promenaded along the edge of the marsh, booming dully at intervals... &lt;span style=&quot;color: #990000;&quot;&gt;(Not until the next sentence does the reader learn the true nature of the Heron King.)&lt;/span&gt; The Heron King was a French soldier from the great marshes which lie to the west of Marseille, where the shepherds are accustomed to walk on long stilts as a means of striding across soft patches too wide to jump. Posides had rigged this man up in a wicker-work basket... head and bill improvised of stuff-covered lathes and fastened to his head. He knew the habits of herons and imitated the walk with his stilts...&lt;/b&gt;&quot;
  491. &lt;/ul&gt;
  492.  
  493. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt;&amp;nbsp;Graves turns reality on its head. First the monster, then the exposition. Following on the Graves example above, consider using your imagination to invent a rather fantastical circumstance (in the context of your own novel) with the delayed cognition technique. In other words, portray a phenomenon with a surprise true identity, and depict this circumstance through the viewpoint of a character who is surprised or shocked by it, then use your narrator to explain the true nature as Graves did above.
  494. &lt;br /&gt;&lt;br /&gt;&lt;hr /&gt;
  495.  
  496. &lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;From Jerzy Kosinski&#39;s &quot;The Painted Bird&quot;:&lt;/span&gt;&lt;/h3&gt;
  497. &lt;ul&gt;&lt;b&gt;
  498. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf82HbiSESF40the5lYOVcxXcHJ8tEkY1L95yEssxmk-zBKZ-RCZT7709fxNJ0Z0SiFPqpwbuYo8qXBy8Uy1TJ4AoH4baHWOn6YMTBm3wDikXJVhbARSMeSs4JtSfvAJ6gX1_WMbD1IKM/s354/paintedbird.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;354&quot; data-original-width=&quot;250&quot; height=&quot;398&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf82HbiSESF40the5lYOVcxXcHJ8tEkY1L95yEssxmk-zBKZ-RCZT7709fxNJ0Z0SiFPqpwbuYo8qXBy8Uy1TJ4AoH4baHWOn6YMTBm3wDikXJVhbARSMeSs4JtSfvAJ6gX1_WMbD1IKM/w281-h398/paintedbird.jpg&quot; width=&quot;281&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&quot;From behind the cemetery appeared a mob of village women with rakes and shovels. It was led by several younger women who shouted and waved their hands …The women held Ludmila down flat against the grass. They sat on her hands and legs and began beating her with the rakes, ripping her skin with their fingernails, tearing out her hair, spitting into her face. Lekh tried to push through, but they barred his way. He tried to fight, but they knocked him down and hit him brutally. He ceased to struggle and several women turned him over on his back and straddled him. Then the women killed Ludmila‘s dog with vicious shovel blows.&quot;&lt;/b&gt;&lt;/ul&gt;
  499.  
  500. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; Using the example above, write a short vignette that describes a group of human beings engaged in a task both energetic and filled with conflict. Use characters from your own novel. Invent as necessary. As we&#39;ve said, and will say again, imagination is your best friend. Be aggressive with it.
  501. &lt;br /&gt;
  502. &lt;ul&gt;&lt;b&gt;
  503. &quot;Here and there I saw ax cuts on tree trunks. I remembered that Olga had told me that such cuts were made by peasants trying to cast evil spells on their enemies. Striking the juicy flesh of the tree with an ax, one had to utter the name of a hated person and visualize his face. The cut would then bring disease and death to the enemy. There were many such scars on the trees around me. People here must have had many enemies, and they were quite busy in their efforts to bring them disaster.&quot;
  504. &lt;/b&gt;&lt;/ul&gt;
  505. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; Write a second short vignette describing a single visual phenomena of sufficient complexity that will surprise the reader with its unusual nature, and which also makes a statement on the human condition. Be original! This should be something unusual and taken from your novel. If you don&#39;t have it, improvise. &lt;br /&gt;
  506.  
  507. &lt;hr /&gt;
  508.  
  509. &lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;From Ralph Ellison&#39;s &quot;The Invisible Man&quot;:&lt;/span&gt;&lt;/h3&gt;
  510. &lt;ul&gt;&lt;b&gt;
  511. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiemg0Oy99uwRS4uy0e41eQfPBeTGDDxqj-WkRTzOzfj65etTraI6WnwkjoffdIH19jAjZ1sS9rA36JSZcYwrLuS2krqV0M6zR5v4iiPLvycRS8KMUVW9lORfDnNlme_8BTmDGG7Ss6SM8/s2048/invisible.jpeg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1867&quot; data-original-width=&quot;2048&quot; height=&quot;337&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiemg0Oy99uwRS4uy0e41eQfPBeTGDDxqj-WkRTzOzfj65etTraI6WnwkjoffdIH19jAjZ1sS9rA36JSZcYwrLuS2krqV0M6zR5v4iiPLvycRS8KMUVW9lORfDnNlme_8BTmDGG7Ss6SM8/w369-h337/invisible.jpeg&quot; width=&quot;369&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&quot;On Eighth Avenue, the market carts were parked hub to hub along the curb, improvised canopies shading the withering fruits and vegetables. I could smell the stench of decaying cabbage. A watermelon huckster stood in the shade beside his truck, holding up a long slice of orange-meated melon, crying his wares with hoarse appeals to nostalgia, memories of childhood, green shade and summer coolness … Stale and wilted flowers, rejected downtown, blazed feverishly on a cart, like glamorous rags festering beneath a futile spray from a punctured fruit juice can. The crowd were boiling figures seen through steaming glass from inside a washing machine …&quot;&lt;/b&gt;&lt;/ul&gt;
  512.  
  513.  
  514.  &lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;From Italo Calvino&#39;s &quot;Under The Jaguar Sun&quot;&lt;/span&gt;&lt;/h3&gt;
  515. &lt;ul&gt;&lt;b&gt;
  516. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg0NpqN56GJ5r9_HVzSa7BRhe83NQHa0Np3N7QShR-H5qxlA2M7LadnyjZo7wz_lexYhujxcLQD_lkGSSEu7AGtJNmcKeDW_IuptOZfetSY9wZVvNFrE5phHJicfEoqEfaSWBJAFjAAFY/s310/jaguar.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;163&quot; data-original-width=&quot;310&quot; height=&quot;201&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg0NpqN56GJ5r9_HVzSa7BRhe83NQHa0Np3N7QShR-H5qxlA2M7LadnyjZo7wz_lexYhujxcLQD_lkGSSEu7AGtJNmcKeDW_IuptOZfetSY9wZVvNFrE5phHJicfEoqEfaSWBJAFjAAFY/w382-h201/jaguar.jpg&quot; width=&quot;382&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&quot;Waiting for evening to fall, we sat in one of the cafes under the arcades of the zocalo, the regular little square that is the heart of every old city of the colony -- green, with short, carefully pruned trees called almendros, though they bear no resemblance to almond trees. The tiny paper flags and the banners that greeted the official candidate did their best to convey a festive air to the zocalo. The proper Oaxaca families strolled under the arcades. American hippies waited for the old woman who supplied them with mescaline. Ragged vendors unfurled colored fabrics on the ground. From another square nearby came the echo of the loudspeakers of a sparsely attended rally of the opposition. Crouched on the ground, heavy women were frying tortillas and greens.&quot;&lt;/b&gt;&lt;/ul&gt;
  517.  
  518. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; With inspiration from both Ralph Ellison and Italo Calvino, imagine you are a camera sweeping across a big set with many different items included. Describe a place and note colors, movement, sounds and smells. Include bits of things, details of the set, types of people and their activities. Be vibrant with your description. Find something unique about the place you describe, and if you can&#39;t do that, find or invent a place wherein a unique or anomalous thing exists.&lt;br /&gt;
  519. &lt;/span&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Big doses of imagination. How many times do we need say it? Living there, you&#39;ll be free, if you truly wish to be.&lt;/span&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/12/experiments-in-high-impact-narrative.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEluhKD2imXuLLx0q9YPzs2USo3tPNJ-PAyrbBLIYLnH7RZ6J7J4ozy5RCqLeZNHlE0SzlmNu06xm8k6Vm23Cl4dJNec2KdjovufY1MmotznY10GmppTA1cSXgIvTHx2mk_0FuT3JcqJQ/s72-w338-h390-c/claudius.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-620514651428990197</guid><pubDate>Mon, 04 Oct 2021 18:04:00 +0000</pubDate><atom:updated>2022-02-25T12:52:21.549-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">character development</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><category domain="http://www.blogger.com/atom/ns#">novel outline</category><title>Writing Novel Scenes A to Z - Drama, Sex, and Sass</title><description>
  520. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;So now you&#39;re writing the novel, or rewriting it, or preparing to?&lt;/b&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;
  521. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOm9_aM3aQXaHQW8FteGmjA7vUjqjwpmEDKrDuNKjJg_tHKNcFvymrzSoj7r4NWk4hohFUAxCemlZN7wg0v4guuXh9iDP14A7OpK6A7fu5qYEH8Jn3K0E6uXBICLAx3L3Mp21zZEZ2odQ/s635/gone.png&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;610&quot; data-original-width=&quot;635&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOm9_aM3aQXaHQW8FteGmjA7vUjqjwpmEDKrDuNKjJg_tHKNcFvymrzSoj7r4NWk4hohFUAxCemlZN7wg0v4guuXh9iDP14A7OpK6A7fu5qYEH8Jn3K0E6uXBICLAx3L3Mp21zZEZ2odQ/s320/gone.png&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  522.  There is so much to consider your head has exploded and now you&#39;re groping for the parts. Nevertheless, we strongly recommend in this phase somewhere between false confidence and mortifying epiphany that you wisely execute your novel a scene at a time. No better organizing principle than this. Forget chapters, for the moment. &lt;b&gt;Know that each scene serves a purpose, often more than one, e.g., pushing the plot forward while introducing a major secondary character. Each scene also evolves with its own beginning, middle, and end (see the steamy example below).&lt;/b&gt; &lt;br /&gt;&lt;br /&gt;
  523. Btw, if you&#39;ve not yet done so, great idea to absorb the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/the-six-act-two-goal-novel.html&quot; target=&quot;_blank&quot;&gt;Six Act Two-Goal Novel&lt;/a&gt; before continuing. Also, please review the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/best-10-steps-for-starting-novel-all.html&quot; target=&quot;_blank&quot;&gt;First Ten Steps&lt;/a&gt;, as well as our crucial articles on &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/great-settings-maximize-opportunity.html&quot; target=&quot;_blank&quot;&gt;setting&lt;/a&gt;, &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/antagonists-in-novel-most-important.html&quot; target=&quot;_blank&quot;&gt;antagonists&lt;/a&gt;, and delivering &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/learning-exposition-from-classics.html&quot; target=&quot;_blank&quot;&gt;exposition&lt;/a&gt;. Why? Because the points below will make way more sense if viewed in the proper context.
  524. &lt;br /&gt;
  525.  
  526.  &lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;u&gt;KEY CONCEPTS&lt;/u&gt;: story premise, storyboard, dramatic plot instances, novel elements, protagonist vs. antagonist, inciting incident, character evolution, genre novel analysis, inter-scene narrative, sex scene in three parts.&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;&lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;
  527.  
  528.  &lt;hr width=&quot;200&quot; /&gt;
  529.  
  530. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Most Important First Scenes&lt;/span&gt;&lt;/h2&gt;
  531.  
  532. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;For starters, below are the &lt;b&gt;first five dramatic plot instances that will appear in your genre novel-in-progress&lt;/b&gt; as you develop the novel based on a defined premise and with an aim towards creating a tale just as suspenseful and engaging as any great film.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;
  533. &lt;br /&gt;&lt;br /&gt;
  534. &lt;b style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;Note that scenes might not appear in the exact order presented below (except in the case of inciting incident before first major PP)&lt;/span&gt;&lt;/b&gt;&lt;span style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;. The protagonist might walk onto the stage first or immediately following portrayal of the antagonist, or not be present until after the inciting incident, etc. Nonetheless, these five plot instances occur in their own customized scene (sometimes more than one); and never forget that every major scene, and nearly every minor one, drives plot momentum and complexity in both novels and screenplays as well:
  535.  &lt;br /&gt;&lt;br /&gt;
  536. &lt;div&gt;&lt;span style=&quot;font-size: 16px;&quot;&gt;&lt;span style=&quot;font-size: 16px;&quot;&gt;
  537. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;PORTRAYAL OF ANTAGONIST - &lt;/b&gt;We witness&amp;nbsp;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/antagonists-in-novel-most-important.html&quot; target=&quot;_blank&quot;&gt;antagonist power and influence&lt;/a&gt;, in whatever way it&#39;s made manifest in the context of the story, e.g., the Opus Dei albino hunts his target in the DA VINCI CODE; Assef torments his victims in THE KITE RUNNER; Javert displays his powers and ruthless fanaticism in LES MISERRABLES; the crazed slasher in SCREAM dispatches his first victim... NOTE: &lt;b&gt;the plot instance below can easily be contained within this plot instance&lt;/b&gt; also, however, we believe it more powerful if they&#39;re distinct.&amp;nbsp;
  538.  &lt;br /&gt;&lt;br /&gt;
  539. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;ANTAGONIST IN POSSESSION OF MAJOR GOAL -&amp;nbsp;&lt;/b&gt;What will the protagonist and antagonist struggle to possess or control as the story moves forward? The mafia capo ruthlessly rules the casino; the Big Nurse controls the asylum; Tom Buchanan dominates his wife Daisy; a tyrannical King owns the &quot;Sacred Life Stone.&quot;&amp;nbsp;
  540.  &lt;br /&gt;&lt;br /&gt;
  541. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;PORTRAYAL OF PROTAGONIST &lt;/b&gt;- The protagonist appears on the page or in the film and the reader knows instinctively she or he will be matched against the antagonist (esp if the antagonist is seen first). Thus, the fate of the protagonist is foreshadowed and &quot;dramatic irony&quot; is manifest, i.e., the reader realizes potential doom, tragedy, or failure even before the protagonist does (thus greatly increasing concern and suspense). For this scene and others that follow keep in mind the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/protagonist-sympathy-factors-in-hook.html&quot; target=&quot;_blank&quot;&gt;protagonist sympathy factors&lt;/a&gt;--&lt;b&gt;important for the first scenes!!!&lt;/b&gt;&amp;nbsp;
  542.  &lt;br /&gt;&lt;br /&gt;
  543. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;INCITING INCIDENT SCENE&lt;/b&gt;&amp;nbsp;- The initial plot instance that sets in motion an inevitable course towards the first major plot point. Katniss takes her sister&#39;s place in THE HUNGER GAMES; the general decides to search for Private Ryan in SAVING PRIVATE RYAN; the disappearance of Amy in GONE GIRL engages the town.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;
  544. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;FIRST MAJOR PLOT POINT SCENE&lt;/b&gt;&amp;nbsp;- Following the INCITING INCIDENT, the protagonist, in one way or another, declares or indicates they will engage in the challenge, fight, or struggle to defeat, curtail, or foil the antagonist; thus, the core rising action or conflict of the novel is launched, as well as beginning the second act of a film: the Hobbits begin their journey to destroy the Ring; Gatsby makes it clear he will reclaim Daisy; Sarah Conner joins the struggle against the Terminator.
  545.  &lt;br /&gt;
  546.  
  547. &lt;h2 style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Scene Writing by Steps&lt;/span&gt;&lt;/h2&gt;
  548.  
  549. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkyZ1QwqboY7lBctg50RWlMpvhskPgVAdYgYArpScvjGS3KPz95IQb-_4wAGPUO2sxsV2Qq7Cu9LN6g2N1CDgxY_HjnMXy13QhDNDLK1BxSLwUGLFNDJ8aJTt3s0vpA6TBCkycZXZRdK8/s813/sarah.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;610&quot; data-original-width=&quot;813&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkyZ1QwqboY7lBctg50RWlMpvhskPgVAdYgYArpScvjGS3KPz95IQb-_4wAGPUO2sxsV2Qq7Cu9LN6g2N1CDgxY_HjnMXy13QhDNDLK1BxSLwUGLFNDJ8aJTt3s0vpA6TBCkycZXZRdK8/s320/sarah.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;Now, a couple of points about scene writing in general. Unless you&#39;re a veteran, strongly recommend the following advice.
  550. &lt;/span&gt;&lt;br /&gt;&lt;ul&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  551. 1. &lt;b&gt;Storyboard the scene.&lt;/b&gt; What does that mean? In other words, sketching on paper the layout of the scene with major characters and objects to assist with spatial placement and movement as necessary. This could ideally involve a bit of artful drawing combined with scene notes. In your scene notes, include the major characters and the particular set details (where, what, who). &lt;b&gt;State the purpose of the scene in one or two lines and know its relation to the overall plot line&lt;/b&gt; going forward, e.g., from the points above, you would state &quot;Inciting incident&quot; and go from there.
  552. &lt;br /&gt;&lt;br /&gt;  
  553. Don&#39;t overlook all &lt;b&gt;the novel elements that must be established&lt;/b&gt; in and around these first five dramatic scenes, and that includes the bulk of &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/learning-exposition-from-classics.html&quot; target=&quot;_blank&quot;&gt;necessary exposition&lt;/a&gt;, &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/great-settings-maximize-opportunity.html&quot; target=&quot;_blank&quot;&gt;setting details&lt;/a&gt;, introduction of &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/protagonist-sympathy-factors-in-hook.html&quot; target=&quot;_blank&quot;&gt;major characters&lt;/a&gt; and &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/deep-and-fresh-traits-for-majors.html&quot; target=&quot;_blank&quot;&gt;important secondary ones&lt;/a&gt;, establishment of the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/the-novels-agon-primary-conflict.html&quot; target=&quot;_blank&quot;&gt;primary conflict&lt;/a&gt; or &quot;agon,&quot; and more. Refer to the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/the-six-act-two-goal-novel.html&quot; target=&quot;_blank&quot;&gt;Six Act Two-Goal&lt;/a&gt; for additional information.
  554. &lt;br /&gt;&lt;br /&gt;
  555. 2. &lt;b&gt;Chart and establish all the major plot instances &lt;/b&gt;that follow on the first five above, e.g., your first major reversal. List them and add notes for each one as you consider their role in the novel. Just know, they&#39;re not set in stone yet. Editorial development will follow. Refer to the&amp;nbsp;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/the-six-act-two-goal-novel.html&quot; target=&quot;_blank&quot;&gt;Six Act Two-Goal&lt;/a&gt;&amp;nbsp;for additional information.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;
  556. 3. &lt;b&gt;Following on above, and as additional guidance, locate the inciting incident and first major plot point scene&lt;/b&gt; in &lt;u&gt;at least three&lt;/u&gt; of your favorite genre novels. Analyze these scenes, note how they develop, and begin to write your own experimental scenes based on our notes here, and what you&#39;ve observed in the examples. THIS IS IMPORTANT! If you begin in this manner, you&#39;ll not only get it straight but build confidence in your own ability. &lt;b&gt;The successful development of these crucial first scenes will serve as a vital guidepost going forward.&lt;/b&gt;
  557. &lt;br /&gt;&lt;br /&gt;
  558. 4. &lt;b&gt;Within the first 50 pages of the novel&lt;/b&gt;s you&#39;ve chosen, also note via your careful analysis &lt;b&gt;all the scenes that adjoin, support, and complement&lt;/b&gt; the five major dramatic scenes already noted above. Make a list of them and write down the purpose they serve in the novel. THIS WILL BE INVALUABLE to you going forward. Trust us!&amp;nbsp;&lt;/span&gt;&lt;/ul&gt;&lt;ul style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial;&quot;&gt;Also, overview the types of &quot;&lt;b&gt;glue narrative&lt;/b&gt;&quot; (or pre-scene and post-scene narrative: example below) you find between distinct scenes. What purpose do they serve in the novel? Write down your glue narrative observations gathered from the novels you&#39;re reading.&lt;br /&gt;&lt;br /&gt;
  559. 5. &lt;b&gt;Character Evolution&lt;/b&gt; - as part of the process of sketching and developing your first scenes, take note of &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/deep-and-fresh-traits-for-majors.html&quot; target=&quot;_blank&quot;&gt;character development&lt;/a&gt; and roles as the story chugs forward, momentum increasing. &lt;b&gt;Consider the point-of-view character &lt;/b&gt;in the particular scene (if written third person POV, this character might well vary from scene to scene) and their predisposition, character traits, back story, and anything else that might be relevant. Why? &lt;b&gt;Because the viewpoint of this character will inevitably bring a certain tone and filter to the scene.&lt;/b&gt;&amp;nbsp;&lt;/ul&gt;&lt;ul style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial;&quot;&gt;See the WE notes on this here. Also, keep in mind that quite often, whatever happens in the scene will bring some degree of change to the character in question--small or large. What will it be? Why will it matter? What purpose will it serve?... Keep in mind too &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/deep-and-fresh-traits-for-majors.html&quot; target=&quot;_blank&quot;&gt;the character&#39;s overall arc&lt;/a&gt; throughout the novel. Is the scene supporting it, or perhaps, is the scene changing it? That can happen.
  560. &lt;br /&gt;&lt;br /&gt;
  561. 6. &lt;b&gt;Once you&#39;ve drafted a few scenes, up to and including your INCITING INCIDENT, return to them after a few weeks&lt;/b&gt; (see &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/crucial-self-editing-and-advanced-brain.html&quot; target=&quot;_blank&quot;&gt;Self-Editing Technique&lt;/a&gt;) and verify proper application and emphasis of all the major elements. Do you see the cinema? Do you feel the momentum? Is the exposition parceled in properly? Is the suspense there? Is the setting serving its purpose? Is the point of view correct? Are all these scenes developing character and pushing the plot forward at the same time?&lt;/ul&gt;
  562.  &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  563. BTW, here is another article on &lt;a href=&quot;https://www.novelwritingonedge.com/2013/02/algonkian-writer-conferences-michael.html&quot; target=&quot;_blank&quot;&gt;advanced scene development&lt;/a&gt;. Worth a read.&lt;br /&gt;
  564.  
  565. &lt;h2 style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Inter-scene Narrative and Sex&amp;nbsp;&lt;/span&gt;&lt;/h2&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&quot;Glue narrative&quot; also known to us as inter-scene narrative. Like scene narrative, it delivers the major elements we&#39;ve discussed so far (exposition, setting, etc.), but outside the framework of an actual scene. It&#39;s not live action narrative that makes you feel as if the characters and circumstances are evolving dynamically in front of your eyes, no, rather it mimics a near omniscient or &quot;sweeping&quot; narrator style, immersing the reader in a panoramic world of time shifts, brief flashbacks, energetic exposition, and wide-angle camera vistas--whatever is necessary to relate the story outside the confines of the formal scene.
  566. &lt;br /&gt;&lt;br /&gt;  
  567. Quite often, the narrative in question possesses an anecdotal quality to it, whether related in first or third person, and more often than not, dialogue is absent (though exceptions exist, e.g, a short anecdotal flashback wherein a character is heard speaking one or two lines).
  568. &lt;br /&gt;&lt;br /&gt;
  569. The example below of this type of narrative is borrowed from another article here on WE entitled &lt;/span&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/writing-brilliant-fiction-narrative-in.html&quot; style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial;&quot; target=&quot;_blank&quot;&gt;Brilliant Fiction Narrative in Four Stages&lt;/a&gt;&amp;nbsp;.
  570. &lt;br /&gt;&lt;br /&gt;
  571. &lt;hr width=&quot;200&quot; /&gt;&lt;br /&gt;
  572. &lt;span style=&quot;font-family: georgia, times new roman, arial; font-size: 16px;&quot;&gt;
  573. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi65vELPBmYVjDCQYQNOy1vkJGzfe2r_CO476vgGjL8x8MPASWbpirnUsqvT5-Ht6XfVHT7oC3tpFaxPqWdKXa1N2XnCiXtPOxHXzlD2T7qvEmnbyNxmESgChBqsa1CfOVbF5wW2IfLmMM/s299/fantasywoman2.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;168&quot; data-original-width=&quot;299&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi65vELPBmYVjDCQYQNOy1vkJGzfe2r_CO476vgGjL8x8MPASWbpirnUsqvT5-Ht6XfVHT7oC3tpFaxPqWdKXa1N2XnCiXtPOxHXzlD2T7qvEmnbyNxmESgChBqsa1CfOVbF5wW2IfLmMM/s0/fantasywoman2.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; Senna and her father set the traps together, for Senna possessed the power to see the trails of the animals they hunted--often dangerous trails that led the two of them into wounding thickets or up the slick trunks of tamarand trees, following wild Cholu monkeys that set traps for predators like themselves.
  574. &lt;br /&gt;
  575. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; Father never saw the thin shimmering trails in the air, scattered all around and leading every which way, looking as if interweaving spiders had drawn impossibly gigantic webs. He could not mark the passage of living creatures through the world, and his blindness to it seemed like a failure to him. Senna knew he felt jealous. Her instincts often contradicted his own hunting wisdom, and that especially irritated him. But to Senna, her &quot;trail eyes,&quot; as she called them, felt natural, her ability effortless and always part of her vision. The newer the path of the animal, the bluer the shimmer. Older ones glowed in hues of green or waned to yellow, and the truly ancient ones softened to a dark red.
  576. &lt;br /&gt;
  577. &amp;nbsp; &amp;nbsp;&amp;nbsp; &amp;nbsp; Father could only fume, or act annoyed, depending on the hour and his mood.  Senna avoided him if his mood darkened, and she feared that further development of her power might make him feel even more obsolete and angry, for her power grew each day.
  578. &lt;br /&gt;&lt;br /&gt;
  579.    &lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;b&gt;
  580. [transition to live action scene - set-up then into dialogue]&lt;/b&gt;&lt;/span&gt;
  581.  &lt;/span&gt;
  582. &lt;br /&gt;&lt;br /&gt;
  583. &amp;nbsp; &amp;nbsp;&amp;nbsp; &amp;nbsp; With the arrival of summer, the two of them journeyed once more in search of the Cholu monkeys, knowing full well the dangers, but Cholu fur brought huge rewards at the marketplace in Ulaanbatar, the closest town.
  584. &lt;br /&gt;
  585. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; Father insisted on taking the lead during their foray as they ascended into highland country where the tamarand trees thrived in the cooler temperatures of the Massanutten foothills. Senna agreed without a word, just nodded. Over the past year, she&#39;d began to change her mind about hunting the Cholu. She found the practice rather cruel, despite the rewards. She could have sworn that a Cholu once tried to speak to her as it was dying. But the gods knew, talking Cholus or no, Senna and her father desperately needed coin to stay alive--the kind only Ulaanbatar provided.
  586.  &lt;br /&gt;
  587. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &quot;We will bag a dozen Cholu this time out,&quot; her father said.
  588.  &lt;br /&gt;
  589. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &quot;I&#39;m not sure we should,&quot; Senna said, her voice weak with anticipation of the consequences.  
  590.  &lt;br /&gt;
  591.  &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &quot;What do you mean?&quot;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;
  592.    &lt;hr width=&quot;200&quot; /&gt;&lt;br /&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Above, you see a distinct difference between inter-scene and following scene narrative that creates a stronger camera-eye focus.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-size: 16px;&quot;&gt;&lt;span style=&quot;font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-size: 16px;&quot;&gt;&lt;span style=&quot;font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKadLxXQuabBU0ELtM3OIl872_irXLdIy2EKUiPJ8nCNLU7iDaOFYH3MlrboDqHprCZdZZKFcvXiuy1zUGZ9tzei72B5RcCCHZrPlSycASMP6rIPPchu4VpKlREb2kqU6R9V7XzCvwVsk/s320/weiner.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;180&quot; data-original-width=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKadLxXQuabBU0ELtM3OIl872_irXLdIy2EKUiPJ8nCNLU7iDaOFYH3MlrboDqHprCZdZZKFcvXiuy1zUGZ9tzei72B5RcCCHZrPlSycASMP6rIPPchu4VpKlREb2kqU6R9V7XzCvwVsk/s0/weiner.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;And now, a short sex scene by Jennifer Weiner from her novel WHO DO YOU LOVE? Noted below, the beginning, middle, end. Man&#39;s point of view, and it ends with his fantasy:&lt;/b&gt;
  593.  &lt;br /&gt;&lt;br /&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  594.  
  595.  BEGINNING&lt;/span&gt; (set-up, light the match, emotional response, reflection)
  596.  &lt;/b&gt;&lt;br /&gt;&lt;br /&gt;
  597. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; They walked in silence through the parking lot. When they got to his car, he hugged her, holding her tightly against him, an embrace still on the right side of propriety, one that could still be considered friendly, but only just. When they broke apart, her face was flushed, her eyes shining.
  598. &lt;br /&gt;
  599. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &quot;I hope it won&#39;t be another three years before we see each other again.&quot;
  600. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  601.  MIDDLE&lt;/span&gt; (decision, action, emotion escalates, narrative verve escalates)&lt;/b&gt;
  602.  &lt;br /&gt;&lt;br /&gt;
  603. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; Instead of answering, Rachel reached for him, putting her small, warm hand on the back of his neck, lifting her lips to his. They kissed, first lightly, then more urgently, his tongue in her mouth, her hips tilted against his, her breasts against his chest, her whole body sending a message that was undeniable.
  604. &lt;br /&gt;
  605. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &quot;Want to come up?&quot; he asked.
  606. &lt;br /&gt;
  607. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; She&#39;d left her bags in his apartment, with the understanding that they&#39;d pick them up after dinner and he&#39;d take her to the hotel she&#39;d booked. More than once, when they&#39;d been talking, he&#39;d offered her his bed, saying he&#39;d sleep on the couch, and Rachel had turned him down, politely but firmly.
  608. &lt;br /&gt;
  609. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; Without a word, she climbed into the passenger seat, smiling at him, saying, &quot;Yes.&quot;
  610. &lt;br /&gt;
  611. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; They started kissing again. Her tongue fluttered against his, and his hands were deep in the softness of her hair, and it was like time unspooled, carrying them right back to when they were teenagers.
  612. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  613.  END&lt;/span&gt; (verve and action ebb, resolution, reflection)
  614.  &lt;/b&gt;&lt;br /&gt;&lt;br /&gt;
  615. &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; He pulled her against him, thinking that he&#39;d never get her close enough, that if he could fold her inside of him, like a mother tucking a baby into her coat, he&#39;d do it. He&#39;d keep her warm, he&#39;d keep her safe, he&#39;d keep her with him, always.
  616.  &lt;br /&gt;&lt;br /&gt;
  617.  _____________
  618.  &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;/span&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/12/scenes-to-z-glue-drama-sex-sass.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOm9_aM3aQXaHQW8FteGmjA7vUjqjwpmEDKrDuNKjJg_tHKNcFvymrzSoj7r4NWk4hohFUAxCemlZN7wg0v4guuXh9iDP14A7OpK6A7fu5qYEH8Jn3K0E6uXBICLAx3L3Mp21zZEZ2odQ/s72-c/gone.png" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-5687185713498240552</guid><pubDate>Mon, 13 Sep 2021 16:57:00 +0000</pubDate><atom:updated>2021-10-30T14:47:10.005-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">advanced writing craft</category><category domain="http://www.blogger.com/atom/ns#">character development</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><title>Settings Are 60% - Maximize Opportunity</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;When considering your novel, whether taking place in a contemporary urban world&lt;br /&gt; or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story.&amp;nbsp;&lt;/b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ20Qn461_E635FknSrXn2kS36NfGoI9XznN7vE3LY7e_c6wujwh2ankhJA6YiKQJQ69_c9JN8BWvLJx1M076LBv4zQHaLPU9y63tAJGpxGuuhVFV8on2ujDF1vWhunZtOjCvMyc55fHE/s258/poisonwood.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;256&quot; data-original-width=&quot;258&quot; height=&quot;311&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ20Qn461_E635FknSrXn2kS36NfGoI9XznN7vE3LY7e_c6wujwh2ankhJA6YiKQJQ69_c9JN8BWvLJx1M076LBv4zQHaLPU9y63tAJGpxGuuhVFV8on2ujDF1vWhunZtOjCvMyc55fHE/w313-h311/poisonwood.jpg&quot; width=&quot;313&quot; /&gt;&lt;/a&gt;&lt;/div&gt;Wasn&#39;t it F. Scott Fitzgerald who said something like, &quot;Setting is 60% of what makes your novel stand out&quot;? A great setting maximizes opportunities for interesting characters, circumstances, and complications. Therefore, with a dash of unleashed imagination and a dose of sufficient research, nothing provides a stronger novel foundation than a great setting. Fact.&amp;nbsp;&lt;b&gt;One of the best selling contemporary novels in recent memory, THE HUNGER GAMES&lt;/b&gt;, is driven by the circumstances of the setting, and the characters are a product of that unique environment as well as the plot.
  619. &lt;br /&gt;&lt;br /&gt;
  620. But even if you&#39;re not writing SFF, the choice of setting is just as important, perhaps even more so. &lt;b&gt;If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict&lt;/b&gt;, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don&#39;t forget that non-gratuitous sex goes a long way, especially for American readers.
  621. &lt;br /&gt;&lt;br /&gt;
  622. And not only must you choose the overall best setting, but &lt;b&gt;you must consider sub-settings that come into play for particular scenes.&lt;/b&gt; For example, if your overall choice of setting is India, you have it made. You might choose a sub-setting for a scene that includes a particular village wherein a large snake is sleeping in a tree and thus creating an absurd spectacle in the form of an ongoing conflict between Muslims and Hindus over the spiritual meaning of the snake&#39;s behavior.&lt;br /&gt;
  623.  
  624. &lt;blockquote&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;span face=&quot;&amp;quot;Trebuchet MS&amp;quot;, Trebuchet, sans-serif&quot; style=&quot;font-size: 18px;&quot;&gt;As noted above, a great setting maximizes the potential for great characters, unique circumstances, and story complications of one kind or another.&lt;/span&gt;&lt;/span&gt;&lt;/blockquote&gt;
  625.  
  626. &lt;div&gt;Of if your character is in Scotland on a cold and dull day, place him or her in a scene during a &quot;blackening of the bride&quot; ceremony wherein the future bride is trashed and sloshed with everything from tar to Scotch whiskey. Will your character have any internal issues with this? Yes? Whatever creates inner or interpersonal conflict is a bonus too, don&#39;t forget.
  627. &lt;br /&gt;&lt;br /&gt;
  628. If nothing else, create a setting or sub-settings that assist with the development of conflict between characters. If your character is an office worker in an otherwise stereotypical setting, place them in a special surprise meeting with certain types of ambitious, reckless or sociopathic personalities who combine to ignite an unavoidable moral dilemma.&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;&lt;b&gt;Set it up so that the tension crackles. Setting fixtures don&#39;t have to be inanimate!&lt;/b&gt;
  629. &lt;br /&gt;&lt;br /&gt;&lt;h3&gt;By the Way, Does Your Setting Possess the Following Qualities?
  630. &lt;/h3&gt;
  631. &lt;h3&gt;&lt;span style=&quot;color: #990000;&quot;&gt;Dynamic Evolution Over Time
  632. &lt;/span&gt;&lt;/h3&gt;One might quibble over the difference here between &quot;set-up&quot; and &quot;setting&quot;... Suffice to say, the author chooses a setting (a time and a place) that comports with a plot allowing for story enhancing social, political, cultural, or character-focused evolution in the fictional environment. Consider a novel filled with quarreling and toppling kingdoms (GAME OF THRONES), or a terrible secret uncovered that generates a killing machine to grind one man down (THE FIRM), or the coming downfall of a whole way of life for millions (THE UNVANQUISHED).
  633. &lt;br /&gt;&lt;br /&gt;&lt;h3&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  634.  
  635. A New World of Wonder
  636. &lt;/span&gt;&lt;/h3&gt;&lt;b&gt;Publishers like it when your novel takes readers into a world they&#39;re unfamiliar with.&lt;/b&gt; The freshness of new places, climes, cultures, people and things creates an irresistible draw for many. Witness the the popularity of EAT, PRAY, LOVE. Would it have been so engaging if the character had not traveled to exotic climes, but instead ate, pray, and loved in Podunk, Idaho? THE KITE RUNNER is another example. A whole new world, way of life, characters we could never have met otherwise.
  637. &lt;br /&gt;&lt;br /&gt;&lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  638.  
  639. The Potential for Energy
  640. &lt;/span&gt;&lt;/h3&gt;As noted above, a great setting maximizes the potential for great characters, unique circumstances, and story complications of one kind or another. Now, any idea what might best suit as an example for this category? How about THE POISONWOOD BIBLE?&amp;nbsp;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;An overzealous Baptist minister drags his wife and four daughters deep into the heart of the Congo on a mission to save the &quot;unenlightened souls&quot; of Africa. During this time, Belgium is about to give the country its independence, and a popular election will be held to select the new ruler. A purge of Westerners is expected once independence is won. All of this coupled with the presence of superstition and conflicting customs creates a dangerous and weirdly dynamic setting for the American mission family. &lt;b&gt;Consider, would anyone have read this novel if the author, Barbara Kingsolver, had set the story in Canada?&lt;/b&gt; Perhaps, but the color and energy would be lost, certainly polar opposite of what Kingsolver&#39;s setting, in that time and place, allowed.
  641. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  642. Now, please go back over your settings and scenes and rewrite accordingly. You can&#39;t have too much energy or tension on the page.  Be as aggressive with your work as possible.&lt;/b&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;____________&lt;/div&gt;&lt;/div&gt;&lt;/span&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/great-settings-maximize-opportunity.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ20Qn461_E635FknSrXn2kS36NfGoI9XznN7vE3LY7e_c6wujwh2ankhJA6YiKQJQ69_c9JN8BWvLJx1M076LBv4zQHaLPU9y63tAJGpxGuuhVFV8on2ujDF1vWhunZtOjCvMyc55fHE/s72-w313-h311-c/poisonwood.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-6591657450767904190</guid><pubDate>Thu, 02 Sep 2021 02:25:00 +0000</pubDate><atom:updated>2021-10-30T14:45:05.462-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">novel development</category><category domain="http://www.blogger.com/atom/ns#">novel rejection reasons</category><title>Aspiring Authors and the Epiphany Light</title><description>&lt;span face=&quot;arial, verdana, sans-serif&quot; style=&quot;background-color: white; color: #660000; font-size: medium;&quot;&gt;&lt;span style=&quot;font-weight: bold;&quot;&gt;A WATERSHED EVENT FOR SERIOUS WRITERS&lt;/span&gt;&lt;/span&gt;
  643. &lt;br /&gt;&lt;br /&gt;
  644. Whatever the stage of your project or writing life, know that all writers, if they desire to become commercially published, must see and enter the Epiphany Light.
  645. &lt;br /&gt;
  646.  
  647.  &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;br /&gt;&lt;/div&gt;
  648.  
  649. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3M04iS7vX6Q0-fbLKjhycyLJbaZMtANavwStXQFQV7GJDTZPFZzFEC7CrRdkR1d19FESKAhkVjkMNKibMnBZrh_C52U0125DezBbpB_W8Q9rZFXClZ2QdU9KO7zKSaRNnAukV6xDTx9M/s349/bulb2.png&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;335&quot; data-original-width=&quot;349&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3M04iS7vX6Q0-fbLKjhycyLJbaZMtANavwStXQFQV7GJDTZPFZzFEC7CrRdkR1d19FESKAhkVjkMNKibMnBZrh_C52U0125DezBbpB_W8Q9rZFXClZ2QdU9KO7zKSaRNnAukV6xDTx9M/s320/bulb2.png&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;First of all, what is the &quot;Epiphany Light&quot;?&amp;nbsp; &lt;b&gt;The EL is a state of mind crucial to any aspiring author desirous of commercial or serious literary publication, and one which clearly divides the 99% from the 1% of those who&#39;ve learned the hard way how challenging it is to have their expertise and projects taken seriously by professionals in the publishing business.&lt;/b&gt; But are the percentages so drastic as depicted here? Yes, and probably even more so.&amp;nbsp;
  650.  
  651. &lt;br /&gt;&lt;br /&gt;
  652.  
  653. Consider the very small number of first time authors who emerge with publishing contracts from major houses, imprints, or even well-regarded traditional presses, and then compare these few hundred to the hundreds of thousands of writers in America struggling valiantly yet vainly to accomplish the same feat.&amp;nbsp; Viewed from this perspective, as we near the EL, we eventually come to a knowledge of true writer pathos on a scale unimagined: instances of duress and disappointment inflicted each day on hundreds if not thousands of writers as their manuscripts are routinely rejected by agents or publishers.&lt;br /&gt;&lt;br /&gt;
  654.  
  655.  &lt;span style=&quot;font-weight: bold;&quot;&gt;But how does the EL finally come about, or rather, fail to come about?&amp;nbsp; Before the light can be viewed and entered, before writers can possess a state of mind that enables a forward movement towards success (by any reasonable artistic standard), they must, by one means or another, view their project through the eyes of an editorial professional in their chosen genre.&lt;/span&gt;&amp;nbsp;So why doesn&#39;t it come easy? It isn&#39;t natural, has to be learned, and circumstances of one kind or another arise to prevent this crucial vision.&lt;br /&gt;
  656.  
  657.    
  658.    &lt;blockquote&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;span face=&quot;&amp;quot;Trebuchet MS&amp;quot;, Trebuchet, sans-serif&quot; style=&quot;font-size: 18px;&quot;&gt;Viewed from this perspective, as we near the EL, we eventually come to a knowledge of true writer pathos on a scale unimagined: instances of duress and disappointment inflicted each day on hundreds if not thousands of writers as their manuscripts are routinely rejected by agents or publishers.&lt;/span&gt;&lt;/span&gt;&lt;/blockquote&gt;
  659.    
  660.  
  661. Whether it be a failure to properly immerse in the contemporary world of their chosen genre (reading books and interviews, studying deals at &lt;a href=&quot;https://www.publishersmarketplace.com/&quot; target=&quot;_blank&quot;&gt;Publisher’s Marketplace&lt;/a&gt;, talking with publishing house editors at conferences or elsewhere), or an inability to rise above limitations imposed by their current writer’s group (consistently providing &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;encouraging yet unproductive advice&lt;/a&gt;), or &lt;a href=&quot;https://www.novelwritingonedge.com/2015/04/top-ten-worst-pieces-of-writing-advice.html&quot; target=&quot;_blank&quot;&gt;bad advice&lt;/a&gt; from those they believe possess an adequate comprehension of the current book market (e.g., freelance editors of one stripe or another who are removed from current market realities or who fail to differentiate necessary tropes from overused tropes), the writer is deprived of the consciousness necessary to make crucial edits or changes to the story.&lt;br /&gt;&lt;br /&gt;Put quite simply, if you write mysteries loved by your friends and fellow writers, and perhaps even your paid freelance editor (who most likely has never worked in the New York publishing business), but can’t produce a thing other than pale imitations of Miss Marple, no editor or agent who represents the mystery genre will ever take you or your work seriously.&amp;nbsp;&amp;nbsp;&lt;br /&gt;
  662.  
  663. &lt;blockquote&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;span face=&quot;&amp;quot;Trebuchet MS&amp;quot;, Trebuchet, sans-serif&quot; style=&quot;font-size: 18px;&quot;&gt;Regardless, the writer naturally grows frustrated and tired of unsuccessful efforts (if they‘re smart), and if determined not to fail, seeks new sources of information and inspiration.&lt;/span&gt;&lt;/span&gt;&lt;/blockquote&gt;&lt;b&gt;
  664.  
  665. Now the question becomes, how do writers transcend life in the 99% and enter the EL to arrive in the one percent promised land?&amp;nbsp;&lt;/b&gt;&amp;nbsp;What might lead them to a cognizance of reality? It can happen in various ways, by accident or no, but always preceded by trial and error groping as false signals are received concerning the commercial viability of their writing (see above) thus leading to false confidence.&amp;nbsp; Regardless, the writer naturally grows frustrated and tired of unsuccessful efforts (if they‘re smart), and if determined not to fail, seeks new sources of information and inspiration.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;
  666.  
  667.  Perhaps by happenstance the writer reads an article that clicks with them, or speaks to a professional who waves the red flag regarding what they’re doing wrong or what is specifically missing from their voice or manuscript that results in rejection after rejection--whatever the source of cognizance, &lt;b&gt;the writer, perhaps for the first time, declines to fall back on old sources of corroboration.&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;
  668.  
  669.  If you are nearing the Epiphany Light, or you’ve entered it already, much of what we say here will resonate with you.&amp;nbsp; If you have endured months or years of rejections, perhaps you need to point your toe over the line, just to test.&amp;nbsp; &lt;b&gt;And don’t feel down about all this, or discouraged. Learn from it. Understand that all writers make the same mistakes, learn the same lessons, fall down and get up.&lt;/b&gt;&amp;nbsp;&lt;br /&gt;
  670. &lt;br /&gt;  
  671.  The neophyte mystery writer holding her Miss Marple close and dear, as she might a mother’s warmth, must one day leave home and apply for a job with a suitable resume.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;
  672. ____________________
  673.  &lt;br /&gt;&lt;br /&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/aspiring-authors-must-cross-epiphany.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3M04iS7vX6Q0-fbLKjhycyLJbaZMtANavwStXQFQV7GJDTZPFZzFEC7CrRdkR1d19FESKAhkVjkMNKibMnBZrh_C52U0125DezBbpB_W8Q9rZFXClZ2QdU9KO7zKSaRNnAukV6xDTx9M/s72-c/bulb2.png" height="72" width="72"/><thr:total>7</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-7729297083831319182</guid><pubDate>Fri, 02 Apr 2021 06:23:00 +0000</pubDate><atom:updated>2023-03-20T13:18:44.393-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">advanced writing craft</category><category domain="http://www.blogger.com/atom/ns#">character development</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><title>Dialogue - Never a Gratuitous Word or Boring Moment</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;For starters... &lt;/b&gt;
  674. &lt;br /&gt;&lt;br /&gt;
  675. Let&#39;s place this in a context rarely mentioned elsewhere. At such time dialogue becomes difficult or perplexing for writers to produce, it&#39;s usually because they have failed on some level to create interesting characters in the first place, or because they do not properly understand the role of each relevant character in the scene (please stop and &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/deep-and-fresh-traits-for-majors.html&quot; target=&quot;_blank&quot;&gt;read this article now&lt;/a&gt; if you&#39;ve not already done so), or both. To complicate further, the writer may not actually understand the&lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/great-settings-maximize-opportunity.html&quot; target=&quot;_blank&quot;&gt; role of the scene&lt;/a&gt; in the novel. &lt;b&gt;Put these three conditions together and artful dialogue becomes impossible regardless of other factors&lt;/b&gt;.
  676. &lt;br /&gt;
  677.  &lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;u&gt;KEY CONCEPTS&lt;/u&gt;: screenplay emulation, dialogue as art, the LED, major functions of dialogue, delivery of exposition, dialogue arc, character style, tags and ellipses, provocations and disagreements, the foil character, dialogue samples.&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;&lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;
  678.  &lt;hr /&gt;
  679.  
  680.  &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Initial Admonitions&lt;/span&gt;&lt;/h2&gt;
  681.  
  682. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBnqYf7b3iiP23Xt73jPJjOd-ecLzWqGBQbU3_jikSkQ8OvMz6JXqQNcC2pAliDweYabvrhgune5QSPeXwM4faFfG43fEu5BG7bBacVzL0GxRPOa-I1XzndE5XJPqQqKyotaLnZvpHZ7k/s1024/glengarry.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;705&quot; data-original-width=&quot;1024&quot; height=&quot;275&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBnqYf7b3iiP23Xt73jPJjOd-ecLzWqGBQbU3_jikSkQ8OvMz6JXqQNcC2pAliDweYabvrhgune5QSPeXwM4faFfG43fEu5BG7bBacVzL0GxRPOa-I1XzndE5XJPqQqKyotaLnZvpHZ7k/w400-h275/glengarry.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;But let&#39;s assume the first three conditions above have been met. So where to go from here? First, a few admonitions for neophytes and middle-stagers:
  683. &lt;br /&gt;&lt;ul&gt;
  684. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  685. 1. &lt;b&gt;Best not to attempt dialogue until you understand that dialogue is art, not real life.&lt;/b&gt; Art imitates life only insofar as necessary. In the world of art, characters say what they must and always make it clear. Unless you&#39;re obsessed with David Mamet&#39;s early work, strongly recommend not placing speech on the page that mimics actual human blathering (btw, on the subject of Mamet, strongly recommend a close reading of the brilliant &lt;i&gt;&lt;a href=&quot;https://en.wikipedia.org/wiki/Glengarry_Glen_Ross&quot; target=&quot;_blank&quot;&gt;Glengarry, Glen Ross&lt;/a&gt;&lt;/i&gt;).
  686.  &lt;br /&gt;&lt;br /&gt;
  687.  
  688. 2. &lt;b&gt;Do not write novel dialogue without having first read, studied, and experimented with good screenplay dialogue&lt;/b&gt;. Download and read over screenplays relevant to your genre, then also watch the films, or at least a few scenes that correspond to the script. This is vital. In general, the best dialogue written these days can be found in screenplays or teleplays - not that great novel authors don&#39;t produce brilliant dialogue now and then, and we&#39;ll see a few below, but a classy smart screenplay is more likely to meet the goals for our purposes here. Later you can make useful comparisons between the two forms (you&#39;ll benefit hugely from this).
  689.  &lt;br /&gt;&lt;br /&gt;
  690. 3. Don&#39;t fail to realize that &lt;b&gt;screenplays teach us how to the say THE MOST with THE FEWEST words.&lt;/b&gt; This is also vital. Again, MOST with the FEWEST. Novel dialogue should always have a reason for existence, never be gratuitous, and never overstay its welcome on the page.
  691.  &lt;br /&gt;&lt;br /&gt;
  692. 4.&lt;b&gt; Refrain from drafting dialogue on the novel page until you have first drafted prototype dialogue in your literary experimentation document (LED)&lt;/b&gt;. What do we mean? Quite simply, you maintain a separate word document for the purpose of fictional experiments conducted by you prior to insertion in the actual novel. Here you sketch a sample scene that includes chosen characters engaged in dialogue. &lt;b&gt;First, create a good reason for them to converse&lt;/b&gt; in the context of the plot line and make certain to include elements noted below (i.e., conflict, exposition, etc.)
  693.  &lt;/span&gt;&lt;/ul&gt;
  694.  
  695. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Functions and Forms in Brief&lt;/span&gt;&lt;/h2&gt;
  696.  
  697. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  698.  &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; Dialogue&#39;s major functions succinctly stated as follows (examples below):  &lt;br /&gt;&lt;ul&gt;
  699.  
  700. &lt;li&gt; &lt;b&gt;Advance the plot line or core conflict&lt;/b&gt; (&quot;We must intervene by noon tomorrow, or we wait three months.&quot;)&lt;br /&gt;
  701. &lt;/li&gt;&lt;li&gt; &lt;b&gt;Serve as characterization&lt;/b&gt;  (see &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/deep-and-fresh-traits-for-majors.html&quot; target=&quot;_blank&quot;&gt;examples here&lt;/a&gt;)&lt;br /&gt;
  702. &lt;/li&gt;&lt;li&gt; &lt;b&gt;Create conflict or provocation&lt;/b&gt; (overt or implied)&lt;br /&gt;
  703. &lt;/li&gt;&lt;li&gt; &lt;b&gt;Engender suspense&lt;/b&gt; (&quot;...and no one has ever gone inside and lived...&quot;)&lt;br /&gt;
  704. &lt;/li&gt;&lt;li&gt; &lt;b&gt;Create or support minor complications&lt;/b&gt; (&quot;We have a problem, people.&quot;)   &lt;br /&gt;
  705. &lt;/li&gt;&lt;li&gt; &lt;b&gt;Deliver exposition&lt;/b&gt; (&quot;The wheeled city, driven by steam and 5,432 gears, grinds now towards Belgium.&quot;)&lt;/li&gt;&lt;/ul&gt;
  706.  
  707. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; To satisfy the above requirements, for example, dialogue may acquire the following forms:  &lt;br /&gt;&lt;ul&gt;
  708.  
  709. &lt;li&gt; &lt;b&gt;Expression of fear or apprehension&lt;/b&gt; over a circumstance or event (&quot;Did you see that? By the gods, we&#39;re done!&quot;) &lt;br /&gt;
  710. &lt;/li&gt;&lt;li&gt; &lt;b&gt;Sexual mating play&lt;/b&gt;: posturing, advances, overt and covert  (&quot;Kiss me, you fool.&quot;)&lt;br /&gt;
  711. &lt;/li&gt;&lt;li&gt; &lt;b&gt;Arguments or disagreements of varying degree&lt;/b&gt; ignited by viewpoint disagreements or personality clash (&quot;Hell is too good for you.&quot;)&lt;br /&gt;
  712. &lt;/li&gt;&lt;li&gt; &lt;b&gt;Provocative  topics  introduced or continued&lt;/b&gt; (Dr. Yen replied to the student, &quot;The  soul, even the personality… all a fraud.  They really don&#39;t exist.&quot;)&lt;/li&gt;&lt;/ul&gt;
  713.  
  714. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Critical for Both Screen and Novel&lt;/span&gt;&lt;/h2&gt;
  715.  
  716. &lt;b&gt;&lt;i&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtqKhpVPcoLSRVKgVo6w_FuWcEhEq-2XRWDAvv18Yd7pGj-q1wEiNgG3icJmC5_alVZvT6sCTm2JGMgbHxLubjrr99ErG7aRdfLh-_Wh4qCSpefpxnlMKvaQWGwBgPrJytc6k6Wz-FVoA/s1800/shipping2.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1012&quot; data-original-width=&quot;1800&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtqKhpVPcoLSRVKgVo6w_FuWcEhEq-2XRWDAvv18Yd7pGj-q1wEiNgG3icJmC5_alVZvT6sCTm2JGMgbHxLubjrr99ErG7aRdfLh-_Wh4qCSpefpxnlMKvaQWGwBgPrJytc6k6Wz-FVoA/s320/shipping2.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;Enter late, leave early&lt;/i&gt;. No different than novel plotting, best to begin  dialogue &lt;i&gt;in media res&lt;/i&gt;&lt;/b&gt;. What do we mean? From masterclass.com on the subject of writing sharp screenplay dialogue: &quot;Small talk is prevalent in real life, but it can be dreadfully boring to watch two people chat about the weather and other pleasantries on screen. One way to rectify this is to &lt;b&gt;enter the conversation as late as you possibly can&lt;/b&gt;. This technique can you help you write better dialogue by allowing you to skip the boring, introductory remarks and unnecessary follow-up questions and get straight to the heart of the scene.&quot; WE couldn&#39;t have said it better!
  717.  &lt;br /&gt;&lt;br /&gt;
  718. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Avoid dialogue that sounds stale.&lt;/b&gt; Dialogue can devolve into overly familiar patterns, as if you&#39;re imitating a bad television scene&lt;b&gt;.&lt;/b&gt; Exorcise with extreme prejudice. Best to negate this possibility ahead of time via an energetic and unique setting populated by intriguing characters.
  719.  &lt;br /&gt;&lt;br /&gt;
  720. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;When utilizing dialogue to deliver exposition, make certain it&#39;s accomplished at a time and in a place that makes sense relative to the story flow,&lt;/b&gt; i.e., delivered artfully rather than clumsily. See &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/learning-exposition-from-classics.html&quot; target=&quot;_blank&quot;&gt;notes on exposition here&lt;/a&gt; for more details. Note classic expo delivery by Jordan Baker, Robert Cohn, and Harding.
  721.  &lt;br /&gt;&lt;br /&gt;
  722. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Refrain from inappropriate use of dialogue, especially irrelevant dialogue, by minor characters&lt;/b&gt;. From screencraft.org: &quot;Every line of dialogue in the film has to matter and move the story and characters forward. Giving lines to characters &quot;in the room&quot; for the mere sake that they are in the room is a very common mistake that takes away from the rest of the dialogue that should be in the script. They are there to support the lead characters and the story. If what they are saying isn’t accomplishing that, it should be cut.&quot;
  723.  &lt;br /&gt;&lt;br /&gt;
  724. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt;&lt;b&gt; Like characters and plot, dialogue also has a beginning, middle, and end&lt;/b&gt; - it&#39;s own arc, so to speak. Consider this carefully. What must be addressed and resolved? What must be introduced, but end with a mystery? From screencraft.org: &quot;Each scene of dialogue has to build to a climax, each story act of dialogue has to build to a climax, and each screenplay’s dialogue has to build to that ultimate climax at the end.&quot;
  725. &lt;br /&gt;&lt;br /&gt;  
  726. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; Insofar as possible, &lt;b&gt;give the leading and major secondary characters their own dialogue style&lt;/b&gt;, e.g., Felonious Mack is a nervous petty criminal who hesitantly speaks with lines of clipped speech in contrast to the magnificent Jezzie Belle who presents herself as flamboyant and outgoing.
  727.  &lt;br /&gt;&lt;br /&gt;
  728. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; Punctuation purists senselessly quibble over the use of em dashes (e.g., &quot;You should close it and -&quot;) to signify speech interruption, and ellipses &quot;...&quot; to signify pauses, but only in the context of novel writing. Screenplay writers use both of these, as appropriate, and it works perfectly. &lt;b&gt;Truly, it&#39;s unrealistic not to include artful pauses and interruptions in the course of dialogue.&lt;/b&gt; In summary, do what works, but wisely.
  729.  
  730.  &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Dialogue Samples from Novel and Stage&lt;/span&gt;&lt;/h2&gt;&lt;b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizZa4NEiqCZulKn3NWq69dj1r1cFWjiKZk8VCuPOEr1xrZUq2UxLOeIKPpcMeovsywjEdS34TBQC4f4BkoQ3SGAPHDMPXQQKfgt1bmTihapryAv8RJt-KRhc9zJtzT7lc3eZM44f3QBVw/s499/leonard.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;499&quot; data-original-width=&quot;330&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizZa4NEiqCZulKn3NWq69dj1r1cFWjiKZk8VCuPOEr1xrZUq2UxLOeIKPpcMeovsywjEdS34TBQC4f4BkoQ3SGAPHDMPXQQKfgt1bmTihapryAv8RJt-KRhc9zJtzT7lc3eZM44f3QBVw/s320/leonard.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;From &lt;i&gt;Freaky Deaky&lt;/i&gt; by Elmore Leonard.&lt;/b&gt; A police Detective, Chris, is staying at his father&#39;s apartment after getting kicked out by his girlfriend. This initiates an understanding of the relationship between son and father, delivers a bit of exposition, and concerns a specific topic of interest relevant to the plot line. Leonard&#39;s tags (&quot;said&quot;) are kept simple and sparse. Also, the dialogue obeys the rule of &quot;enter late,&quot; i.e., it opens without preliminaries, just jumps right into the subject at hand. Chris as &quot;a lot of trouble with women.&quot;&lt;br /&gt;
  731.  
  732. &lt;ul&gt;&lt;span style=&quot;font-family: georgia, arial; font-size: 14px;&quot;&gt;
  733.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;His dad said, &quot;You seem to have a lot of trouble with women. They keep throwing you out.&quot;&lt;br /&gt;
  734.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I do what she wants, she comes up with something else, I don&#39;t talk to her.&quot;&lt;br /&gt;
  735.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I don&#39;t know what it is,&quot; his dad said, &quot;you&#39;re not a bad-looking guy. You could give a little more thought to your grooming. Get your hair trimmed, wear a white shirt now and then, see if that works. What kind of aftershave you use?&quot;&lt;br /&gt;
  736.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I&#39;m serious.&quot;&lt;br /&gt;
  737.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I know you are and I&#39;m glad you came to me. When&#39;d she throw you out, last night?&quot;&lt;br /&gt;
  738.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;She didn&#39;t throw me out, I left. I phoned, you weren&#39;t home, so I stayed at Jerry&#39;s.&quot;&lt;br /&gt;
  739.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;When you needed me most,&quot; his dad said. &quot;I&#39;m sorry I wasn&#39;t here.&quot;&lt;br /&gt;
  740.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Actually,&quot; Chris said, &quot;you get right down to it, Phyllis&#39;s the one does all the talking. She gives me banking facts about different kinds of annuities, fiduciary trusts, institutional liquid asset funds... I&#39;m sitting here trying to stay awake, she&#39;s telling me about the exciting world of trust funds.&quot;&lt;br /&gt;
  741.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I had a feeling,&quot; his dad said, &quot;you&#39;ve given it some thought. You realize life goes on.&quot;&lt;br /&gt;
  742.     &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I&#39;m not even sure what attracted me to her in the first place.&quot;&lt;br /&gt;
  743.  &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;His dad said, &quot;You want me to tell you?&quot;&lt;/span&gt;&lt;/ul&gt;&lt;br /&gt;
  744.  
  745.  &lt;hr /&gt;&lt;br /&gt;
  746.  
  747. &lt;b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAkPsfHGKsZAZhEtvqsZWVGfKEoryL5owhiUj4cLYTxUUU34cbq3BxYsNeYqNpMCRAdzijK8ZXihXuOu0M5XQRGyekQM536NLJ3_9Obkc0TccodQFd70pzLzpdsuNLRmMZ_qyaLmPHZkQ/s600/gleeson.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;600&quot; data-original-width=&quot;600&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAkPsfHGKsZAZhEtvqsZWVGfKEoryL5owhiUj4cLYTxUUU34cbq3BxYsNeYqNpMCRAdzijK8ZXihXuOu0M5XQRGyekQM536NLJ3_9Obkc0TccodQFd70pzLzpdsuNLRmMZ_qyaLmPHZkQ/s320/gleeson.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;From &lt;i&gt;Piper Robbin and the American Oz Maker&lt;/i&gt;&amp;nbsp;by Warwick Gleeson&lt;/b&gt;. Piper Robbin is having a talk with her father in their Brooklyn apartment as they prepare to enjoy take-out and a movie. Note the difference in tone compared to the Leonard sample above, as well as the more vibrant energy that makes the Leonard characters seem almost flat in comparison (detective mystery vs. science fantasy genre). &lt;b&gt;Note also the topics discussed are provocative and curious by their very nature.&lt;/b&gt; This passage establishes relationship between the two characters, allows the reader to experience their personalities, and parcels in necessary exposition. Narrative interjection is not overdone, just enough to render appropriate imagery relevant to the characters. Tags are simple, and we have a few em dashes and ellipses. And what else? A bit of friendly conflict between the father and daughter.
  748. &lt;br /&gt;
  749.  &lt;ul&gt;&lt;span style=&quot;font-family: georgia, arial; font-size: 14px;&quot;&gt;
  750. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Impressive in a primitive way, &lt;i&gt;mon amour précieux&lt;/i&gt;,&quot;
  751. Edison Godfellow said of Manhattan one night while using the
  752. remote control to locate a suitably ridiculous movie on
  753. ComFlix prior to consuming Ms. Song’s khor stew, &quot;But like a
  754. mound of ants in comparison to London.&quot;&lt;br /&gt;
  755. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;Piper rolled her eyes. &quot;Your old magical super city, eh?&quot;&lt;br /&gt;
  756. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Yes, my own Oz,&quot; he said, followed by a whimsical smile.
  757. &quot;I spent years planning each and every molecule.&quot;&lt;br /&gt;
  758. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;But what does that matter now?&quot;&lt;br /&gt;
  759. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Next to nothing,&quot; Edison said, verging on gloom.&lt;br /&gt;
  760. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;And how much magic to erect those evil towers, Dad?&quot;&lt;br /&gt;
  761. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Enough to solve the debt of Ireland.&quot;&lt;br /&gt;
  762. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;And how many Englishmen did you piss off?&quot;&lt;br /&gt;
  763. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Thousands, but they grinned once I created flying cars.&quot;&lt;br /&gt;
  764. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;Piper gave him the Bronx cheer.&lt;br /&gt;
  765. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Daughter, how is it you can behave so immaturely after
  766. more than twenty centuries?&quot; &lt;br /&gt;
  767. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Dad, sometimes it&#39;s you who act like a child. Think of the
  768. good you could have done in the world with all that magic...
  769. And by the way, you&#39;ve spouted off about London at least five
  770. times over the past week. Do you really need to rabbit-hole
  771. your shit?&quot;&lt;br /&gt;
  772. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Psychoanalysis is a long dead pseudo-science, Piper, and
  773. you should know—&quot;&lt;br /&gt;
  774. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;Enough was enough!&lt;br /&gt;
  775. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;She interrupted him with her signature snap: small white
  776. hands palm up above her mango head, arms elbows out and
  777. pushing high, her expression a big smiley face—all achieved in
  778. a quarter of a second.&lt;br /&gt;
  779. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;In reaction, his eyebrows pinched ever so slightly, as if
  780. feeling a surge of pain. &quot;I loathe that silly snap thing,&quot; Edison
  781. said. &quot;Must you further enhance your preposterous role as an
  782. American?&quot;&lt;br /&gt;
  783. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I&#39;m having fun, Dad, and for the first time since jazz was
  784. invented.”&lt;br /&gt;
  785. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;But the language you damage is not—&quot;&lt;br /&gt;
  786. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Brooklyn talk is &lt;i&gt;dumb good&lt;/i&gt;. Brooklyn is my &lt;i&gt;muther-f’n
  787. music&lt;/i&gt; that talks to me.&quot;&lt;br /&gt;
  788. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Please, Piper. You attempted a farcical identity restart
  789. many years ago in Hawaii. It failed miserably.&quot;&lt;br /&gt;
  790. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;That&#39;s because King Kamehameha was too anxious to spread his DNA. He ruined everything.&quot;&lt;br /&gt;
  791. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Recall... you once lived as Grand Sorceress of the Holy
  792. Roman Empire. You commanded every room you ever
  793. entered with power and magnificence. Magicians feared you.
  794. Kingdoms groveled before you.&quot;&lt;br /&gt;
  795. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Yeah, yeah, and I can return to those groveling moments
  796. whenever, but it all bores me, kinda like a plate of cold putz
  797. and cheese.&quot;&lt;br /&gt;
  798.    &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Putz and cheese?&quot; &lt;/span&gt; &lt;/ul&gt;&lt;br /&gt;
  800.  &lt;hr /&gt; &lt;br /&gt;
  801.  
  802.  
  803.  
  804.  
  805.  
  806. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBBjD80A0DDUY4VCJaPjCbfz8tZB12FP64WHI20i-pavGLIpTVWy0Mb8rNL4XvgwOBFgs6jUbA_pqpEmrXdVOrM0V0rHgHS0sGKhK_Bk2T57Kvz-b2GlMCUTJOotmNB6LRlM8vp9esv6M/s549/glass.png&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;366&quot; data-original-width=&quot;549&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBBjD80A0DDUY4VCJaPjCbfz8tZB12FP64WHI20i-pavGLIpTVWy0Mb8rNL4XvgwOBFgs6jUbA_pqpEmrXdVOrM0V0rHgHS0sGKhK_Bk2T57Kvz-b2GlMCUTJOotmNB6LRlM8vp9esv6M/s320/glass.png&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;From The Glass Menagerie by Tennessee Williams&lt;/b&gt;
  807. (the following dialogue creates suspense as it helps define the character Laura, and her relationship to her mother, Amanda; it also supports the major complication, i.e., the problem with the social environs)&lt;br /&gt;
  808.  
  809. &lt;ul&gt;&lt;span style=&quot;font-family: georgia, arial; font-size: 14px;&quot;&gt;
  810. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Laura, where have you been going when you&#39;ve gone out pretending that you were going to
  811. business college?&quot;  Amanda asked. &lt;br /&gt;
  812. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I&#39;ve just been going out walking.&quot;&lt;br /&gt;
  813. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;That&#39;s not true.&quot;  Amanda said. &lt;br /&gt;
  814. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;It is.  I just went walking.&quot; &lt;br /&gt;
  815. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Walking?  Walking?  In winter?  Deliberately courting pneumonia in that light coat?  Where did you walk to, Laura?&quot;
  816. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;All sorts of places—mostly in the park.&quot;&lt;br /&gt;
  817. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Even after you&#39;d started catching that cold?&quot;&lt;br /&gt;
  818. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;It was the lesser of the two evils, Mother.&quot; &lt;br /&gt;
  819. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;From half past seven till after five every day you mean to tell me you walked around in the park, because you wanted to make me think that you were still going to Rubicam&#39;s Business College?&quot;&lt;br /&gt;
  820. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;It wasn&#39;t as bad as it sounds.  I went inside places to get warmed up.&quot; &lt;br /&gt;
  821. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Inside where?&quot; &lt;br /&gt;
  822. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I went in the art museum and the bird houses at the Zoo. I visited the penguins every day.
  823. Sometimes I did without lunch and went to the movies.  Lately, I&#39;ve been spending most of my afternoons in the Jewel Box, that big glass house where they raise the tropical flowers.&quot; &lt;br /&gt;
  824. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;You did all this to deceive me, just for deception?&quot;&lt;br /&gt;  
  825. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Mother, when you&#39;re disappointed, you get that awful suffering look on your face, like the picture of Jesus&#39; mother in the museum!&quot;&lt;/span&gt; &lt;/ul&gt;&lt;br /&gt;
  827.  &lt;hr /&gt; &lt;br /&gt;
  828.  
  829.  
  830. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  831. &lt;b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUdgoyzI83MfBDcgwG8TKu4CyjBUXdW21PxIOfKo8sYunYqgVDof05HIXx7neyay2JgAHuvC21H_KV-cSd34YO8ixsq1oIQDtpAzyy8MKAdPzXWruom6PZn_hwfO4jI1-ucmCTkDpAFvY/s2048/price.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;2048&quot; data-original-width=&quot;1329&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUdgoyzI83MfBDcgwG8TKu4CyjBUXdW21PxIOfKo8sYunYqgVDof05HIXx7neyay2JgAHuvC21H_KV-cSd34YO8ixsq1oIQDtpAzyy8MKAdPzXWruom6PZn_hwfO4jI1-ucmCTkDpAFvY/s320/price.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;From &lt;i&gt;Private Contentment&lt;/i&gt; by Reynolds Price.&lt;/b&gt; A man and a woman stop beside a creek to rest and talk. Elements worth noting include the value in this context of clipped speech, the lack of tags due to both characters being clearly delineated (we know who is talking), the artful delivery of exposition (about the woman), the presence of tension between the two, and &lt;b&gt;the role of the man as a foil character&lt;/b&gt;. In other words, he exists to manifest and reflect the qualities of the woman. &lt;br /&gt;
  832.  
  833. &lt;ul&gt;&lt;span style=&quot;font-family: georgia, arial; font-size: 14px;&quot;&gt;
  834. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Let&#39;s don&#39;t stay here, please,&quot; she said.&lt;br /&gt;
  835. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Got homework to do?&quot; &lt;br /&gt;
  836. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Latin, but that&#39;s not why.&quot;&lt;br /&gt;
  837. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Scared of Nazi bombers?&quot;&lt;br /&gt;
  838. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I used to be. When the war first started, I thought every plane passing over at night had me in the
  839. bombsight.  Now I doubt even Germans would want this place.&quot;&lt;br /&gt;
  840. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Seems nice to me.&quot;&lt;br /&gt;
  841. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;It&#39;s better right down by the creek.&quot;&lt;br /&gt;
  842. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I could build a fire here—&quot;&lt;br /&gt;
  843. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I said I couldn&#39;t stay here.&quot;&lt;br /&gt;
  844. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Lead the way, lady.&quot;&lt;br /&gt;
  845. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Don&#39;t make fun.  This is where I was miserable.&quot;&lt;br /&gt;
  846. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;What happened here?&quot;&lt;br /&gt;
  847. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;She walks over and kneels beside the creek bank, dips her right hand into the water.
  848. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Is it cold?  he said.&quot;&lt;br /&gt;
  849. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;No, warm for some reason.  You can sit down here.&quot;&lt;br /&gt;
  850. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Thank you.  I&#39;m tired.&quot;&lt;br /&gt;
  851. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I knew you&#39;d complain.&quot;&lt;br /&gt;
  852. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I just told a simple truth.&quot;&lt;br /&gt;
  853. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I used to love it here.&quot;&lt;br /&gt;
  854. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;You said you were miserable.&quot;&lt;br /&gt;
  855. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;That&#39;s why I loved it.  I came here and talked to what couldn&#39;t talk back: rocks, leaves, lizards, frogs.&quot;&lt;br /&gt;
  856. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;What would you say?&quot;&lt;br /&gt;
  857. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I&#39;d ask for things—a life like everybody else.&quot;&lt;/span&gt;&lt;/ul&gt;&lt;br /&gt;
  858.  
  859. &lt;hr /&gt;
  860.  
  861. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2522cUZ_tmcqzYGgdrDvRX7p8Ah5QMCIm_35HvxbWFqQtVqgHhc-4XQw9YCHpTRrMGeZACao-iznez8iSG3CC1CxUlrC_Q2OnCPP0WdhuNppaf4eJR7Bc28GmJRGbSr-TVcEQTCgxPx4/s450/joyce.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;450&quot; data-original-width=&quot;300&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2522cUZ_tmcqzYGgdrDvRX7p8Ah5QMCIm_35HvxbWFqQtVqgHhc-4XQw9YCHpTRrMGeZACao-iznez8iSG3CC1CxUlrC_Q2OnCPP0WdhuNppaf4eJR7Bc28GmJRGbSr-TVcEQTCgxPx4/s320/joyce.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;From &lt;i&gt;Portrait of the Artist as a Young Man&lt;/i&gt; by James Joyce&lt;/b&gt;. Who are we to tell James Joyce how to write, but a few of the tags and adverbs would probably be deleted by contemporary editors; however, the presence of these does nothing to dilute the intensity of the drama. Rather than lecture on the socio-political problems of Ireland, Joyce places his characters at a Christmas dinner table and let&#39;s them go at it. Mr. Dedalus is the provocateur of the conflict that ramps up to violent frequency. As a bonus, we are treated to historical exposition concerning Ireland. Also, note the added narrative interjection to match the dinner mechanics, &lt;b&gt;as well as each distinctive personality and the dynamics that bring them to life:&lt;/b&gt; Dante, Mr. Casey, and Mr. Dedalus.&amp;nbsp;&lt;br /&gt;
  862.  &lt;ul&gt;&lt;span style=&quot;font-family: georgia, arial; font-size: 14px;&quot;&gt;
  863. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;There&#39;s a tasty bit here we call the Pope&#39;s nose.  If any lady or gentleman...&quot;&amp;nbsp; He held a piece of
  864. fowl up on the prong of the carving fork … &quot;I&#39;d better eat it myself because I&#39;m not well in my health lately.&quot; &lt;br /&gt;
  865. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;He winked at Steven, and replacing the dish cover, began to eat. &lt;br /&gt;
  866. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;There was silence while he ate.  Then he said: &lt;br /&gt;
  867. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Well now, the day kept up fine after all.  There were plenty of strangers down too.&quot;
  868. Nobody spoke.  He said again: &lt;br /&gt;
  869. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;I think there were more strangers down than last Christmas.&quot;  He said this then, receiving no reply,
  870. remarked bitterly:  &quot;Well, my Christmas dinner has been spoiled anyway.&quot;&lt;br /&gt;
  871. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;There could be neither luck nor grace,&quot;  Dante said, &quot;in a house where there is no respect for the
  872. pastors of the church.&quot; &lt;br /&gt;
  873. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;Mr. Dedalus threw his knife and fork noisily on his plate.&lt;br /&gt;
  874. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Respect!&quot;  he shouted.  &quot;Is it for Billy with the lip or for the tub of guts up in Armagh.  Respect!&quot; &lt;br /&gt;
  875. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Princes of the Church,&quot; said Mr. Casey with slow scorn.&lt;br /&gt;
  876. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Lord Leitrim&#39;s coachmen, yes,&quot;  said Mr. Dedalus. &lt;br /&gt;
  877. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;They are the Lord&#39;s anointed,  Dante said.  &quot;They are an honor to their country.&quot;&lt;br /&gt;
  878. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Tub of guts,&quot; said Mr. Dedalus coarsely.  &quot;He had a handsome face, mind you, in repose.  You
  879. should see that fellow lapping up his bacon and cabbage on cold winter&#39;s day!&quot; &lt;br /&gt;
  880. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;He twisted his features into a grimace of heavy bestiality and made a lapping noise with his lips.&lt;br /&gt;
  881. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Really, Simon,&quot;  said Mrs. Dedalus, &quot;you should not speak that way before Steven.  It&#39;s not right.&quot; &lt;br /&gt;
  882. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Oh, he&#39;ll remember all this when he grows up!&quot;  exclaimed Dante hotly.  &quot;The language he heard
  883. against God and religion and priests in his own house.&quot; &lt;br /&gt;
  884. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Let him remember too,&quot; furiously cried Mr. Casey to her from across the table, &quot;the language with
  885. which the priests and the priest&#39;s pawns broke Parnell&#39;s heart and hounded him into his grave. Let him
  886. remember that too when he grows up!&quot; &lt;br /&gt;
  887. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;Sons of bitches!&quot;  cried Mr. Dedalus.  &quot;When he was down they turned on him to betray him and
  888. rend him like rats in a sewer. Lowlived dogs! And they look it! By Christ, they look it!&quot; &lt;br /&gt;
  889. &amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&quot;They behaved rightly,&quot; cried Dante. &quot;Honor to them!&quot; &lt;/span&gt;&lt;/ul&gt;
  890.    &lt;br /&gt;
  891.  
  892. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/10/dialogue-never-gratuitous-word-or.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBnqYf7b3iiP23Xt73jPJjOd-ecLzWqGBQbU3_jikSkQ8OvMz6JXqQNcC2pAliDweYabvrhgune5QSPeXwM4faFfG43fEu5BG7bBacVzL0GxRPOa-I1XzndE5XJPqQqKyotaLnZvpHZ7k/s72-w400-h275-c/glengarry.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-2887446321261643259</guid><pubDate>Sun, 03 Jan 2021 21:47:00 +0000</pubDate><atom:updated>2021-01-05T10:00:26.748-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">character development</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><category domain="http://www.blogger.com/atom/ns#">secondary characters</category><title>The Six Act Two-Goal Novel</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;What makes for good drama is a constant.
  893. &lt;br /&gt;&lt;br /&gt;  
  894. To begin, we combine Siegal&#39;s &quot;nine act structure - two goal&quot; screenplay (very much like the Syd Field three act except that the &quot;reversal&quot; from Field&#39;s structure joins &quot;Act 5&quot; in Siegal&#39;s version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story. We concur.&amp;nbsp;&lt;/b&gt;&lt;/span&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;i&gt;&lt;br /&gt;&lt;/i&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;NOTE:&lt;/b&gt;&lt;i&gt;&amp;nbsp;&quot;Plot Point&quot; is defined here as a major occurrence that emphatically changes the course of the story. In the genre novel as a whole, we see three to five major plot points depending on various factors: a first PP that begins the rising action, second PP defined by the first major reversal, a third PP defined by a possible second major reversal, a climax PP, and a theoretical PP residing in the denouement, i.e., we think the story is going to resolve a certain way after climax, but a surprise happens that resolves it in a way not expected&lt;/i&gt;.
  895. &lt;br /&gt;&lt;br /&gt;
  896. &lt;hr /&gt;
  897.  
  898. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCWRdC4ouu-SH3YXjxYR5_x_Mr8q25f8KM37Z4TuLetyyM_31GnJ1yeCr-uybX5FTTtGxC9gHfe-W1pLDJX9_jSjEToI1Jlatmp-7C2c1LEBSVl_LPFdx_6PlY5soe18p5zgx_fe7RZao/s258/sixact2.png&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;258&quot; data-original-width=&quot;256&quot; height=&quot;321&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCWRdC4ouu-SH3YXjxYR5_x_Mr8q25f8KM37Z4TuLetyyM_31GnJ1yeCr-uybX5FTTtGxC9gHfe-W1pLDJX9_jSjEToI1Jlatmp-7C2c1LEBSVl_LPFdx_6PlY5soe18p5zgx_fe7RZao/w319-h321/sixact2.png&quot; width=&quot;319&quot; /&gt;&lt;/a&gt;&lt;/div&gt;Algonkian Writer Conferences developed the &lt;b&gt;Six Act Two-Goal&lt;/b&gt; novel planning outline for all writers of novel-length dramatic fiction, regardless of genre, as well as narrative non-fiction. The point is to utilize a tightly plotted act structure, similar to that used by screenplay writers, to effectively brainstorm competitive and suspenseful plots for the genre novel (fantasy, SF, YA/MG, mystery, thriller, crime, historical, women&#39;s fiction, etc.).  Upmarket or literary fiction utilizing strong plot lines also benefit (see examples below).
  899. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;In the opening of a story ignited directly or indirectly by the antagonist, the protagonist(s) are focused to embark on their primary task, challenge, journey, or struggle (first major plot point), and thus follows a &quot;first major goal&quot; to win that struggle, thereby initiating the second act of the story (Syd Field model); however, by the middle of the second act or later, the protagonist(s) realize they have pursued the wrong goal. A second goal is now needed. The protagonist(s) are therefore forced to alter their course and struggle to accomplish a new and presumably more productive means-to-an-end.&amp;nbsp;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;br /&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;To put it simply, &lt;/b&gt;storming the walls didn&#39;t work and now the Trojan Horse solution is needed. Finding the wizard wasn&#39;t sufficient, now the little band of heroes must steal the Wicked Witch&#39;s broom. Acquiring a reasonably priced rest home for her mentally unstable father failed, now the impoverished daughter must prepare a room in her basement.&amp;nbsp;Attempting to flee got his knees pulped by a sledge hammer, now the captive author must connive a more subtle and deceptive means of escape.&lt;br /&gt;&lt;br /&gt;
  900. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; The fusion of the Siegal and Field models we outline below thus becomes a tighter six act model for the novel or narrative nonfiction. However, before you begin using the SATG, take note that &lt;i&gt;your most important elements&lt;/i&gt; to sketch and produce from the onset are your: &lt;br /&gt;
  901. &lt;ul&gt;
  902.  &lt;li&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html&quot; target=&quot;_blank&quot;&gt;High Concept Story&lt;/a&gt;&lt;/li&gt;
  903. &lt;li&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/protagonist-sympathy-factors-in-hook.html&quot; target=&quot;_blank&quot;&gt;Protagonist Hook&lt;/a&gt;&amp;nbsp;and &lt;a href=&quot;http://www.novelwritingonedge.com/2020/10/hook-lines-with-core-wounds.html&quot; target=&quot;_blank&quot;&gt;Core Wound Defined&lt;/a&gt;&amp;nbsp;(+&amp;nbsp;&lt;a href=&quot;https://en.wikipedia.org/wiki/Protagonist&quot; target=&quot;_blank&quot;&gt;General &quot;P&quot; Definition&lt;/a&gt;&amp;nbsp;)&lt;/li&gt;
  904. &lt;li&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/antagonists-in-novel-most-important.html&quot; target=&quot;_blank&quot;&gt;Antagonist&lt;/a&gt;&lt;/li&gt;
  905. &lt;li&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/the-novels-agon-primary-conflict.html&quot; target=&quot;_blank&quot;&gt;The Novel &quot;Agon&quot;&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/great-settings-maximize-opportunity.html&quot; target=&quot;_blank&quot;&gt;Rich and Potent Setting&lt;/a&gt;&lt;/li&gt;
  906.    &lt;/ul&gt;
  907. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt;&amp;nbsp;&lt;b&gt;BTW, keep in mind that you construct your novel in &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/scenes-to-z-glue-drama-sex-sass.html&quot; target=&quot;_blank&quot;&gt;units of scene&lt;/a&gt;, and every scene drives the plot line(s) forward.&lt;/b&gt;
  908. &lt;br /&gt;&lt;br /&gt;
  909. &lt;/span&gt;
  910.  
  911. &lt;hr size=&quot;1&quot; /&gt;&lt;span style=&quot;font-family: arial; font-size: 14px;&quot;&gt;&lt;b&gt;&lt;u&gt;NOTE&lt;/u&gt;: we use examples of novels, stories and films below that will likely be familiar to the widest range of readers. These include &lt;span style=&quot;color: #990000;&quot;&gt;ANTIGONE, TO KILL A MOCKINGBIRD, THE HUNGER GAMES, HUCKLEBERRY FINN, ONE FLEW OVER THE CUCKOO&#39;S NEST, GLADIATOR, THE GREAT GATSBY, WAR OF THE WORLDS, CATCHER IN THE RYE, CITIZEN KANE, HARRY POTTER, DA VINCI CODE, THE MALTESE FALCON, THE SUN ALSO RISES, COLD MOUNTAIN, THE WIZARD OF OZ, and MISERY. &lt;/span&gt;But make no mistake, the rules governing the art of fiction, or good storytelling, remain steady regardless of genre, and have pretty much been fixed since Apollonius of Rhodes wrote about the Argonauts. And if you happen to be one of those writers who believes that writing a novel &quot;your way&quot; or simply &quot;from the heart&quot; or &quot;only with my character&#39;s direction&quot; means avoiding or denying the critical elements of commercial fiction and good storytelling found below, it‘s best to move on quickly from this page and seek the Elysium of your desire. All best wishes to you.&amp;nbsp;&lt;/b&gt;&lt;/span&gt;&lt;hr size=&quot;1&quot; /&gt;&lt;br /&gt;
  912.  
  913. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  914.  
  915. &lt;span style=&quot;color: #a60000; font-family: century gothic, arial, helvetica; font-size: 20px;&quot;&gt;&lt;b&gt;ACT ZERO &lt;/b&gt;&lt;/span&gt;
  916. &lt;br /&gt;&lt;br /&gt;
  917. &lt;b&gt;Backstory to Set Up the Tale&lt;/b&gt;
  918. &lt;br /&gt;&lt;br /&gt;
  919. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; You must carefully forge your backstory before you begin. Understand the issues below. This does not directly appear in the story except by use of flashback and via other methods to &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/learning-exposition-from-classics.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;DELIVER EXPOSITION&lt;/b&gt;&lt;/a&gt;: &lt;br /&gt;
  920. &lt;ul&gt;&lt;b&gt;
  921. &lt;li&gt;Writers set up the disaster that is coming in the story. &lt;br /&gt;
  922. &lt;/li&gt;&lt;li&gt;Forces need to already be in motion in order to create conflict for the characters. &lt;br /&gt;
  923. &lt;/li&gt;&lt;li&gt;Usually the emphasis for the backstory will be on the antagonist, but even protagonists carry baggage into the story.&lt;br /&gt;
  924. &lt;/li&gt;&lt;li&gt;Years and years of planning might have gone into the collision course. &lt;/li&gt;&lt;/b&gt;&lt;/ul&gt;&lt;/span&gt;&lt;/span&gt;
  925.  
  926. &lt;hr size=&quot;1&quot; /&gt;&lt;br /&gt;
  927.  
  928. &lt;span style=&quot;color: #a60000; font-family: century gothic, arial, helvetica; font-size: 20px;&quot;&gt;&lt;b&gt;ACT ONE&lt;/b&gt;&lt;/span&gt; (Page 1 - 30+)
  929. &lt;br /&gt;&lt;br /&gt;
  930. &lt;b&gt;Issues of The Hook: Protagonist Intro - Antagonist First? - Inciting Incident - Extreme Importance of Setting - Establishment of Characters - The MacGuffin - In Media Res - Crucial Sympathy Factors - Something Bad Happens - Exposition - Theme?&lt;/b&gt;
  931. &lt;br /&gt;&lt;br /&gt;
  932. What needs to be done from the start? Why is the hook of Act I critical to this novel and to being taken seriously as a writer?
  933. &lt;br /&gt;&lt;ul&gt;
  934.  
  935. &lt;li&gt;&lt;b&gt;The author showcases their &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/writing-brilliant-fiction-narrative-in.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;BEST PROSE AND NARRATIVE SKILLS&lt;/b&gt;&lt;/a&gt;&lt;/b&gt;. Opening scenes clearly use show-don&#39;t-tell effects to render the protagonist and major characters as necessary. Scenes themselves have clear beginnings, middles, and ends. Point of view is rendered masterfully on both a distant and close level. Narrative and story progression don&#39;t feel overly derivative, but rather fresh and suspenseful, definitely engaging. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; And btw, Algonkian Writer Conferences recommend you consider utilizing the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/scenes-to-z-glue-drama-sex-sass.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;SCENE STORYBOARD GUIDE&lt;/b&gt;&lt;/a&gt; at this point to sketch important scenes ahead of time (crucial).
  936. &lt;br /&gt;&lt;br /&gt;
  937.  
  938. &lt;/li&gt;&lt;li&gt;&lt;b&gt;Act I foreshadows the primary external conflict or complication&lt;/b&gt; (related to the protagonist goal in ACT II) to come.&lt;br /&gt;&lt;br /&gt;
  939.  
  940. &lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/protagonist-sympathy-factors-in-hook.html&quot; target=&quot;_new&quot;&gt;&lt;b&gt;SYMPATHY FACTORS&lt;/b&gt;&lt;/a&gt; in the first 20 pages, or fewer, are critical for connecting the reader with your protagonist. We must see the character playing out their role in active scenes. We learn about them, their strengths and weaknesses, idiosyncrasies and flaws, and we learn these things by virtue of their actions, various internal concerns and conflict, and in the way other characters react to them in real time &lt;b&gt;(vital--set up &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/deep-and-fresh-traits-for-majors.html&quot; target=&quot;_blank&quot;&gt;SECONDARY CHARACTERS&lt;/a&gt; whose role, at least in part, it is to reveal the traits and inclinations of the protagonist)&lt;/b&gt;. &lt;br /&gt;&lt;br /&gt;
  941.  
  942. &lt;/li&gt;&lt;li&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Conflict begins on one or two of three levels&lt;/b&gt; (primary story conflict, inner conflict(s), and interpersonal conflict). &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/the-novels-agon-primary-conflict.html&quot; target=&quot;_new&quot;&gt;&lt;b&gt;THREE LEVELS OF CONFLICT&lt;/b&gt;&lt;/a&gt;.
  943. &lt;br /&gt;&lt;br /&gt;
  944.  
  945. &lt;/li&gt;&lt;li&gt; &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Setting is established&lt;/b&gt; (and it must be one that works &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/great-settings-maximize-opportunity.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;TO CREATE VERVE AND OPPORTUNITIES&lt;/b&gt;&lt;/a&gt;). &lt;br /&gt;&lt;br /&gt;
  946.  
  947. &lt;/li&gt;&lt;li&gt;&lt;b&gt;IN MEDIA RES&lt;/b&gt; may be employed here (&quot;beginning in the middle&quot;), ie, beginning where it most benefits the story, at a point of action, turmoil, or during a lively or curious event, etc.&lt;br /&gt;&lt;br /&gt;
  948.  
  949. &lt;/li&gt;&lt;li&gt;&lt;b&gt;Something bad, irritating or tension-causing usually happens&lt;/b&gt; (Chief Bromden gets electro-shocked in the CUCKOO&#39;S NEST or Jake debates his impotency with his ex-girlfriend in THE SUN ALSO RISES) or has just happened (murder victim found in the mayor&#39;s plum tree).
  950. &lt;br /&gt;&lt;br /&gt;
  951.  
  952. &lt;/li&gt;&lt;li&gt;An &lt;b&gt;INCITING INCIDENT&lt;/b&gt; may take place that sets in motion events leading to the FIRST MAJOR PLOT POINT (see Act II below). In the movie, GLADIATOR, Commodus murders his Emperor father (Inciting Incident) which inevitably leads to the Emperor&#39;s general, Maximus, realizing the murder. He defies Commodus and faces execution (Plot Point) as a result. In King&#39;s MISERY, the author protagonist gets in a car accident and is rendered helpless (Inciting Incident). Kathy Bates finds him and imprisons him in her house (Plot Point). In ONE FLEW OVER THE CUCKOO&#39;S NEST, McMurphy is sent to the asylum as a result of a fight (Inciting Incident) and later bets the inmates that he can shake up the Big Nurse and not get sent to the shock shop (Plot Point).
  953. &lt;br /&gt;&lt;br /&gt;
  954.  
  955. &lt;/li&gt;&lt;li&gt; &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; The author cleverly &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/learning-exposition-from-classics.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;PARCELS IN EXPOSITION in a variety of ways&lt;/b&gt;&lt;/a&gt;, via narrative, dialogue, characters, flashbacks, etc.  NOTE that all major exposition must be delivered before or during the scene wherein the FIRST MAJOR PLOT POINT takes place.  All information necessary to understand the story going forward must be known. Pardon the cliche, but exposition horse before the plot point cart at all times. In THE SUN ALSO RISES, Jake delivers the final round of exposition about his love, Brett Ashley, to his rival, Robert Cohn, just as Robert is making it known he wants Brett for himself. Jake reveals Brett&#39;s background and future plans (Exposition), and Robert indicates his plans for pursuing her (Plot Point).&lt;br /&gt;&lt;br /&gt;
  956.  
  957. &lt;/li&gt;&lt;li&gt;&lt;b&gt;&lt;a href=&quot;http://en.wikipedia.org/wiki/MacGuffin&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;THE MACGUFFIN&lt;/b&gt;&lt;/a&gt;, if any, might well be introduced&lt;/b&gt; or foreshadowed as an object (or even goal) which catalyzes the plot line, or at least assists creates a source of mystery or tension (THE MALTESE FALCON or the mysterious head scar on HARRY POTTER).
  958. &lt;br /&gt;&lt;br /&gt;
  959.  
  960. &lt;/li&gt;&lt;li&gt;&lt;b&gt;Something called THEME&lt;/b&gt; might well get a foothold here. Does the author have a message or a bigger point she or he wishes to portray in the plot, or by means of the character struggles, their conflicts and arcs, or perhaps by means of the setting itself?  All the above?  And theme doesn&#39;t have to be the exclusive province of literary or upmarket literature. Regardless, here are some &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/cuckoos-rhinoceri-and-miss-l-i-admit.html&quot; target=&quot;_blank&quot;&gt;great examples of theme from the dark classics&lt;/a&gt;.&lt;b&gt; Please read and consider writing a &quot;theme statement&quot; for your own novel. It can&#39;t help but inform your work and make it richer and more relevant to the reader.&lt;/b&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;
  961.  
  962. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;The &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/antagonists-in-novel-most-important.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;ANTAGONIST AND HIS OR HER MINIONS&lt;/b&gt; &lt;/a&gt;(if any), are introduced to a meaningful degree, along with more characters as necessary, or sidekicks of the protagonist. &lt;/b&gt;
  963. &lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;b&gt;
  964. Note to Writer:&lt;/b&gt; don&#39;t create a minor or major character who doesn&#39;t somehow play a role in the development of the plot(s) and/or the protagonist arc. And they must &lt;i&gt;&lt;b&gt;create a presence&lt;/b&gt;&lt;/i&gt; on the stage of the page, either by virtue of their personality, position, attitude of the moment, or all of the above. You must consider and weigh and sketch each character carefully.  Imagine they are all in a film.  Will they seem gratuitous or vital to you? Sufficiently energetic or too quiet?&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;
  965. &lt;b&gt;The &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/antagonists-in-novel-most-important.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;PRIMARY ANTAGONIST&lt;/b&gt;&lt;/a&gt; might remain a mystery (Lord Voldemort in HARRY POTTER), or be introduced first&lt;/b&gt; (the Big Nurse in CUCKOO&#39;S NEST or the Opus Dei albino in DA VINCI CODE or the Wicked Witch in WIZARD OF OZ) to produce dramatic concern once protagonist accepts the goal.
  966. &lt;br /&gt;&lt;br /&gt;
  967. &lt;b&gt;&lt;u&gt;NOTE: The above is a very important dramatic effect.&lt;/u&gt; If you understand to a meaningful degree the power of the antagonist, whoever she or he may be, &lt;i&gt;then instinctive concern for the protagonist enters the reader&#39;s mind&lt;/i&gt; as soon as she or he accepts the goal in ACT TWO (see below).&lt;/b&gt;
  968. &lt;br /&gt;
  969.  
  970. &lt;hr size=&quot;1&quot; /&gt;&lt;br /&gt;
  971.  
  972. &lt;span style=&quot;color: #a60000; font-family: century gothic, arial, helvetica; font-size: 20px;&quot;&gt;&lt;b&gt;ACT TWO&lt;/b&gt;&lt;/span&gt; (Page 10+ - 50+)
  973. &lt;br /&gt;&lt;br /&gt;
  974. &lt;b&gt;More Hook: Write the Story Statement - Establishment of Major Goal - Primary External Conflict or Complication Begins - First Major Plot Point and Plot Line - Protagonist Psychology - Rising Action&lt;/b&gt;
  975. &lt;br /&gt;&lt;br /&gt;
  976. What&#39;s the mission? The goal? What must be done? Created? Accomplished? Defeated?
  977. &lt;br /&gt;&lt;br /&gt;
  978. Defy the dictator of the city and bury brother&#39;s body (ANTIGONE)?  Place a bet that will shake up the asylum (ONE FLEW OVER THE CUCKOO&#39;S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive or catalyze the plot line going forward.
  979. &lt;br /&gt;&lt;br /&gt;
  980. &lt;font color=&quot;#a60000&quot;&gt;&lt;b&gt;Note to Writer: If you can&#39;t write a simple story statement like above (which builds into your hook/log line) then you don&#39;t have a work of commercial fiction. Keep in mind that the PLOT LINE is an elaboration of  the statement, of the primary complication. Also, look over the brief summaries of films and novels in the &lt;a href=&quot;http://algonkianconferences.com/loglines.pdf&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;SAMPLE LOG LINES PDF&lt;/b&gt;&lt;/a&gt;. These contain the simple statement, but more elaborated into a short hook.&lt;/b&gt;&lt;/font&gt;
  981. &lt;br /&gt;
  982. &lt;hr size=&quot;1&quot; width=&quot;300&quot; /&gt;&lt;br /&gt;
  983. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Necessary Preparation Steps for the Author: (members utilize the AAS technique guides)&lt;/b&gt;
  984. &lt;ul&gt;
  985. &lt;li&gt;Write the story statement. Make it clear.&lt;br /&gt;
  986. &lt;/li&gt;&lt;li&gt;Brainstorm necessary complications, reversals, and conflicts on all levels.
  987. &lt;/li&gt;&lt;li&gt;Write a short synopsis to reveal the major elements and clarify.
  988. &lt;/li&gt;&lt;li&gt;Sketch the plot line(s) with notes on the proper settings.
  989. &lt;/li&gt;&lt;li&gt;Write the hook/log line and listen to how it sounds.  &lt;/li&gt;&lt;/ul&gt;
  990. &lt;hr size=&quot;1&quot; width=&quot;300&quot; /&gt;&lt;br /&gt;
  991. &lt;b&gt;The &lt;u&gt;FIRST MAJOR PLOT POINT&lt;/u&gt; therefore takes place that establishes your protagonist‘s overall goal. In other words, the course of the action or plot changes, often drastically, and usually with a change of setting.  Success seems possible.&lt;/b&gt;
  992. &lt;br /&gt;&lt;br /&gt;
  993. The &lt;a href=&quot;http://en.wikipedia.org/wiki/Rising_action#Rising_action&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;RISING ACTION&lt;/b&gt;&lt;/a&gt; of the story truly begins with the launch of the primary external conflict or complication. A means to achieve the goal is decided.  The work begins, the war begins, the feet hit the bricks, the plan to reunite the lovers is initiated. The graph has begun to rise and it won&#39;t stop until after the &lt;b&gt;CLIMAX&lt;/b&gt;.
  994. &lt;br /&gt;&lt;br /&gt;
  995. In other words, the protagonist commits to the goal(s). &lt;b&gt;But why? What is the motivation?&lt;/b&gt; What are the internal and external issues involved? She or he may go willingly into the situation because the alternative is worse, or to help an apparent victim. She or he may undertake the task not realizing the true dangers or complications ahead, out of ignorance. Another character might trick or push the protagonist into situation.
  996. &lt;br /&gt;&lt;br /&gt;
  997.  
  998. &lt;hr size=&quot;1&quot; /&gt;&lt;br /&gt;
  999.  
  1000. &lt;span style=&quot;color: #a60000; font-family: century gothic, arial, helvetica; font-size: 20px;&quot;&gt;&lt;b&gt;ACT THREE&lt;/b&gt;&lt;/span&gt; (Page 50+ - 250+)
  1001. &lt;br /&gt;&lt;br /&gt;
  1002. &lt;b&gt;Plot Line Evolution: Minor Reversals - Complications - Thee Levels of Conflict - Major Reversal Time - Plot Points - The Martians are Winning&lt;/b&gt;
  1003. &lt;br /&gt;&lt;br /&gt;
  1004. The dramatic pursuit of the goal evolves.
  1005. &lt;br /&gt;&lt;br /&gt;
  1006. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; The FIRST GOAL (the means to the end) within the master goal (the final desired result) is pursued (see STORY STATEMENT above), but this will eventually lead your protagonist to a firewall or dead end, or what is known as the MAJOR REVERSAL in the parlance of our times (Dorothy gets to Oz, but no Kansas until the broomstick is fetched). &lt;u&gt;Members should utilize the AAS craft and technique guide modules&lt;/u&gt;.
  1007. &lt;br /&gt;&lt;br /&gt;
  1008. &lt;font color=&quot;#a60000&quot;&gt;&lt;b&gt;NOTE: This act pulls out all the stops to create tension, angst, conflict, and issues for the protagonist and appropriate characters to resolve:&lt;/b&gt;&lt;/font&gt;
  1009. &lt;ul&gt;
  1010. &lt;li&gt;&lt;b&gt;MINOR REVERSALS TAKE PLACE&lt;/b&gt;: protagonist(s) struggle, perhaps score small victories of one sort or another, but these are almost always reversed. For example, McMurphy organizes the inmates and theatrically pretends to watch the World Series in defiance of the Big Nurse, but she makes her will known later and punishes him (ONE FLEW OVER THE CUCKOO&#39;S NEST). The Wicked witch makes Dorothy and company take a poppy snooze right on the verge of OZ, and later, the Guard at OZ tells them no one gets in, no way, no how!
  1011. &lt;br /&gt;&lt;br /&gt;
  1012. &lt;/li&gt;&lt;li&gt;&lt;b&gt;MINOR COMPLICATIONS TAKE PLACE&lt;/b&gt;: in other words, things happen that have a notable negative physical or emotional impact on the protagonist or those he/she cares about. These are not as strong as minor reversals, but action must be taken to overcome them. McMurphy takes the inmates out for a boat ride, but conflict at the dock with the boat captain and a need to make a quick escape takes place (ONE FLEW OVER). Meanwhile, Scarecrow hassles with crows, Tin Man is rusted, Lion overcompensates for cowardice, and Witch throws fireball. And know that &quot;minor complications&quot; can be fairly serious. In &lt;a href=&quot;http://www.fourmilab.ch/etexts/www/warworlds/b2c4.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;WAR OF THE WORLDS&lt;/b&gt;&lt;/a&gt; the major character had to bludgeon an insane curate to prevent him from giving away their hiding place to the Martians.
  1013. &lt;/li&gt;&lt;/ul&gt;
  1014.  
  1015. &lt;center&gt;&lt;table bgcolor=&quot;black&quot; cellpadding=&quot;10&quot; cellspacing=&quot;10&quot; style=&quot;width: 670px;&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td width=&quot;10&quot;&gt; &lt;/td&gt;&lt;td&gt;&lt;font color=&quot;white&quot;&gt;You get the picture. &lt;u&gt;But how many of them?&lt;/u&gt;  Good question.  &lt;b&gt;Assignment: open up and read three of the best novels in your genre that you can find&lt;/b&gt;. Analyze the scenes and pick out the reversals and complications.  Make a list.  Report back.&lt;/font&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;/center&gt;
  1016. &lt;br /&gt;
  1017.  
  1018. &lt;b&gt;Whether upmarket or genre, MINOR COMPLICATIONS combine with MINOR REVERSALS to continually spike the narrative and story. It can&#39;t be easy for the protagonist and/or her companions. If too easy, you inevitably build to classic &lt;i&gt;mid-novel sag&lt;/i&gt;. Tension runs out, wheels spin, and an inexperienced writer pads the middle with lumps of dull narrative and quiet situation. Ugh. &quot;Best Wishes&quot; rejection letter on the way. Off to a minor eBook publisher who will publish you if you have more than 100 Facebook members. &lt;/b&gt;
  1019. &lt;br /&gt;&lt;br /&gt;
  1020. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Note: as a bonus, complications and reversals also assist greatly in maintaining all three levels of conflict (see above).&lt;/b&gt;
  1021. &lt;br /&gt;&lt;br /&gt;
  1022. &lt;font color=&quot;#a60000&quot;&gt;&lt;b&gt;Also, prior to climax, we may have a smart and strong reversal or complication which serves to introduce a twist or an unexpected event in the story (sometimes called a MIDPOINT CLIMAX).&lt;/b&gt;&lt;/font&gt;o&lt;br /&gt;&lt;br /&gt;
  1023. &lt;hr size=&quot;1&quot; width=&quot;300&quot; /&gt;&lt;br /&gt;
  1024.  
  1025. &lt;b&gt;Pinch Points Reveal and Reinforce the Antagonist Aims&lt;/b&gt;
  1026. &lt;br /&gt;&lt;br /&gt;
  1027. Pinch Points: an example or reminder of the nature and implications of the antagonistic force that is not filtered by the hero&#39;s experience. We see it for ourselves in a direct way as a scene that provides a glimpse into the villain&#39;s mind. The antagonist reaffirms his or her goal to delay, injure, stop, crush, or kill the protagonist. The intent is manifest and the concern for the protagonist is elevated.
  1028. &lt;br /&gt;&lt;br /&gt;
  1029. There should be two and situated near the 3/8 mark and the 3/5 mark in the manuscript. In ONE FLEW OVER THE CUCKOO&#39;S NEST a pinch point takes place at the 3/5 mark when the Big Nurse informs the assembled hospital staff just what kind of cruel fate is in store for McMurphy.
  1030. &lt;br /&gt;&lt;br /&gt;
  1031.  
  1032. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Crisis Point or MAJOR REVERSAL = Second Major Plot Point&lt;/b&gt;
  1033. &lt;ul&gt;
  1034. We&#39;ve already noted what happened to Dorothy. In Stephen King&#39;s MISERY, after the captive author protagonist has his knees sledge-hammered by Kathy Bates (God, that hurt!) to prevent him from trying to escape again, he knows he&#39;s been using the wrong means to pursue the master goal (ie, to escape). He must now reboot and choose another path, a second goal to achieve the master goal (escape). To accomplish, the author conceives a new plan of theatrical cooperation with his captor, the new goal within the master goal being to trick her into passivity and lure her into a trap whereupon he can knock her senseless.
  1035. &lt;br /&gt;&lt;br /&gt;
  1036. In general, at this point, backstory issues, mysterious strangers, twists and turns and events all point out that your protagonist is on the wrong track, and the antagonist graph is rising. The Martians are conquering Earth and the Big Nurse is slowly tightening a noose around McMurphy&#39;s neck.
  1037. &lt;br /&gt;&lt;br /&gt;
  1038. Once more, success seems possible.
  1039. &lt;br /&gt;&lt;br /&gt;
  1040. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;INTERNAL CONFLICT IS ON THE INCREASE ALSO&lt;/b&gt;. Of course, and so is interpersonal conflict.  All three levels of conflict are rising!  But back to the protagonist for a moment ... Why should she or he turn back now? Why doesn&#39;t he/she? What&#39;s at stake? &lt;u&gt;Is there a DILEMMA?&lt;/u&gt; What makes your protagonist realize the unavoidable importance of her/his original goal? What gives it new meaning?  Does someone die?  Do the stakes raise?  Does reputation suffer or threaten to diminish?  We must have a answer.  This is true drama.  Storytelling at its finest.&lt;/ul&gt;
  1041.  
  1042. &lt;hr size=&quot;1&quot; /&gt;&lt;br /&gt;
  1043.  
  1044. &lt;span style=&quot;color: #a60000; font-family: century gothic, arial, helvetica; font-size: 20px;&quot;&gt;&lt;b&gt;ACT FOUR&lt;/b&gt;&lt;/span&gt; (Page 200+ - 375+)
  1045. &lt;br /&gt;&lt;br /&gt;
  1046. &lt;b&gt;Second Major Plot Point - New Rising Action and Suspense - Conflict Levels - Climax - Victory at a Cost&lt;/b&gt;
  1047. &lt;br /&gt;&lt;br /&gt;
  1048. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Opens with the &lt;u&gt;SECOND MAJOR PLOT POINT&lt;/u&gt; as protagonist pursues the new and truly productive goal&lt;/b&gt; (the author of MISERY decides to write the novel Kathy wants in order to enact his new scheme to escape). The characters get that final clue, the missing piece to the puzzle, which allows them to make the necessary changes to successfully complete the plot line.
  1049. &lt;br /&gt;&lt;ul&gt;
  1050. &lt;li&gt;Success seems more possible than ever despite MINOR REVERSALS OR COMPLICATIONS which may continue to take place.
  1051. &lt;/li&gt;&lt;li&gt;The final clue or missing piece to the puzzle is found.
  1052. &lt;/li&gt;&lt;li&gt;Possible surprise or twist takes place (the traitor is revealed--or this is reserved for CLIMAX or DENOUEMENT)
  1053. &lt;/li&gt;&lt;li&gt;All three conflict levels continue to build, however, some interpersonal conflicts may be resolved by this point.&lt;/li&gt;&lt;/ul&gt;
  1054.  
  1055. This builds to CLIMAX, and the protagonist will usually win out over the antagonist, but victory or success must come at a price (such as the death of a favorite character: the sheriff in MISERY is killed by Kathy just before climax).
  1056. &lt;br /&gt;&lt;br /&gt;
  1057. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Climax should be the most intense plot point in the story,&lt;/b&gt; but the intensity and nature of that intensity depends on the needs of the genre and the nature of the story.  While the climax is the moment when the decisive event occurs, plot development is a process that occurs throughout your novel (see above). As we&#39;ve noted, the reader must see how main character behaves at the start of the novel, and understand how her/his nature is challenged by the main goal. In HUCKLEBERRY FINN, Huck thinks about going against morality of the day and writing Miss Watson where the Phelps family is holding Jim. Instead, he follows his conscience and he and Tom free Jim, and Tom is shot in the leg in the attempt (victory at a cost).
  1058. &lt;br /&gt;&lt;br /&gt;
  1059. You can also have a double climax. For example, in HARRY POTTER, when the heroes find and escape with a magical hoarcrux, that&#39;s a climax, but a climax is when Harry finally defeats the chief antagonist, Lord Voldemort.
  1060. &lt;br /&gt;&lt;br /&gt;
  1061. After the climax, you must show the reader the outcome, and how it is good or bad for the main character. Important!
  1062. &lt;br /&gt;&lt;br /&gt;
  1063. &lt;hr size=&quot;1&quot; /&gt;&lt;br /&gt;
  1064.  
  1065. &lt;span style=&quot;color: #a60000; font-family: century gothic, arial, helvetica; font-size: 20px;&quot;&gt;&lt;b&gt;ACT FIVE&lt;/b&gt;&lt;/span&gt; (Page 300+ - 400+)
  1066. &lt;br /&gt;&lt;br /&gt;
  1067. &lt;b&gt;Denouement - Loose Ends Wrapped - Theme Wrap - Conclusions - Resolutions - A Final Surprise?&lt;/b&gt;
  1068. &lt;br /&gt;&lt;br /&gt;
  1069. &lt;b&gt;Denouement wherein all loose ends resolved&lt;/b&gt;, a final surprise perhaps, hint of the sequel perhaps, but readers on their way with the emotions the writer wants them to feel (Fitzgerald actually saved final exposition regarding Gatsby for the denouement following Gatsby&#39;s death).
  1070. &lt;br /&gt;&lt;br /&gt;
  1071. &lt;b&gt;Internal Resolution and With Theme or No&lt;/b&gt;
  1072. &lt;br /&gt;&lt;br /&gt;
  1073. What does the protagonist and possibly other characters learn as a result of climax? How does this manifest itself going forward? How are things different?  How are they changed, especially the protagonist?
  1074. &lt;br /&gt;&lt;br /&gt;
  1075. In CATCHER IN THE RYE, Holden leaves it ambiguous as to whether he&#39;s &quot;better&quot; or not, and many would say there is no &quot;better&quot; anyway; he just has to grow up, painfully and with a lot of depression thrown in for good measure. On the other hand, we look to the last line of the novel for another take on the conclusion: &quot;Don&#39;t ever tell anybody anything. If you do, you start missing everybody.&quot; Perhaps then, the conclusion to Holden&#39;s initial conflict (the tension between wanting to connect but hating everyone) is that he did in fact connect – in one way or another – with everyone he met. The new question isn&#39;t whether or not one should connect, but whether or not the pain of inevitable loss is worth the initial gain.
  1076. &lt;br /&gt;&lt;br /&gt;
  1077. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; From SPARKNOTES, we have a slice of theme from TO KILL A MOCKINGBIRD:
  1078. &lt;br /&gt;&lt;ul&gt;&lt;i&gt;
  1079. The most important theme of this novel is the book&#39;s exploration of the moral nature of human beings--that is, whether people are essentially good or essentially evil. The novel approaches this question by dramatizing Scout and Jem&#39;s transition from a perspective of childhood innocence, in which they assume that people are good because they have never seen evil, to a more adult perspective, in which they have confronted evil and must incorporate it into their understanding of the world. As a result of this portrayal of the transition from innocence to experience, one of the book&#39;s important subthemes involves the threat that hatred, prejudice, and ignorance pose to the innocent: people such as Tom Robinson and Boo Radley are not prepared for the evil that they encounter, and, as a result, they are destroyed. Even Jem is victimized to an extent by his discovery of the evil of racism during and after the trial. Whereas Scout is able to maintain her basic faith in human nature despite Tom&#39;s conviction, Jem&#39;s faith in justice and in humanity is badly damaged, and he retreats into a state of disillusionment.&lt;/i&gt;&lt;/ul&gt;
  1080. &lt;br /&gt;
  1081. So we beat on, boats against the current, borne back ceaselessly into the past.
  1082.  &lt;br /&gt;&lt;br /&gt;
  1083.  _______________
  1084.  &lt;br /&gt;&lt;br /&gt;
  1085.  &lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/the-six-act-two-goal-novel.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCWRdC4ouu-SH3YXjxYR5_x_Mr8q25f8KM37Z4TuLetyyM_31GnJ1yeCr-uybX5FTTtGxC9gHfe-W1pLDJX9_jSjEToI1Jlatmp-7C2c1LEBSVl_LPFdx_6PlY5soe18p5zgx_fe7RZao/s72-w319-h321-c/sixact2.png" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-7775584719951335894</guid><pubDate>Sat, 02 Jan 2021 18:33:00 +0000</pubDate><atom:updated>2021-01-05T09:59:01.104-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">character development</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><category domain="http://www.blogger.com/atom/ns#">query and pitching</category><title>Loglines and Hooks With Core Wounds</title><description>&lt;p&gt;&lt;span class=&quot;bbc_underline&quot; face=&quot;helvetica, arial, sans-serif&quot; style=&quot;background-color: white; color: #282828; line-height: 22.4px;&quot;&gt;&lt;span style=&quot;color: maroon;&quot;&gt;&lt;span face=&quot;verdana, geneva, sans-serif&quot;&gt;&lt;strong class=&quot;bbc&quot; style=&quot;font-style: inherit;&quot;&gt;HOOK OR LOG WITH CORE WOUND AND CONFLICT&lt;/strong&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span face=&quot;helvetica, arial, sans-serif&quot; style=&quot;background-color: white; color: #282828; line-height: 22.4px;&quot;&gt;&lt;/span&gt;&lt;/p&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;span face=&quot;helvetica, arial, sans-serif&quot; style=&quot;background-color: white; color: #282828; line-height: 22.4px;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3xQDn5TyV7WDPHuULD-ZzRHGUVrbRl83RJQ81spAST31Ohyr19fs9F9cePlstQx7s1aG6475x5fFShLL6Fq7OuaFLW57PAq-5j8jZWeHqpZwuzlNzF1hxvveji7hyphenhyphenGzIfIA2i38lzIiQ/s252/corewound.png&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;200&quot; data-original-width=&quot;252&quot; height=&quot;261&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3xQDn5TyV7WDPHuULD-ZzRHGUVrbRl83RJQ81spAST31Ohyr19fs9F9cePlstQx7s1aG6475x5fFShLL6Fq7OuaFLW57PAq-5j8jZWeHqpZwuzlNzF1hxvveji7hyphenhyphenGzIfIA2i38lzIiQ/w328-h261/corewound.png&quot; width=&quot;328&quot; /&gt;&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;
  1086.  
  1087. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;i&gt;Your hook line (also known as logline) is your first chance to get a New York or Hollywood professional interested in your novel. It can be utilized in your query to hook the agent into requesting the project.&lt;/i&gt; It is especially useful for those pitch sessions at conferences, lunches, in the elevator, or anywhere else. When a prospective agent or editor asks you what your book is about, your &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html&quot; target=&quot;_blank&quot;&gt;high-concept&lt;/a&gt; hook line is your answer. Writing one also encourages a realization of those primary elements that will make your novel into a work of powerful fiction.&amp;nbsp;&lt;/span&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-size: medium;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-size: medium;&quot;&gt;&lt;b&gt;The great novel, more often than not, comprises two stories: the exterior story or plot line, and an interior story focused primarily on the protagonist, one that defines and catalyzes her or his evolutionary arc throughout the novel.&lt;/b&gt; For example, a protagonist with a flaw or core wound that prevents her from achieving a worthwhile goal is forced to respond to a lifechanging event instigated by an antagonist, and in the process of responding to that lifechanging event (usually with the help of an ally) she is forced to overcome her flaw. In doing so, she becomes far more capable of achieving her goal in defiance of the antagonist.&lt;/span&gt;&lt;div style=&quot;font-size: medium;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;span style=&quot;font-size: medium;&quot;&gt;The key elements of conflict, complication, and dramatic rising action are all pretty much related and serve to keep the reader&#39;s eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to post-slush damnation. You need tension on the page, and the best way to accomplish this is to create conflict and complication in the plot, and narrative as well.&lt;/span&gt;&lt;br /&gt;&lt;/span&gt;
  1088.  
  1089. &lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span face=&quot;century gothic, helvetica, arial, sans-serif&quot; style=&quot;background-color: white; color: #990000; line-height: 22.4px;&quot;&gt;Elements of a Hook or Logline (examples below)&lt;/span&gt;&lt;/h3&gt;
  1090.  
  1091. &lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;
  1092. &lt;ul style=&quot;font-size: 16px;&quot;&gt;&lt;b&gt;Character(s)&lt;/b&gt; – Who is the protagonist? What is his/her main goal? What is their CORE WOUND (see below)?
  1093. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1094. Conflict&lt;/b&gt; – Who is the antagonist? Is she/he implied or clear in the hook line? What obstacle do they create to frustrate the protagonist?
  1095. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1096. Distinction&lt;/b&gt; – What is the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html&quot; target=&quot;_blank&quot;&gt;primary unique element&lt;/a&gt; of your story that makes it stand out?
  1097. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1098. Setting&lt;/b&gt; – for a novel, adding a little about the setting, time period, and possibly genre (if it’s not obvious) is a VERY good idea.
  1099. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1100. Action&lt;/b&gt; – Your hook line should radiate verve and energy. Which hook as follows catches your interest more?   A woman has an affair and runs off with her new beau, OR, a neglected wife begins a torrid affair with an ex-con, soon kidnapping her children to flee the state and join him in Vegas.&amp;nbsp;&lt;/ul&gt;&lt;/span&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;div&gt;
  1101.  
  1102.  &lt;span style=&quot;color: #282828;&quot;&gt;As for &quot;core wounds,&quot; consider conscious motivation stimulated by both memory and subconscious pain. The &quot;core wound&quot; drives the character in certain unique ways, perhaps leads them on a journey to prove themselves. Resolution, if it ever comes, will make them happier, healthier, or more in tune with the world around them. &lt;/span&gt;&lt;span style=&quot;color: #282828;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;blockquote&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;span face=&quot;&amp;quot;Trebuchet MS&amp;quot;, Trebuchet, sans-serif&quot; style=&quot;font-size: 18px;&quot;&gt;Every core wound is based on a basic knowledge that we are unacceptable as we are, so we have to adjust and change to be perceived as good.&lt;/span&gt;&lt;/span&gt;&lt;/blockquote&gt;&lt;span style=&quot;color: #282828;&quot;&gt;&lt;/span&gt;&lt;span style=&quot;color: #282828;&quot;&gt;Fundamental and popular core wounds include loss of a parent, a broken heart, an ultimate mistake (the character could spend a lifetime trying to make amends), a big secret (the revelation of which could ruin or harm the character), or perhaps a perceived terrible failure in the character&#39;s past (a primary desire forever denied by a moment&#39;s hesitation or a small mistake).
  1103. &lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;b&gt;&lt;span style=&quot;color: #282828;&quot;&gt;
  1104. From&lt;/span&gt;&lt;i style=&quot;color: #282828;&quot;&gt; Psychology Today&lt;/i&gt;&lt;/b&gt;&lt;span style=&quot;color: #282828;&quot;&gt;&lt;b&gt;:&lt;/b&gt;
  1105. &lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: #282828;&quot;&gt;
  1106. &quot;Core wounds tend to be things like a sense of not being enough, of being unlovable to a parent, of feeling stupid, dirty, unwanted, or ugly. No matter what your core wound may be, you can guarantee that your wound influences who you are and how you behave...&quot;
  1107. &lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: #282828;&quot;&gt;
  1108. &quot;Every core wound is based on a basic knowledge that we are unacceptable as we are, so we have to adjust and change to be perceived as good. It influences our self-esteem and the very fabric of our thoughts.&quot;
  1109. &lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: #282828;&quot;&gt;&lt;b&gt;
  1110. And one core wound is usually enough. As famous screenplay writer Peter Russell points out&lt;/b&gt;:
  1111. &lt;/span&gt;&lt;br /&gt;&lt;br /&gt;
  1112.  
  1113.  
  1114. &lt;center&gt;
  1115. &lt;iframe allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture&quot; allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/wm-kBreibFg&quot; width=&quot;560&quot;&gt;&lt;/iframe&gt;
  1116.  &lt;br /&gt;&lt;br /&gt;
  1117. &lt;/center&gt;
  1118.  
  1119.  &lt;span style=&quot;color: #282828;&quot;&gt;
  1120. Note that the sample hooks or loglines below are divided into two basic parts: the CORE WOUND and the resulting dramatic complication that drives conflict.
  1121. &lt;/span&gt;&lt;br /&gt;&lt;br /&gt;
  1122.  
  1123. &lt;ul&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&quot;The Hand of Fatima&quot; by Ildefonso Falcones&lt;/span&gt;&lt;/b&gt;&lt;br /&gt;
  1124. A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God.
  1125. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1126. * The protagonist is scorned and tormented, thus the core wound, and as a result he seeks to fulfill an almost impossible task.&lt;/b&gt;
  1127. &lt;br /&gt;&lt;br /&gt;
  1128.  
  1129.  &lt;hr size=&quot;0&quot; width=&quot;200&quot; /&gt;
  1131. &lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&quot;Summer Sisters&quot; by Judy Blume&lt;/span&gt;&lt;/b&gt;&lt;br /&gt;
  1132. After sharing a magical summer with a friend, a young woman must confront her friend&#39;s betrayal of her with the man she loved.
  1133. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1134. * The protagonist is betrayed by her friend and thus her core wound, and as a result she must take steps to reach a closure wherein conflict will surely result.
  1135. &lt;/b&gt;&lt;br /&gt;&lt;br /&gt;
  1136.  
  1137.  &lt;hr size=&quot;0&quot; width=&quot;200&quot; /&gt;
  1138.  
  1139. &lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&quot;The Bartimaeus Trilogy&quot; by Jonathan Stroud&lt;/span&gt;&lt;/b&gt;&lt;br /&gt;
  1140. As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinni who joins the mage to confront a danger that threatens their entire world.
  1141. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1142. * Humiliated into a core wound by an elder magician, the story line erupts into a conflict with the entire world at stake.&lt;/b&gt;
  1143.  &lt;/span&gt;&lt;/ul&gt;
  1144.  
  1145.  
  1146. &lt;span class=&quot;bbc&quot; face=&quot;helvetica, arial, sans-serif&quot; style=&quot;background-color: white; color: #282828; font-style: inherit; line-height: 22.4px;&quot;&gt;Note it is a simple matter to ascertain the stakes in each case above: a young woman&#39;s love and friendship, the entire world, and harmony between opposed religions&lt;/span&gt;&lt;strong class=&quot;bbc&quot; style=&quot;background-color: white; color: #282828; font-family: helvetica, arial, sans-serif; font-style: inherit; line-height: 22.4px;&quot;&gt;.&amp;nbsp;&lt;span class=&quot;bbc_underline&quot; style=&quot;text-decoration-line: underline;&quot;&gt;If you cannot make the stakes clear, the odds are you don&#39;t have any&lt;/span&gt;. Take note!&lt;/strong&gt;&lt;/div&gt;&lt;div&gt;&lt;b&gt;&lt;br style=&quot;background-color: white; color: #282828; font-family: helvetica, arial, sans-serif; line-height: 22.4px;&quot; /&gt;&lt;/b&gt;&lt;strong class=&quot;bbc&quot; style=&quot;background-color: white; color: #282828; font-family: helvetica, arial, sans-serif; font-style: inherit; line-height: 22.4px;&quot;&gt;&lt;em class=&quot;bbc&quot; style=&quot;font-weight: inherit;&quot;&gt;_________________&lt;/em&gt;&lt;/strong&gt;&lt;br style=&quot;background-color: white; color: #282828; font-family: helvetica, arial, sans-serif; line-height: 22.4px;&quot; /&gt;&lt;/div&gt;&lt;/span&gt;
  1147.  
  1148.  
  1149. &lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/10/hook-lines-with-core-wounds.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3xQDn5TyV7WDPHuULD-ZzRHGUVrbRl83RJQ81spAST31Ohyr19fs9F9cePlstQx7s1aG6475x5fFShLL6Fq7OuaFLW57PAq-5j8jZWeHqpZwuzlNzF1hxvveji7hyphenhyphenGzIfIA2i38lzIiQ/s72-w328-h261-c/corewound.png" height="72" width="72"/><thr:total>2</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-7858999743343404070</guid><pubDate>Wed, 30 Dec 2020 15:49:00 +0000</pubDate><atom:updated>2021-01-05T09:56:58.165-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">literary agents</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><category domain="http://www.blogger.com/atom/ns#">Novel into film</category><category domain="http://www.blogger.com/atom/ns#">novel rejection reasons</category><category domain="http://www.blogger.com/atom/ns#">query and pitching</category><title>&quot;High Concept&quot;? Sufficiently Unique? - Write a Tale That Might Actually Sell</title><description>&lt;b&gt;Aspire to be a great genre author? So what&#39;s your high concept?...&amp;nbsp;&lt;/b&gt;
  1150. &lt;br /&gt;&lt;br /&gt;
  1151. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifCR5zgS1nXIC00_NDrb64OkmfGNyOwyIJp-cA3UrfeAS6nU0oGlS9dJEV5QBMEiNNCAOyY1BZ5mpaV1CjeXrx06QFTDnQugyTt_BYJd2qlGBazluHQnO9p0Yhxs1bvcjZo7hwFKhO6og/s2048/AudioCover.png&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;2048&quot; data-original-width=&quot;2048&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifCR5zgS1nXIC00_NDrb64OkmfGNyOwyIJp-cA3UrfeAS6nU0oGlS9dJEV5QBMEiNNCAOyY1BZ5mpaV1CjeXrx06QFTDnQugyTt_BYJd2qlGBazluHQnO9p0Yhxs1bvcjZo7hwFKhO6og/s320/AudioCover.png&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;If you fail to grasp the vital importance of this second question, you will fail to conceive  much less write a publishable genre novel - thriller, mystery, fantasy, horror, crime, SF, you name it. Just not going to happen.&lt;i&gt; Don&#39;t let any writer group or self-appointed writer guru online or writer conference panel tell you otherwise.&lt;/i&gt; You&#39;re competing with tens of thousands of other aspiring authors in your genre. Consider. &lt;b&gt;WHAT IS GOING TO MAKE YOUR NOVEL STAND OUT from the morass of throat-gulping hopefuls who don&#39;t know any better?
  1152. &lt;/b&gt;&lt;br /&gt;&lt;br /&gt;
  1153. Believe it or not, 99.5% of the writers in workshops all across the country *do not* arrive with a high-concept story. If anything, their aborning novel child is destined for still birth. They strut forward proudly waving their middle or low concept tale while noting how their hired editor from Stanford, or Iowa, or the Johns Hopkins MA program just &quot;loves it!&quot; As a professional, you inwardly groan, listen to them jabber, and realize within 30 seconds or less that you&#39;ve heard a version of this story at least twenty times already. One of our WE contributors, famous literary agent Richard Curtis, talks about this sad phenomenon in &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/seven-narrative-rejection-sins-bad.html&quot; target=&quot;_blank&quot;&gt;The Seven Sins of Novel Rejection&lt;/a&gt;:
  1154. &lt;br /&gt;&lt;ul&gt;
  1155.  &lt;b&gt;&quot;Writers don&#39;t always realize that stories that may seem unique to them are trite in the eyes of agents and editors. For every plot you write, we may see dozens of similar submissions. I freely confess to being easily bored, and I&#39;ve stopped castigating myself for it, for I realize boredom is a critical symptom that a manuscript has gone wrong.&quot;&lt;/b&gt;
  1156. &lt;/ul&gt;
  1157.  
  1158. Btw, did anyone warn the hapless writers noted above of this &quot;trite condition&quot; before they submitted to Richard?... No. Of course not. And why? Because they didn&#39;t know any better. Now *you* will be the bad guy because you are ethically obligated to inform them in the next workshop that their story ideas are cooked to a char. You do so in the most tactful way imaginable, and you make it clear you will brainstorm the solution with them. Nonetheless, the usual symptoms are often observed: face drops, eyes freeze over, lower lip begins to quiver, and if the writer happens to be a narcissist, they begin to snarl and plot disruption. But let&#39;s return to the issue at hand.
  1159. &lt;br /&gt;&lt;br /&gt;
  1160. First of all, what kind of story isn&#39;t a high concept? Several writer websites mimic each other and define a &quot;low concept&quot; story in this manner: &lt;b&gt;1. Not easily explained; 2. Character driven; 3. Talks about everyday life...&lt;/b&gt; Well, let&#39;s pause and reflect. One could actually possess a high concept novel yet be unable, at least temporarily, to express or &quot;explain&quot; it properly in one or two lines. We must differentiate between the actual product and the communication of that product, and by doing so, invalidate the relevancy of the first point above. In truth, with proper communication, one can &quot;explain&quot; (&lt;i&gt;term should be &quot;pitch&quot;&lt;/i&gt;) either a low or high concept, therefore, the nature of the concept itself, it&#39;s relative complexity or simplicity, staleness or freshness, has nothing to do with the difficulty of pitching it, but everything to do with the ineptitude of the person attempting it.
  1161. &lt;br /&gt;&lt;br /&gt;
  1162. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLGKcsCYTxBjFqjcf_805e1bVEfcla6Hbfk22JUFUbB0ORxpqtCwOgmp861bW5GSl6BALr1j41yVMvHVIHD-FUksk7qAanZXPwbZsp8IxASxUS4jR8FlWfMOaSUVoeFAQ2fa6kTPg3GD0/s499/bartimaeus.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;499&quot; data-original-width=&quot;337&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLGKcsCYTxBjFqjcf_805e1bVEfcla6Hbfk22JUFUbB0ORxpqtCwOgmp861bW5GSl6BALr1j41yVMvHVIHD-FUksk7qAanZXPwbZsp8IxASxUS4jR8FlWfMOaSUVoeFAQ2fa6kTPg3GD0/s320/bartimaeus.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;As for point two above, a low concept pitch or hook line might be &quot;character driven,&quot; but it doesn&#39;t need to be. It could be plot driven and still be low concept, therefore, &quot;character&quot; or &quot;plot&quot; driven isn&#39;t the real issue here (see&amp;nbsp;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/hook-lines-with-core-wounds.html&quot; target=&quot;_blank&quot;&gt;Log Lines and Hooks With Core Wounds&lt;/a&gt;--character plays a big role in hooks). And as for point three, this is actually a false statement. For example, one could pitch or discuss a story idea that sounds like a GAME OF THRONES rehash, and last we checked, ice-eyed zombies bent on global acts of decapitation cannot be classified as &quot;everyday life.&quot; Which also points out what? &lt;b&gt;The aspiring author MUST know their genre inside out, else how can they reasonably determine what is an overdone story idea and what is not?&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;Alright, so how do we define a &quot;high concept&quot;? First from Wikipedia as it relates to film:
  1163. &lt;br /&gt;&lt;ul&gt;
  1164. &lt;b&gt;&quot;The term is often applied to films that are pitched and developed almost entirely upon an engaging premise with broad appeal, rather than standing upon complex character study, cinematography, or other strengths that relate more to the artistic execution of a production. Extreme examples of high-concept films are &lt;i&gt;Snakes on a Plane&lt;/i&gt; and &lt;i&gt;Hobo with a Shotgun&lt;/i&gt;, which describe their entire premises in their titles.&quot;&lt;/b&gt;&lt;/ul&gt;
  1165. Will we be fortunate enough to possess a novel title that describes our premise so efficiently? Most likely not, but we must possess a high-concept genre story nonetheless &lt;i&gt;if we expect to be as competitive as need be while immersed in this insanely competitive market&lt;/i&gt;. &lt;b&gt;A high concept must therefore be defined as &quot;a story premise that presents itself as&amp;nbsp;&lt;i&gt;sufficiently unique&lt;/i&gt; and &lt;i&gt;commercially viable&lt;/i&gt; at the same time.&quot;&lt;/b&gt; In other words, the premise when expressed as a hook or logline doesn&#39;t sound like one professionals have heard a hundred times in the past month. Instead, it immediately presents itself as relatively fresh, like a story publishers can market, perhaps even one that might make its way into television or film.
  1166. &lt;br /&gt;&lt;br /&gt;
  1167. Let&#39;s look at examples from various genres (note they&#39;re &quot;sufficiently unique&quot;):&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  1168. &lt;br /&gt;&lt;ul&gt;
  1169. &lt;b&gt;DRAGON RIPPER by Melanie Bacon&lt;/b&gt; (historical mystery) -  The sister of Sherlock Holmes, anxious to prove herself and earn her rights in a man&#39;s world, teams with the daughter of Jack the Ripper to fight an ancient evil society threatening the streets of London with murder and mayhem.
  1170.  &lt;br /&gt;&lt;br /&gt;
  1171. &lt;b&gt;GONE GIRL by Gillian Flynn&lt;/b&gt; (domestic thriller) - An unhappy and frustrated husband returns home to find his wife mysteriously missing, not knowing she has faked her disappearance and written false diary entries to implicate him in first degree murder.
  1172.  &lt;br /&gt;&lt;br /&gt;
  1173. &lt;b&gt;DON QUIXOTE by Miguel de Cervantes&lt;/b&gt; (literary classic) - A delusional 50-year-old Spanish nobleman obsessed with chivalric notions asks a fat farmer to join him as his dutiful sidekick and the two venture forth to fight windmills.
  1174.  &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1175. THE HAND OF FATIMA by Ildefonso Falcones&lt;/b&gt; (historical fiction) - A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God.
  1176.  &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1177. THE BARTIMAEUS TRILOGY by Jonathan Stroud&lt;/b&gt; (young adult fantasy) - In seeking revenge on an elder magician who humiliated him, an apprentice mage unleashes a powerful Djinni who later joins him to confront a danger that threatens their entire world.
  1178.  &lt;/ul&gt;
  1179. &lt;b&gt;Again, strive to understand your genre before you initiate your &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/best-10-steps-for-starting-novel-all.html&quot; target=&quot;_blank&quot;&gt;first steps towards writing a novel&lt;/a&gt;, and in this way, with a little wisdom and imagination, you&#39;ve got a chance at inventing a high-concept that will sell to both New York and Hollywood.&lt;/b&gt;
  1180.  &lt;br /&gt;&lt;br /&gt;
  1181. We should all be so lucky!
  1182.  
  1183.  
  1184.  
  1185.  
  1186.  
  1187.  
  1188.  
  1189.  
  1190.  
  1191.  
  1192.  
  1193.  
  1194. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;i&gt;&lt;b&gt;Scimus Via.&lt;/b&gt;&lt;/i&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifCR5zgS1nXIC00_NDrb64OkmfGNyOwyIJp-cA3UrfeAS6nU0oGlS9dJEV5QBMEiNNCAOyY1BZ5mpaV1CjeXrx06QFTDnQugyTt_BYJd2qlGBazluHQnO9p0Yhxs1bvcjZo7hwFKhO6og/s72-c/AudioCover.png" height="72" width="72"/><thr:total>1</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-1940925536392964352</guid><pubDate>Tue, 29 Dec 2020 18:23:00 +0000</pubDate><atom:updated>2021-10-30T14:43:02.598-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">advanced writing craft</category><category domain="http://www.blogger.com/atom/ns#">bad writing advice</category><category domain="http://www.blogger.com/atom/ns#">character development</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><category domain="http://www.blogger.com/atom/ns#">novel outline</category><category domain="http://www.blogger.com/atom/ns#">novel rejection reasons</category><title>Labors, Sins, and Six Acts - Official Novel Writing Guide - All Genres</title><description>&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;An ideal first stop...&lt;/b&gt;  
  1195.  &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1196. You will discover below a series of scholarly, researchable, frank and indispensable guides to conceiving and writing the commercial genre novel, as well as the plot-driven literary novel. &lt;/b&gt;But the cutting edge of the developmental peels and prods as presented makes an initial big assumption, namely, that you are &lt;i&gt;honestly desirous of true publication either by a classic publisher or traditional literary press&lt;/i&gt;, and therefore, willing to birth the most dynamic and can&#39;t-put-it-down novel you possibly can. Further, you are also naturally desirous of great sets, mind-altering theme, unforgettable characters, and cinematic scenes, among other things. Does that go without saying?&amp;nbsp;&amp;nbsp;&lt;br /&gt;
  1197. &lt;i&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;br /&gt;&lt;/div&gt;Perhaps, but you must know, it won&#39;t be easy. &lt;/i&gt;
  1198.  &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1199. &lt;table cellpadding=&quot;0&quot; cellspacing=&quot;0&quot; class=&quot;tr-caption-container&quot; style=&quot;float: right;&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td style=&quot;text-align: center;&quot;&gt;
  1200.  
  1201.  &lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif4lxRGgtHcsxj7ieTyIDb5hpp-VxEm1E-fkRO5ZAzQiXwsIXprMP1a_k4SZkomFxb-9p5h37rzJPZMEtKA7GoilgfgydyOT4t_5X4gQhz6eulmekC6Nrnsy7ESSC_QKHRQYPH5zyw8BA/s474/curiousdog2.png&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;422&quot; data-original-width=&quot;474&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif4lxRGgtHcsxj7ieTyIDb5hpp-VxEm1E-fkRO5ZAzQiXwsIXprMP1a_k4SZkomFxb-9p5h37rzJPZMEtKA7GoilgfgydyOT4t_5X4gQhz6eulmekC6Nrnsy7ESSC_QKHRQYPH5zyw8BA/s320/curiousdog2.png&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;
  1202.  
  1203.  &lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td class=&quot;tr-caption&quot; style=&quot;text-align: center;&quot;&gt;&lt;b&gt;Labors and Sins&lt;/b&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;First of all, the method-based assertions and information we&#39;ve gathered and elevated before your eyes below will shiver many of you like a 6.5 on the literary Richter scale because it will contradict some or much of what you&#39;ve been told about novel writing elsewhere&lt;/b&gt; - at writer conferences, for example, by your writer&#39;s group, or by various content-marketing websites operated by amateurs (75%+) playing to their demographic. &lt;b&gt;Second of all, we don&#39;t cut corners or hold back to simplify matters for off-track or rank beginners who might be driven away (starting right about now) by the realization of just how much needs to be learned and applied&lt;/b&gt;. And though more of you might be driven away immediately following the forthcoming assertion, it is nonetheless true: there are no &quot;SEVEN EASY STEPS&quot; or other shortcut gimmicks that will catapult you into becoming the author of an authentically fine novel. Anyone who believes otherwise is sadly ignorant.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;
  1204.      
  1205. However, if you are astute and mature enough to know there are many things about novel writing you don&#39;t know, but must learn, you&#39;ve come to the right place. And yes, there is a whole mass of matter to absorb. We make no apologies. Our mission at WE is to take you from A to Z. You should consider all that follows to be a kind of master primer, i.e., whatever is necessary to sufficiently comprehend the novel writing universe. We divide the exploration into three sections, each with their own rubrics.
  1206. &lt;br /&gt;
  1207.  &lt;blockquote&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;span face=&quot;&amp;quot;Trebuchet MS&amp;quot;, Trebuchet, sans-serif&quot; style=&quot;font-size: 18px;&quot;&gt;Just know, it makes no sense to begin writing a novel you plan on selling to publishers or even smaller presses without first having a relatively good idea whether they&#39;ll want to buy it in the first place. This concept is radical to many beginners, but it shouldn&#39;t be. And the concept that you can&#39;t balance an artistic approach with pragmatic story considerations is not only indefensible but contradictory.&lt;/span&gt;&lt;/span&gt;&lt;/blockquote&gt;
  1208.  
  1209. &lt;b&gt;The first category approaches the reality of novel writing vs. the myths and the source of those myths.&lt;/b&gt; For many of you, it will create emotional responses up and down the spectrum from humor to melancholy and back, depending of course on your mood and experience thus far with the aforementioned universe. Regardless, the overall point is to make a valiant attempt to filter out the many falsehoods and misperceptions with extreme prejudice in order to begin the journey of novel writing with a clear head and a view towards realistic expectation.
  1210.  &lt;br /&gt;&lt;br /&gt;
  1211. The second two categories are relatively self-explanatory. &lt;b&gt;Just know, it makes no sense to begin writing a novel you plan on selling to publishers or even smaller presses without first having a relatively good idea whether they&#39;ll want to buy it in the first place&lt;/b&gt;. This concept is radical to many beginners, but it shouldn&#39;t be. And the concept that you can&#39;t balance an artistic approach with pragmatic story considerations is not only indefensible but contradictory.
  1212. &lt;br /&gt;&lt;br /&gt;
  1213. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt;&amp;nbsp;Btw, you might wonder if it&#39;s advisable to pass on any of the articles below, but it isn&#39;t. Everything we&#39;ve included is considered vital. &lt;b&gt;Even if you believe you have a certain element pretty well covered, don&#39;t believe you know it all. Most likely, you don&#39;t.&lt;/b&gt; Also, the potential exists that you&#39;ve read or received advice that is counter productive. The advice here at WE, however, is based on decades of experience in the business (e.g., hundreds of sessions at the New York Pitch Conference and many more hundreds in writer workshops across the U.S.), as well as lessons learned from great novel authors, playwrights, and screenplay writers - more about the WE &lt;i&gt;model-and-context&lt;/i&gt; methodology &lt;a href=&quot;https://www.novelwritingonedge.com/p/about-writers-edge.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;&amp;nbsp;found here&lt;/b&gt;&lt;/a&gt;... &lt;b&gt;And btw, feel free to leave comments on any of the items that follow.&lt;/b&gt;
  1214.  &lt;br /&gt;&lt;br /&gt;
  1215. Before we begin, a favorite quote from one of America&#39;s greatest authors, Truman Capote:&lt;br /&gt;
  1216.  
  1217. &lt;ul&gt;&lt;i&gt;As certain young people practice the piano or the violin four and five hours a day, so I played with my papers and pens...
  1218. My literary tasks kept me fully occupied; my apprenticeship at the altar of technique, craft; the devilish intricacies of paragraphing, punctuation, dialogue placement. Not to mention the grand overall design, the great demanding arc of middle-beginning-end. One had to learn so much, and from so many sources.&lt;/i&gt;&lt;/ul&gt;
  1219.  &lt;br /&gt;
  1220.  
  1221.  
  1222.  &lt;/span&gt;&lt;/div&gt;
  1223.  
  1224. &lt;hr width=&quot;250&quot; /&gt;&lt;br /&gt;  
  1225.  
  1226.  
  1227. &lt;span style=&quot;color: #990000;&quot;&gt;&lt;span style=&quot;font-family: Poppins; font-size: large;&quot;&gt;NOVEL WRITING TRIP WIRES, CHECKLISTS, EGO, AND VITAL FIRST  STEPS&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;ul style=&quot;background-color: white; line-height: 18.48px; margin: 0.5em 0px; padding: 0px 2.5em;&quot;&gt;&lt;span style=&quot;font-family: tahoma, verdana, arial;&quot;&gt;&lt;span&gt;&lt;br /&gt;
  1228.  
  1229. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; The Author Dawn - Rise and Blink (tell us why) &lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/the-author-dawn-rise-and-blink.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/the-author-dawn-rise-and-blink.html&lt;/a&gt;
  1230.  &lt;br /&gt;&lt;br /&gt;
  1231.  
  1232. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Ten Carefully Chosen First Steps For Starting the Novel (immerse, prep, reflect)&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/best-10-steps-for-starting-novel-all.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/best-10-steps-for-starting-novel-all.html&lt;/a&gt;
  1233.    &lt;br /&gt;&lt;br /&gt;
  1234.  
  1235.  
  1236. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; The Epiphany Light You Must Enter (major vision adjustment)&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/aspiring-authors-must-cross-epiphany.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/aspiring-authors-must-cross-epiphany.html&lt;/a&gt;
  1237.    &lt;br /&gt;&lt;br /&gt;
  1238.  
  1239. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Top Ten Worst Pieces of Writing Advice (and it gets worse)&lt;/b&gt;&lt;br /&gt;
  1240. &lt;a href=&quot;http://writersedgeinfo.blogspot.com/2015/04/top-ten-worst-pieces-of-writing-advice.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2015/04/top-ten-worst-pieces-of-writing-advice.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1241.  
  1242.  
  1243. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Top Worst &quot;Worst Writer Advice&quot; - Outrageous and Mind Boggling&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/top-worst-worst-writer-advice-advice.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/top-worst-worst-writer-advice-advice.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1244.  
  1246. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Avoid Bad Writing by Name Authors!&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2008/10/new-writers-must-be-careful-of.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2008/10/new-writers-must-be-careful-of.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1247.    
  1248.    
  1249. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Bullet Point Reasons Why Editors Reject&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2017/02/timeless-and-valuable-editors-rejection.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2017/02/timeless-and-valuable-editors-rejection.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1250.  
  1251.  
  1252. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Writer Groups - More Harm Than Good?&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/problems-with-writer-groups-where-to.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/problems-with-writer-groups-where-to.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1253.  
  1254.  
  1255. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Seven Critical Novel Rejection Sins&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/seven-narrative-rejection-sins-bad.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/seven-narrative-rejection-sins-bad.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1256.  
  1257. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Novel-Into-Film Checklist&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2019/07/check-points-to-turn-novel-into-film.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2019/07/check-points-to-turn-novel-into-film.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1258.  
  1259. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt;&amp;nbsp;Important: Coverage Checklist for Aspiring Authors&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/important-coverage-checklist-for.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/important-coverage-checklist-for.html&lt;/a&gt;
  1260. &lt;br /&gt;&lt;br /&gt;
  1261.  
  1262. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Top Seven Reasons Passionate Writers Fail&lt;/b&gt;&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2015/05/top-seven-reasons-why-aspiring-authors.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2015/05/top-seven-reasons-why-aspiring-authors.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1263.  
  1264. &lt;b style=&quot;color: #525152; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px;&quot;&gt;&lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Writer Ego and the Imaginary Bob (Could this be you?)&lt;/b&gt;&lt;br /&gt;
  1265. &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/writer-ego-and-imaginary-bob.html&quot; style=&quot;color: #1b5b81; font-family: Trebuchet, Verdana, sans-serif; font-size: 14px; font-weight: bold; text-decoration-line: none;&quot; target=&quot;_blank&quot;&gt;https://www.novelwritingonedge.com/2020/11/writer-ego-and-imaginary-bob.html&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
  1266.  &lt;/ul&gt;
  1267.  
  1268.  
  1269. &lt;span style=&quot;color: #990000; font-family: Poppins; font-size: large;&quot;&gt;DEVELOPMENT REALITY - MAJOR POINTS OF PLOT AND MUCH MORE&lt;/span&gt;
  1270. &lt;br /&gt;&lt;b&gt;
  1271. We endeavor to list the points below in the order they should be read, however, it isn&#39;t a perfect arrangement due to overlapping. Ideally, the high-concept premise must come first in any case&lt;/b&gt;.&lt;br /&gt;
  1273.  &lt;ul style=&quot;background-color: white; color: #462f2f; font-family: Trebuchet, Verdana, sans-serif; font-size: 13.2px; line-height: 18.48px; margin: 0.5em 0px; padding: 0px 2.5em;&quot;&gt;&lt;span style=&quot;color: #1b1f2c; font-family: tahoma, verdana, arial; font-size: 14px;&quot;&gt;&lt;b style=&quot;color: #525152;&quot;&gt;&lt;br /&gt;
  1274.    
  1275. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; What is Your High-Concept Premise?&lt;br /&gt;
  1276.    &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html&lt;/a&gt;
  1277.    &lt;br /&gt;&lt;br /&gt;
  1278.  
  1279. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; The Need For Human Drama in the Novel&lt;br /&gt;
  1280.    &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/theme-plot-strong-character.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/theme-plot-strong-character.html&lt;/a&gt;
  1281.    &lt;br /&gt;&lt;br /&gt;
  1282.    
  1283.    &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Loglines and Core Wounds as Development Tool&lt;br /&gt;
  1284.    &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/hook-lines-with-core-wounds.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/hook-lines-with-core-wounds.html&lt;/a&gt;
  1285.    &lt;br /&gt;&lt;br /&gt;
  1286.    
  1287.    &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; The Novel&#39;s &quot;Agon&quot; - Vital Core Conflict&lt;br /&gt;
  1288. &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/the-novels-agon-primary-conflict.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/the-novels-agon-primary-conflict.html&lt;/a&gt;
  1289. &lt;br /&gt;&lt;br /&gt;
  1290.  
  1291. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Can You Choose a Great Title? Will You?&lt;br /&gt;
  1292.    &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/choosing-great-title-before-publication.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/choosing-great-title-before-publication.html&lt;/a&gt;
  1293.    &lt;br /&gt;&lt;br /&gt;
  1294.  
  1295. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Setting is 60% - Maximizing Opportunities For Verve&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/great-settings-maximize-opportunity.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/great-settings-maximize-opportunity.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1296.    
  1297. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; A Clever Dose of Antagonistic Force&amp;nbsp;&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/antagonists-in-novel-most-important.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/antagonists-in-novel-most-important.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1298.        
  1299.            
  1300. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; The Six Act Two-Goal Novel (premise, reversals, complications, major points)&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/the-six-act-two-goal-novel.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/the-six-act-two-goal-novel.html&lt;/a&gt;
  1301. &lt;br /&gt;&lt;br /&gt;
  1302.    
  1303. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Classics Deliver the Key to Exposition&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/learning-exposition-from-classics.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/learning-exposition-from-classics.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1304.    
  1305. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Sympathy Factors in the Hook (protagonist or major character)&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/protagonist-sympathy-factors-in-hook.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/protagonist-sympathy-factors-in-hook.html&lt;/a&gt;
  1306. &lt;br /&gt;&lt;br /&gt;
  1307.    
  1308. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Deep and Fresh Traits for Secondary Characters&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/deep-and-fresh-traits-for-majors.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/deep-and-fresh-traits-for-majors.html&lt;/a&gt;
  1309.    &lt;br /&gt;&lt;br /&gt;
  1310.    
  1312. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; A Statement of Theme From the Dark Classics&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/cuckoos-rhinoceri-and-miss-l-i-admit.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/cuckoos-rhinoceri-and-miss-l-i-admit.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1313.        
  1314.    &lt;/b&gt;&lt;/span&gt;
  1315. &lt;/ul&gt;&lt;br /&gt;
  1316.  
  1317.  
  1318.  
  1319. &lt;span style=&quot;color: #990000; font-family: Poppins; font-size: large;&quot;&gt;&lt;span&gt;ADVANCED NARRATIVE TECHNIQUE, SCENES, AND PROSE STYLE&lt;/span&gt;&lt;/span&gt;&lt;ul style=&quot;background-color: white; color: #462f2f; font-family: Trebuchet, Verdana, sans-serif; font-size: 13.2px; line-height: 18.48px; margin: 0.5em 0px; padding: 0px 2.5em;&quot;&gt;&lt;span style=&quot;color: #1b1f2c; font-family: tahoma, verdana, arial; font-size: 14px;&quot;&gt;&lt;b style=&quot;color: #525152;&quot;&gt;&lt;br /&gt;
  1320.  
  1321.  &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Dialogue - Never a Gratuitous or Boring Word&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/dialogue-never-gratuitous-word-or.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/dialogue-never-gratuitous-word-or.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1322.  
  1323.    
  1324. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Writing Novel Scenes - Drama, Sex, and Sass&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/scenes-to-z-glue-drama-sex-sass.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/12/scenes-to-z-glue-drama-sex-sass.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1325.  
  1326. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Storyboard Considerations for Producing Effective Scenes&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2013/02/algonkian-writer-conferences-michael.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2013/02/algonkian-writer-conferences-michael.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1327.  
  1328.  &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt;&amp;nbsp;Four Levels of Third Person Point of View&lt;br /&gt;&lt;a href=&quot;https://novelwritingonedge.com/2020/08/four-levels-of-third-person-pov.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://novelwritingonedge.com/2020/08/four-levels-of-third-person-pov.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1329.  
  1330. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Experiments in High Impact Narrative&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/experiments-in-high-impact-narrative.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/12/experiments-in-high-impact-narrative.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1331.  
  1332.  &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; A Great Damp Loaf of Description&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/a-great-damp-loaf-of-description.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/12/a-great-damp-loaf-of-description.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1333.  
  1334.  &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt;&amp;nbsp;Prose Narrative Enhancement&amp;nbsp;&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/09/the-prose-description-questionnaire.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/09/the-prose-description-questionnaire.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1335.  
  1336.  &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Brilliant Fiction Narrative in Four Stages&lt;br /&gt;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/writing-brilliant-fiction-narrative-in.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/11/writing-brilliant-fiction-narrative-in.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1337.  
  1338.  
  1339. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; Narrative Enhancement Via Nabokov&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/09/narrative-enhancement-via-nabokov.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/09/narrative-enhancement-via-nabokov.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1340.  
  1341.  
  1342. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; &quot;To Be&quot; or Not? Too Much &quot;Was&quot; Will Hurt Your MS&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/boot-was-for-more-verve.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/boot-was-for-more-verve.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  1343.  
  1344. &lt;img src=&quot;http://algonkianconferences.com/att.jpg&quot; /&gt; The Sublime Inner Voice of Godwin&lt;br /&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/interior-monologue-by-gail-godwin.html&quot; style=&quot;color: #1b5b81; text-decoration-line: none;&quot; target=&quot;_new&quot;&gt;https://www.novelwritingonedge.com/2020/10/interior-monologue-by-gail-godwin.html&lt;/a&gt;&lt;br /&gt;
  1345.  &lt;/b&gt;&lt;/span&gt;&lt;/ul&gt;
  1346.  &lt;br /&gt;
  1347. &lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/12/labors-sins-and-six-acts-official-we.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif4lxRGgtHcsxj7ieTyIDb5hpp-VxEm1E-fkRO5ZAzQiXwsIXprMP1a_k4SZkomFxb-9p5h37rzJPZMEtKA7GoilgfgydyOT4t_5X4gQhz6eulmekC6Nrnsy7ESSC_QKHRQYPH5zyw8BA/s72-c/curiousdog2.png" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-1329250736967844719</guid><pubDate>Wed, 23 Dec 2020 21:54:00 +0000</pubDate><atom:updated>2021-01-25T13:00:42.624-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">bad writer groups</category><category domain="http://www.blogger.com/atom/ns#">bad writing advice</category><title>Top Worst &quot;Worst Writer Advice&quot; - Outrageous and Mind Boggling Maxims</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;&lt;b style=&quot;font-size: 16px;&quot;&gt;It&#39;s like acid rain.&amp;nbsp;&lt;/b&gt;&lt;/span&gt;&lt;div&gt;&lt;span&gt;&lt;b style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;It never ceases to scar, harm the environment, and ruin vacations. We&#39;re talking about bad writer advice, of course (btw, see our &lt;a href=&quot;https://www.novelwritingonedge.com/2015/04/top-ten-worst-pieces-of-writing-advice.html&quot; target=&quot;_blank&quot;&gt;first article on this subject&lt;/a&gt;).&amp;nbsp;&lt;/b&gt;
  1348. &lt;br /&gt;
  1349.  
  1350. &lt;div class=&quot;separator&quot; style=&quot;clear: both; font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px; text-align: center;&quot;&gt;&lt;br /&gt;&lt;/div&gt;
  1351.  
  1352. &lt;span style=&quot;font-size: 16px;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; font-family: &amp;quot;trebuchet ms&amp;quot;, arial; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA3KAP3gn9VgMD2IEyiA6Nf9X8aVx8QfhkiR6gQW-ubY66xAuMp8UGr7dB8sFY1sXMZrX95P4uNuTE3qFNfwV9IgWkDl9q7mJzG__68EaYY7VCn6dUoawnCk2_HyoKFTGRvWKIKyZZMMU/s433/nerdwoman.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;395&quot; data-original-width=&quot;433&quot; height=&quot;342&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA3KAP3gn9VgMD2IEyiA6Nf9X8aVx8QfhkiR6gQW-ubY66xAuMp8UGr7dB8sFY1sXMZrX95P4uNuTE3qFNfwV9IgWkDl9q7mJzG__68EaYY7VCn6dUoawnCk2_HyoKFTGRvWKIKyZZMMU/w374-h342/nerdwoman.jpg&quot; width=&quot;374&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;While perusing several collections of &quot;Worst Writer Advice&quot; found sprouting like toxic tulips after a &lt;/span&gt;&lt;a href=&quot;https://www.google.com/search?source=hp&amp;amp;ei=xbK_X9LtO53E0PEPtKWugAI&amp;amp;q=ten+worst+pieces+of+writer+advice&amp;amp;oq=ten+worst+pieces+of+writer+advice&amp;amp;gs_lcp=CgZwc3ktYWIQAzoRCC4QsQMQgwEQxwEQowIQkwI6CAguELEDEIMBOggIABCxAxCDAToCCAA6CwguELEDEMcBEKMCOgUILhCxAzoFCAAQsQM6CAguELEDEJMCOgIILjoLCC4QsQMQyQMQkwI6CAguEMcBEK8BOgQILhAKOgUIABDJAzoHCC4QsQMQCjoHCAAQsQMQCjoJCAAQyQMQFhAeOgYIABAWEB46BQghEKsCOggIIRAWEB0QHjoFCCEQoAE6BwghEAoQoAFQqC9Y9YgBYNiKAWgAcAB4AYABnQKIAb4fkgEGOC4yMy4ymAEAoAEBqgEHZ3dzLXdpeg&amp;amp;sclient=psy-ab&amp;amp;ved=0ahUKEwiS5PWsraDtAhUdIjQIHbSSCyAQ4dUDCAk&amp;amp;uact=5&quot; style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot; target=&quot;_blank&quot;&gt;simple Google search&lt;/a&gt; &lt;span style=&quot;font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;(most of it authored by insufferable rank amateurs working for the ad-driven content industry, and who wisely appear between ages 12 and 17), I found the various fallacies and idiocies about novel writing contained therein to be worth pointing out. Much of it was reminiscent of childish Twitter rumor, and therefore, potentially harmful to aborning novelists.&amp;nbsp;
  1353.  &lt;/span&gt;&lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;/p&gt;
  1354. &lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Should one even bother though to set this straight? It makes you feel a little like the baffled ex-astronaut prodded into revealing Earth &lt;i&gt;really is a globe&lt;/i&gt; when addressing a convention of flat earth fanatics, i.e., &quot;&lt;i&gt;I can&#39;t believe I&#39;m even talking about this&lt;/i&gt;.&quot;&lt;/span&gt;&lt;/p&gt;
  1355.  
  1356. &lt;p&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;And btw, while out and about, I also visited the kingdom of Reedsy, one of the more popular writer advice hangouts. I was investigating their &lt;a href=&quot;https://blog.reedsy.com/guide/nanowrimo/&quot; rel=&quot;nofollow&quot; target=&quot;_blank&quot;&gt;article on writing for NaNoWriMo&lt;/a&gt;, aka National Writing Month, but&amp;nbsp;&lt;b&gt;I found the surge of cheerleading blather concerning this competition to be a grand welcome mat for bad advice scuffery.&lt;/b&gt; No surprise there (not *everything* was bad advice, though most points required far more elaboration, and enough dark neoplasms did exist to cripple a writer&#39;s ability to succeed, e.g., &lt;/span&gt;&lt;span style=&quot;font-family: trebuchet;&quot;&gt;&lt;span style=&quot;font-size: 16px;&quot;&gt;&quot;&lt;/span&gt;&lt;span style=&quot;background-color: white; color: #2a2a2a; font-size: 18px;&quot;&gt;Follow whatever crazy character shows up and leads you down the rabbit hole, and let yourself be surprised!”&lt;/span&gt;&lt;/span&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;). &lt;i&gt;Yes, yes, leave the plot behind, just follow that crazy down the hole, and once you&#39;ve reached the bottom, sitting with your crazy on a toilet in a squalid gas station bathroom just south of Pismo Beach, look up and squint to see that small crack of light high above you&lt;/i&gt;. &lt;br /&gt;  
  1357. &lt;/span&gt;&lt;/p&gt;
  1358. &lt;br /&gt;  
  1359. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKSZ6rZLfq5jN9fNBujw_t5hqhuU8e9pgnGkz7H8YikSFxA3Xb1m8D_Yu7VO-JLLEY0Q3NJbsCDzfulCQ8k_AqhaI6bLz3LH6nEGlcPbK856VQ2u798shS7-1VFSGypXs5tdycZP-TL8g/s230/childish.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;186&quot; data-original-width=&quot;230&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKSZ6rZLfq5jN9fNBujw_t5hqhuU8e9pgnGkz7H8YikSFxA3Xb1m8D_Yu7VO-JLLEY0Q3NJbsCDzfulCQ8k_AqhaI6bLz3LH6nEGlcPbK856VQ2u798shS7-1VFSGypXs5tdycZP-TL8g/s0/childish.jpg&quot; /&gt;&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;Overall, I felt as if I were being lectured by children who had just discovered how to type, and it made me think... Could I now toss aside decades of experience and acquired knowledge regarding the topic of novel writing, and quite simply, like them, sally forth and tap out a new &quot;epic novel&quot; in a month?&lt;/span&gt;&lt;p&gt;&lt;/p&gt;
  1360.  
  1361. &lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;i&gt;We are awash in wunderkind&lt;/i&gt;. Where do they come from? What do they want?
  1362. &lt;br /&gt;&lt;br /&gt;
  1363. Not long ago, a Reedsy-like writer in a Zoom workshop enthusiastically erupted, &quot;The best thing about writer groups is that no one is necessarily right. Writers are free to approach novel writing in any number of ways, even if they have to INVENT IT AS THEY GO.&quot; I informed her that was actually the worst thing about &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;writer groups&lt;/b&gt;&lt;/a&gt; (btw, was the inverse &quot;necessarily wrong&quot; also true?), and the &quot;invent it as they go&quot; was itself an invention of ignorant narcissism on the &quot;go&quot; only to rejection. &lt;b&gt;Next, I asked her if she knew the definition of a plot point, whereupon she evaporated into electronic memory.&lt;/b&gt; I never saw her again, but apparently, &quot;no right way to write a novel&quot; was an important standard for her, one she clung to tenaciously.&amp;nbsp;&lt;/p&gt;
  1364.  
  1365. &lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;And btw, &lt;i&gt;she&#39;s not alone&lt;/i&gt;.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;/p&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; font-family: &amp;quot;trebuchet ms&amp;quot;, arial; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbmb1ldNNpQ9st0fDymZYkIiTqpcQB9Tp8390Z3V-FkNJd-aUNbPGc9pxvBNijlZw_etJJEXjVdK3hRTvWv9Io004gbJ7Wz1oEVwCkmYM6a-bFzxeugYl2LeyGBEJ9d-Jvf5WO5FTxCXs/s221/banner-omg.gif&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;221&quot; data-original-width=&quot;120&quot; height=&quot;212&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbmb1ldNNpQ9st0fDymZYkIiTqpcQB9Tp8390Z3V-FkNJd-aUNbPGc9pxvBNijlZw_etJJEXjVdK3hRTvWv9Io004gbJ7Wz1oEVwCkmYM6a-bFzxeugYl2LeyGBEJ9d-Jvf5WO5FTxCXs/w115-h212/banner-omg.gif&quot; width=&quot;115&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  1366.  
  1367. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Such &quot;writers&quot; don&#39;t wish their &quot;creativity&quot; to be &quot;controlled&quot; or &quot;diluted&quot; with rules meant for &quot;some.&quot; In all fairness, it&#39;s likely she&#39;d absorbed such foolish and ruinous maxims after ingesting the literary advice equivalent of cyanide, the kind one inevitably discovers puddling around the web (see Google search above). Where else?... Oh right, I forgot. She could have learned it from her &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;writer group&lt;/a&gt;?
  1368. &lt;br /&gt;
  1369.  &lt;blockquote&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;span face=&quot;&amp;quot;Trebuchet MS&amp;quot;, Trebuchet, sans-serif&quot; style=&quot;font-size: 18px;&quot;&gt;I felt as if I were being lectured by children who had just discovered how to type, and it made me think. Could I toss aside decades of experience and acquired knowledge concerning novel writing, and quite simply, like them, just sally forth and tap out a new &quot;epic novel&quot; in a month?&lt;/span&gt;&lt;/span&gt;&lt;/blockquote&gt;
  1370.    
  1371. &lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;&lt;i style=&quot;font-size: 16px;&quot;&gt;Where is the nearest cliff?&lt;/i&gt;
  1372.  
  1373. &lt;p style=&quot;font-size: 16px;&quot;&gt;Maybe this act of investigatory literary journalism will rescue your dream from ruination, or not. As one of the wise sages we&#39;ll review points out, &quot;don&#39;t listen to experts if it &lt;i&gt;makes you feel bad&lt;/i&gt;.. just follow your instincts.&quot; Again, I repeat, where is the nearest cliff? &amp;nbsp;&lt;/p&gt;
  1374.  
  1375. &lt;p style=&quot;font-size: 16px;&quot;&gt;Regardless, more favorites below, from mind boggling to laughable. WE will not provide them with free publicity by naming or linking to them.&lt;/p&gt;&lt;p style=&quot;font-size: 16px;&quot;&gt;As follows:&lt;/p&gt;
  1376.  
  1377.  &lt;ul&gt;
  1378. &lt;p&gt;&lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;&quot;Some people, however, will say that no book will ever succeed without an outline. This is terrible writing advice. If you don&#39;t want to use an outline and want to go straight to writing then go ahead - don&#39;t allow anyone to tell you otherwise.&quot;&lt;/b&gt;&lt;/p&gt;
  1379.    
  1380. &lt;p&gt;(&lt;i&gt;Some people? In two decades I&#39;ve never heard anyone make this sweeping statement; however, I do belong to the non-pantsing school. I adamantly advocate for productive planning and/or outlining in advance, especially for aspiring genre-specific authors relatively new to the field. WE article on &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/what-dont-outline-your-novel.html&quot; target=&quot;_blank&quot;&gt;this issue here&lt;/a&gt;.&lt;/i&gt;)&lt;/p&gt;
  1381.  
  1382. &lt;p&gt;&lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Some people are fortunate and they don’t have a lot of time commitments on their hands. These writers might get their book written, edited, and on their way to publishing in just a few weeks. This in no way means it’s not good! It just means they were able to spend a lot of consecutive time on it.&lt;/b&gt;&lt;/p&gt;
  1383.  
  1384. &lt;p&gt;(&lt;i&gt;Some writer people known to this writer person are able to conceive, write, edit, and publish their novel in a few weeks... Tell me who. Show me the novel. This reminds me of the ancient Jack Kerouac novel-typing-in-one-sitting stunt, but not quite as extreme. Nevertheless, preposterous no matter how you look at it.&lt;/i&gt;)&lt;/p&gt;
  1385.    
  1386. &lt;p&gt;&lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Join a writing group either in person or virtually and give them extracts of your work.&lt;/b&gt;&lt;/p&gt;
  1387. &lt;p&gt;(&lt;i&gt;We&#39;ve debunked&amp;nbsp;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;that solution here&lt;/a&gt;&lt;/i&gt;.)&lt;/p&gt;
  1388.  
  1389. &lt;p&gt;&lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Write in your own voice, with your natural grammar. Let copyeditors and proofreaders worry about your grammar later.&amp;nbsp;&lt;/b&gt;&lt;/p&gt;
  1390. &lt;p&gt;(&lt;i&gt;Your &quot;natural grammar&quot;? As both a line and developmental editor, this green light to ignore reasonable grammar can result in eye popping hybrids. Consistent and obvious bad grammar is a red flag to professionals. There are irritating nuances to grammar, yes, but advising writers to ignore grammar rules in general is wrong.&lt;/i&gt;)&lt;/p&gt;
  1391.  
  1392. &lt;p&gt;&lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Most of the writing and publishing industry is shockingly elitist, and most of what they teach is bad advice that doesn’t work.&lt;/b&gt;&lt;/p&gt;
  1393. &lt;p&gt;(&lt;i&gt;The portion of the industry that might present itself to some as elitist is not that portion of the industry currently engaged in freelance editorial work, i.e., unless the editor in question happens to be a former publishing house editor or literary agent. In that case, they are feverishly searching for jobs and will not be inclined to act snotty. The broad brush allegation that &quot;most of what they teach is bad advice&quot; is plain ridiculous, if for no other reason than the allegation is too sweeping. Most? Really? No examples given here. No names. Who provides unproductive advice and who does not varies widely.&lt;/i&gt;)&lt;/p&gt;
  1394.  
  1395. &lt;p&gt;(&lt;i&gt;&lt;span style=&quot;color: #990000;&quot;&gt;FYI, the statement above, and below, was made by an instructional-and-self-publication website&lt;/span&gt;&lt;/i&gt;)&lt;/p&gt;
  1396.  
  1397. &lt;p&gt;&lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Nothing about reading books about writing—or subscribing to blogs about writing—is going to help you do that... But I have yet to find a book about writing that’s a better use of your time than actually writing.&lt;/b&gt;&lt;/p&gt;
  1398.    
  1399. &lt;p&gt;(&lt;i&gt;I&#39;m still bandaging my jaw. Well said, I must say. The writer has yet &quot;to find a book about writing&quot; that&#39;s any good? Waste of time? For example, &quot;Screenwriter&#39;s Problem Solver&quot; by Syd Field teaches nothing worthwhile? &quot;Art of Fiction&quot; by John Gardner? And so forth? We addressed&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/ten-best-books-on-novel-writing.html&quot; target=&quot;_blank&quot;&gt; this issue&lt;/a&gt; quite well on WE. It&#39;s hard to believe this issue has to be debated. I&#39;ve only ever heard one person say this in twenty years, and that was an MFA prof attempting to sell his program to a writer workshop. &lt;span style=&quot;color: #990000;&quot;&gt;And I&#39;ll maintain that if you cannot communicate writing advice using the written word, then you cannot communicate it verbally either&lt;/span&gt;&lt;/i&gt;. )&lt;/p&gt;
  1400.  
  1401. &lt;p&gt;&lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;Read as much writing as you can in your genre (the kind of books you want to write)?... I actually tell people not to do this... Instead, read only the minimum amount necessary to know what the general consensus is in that field.&lt;/b&gt;&amp;nbsp;&lt;/p&gt;
  1402.    
  1403. &lt;p&gt;(&lt;i&gt;Huh? This fellow actually finds harm in immersing in one&#39;s chosen genre? Read the minimum amount? What does that mean? How does he define? We never find out. It&#39;s just overall ridiculous&lt;/i&gt;.)&lt;/p&gt;
  1404.  &lt;/ul&gt;
  1405.  
  1406.  &lt;p&gt;Do you find it hard to believe that a portion of the above isn&#39;t just an invention? I&#39;d prefer it that way actually. Far more disturbing to see fellow writers (or alleged writers) passing this pap around as if valid.&lt;/p&gt;&lt;p&gt;God bless the Writer&#39;s Edge.&lt;/p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/top-worst-worst-writer-advice-advice.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA3KAP3gn9VgMD2IEyiA6Nf9X8aVx8QfhkiR6gQW-ubY66xAuMp8UGr7dB8sFY1sXMZrX95P4uNuTE3qFNfwV9IgWkDl9q7mJzG__68EaYY7VCn6dUoawnCk2_HyoKFTGRvWKIKyZZMMU/s72-w374-h342-c/nerdwoman.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-4368355866175885765</guid><pubDate>Sun, 06 Dec 2020 20:39:00 +0000</pubDate><atom:updated>2020-12-28T14:06:15.696-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">bad writer groups</category><category domain="http://www.blogger.com/atom/ns#">bad writing advice</category><category domain="http://www.blogger.com/atom/ns#">novel rejection reasons</category><title>&quot;Top Ten Worst Pieces of Writing Advice&quot; (and it gets worse)</title><description>&lt;div dir=&quot;ltr&quot; style=&quot;text-align: left;&quot; trbidi=&quot;on&quot;&gt;
  1407. &lt;div dir=&quot;ltr&quot; style=&quot;text-align: left;&quot; trbidi=&quot;on&quot;&gt;&lt;br /&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;OUTSIDE OF NARCISSISM, IMPATIENCE AND BAD ADVICE ARE A WRITER&#39;S WORST ENEMIES&lt;/b&gt;.&lt;br /&gt;
  1408. &lt;br /&gt;
  1409. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOo_2ffW7mnQs6ro8cuVXopiukPAJUTB5EtT7EndyJbmipYmjHeH_lmUyELahpxxcqh1bRCZm1KmGu39wyg9Ae5JAry_UtDup1tJ7Wz4qlK9DdHUDjUV0c68iPIF1v4HPMNrpUcx7wibI/s445/scream.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;438&quot; data-original-width=&quot;445&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOo_2ffW7mnQs6ro8cuVXopiukPAJUTB5EtT7EndyJbmipYmjHeH_lmUyELahpxxcqh1bRCZm1KmGu39wyg9Ae5JAry_UtDup1tJ7Wz4qlK9DdHUDjUV0c68iPIF1v4HPMNrpUcx7wibI/s320/scream.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;If you ever attend writer events, you will never cease to hear utterances of bad writing advice, the popular kind that circulate like&amp;nbsp; ruinous viral memes through the nervous systems of America&#39;s aborning novel writers. And each time you are exposed, you either chuckle or swear, depending on your mood and the circumstance. You might make a daring attempt to kill the meme in its tracks before it can infect someone else, or you might just stare at the writer with a dumbfounded look and ask, &quot;Where the hell did you hear that?&quot;&lt;br /&gt;
  1410. &lt;br /&gt;
  1411. Yes, the primal question: &lt;b&gt;WHERE THE HELL DID YOU HEAR THAT?&lt;/b&gt;&lt;br /&gt;
  1412. &lt;br /&gt;
  1413. Inevitably, many will point to &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;their writer&#39;s group&lt;/a&gt;. &lt;i&gt;Ahhhh, of course&lt;/i&gt;, you think. Why just recently at an &lt;a href=&quot;http://algonkianconferences.com/&quot; target=&quot;_blank&quot;&gt;Algonkian event&lt;/a&gt;, one of my faculty (a former senior editor at Random House) and I were faced with an individual who adamantly asserted to us both that using only one point of view to write a novel was mandatory.&lt;br /&gt;
  1414. &lt;br /&gt;
  1415. &lt;b&gt;&lt;span style=&quot;font-size: large;&quot;&gt;No exceptions!&lt;/span&gt;&lt;/b&gt;&lt;br /&gt;
  1416. &lt;br /&gt;
  1417. I&#39;m not kidding or exaggerating. I asked, &quot;Where &lt;i&gt;the hell&lt;/i&gt; did you hear that?&quot;&lt;br /&gt;
  1418. &lt;br /&gt;
  1419. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;
  1420. &lt;u&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMLkNR1aRiTcBkh0bNq9iqY2JT8rMWZWhahRVUie51j50BAcJ8hBQyO_otYVO47LUkk3zno7lykzV75JZksd2ZPbWQie8NN4CqjYBR9Ll58yAjloFu2uF2aNdci-ds1ZGjND3asY-MNwQ/s1600/fog.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;200&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMLkNR1aRiTcBkh0bNq9iqY2JT8rMWZWhahRVUie51j50BAcJ8hBQyO_otYVO47LUkk3zno7lykzV75JZksd2ZPbWQie8NN4CqjYBR9Ll58yAjloFu2uF2aNdci-ds1ZGjND3asY-MNwQ/s1600/fog.jpg&quot; width=&quot;141&quot; /&gt;&lt;/a&gt;&lt;/u&gt;&lt;/div&gt;
  1421. She&#39;d learned it from her &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;writer&#39;s group&lt;/a&gt;. It must therefore be true. No doubt because they had told her this for seven years, and her workshop leader affirmed it,&lt;b&gt; and as further proof the preposterous assertion was correct, a member of her group held an MA from Johns Hopkins!&lt;/b&gt; So in the face of this onslaught we displayed the typical dumbfounded reaction, and to our further astonishment, the writer just dug in and continued to resist our many proofs to the absolute contrary. As a matter of fact, one of the novels the writer was supposed to have read before the retreat was HOUSE OF SAND AND FOG. Of course, she didn&#39;t read it, but she did at least admit it contained more than one point of view. Uh oh! Moments later though, to bolster the writer group firewall of defensive ignorance, she said, &quot;Well even F. Scott Fitzgerald screwed up once in Gatsby and shifted to a different point of view... So it just goes to show, anyone can screw up like that and use more than one point of view.&quot;&lt;br /&gt;
  1422. &lt;br /&gt;
  1423. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;
  1424. &lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8ues783gXpoQo95yZ63oHq_wX6thZg8D4HuYeGH_Al8OCT1-l8_Su1GERtQoqlD_QQltFPiAzVudnzAqVTh5DdK1yozcMG42m28m_lpZv7XqQHKUJeCYgcDk0u14gwHTC9OzY6Zn0vL0/s1600/wuthering.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;200&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8ues783gXpoQo95yZ63oHq_wX6thZg8D4HuYeGH_Al8OCT1-l8_Su1GERtQoqlD_QQltFPiAzVudnzAqVTh5DdK1yozcMG42m28m_lpZv7XqQHKUJeCYgcDk0u14gwHTC9OzY6Zn0vL0/s1600/wuthering.jpg&quot; width=&quot;122&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;b&gt;
  1425. Stunned yet again following this mind-blowing comment, the two of us finally recovered to note several more novels that contained multiple POV, from WUTHERING HEIGHTS to THE POISONWOOD BIBLE to THE MARTIAN CHRONICLES to various thrillers and even to Rowling&#39;s later Harry Potter books. &lt;/b&gt;We figured that somewhere between Emily and J.K. this extremely stubborn person might actually stop and realize that perhaps her &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;writer group&lt;/a&gt; had been steering her wrong. Sadly though, I don&#39;t believe she ever learned. Perhaps the bond with the group was too strong and the consensus delusion regarding single POV helped maintain their social cohesion. Perhaps her own narcissism disallowed her? Both? Who knows? I just know that the writer never once admitted she was wrong.
  1426. &lt;br /&gt;&lt;br /&gt;  
  1427. No sign of epiphany was ever forthcoming. Instead, she lapsed into borderline hysteria, though recovered the final two days and went to work on another novel. I sent her at least 20 examples of multiple POV following the retreat and received only a very terse note in return. All in all, it was the most singular and remarkable act of writer ignorance I&#39;ve ever witnessed, but one cannot blame the writer out of hand. &lt;b&gt;Bad advice was one of her worst enemies, if not her worst.&lt;/b&gt; If you go to a writer&#39;s group respecting the leader and your peers and they tell you XYZ nonsense year after year, how can you not believe it? Nevertheless, we workshop leaders and teachers tire of being the target of theatrical repercussions at such time the narcissist writer discovers the world is not flat and the sun doesn&#39;t revolve around them.&lt;br /&gt;
  1428. &lt;br /&gt;
  1429. &lt;span style=&quot;color: #20124d;&quot;&gt;On the plus side, the exasperating event above prompted me to finally work towards creating a master list of bad writer advice--something I&#39;ve wanted to do for years. I searched on Google not only to help with my own recollections but to investigate anything I might have missed, and the first article I came across was in Lit Reactor: &quot;&lt;b&gt;&lt;a href=&quot;https://litreactor.com/columns/the-ten-worst-pieces-of-writing-advice-you-will-ever-hear-and-probably-already-have&quot; target=&quot;_blank&quot;&gt;The Ten Worst Pieces of Writing Advice You Will Ever Hear&lt;/a&gt;&lt;/b&gt;.&quot;&lt;/span&gt;&lt;br /&gt;
  1430. &lt;br /&gt;
  1431. Lit Reactor seems to be a decent place for newbie writers seeking community and inspiration, but I have to take a few exceptions with the article above. I firmly agree with a lot of it, for example, WRITE WHAT YOU KNOW is really bad advice. How could speculative or historical fiction writers ever pen a page if this were true? But the author goes on to choose other literary adages we&#39;ve all grown old with and claims that they too are actually very bad advice. One of them is SHOW DON&#39;T TELL. &lt;i&gt;So that&#39;s one of the worst pieces of writer advice?&lt;/i&gt; Huh? Now, let&#39;s pull in the reins for a second. As a writer I&#39;ve never seen SHOW DON&#39;T TELL as a hard and fast rule that covers all conditions and circumstances. Obviously, one may need to &quot;tell&quot; at such time a certain type of exposition needs to be artfully delivered and dialogue isn&#39;t sufficient. Like most writers I&#39;ve known, I see SHOW DON&#39;T TELL as a helpful guideline, especially for newbies who tend to lump pages of exposition in their opening chapter, or otherwise drone on and on about an important event in the story when they should be depicting in a live-action scene.&lt;br /&gt;
  1432. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;
  1433. &lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLLi4mlnzgb-r9D88YCIT54o3xu7BLfoDm_4a6e1VI1RS5AbO3UA2gaerz1Tngzyoyav3Ut5MSMS-HIwFc3R2n5eXNJdH5mg06AwosEZuD1tkoxqLqMPaiCn02D1cEv0GrBLio5Lz8v5w/s1600/show.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;206&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLLi4mlnzgb-r9D88YCIT54o3xu7BLfoDm_4a6e1VI1RS5AbO3UA2gaerz1Tngzyoyav3Ut5MSMS-HIwFc3R2n5eXNJdH5mg06AwosEZuD1tkoxqLqMPaiCn02D1cEv0GrBLio5Lz8v5w/w334-h206/show.jpg&quot; width=&quot;334&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  1434. &lt;br /&gt;
  1435. As in other instances in the Lit Reactor article above, the author isn&#39;t necessarily wrong when she counterpoints the age-old literary adage, as I did above, but the difference between us is that she posits SHOW DON&#39;T TELL as an unbreakable rule, and when exceptions are offered up they stand as proof that the adage is actually bad advice. Logic dictates, however, that one can find several conditions to counterpoint the negative examples and then we&#39;re even. &lt;b&gt;My point is that the unfortunate act of singling out the SHOW DON&#39;T TELL guideline as bad advice is, in itself, bad advice&lt;/b&gt;--my apologies to the author of the article, and she is welcome to debate this here, but seriously, how the heck would you apply the anti-SDT logic to screenplay writers or playwrights when so much more is SHOW DON&#39;T TELL?&lt;br /&gt;
  1436. &lt;br /&gt;
  1437. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;
  1438. &lt;/div&gt;
  1439. Let&#39;s recap. We now have three slings of really bad writing advice to list. We&#39;ll build the list as we go:&lt;br /&gt;
  1440. &lt;ul style=&quot;text-align: left;&quot;&gt;
  1441. &lt;li&gt;Only one point of view per novel&lt;/li&gt;
  1442. &lt;li&gt;Write what you know&lt;/li&gt;
  1443. &lt;li&gt;&quot;Show don&#39;t tell&quot; is bad advice&lt;/li&gt;
  1444. &lt;/ul&gt;
  1445. Next. At every Algonkian event, I hear a writer state this to me sooner or later: &quot;Writer&#39;s shouldn&#39;t use flashbacks in their novels.&quot; Yes. Another,&amp;nbsp;&lt;i&gt;Where the hell did you hear that?&lt;/i&gt;&amp;nbsp;Of course flashbacks are acceptable, if used artfully. They are just one technique in the fiction writing toolkit, and the types of flashbacks vary from a brief memory to a full chapter, or more. Novels that use a framing device of looking back into the past after having first established a contemporary setting (e.g., &lt;i&gt;A Separate Peace &lt;/i&gt;or&lt;i&gt; I Claudius&lt;/i&gt;) are themselves one immense act of flashback. But like the first example in the beginning of this post, the writer&#39;s group can sometimes be at fault for spreading this unproductive advice, but in all fairness, is the writer group the true source? When questioned about origin, the writer spreading the viral meme regarding flashbacks more often than not says, &quot;I heard it at a writer conference.&quot; And then I ask, from whom? And they answer, &quot;Uhh, someone, an agent, um... on a panel.&quot;&lt;br /&gt;
  1446. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;
  1447. &lt;/div&gt;
  1448. &lt;br /&gt;
  1449. &lt;div style=&quot;text-align: left;&quot;&gt;
  1450. &lt;/div&gt;
  1451. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;
  1452. &lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijvjBU6G58SfgbJtnUJbaU8AY67oaAXSTGy12kZJEjSs9z4JMwFzt2f3ueX8aTgN3eG2S9PFZ8CkJK8OSWcSgehwhG4DAzvx3nsk0zHf1OWGbVYLrx5RfI0MUuqDrnAlJ8dXHNmesb9Tw/s1600/conference.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;245&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijvjBU6G58SfgbJtnUJbaU8AY67oaAXSTGy12kZJEjSs9z4JMwFzt2f3ueX8aTgN3eG2S9PFZ8CkJK8OSWcSgehwhG4DAzvx3nsk0zHf1OWGbVYLrx5RfI0MUuqDrnAlJ8dXHNmesb9Tw/w327-h245/conference.jpg&quot; width=&quot;327&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  1453. Trauma time! The soul-searing memories return to haunt me. Years ago, I sat on a panel with five other agents at the San Francisco Writer&#39;s Conference listening to a new and incredibly ignorant agent drone on and on about the craft of writing (though she wasn&#39;t a writer and had never been an editor--in fact, like so many young agents, her only past experience involved reading query letters and wading the slush-pile), &lt;b&gt;and every other utterance from this person&#39;s mouth about fiction writing was just plain wrong&lt;/b&gt;. I sat biting my tongue as long as I could, and then attempted to qualify and gently negate her assertions, and succeeded to some degree, but despite this calamity, I learned something. Here before me sat over 200 people, writers in their early stages, looking for good advice. And were they getting it? No, a hundred times NO. Past memories began to gel and I realized that the single biggest source of bad advice for writers might well be the typical American writer conference--and of course, these writers return to their hometown groups to repeat what they&#39;ve heard, e.g., &lt;i&gt;no flashbacks, show don&#39;t tell sucks, don&#39;t worry about your title...&lt;/i&gt;&lt;br /&gt;
  1454. &lt;br /&gt;
  1455. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;
  1456. &lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWsFSmebgko4inRGvv7drqv_2zAgzGNUffOjXl1NAFVh9dlS1xuZ8iEeoLI0Rr7NtPibUAN3abhksajC7eKOqmoqNUKUfx3PvEGsYob_uKg3IW8kdqwepzW-wBqmwkYXbZRx2tjwCUlL8/s1600/badtitle.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;200&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWsFSmebgko4inRGvv7drqv_2zAgzGNUffOjXl1NAFVh9dlS1xuZ8iEeoLI0Rr7NtPibUAN3abhksajC7eKOqmoqNUKUfx3PvEGsYob_uKg3IW8kdqwepzW-wBqmwkYXbZRx2tjwCUlL8/s1600/badtitle.jpg&quot; width=&quot;146&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  1457. &lt;b&gt;&lt;i&gt;Don&#39;t worry about your title?&lt;/i&gt;&lt;/b&gt; Back to a writer conference. I attended a panel at another large writer conference on the west coast in 2014. It was a panel of writers who had recently been published. There were about 75 people in the room. A poor neophyte stood and asked the assembled writers if he had to worry about his title before he was published, and the consensus answer from the panel? &lt;b&gt;&lt;i&gt;No. You don&#39;t...&lt;/i&gt;&lt;/b&gt;&amp;nbsp;I sat there dumbfounded. So basically, these people told this guy that pitching his novel or nonfiction with a crappy, foolish, or hackneyed title was perfectly fine. Not to worry! Call it whatever you want. Must I spend any more space telling you why this was not only not perfectly fine, but perfectly stupid and self-defeating? A bad title is like a warning siren going out ahead of your pitch, whether it be an oral pitch or query letter. It makes a horrible whining sound of warning, and it seems to be saying to those who read or listen:&amp;nbsp;&lt;i&gt;This is a terrible writer, stop listening, stop reading, run screaming!&lt;/i&gt;&lt;br /&gt;
  1458. &lt;br /&gt;
  1459. Now, time to add three more to the list:&lt;br /&gt;
  1460. &lt;ul style=&quot;text-align: left;&quot;&gt;
  1461. &lt;li&gt;Avoid flashbacks in your fiction&lt;/li&gt;
  1462. &lt;li&gt;Don&#39;t worry about your title&lt;/li&gt;
  1463. &lt;li&gt;Any writer conference is helpful&lt;/li&gt;
  1464. &lt;/ul&gt;
  1465. &lt;table cellpadding=&quot;0&quot; cellspacing=&quot;0&quot; class=&quot;tr-caption-container&quot; style=&quot;float: left; margin-right: 1em; text-align: left;&quot;&gt;&lt;tbody&gt;
  1466. &lt;tr&gt;&lt;td style=&quot;text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIeYBwfu_kiBK2gTVhXGSBenFkkpuDB_dz_E39trrc1YQPmTGkZvh42tjnBJE_sI0W_Uz6bCMGBUw7j82LJZsxws-RWYQx6Tr-npKBtKNlAsQ1MNqazg_NmftAjR3TVfQNsK6tsaDPnOI/s1600/gary.jpg&quot; style=&quot;clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;&quot;&gt;&lt;img border=&quot;0&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIeYBwfu_kiBK2gTVhXGSBenFkkpuDB_dz_E39trrc1YQPmTGkZvh42tjnBJE_sI0W_Uz6bCMGBUw7j82LJZsxws-RWYQx6Tr-npKBtKNlAsQ1MNqazg_NmftAjR3TVfQNsK6tsaDPnOI/s1600/gary.jpg&quot; /&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;
  1467. &lt;tr&gt;&lt;td class=&quot;tr-caption&quot; style=&quot;text-align: center;&quot;&gt;Pitching the MFA&lt;/td&gt;&lt;/tr&gt;
  1468. &lt;/tbody&gt;&lt;/table&gt;
  1469. Though I don&#39;t hear it as much as I used to, I nevertheless hear it from young writers who have been conditioned to falsely believe that they will never write well or be taken seriously as writers unless and until they possess an MFA. My response to this: &lt;i&gt;nothing could be a bigger lie&lt;/i&gt;. I&#39;m sorry, I can&#39;t mince words or dance around the reality for the sake of anyone. This isn&#39;t to say that the right student can&#39;t benefit from the right MFA program (e.g., at Florida State)--they can, of course. I&#39;m addressing the members of the Literary Academic Complex (LAC), also known as the Literary Industrial Complex (LIC), who relentlessly promote the marketing myth that the odds are you&#39;ll never amount to much as a writer without an MFA. Yes, no fooling. Just click to the&amp;nbsp;&lt;a href=&quot;http://writersedgeinfo.blogspot.com/2014/02/are-mfa-programs-worth-it-some.html&quot; target=&quot;_blank&quot;&gt;article at WE regarding the MFA&lt;/a&gt;, and when you arrive, click on the link to an MFA writer poll and you will see Gary Shteyngart quacking forth on this very subject (&quot;You have to get an MFA&quot;). No conflict of interest here? Gary has an MFA, and how could this smiling goofy guy be steering us wrong? Thanks, Gary, for doing your part to convince America&#39;s youth to incur millions in debt to obtain MFA degrees of highly dubious worth. However, if we could overhear Gary talking in whispers at one of his terribly boring academic cocktail parties, you would get the real skinny, and it would sound something like this:&lt;br /&gt;
  1470. &lt;blockquote class=&quot;tr_bq&quot;&gt;
  1471. &lt;span style=&quot;font-family: &amp;quot;georgia&amp;quot; , &amp;quot;times new roman&amp;quot; , serif; font-size: large;&quot;&gt;&lt;b&gt;&quot;Look, we all know there are only a handful of MFA programs in the country that are worth a shit, but you know, when you&#39;re interviewed you have to dumb it down so you won&#39;t piss anyone off.&quot;&lt;/b&gt;&lt;/span&gt;&lt;/blockquote&gt;
  1472. &lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikpscrFUQmdlAWF1dzV_3vWiRa1nMGn28peYE1LJ-rLvAKhtzN96MXRb6b-EwUs6t7z72IxowlCwEuUxkOfn9_URlhxBkh7q_pHdJtMUqcfkKSGi_7aE9We7Yi9lWko6yD8FS6p3Ni9CE/s1600/writergroups.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikpscrFUQmdlAWF1dzV_3vWiRa1nMGn28peYE1LJ-rLvAKhtzN96MXRb6b-EwUs6t7z72IxowlCwEuUxkOfn9_URlhxBkh7q_pHdJtMUqcfkKSGi_7aE9We7Yi9lWko6yD8FS6p3Ni9CE/s1600/writergroups.jpg&quot; width=&quot;312&quot; /&gt;&lt;/a&gt;One of the fatal flaws of MFA programs consists of using a writer group of fellow students (who know as little or less than you) to critique your work for the purpose of improving it, which brings me around to another bit of really bad advice: JOIN A WRITER GROUP. I wrote an &amp;nbsp;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;article here at WE&lt;/a&gt; that pretty much sums up why being in a writer group for critique and guidance can be a train wreck in any number of ways. Again, like the MFA, you&#39;re supposing that people who know as little or less than you (otherwise why would they be there?) are capable of providing constructive advice, but since you aren&#39;t knowledgeable enough to know one way or another whether or not the advice is good, you should never take it without follow-up investigation--and if you&#39;re going to be constantly reality-checking what you hear, why stay in the group at all?... Yes, it&#39;s a social fest, it can be fun, or it can be oppressive and even ugly.&lt;br /&gt;
  1473. &lt;br /&gt;
  1474. Did you know, THE ELEMENTS OF WRITING GOOD FICTION CANNOT BE TAUGHT? I didn&#39;t know it either until Isabella Allende told me so. She believes, as I do, that great authors are self-made, not baked from a workshop recipe, but she goes on further to say that students of novel writing are only capable of learning a limited subset of craft. Why? I&#39;m not sure. She&#39;s not as extreme as the Iowa mantra that states &quot;&lt;a href=&quot;http://writersedgeinfo.blogspot.com/2015/04/in-defiance-of-iowa-writers-workshop.html&quot; target=&quot;_blank&quot;&gt;Writing Cannot be Taught&lt;/a&gt;, only talent developed,&quot; but she&#39;s closing in on it. From the video below (final 30%):&lt;br /&gt;
  1475. &lt;blockquote class=&quot;tr_bq&quot;&gt;
  1476. &lt;span style=&quot;font-size: large;&quot;&gt;I have twenty students working on a novel, but only one might create &lt;i&gt;a good novel&lt;/i&gt;... I can teach them a few things about the writing, but I cannot teach suspense, tension, tone... how to play with the imagination of the reader, what is the highlight of the story...&amp;nbsp;&lt;/span&gt;&lt;/blockquote&gt;
  1477. Hmmm, why not? We teach it effectively in Algonkian workshops and in online programs--quite effectively I might add. Tension and suspense derive from a number of sources, and all these are knowable, and examples can be displayed. We can&#39;t fold on our teaching methods because Isabella Allende believes otherwise. To each his own. Btw, I love her writing.&lt;br /&gt;
  1478. &lt;br /&gt;
  1479. &lt;center&gt;
  1480. &lt;iframe allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/wyHlcM7Yt14&quot; width=&quot;560&quot;&gt;&lt;/iframe&gt;&lt;/center&gt;
  1481. &lt;br /&gt;
  1482. Finally, we come around to our number ten on the list: &lt;b&gt;Don&#39;t plan or outline your novel, let the character write the novel, or even more simply, &quot;Just start writing.&quot;&lt;/b&gt; How many times have I heard that? And guess where? At a writer conference, of course. A certain type of author is asked whether or not they plot or outline ahead of time. They smile and say something like, &quot;I&#39;ve been asked this question before, and I have to say no, I don&#39;t outline. It just all comes to me, the character inhabits me...&quot; or some such drivel.&lt;br /&gt;
  1483. &lt;br /&gt;
  1484. But let&#39;s be logical.&lt;br /&gt;
  1485. &lt;br /&gt;
  1486. If you understand the primary foundations for writing a novel you know &lt;a href=&quot;http://www.openculture.com/2014/07/j-k-rowling-plotted-harry-potter-with-a-hand-drawn-spreadsheet.html&quot; target=&quot;_blank&quot;&gt;your plot line must develop certain points&lt;/a&gt; as it moves forward, and you know also that you must write separate scenes in the novel to perform certain tasks relevant to the plot line, as well as to the character arcs, etc. It&#39;s a complex undertaking, and one that demands a certain amount of planning. If you are some kind of genius and can keep it all in your head, more power to you, but if you are like me, you need to organize and place ideas on paper (or on the computer). Also, logic dictates that if your novel plot lines are a series of circumstances, reversals, and events that tie together, it only makes sense that you better know how point A gets to point M before you will know how point M gets to point Z.&lt;br /&gt;
  1487. &lt;br /&gt;
  1488. Consider, do screenplay writers or playwrights just start writing without any planning? Of course not. So why should the novel be different? And we&#39;re not talking about Beckett or Joycean flights of fancy, we&#39;re talking about the vast bulk of commercial novels, whether they be upmarket or genre.&lt;br /&gt;
  1489. &lt;br /&gt;
  1490. Btw, here we have a bunch of freelance editors confirming&amp;nbsp;&lt;a href=&quot;http://nybookeditors.com/2013/09/outlining/&quot; target=&quot;_blank&quot;&gt;this awful advice&lt;/a&gt;. Interesting, yes, but if you look closely you&#39;ll see they are trying to sell you their editorial services. Perhaps the less you plan your novel, the more work they&#39;ll have to do?&lt;br /&gt;
  1491. &lt;br /&gt;
  1492. Now for the summary.&lt;br /&gt;
  1493. &lt;br /&gt;
  1494. &lt;div style=&quot;text-align: left;&quot;&gt;
  1495. &lt;b&gt;&lt;span face=&quot;&amp;quot;arial&amp;quot; , &amp;quot;helvetica&amp;quot; , sans-serif&quot; style=&quot;color: #660000; font-size: large;&quot;&gt;The Writer&#39;s Edge top ten worst pieces of writing advice:&lt;/span&gt;&lt;/b&gt;&lt;/div&gt;
  1496. &lt;ul&gt;
  1497. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;Only one point of view per novel&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1498. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;Write what you know&amp;nbsp;&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1499. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;&quot;Show don&#39;t tell&quot; is bad advice (OMG!)&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1500. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;Avoid flashbacks in your fiction&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1501. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;Don&#39;t worry about your title (someone else will)&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1502. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;Any writer conference is helpful (beware--all events are not created equal)&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1503. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;You need to get an MFA (or you wont&#39; be taken seriously)&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1504. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;Join a writer group (to improve your writing and get good feedback)&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1505. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;The art of fiction can&#39;t be taught (and &quot;writing can&#39;t be taught&quot;)&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1506. &lt;li&gt;&lt;b&gt;&lt;span face=&quot;&amp;quot;trebuchet ms&amp;quot; , sans-serif&quot;&gt;Don&#39;t outline or plan your novel (let it happen)&lt;/span&gt;&lt;/b&gt;&lt;/li&gt;
  1507. &lt;/ul&gt;
  1508. &lt;/span&gt;&lt;/div&gt;
  1509. &lt;/div&gt;
  1510. &lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2015/04/top-ten-worst-pieces-of-writing-advice.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOo_2ffW7mnQs6ro8cuVXopiukPAJUTB5EtT7EndyJbmipYmjHeH_lmUyELahpxxcqh1bRCZm1KmGu39wyg9Ae5JAry_UtDup1tJ7Wz4qlK9DdHUDjUV0c68iPIF1v4HPMNrpUcx7wibI/s72-c/scream.jpg" height="72" width="72"/><thr:total>28</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-8810352514473314667</guid><pubDate>Sat, 05 Dec 2020 21:16:00 +0000</pubDate><atom:updated>2021-03-28T13:09:37.676-04:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">advanced writing craft</category><title>Classic Authors and Irritants of Minor Complication</title><description>&lt;div&gt;&lt;b&gt;The following are classic examples of minor complications occurring in the novel.&lt;/b&gt;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKL37EdUOt8mqcJYLxWyX7T0aSgiz0EPJDXh_Hze5DBUtiztH2ikQRTI5dpjQKLDeO2ULLnCfsZoS-dXwGElbnGBX90b68f5s86BqUsLMOn0H859WOB61f4_4Tqzj4EvmvGEmlLAlcvZw/s500/collapse.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;381&quot; data-original-width=&quot;500&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKL37EdUOt8mqcJYLxWyX7T0aSgiz0EPJDXh_Hze5DBUtiztH2ikQRTI5dpjQKLDeO2ULLnCfsZoS-dXwGElbnGBX90b68f5s86BqUsLMOn0H859WOB61f4_4Tqzj4EvmvGEmlLAlcvZw/s320/collapse.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;And what do we mean by that? The basic definition: whatever &quot;complicates&quot; the story, but not always existing in strong relation to the major dramatic complication or plot conflict. Minors may erupt in the same way tornadoes spin off from hurricanes, or they may be unrelated: a dropped glass, an interpersonal argument, a house-devouring sinkhole, a child with wild and green eyes attacking a homeless person, i.e., &lt;b&gt;whatever irritates, provokes, or disturbs, and in usually such a way as to either nudge the story, create suspense or verve, shove the character into revealing a trait, or some combination thereof.&lt;/b&gt;&amp;nbsp;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;color: #990000; font-size: medium;&quot;&gt;&lt;b&gt;&quot;The Sun Also Rises&quot; by Ernest Hemingway&lt;/b&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;b&gt;Scene 8:&lt;/b&gt;&amp;nbsp;&amp;nbsp;&lt;/div&gt;&lt;div&gt;Robert Cohn, friend of the narrator, enters the scene while narrator is having a conversation with another character by the name of Harvey.&amp;nbsp; Very soon, Harvey baits Cohn, insults him.&amp;nbsp; The tension rises. As a result, Cohn behaves unsure of himself... Cohn&#39;s girlfriend then enters scene and attempts to humiliate him. The page crackles with anticipation as the tension lines cross.&amp;nbsp;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;b&gt;Scene 27:&lt;/b&gt;&amp;nbsp;&amp;nbsp;&lt;/div&gt;&lt;div&gt;Brett‘s fiancé Michael, insults Cohn, comparing him to a steer who is &quot;always hanging about so.&quot;&amp;nbsp; Rather than intelligently rebut his tormentor, Cohn becomes furious. Once more Hemingway stages an interpersonal conflict that keeps you reading.&amp;nbsp;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;b&gt;&lt;span style=&quot;color: #990000; font-size: medium;&quot;&gt;&quot;Therese Racquin&quot; by Emile Zola&lt;/span&gt;&lt;/b&gt;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;Those cretins, Laurent and Therese, are having an affair and decide it will best serve their interest if they murder Therese&#39;s husband, Camille.&amp;nbsp; As Laurent is throwing Camille from a boat into the Seine river, Camille savagely bites Laurent&#39;s neck.&amp;nbsp; This is a strong minor complication, for the reader senses this bite mark will return to haunt Laurent, especially at such time the police inspector shows up to question him.&amp;nbsp;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;b&gt;&lt;span style=&quot;color: #990000; font-size: medium;&quot;&gt;&quot;The Great Gatsby&quot; by F. Scott Fitzgerald&lt;/span&gt;&lt;/b&gt;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;b&gt;Scene 4:&lt;/b&gt;&amp;nbsp;&amp;nbsp;&lt;/div&gt;&lt;div&gt;Jordon Baker reveals to the narrator, Nick, details of Tom Buchanan&#39;s affair with Myrtle--a steamy minor complication Though this never develops into &quot;subplot&quot; status, it remains a cause of tension and suspense. Unlike some minor complications, this one weaves skillfully into the storyline, for in the end, it is Myrtle who is killed by Daisy as she drives Gatsby&#39;s car.&amp;nbsp;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;&lt;b&gt;Scene 6:&lt;/b&gt;&amp;nbsp;&amp;nbsp;&lt;/div&gt;&lt;div&gt;Minor complication of interpersonal argument between Tom and Daisy puts Nick on edge, thus enabling him to more thoroughly assess Tom Buchanan&#39;s personality.&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-size: medium;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;color: #990000; font-size: medium;&quot;&gt;&lt;b&gt;&quot;Claudius The God,&quot; by Robert Graves&lt;/b&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;b&gt;(minor complications of geography)&lt;/b&gt;&lt;/div&gt;&lt;div&gt;&quot;The occultist led them over three or four miles of rough, boggy country, until they reached the marsh proper. It stank, and the will-o-the-wisp darted about it, and to reach the beginning of the secret track the Guards had to wade thigh-deep after their guide through a slimy pool full of leeches...&quot;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;b&gt;(minor complication in environment requires innovation)&lt;/b&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&quot;Each man had his shield slung across his back and a big chalk circle smudged on it.&amp;nbsp; This was to keep touch in the dark without shouting to each other... Aulus had observed that deer follow each other through dark forests guided by the gleam of the white fur patches on each other&#39;s rumps... &quot;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/12/classic-authors-and-irritants-of-minor.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKL37EdUOt8mqcJYLxWyX7T0aSgiz0EPJDXh_Hze5DBUtiztH2ikQRTI5dpjQKLDeO2ULLnCfsZoS-dXwGElbnGBX90b68f5s86BqUsLMOn0H859WOB61f4_4Tqzj4EvmvGEmlLAlcvZw/s72-c/collapse.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-4066987435407859508</guid><pubDate>Fri, 27 Nov 2020 18:22:00 +0000</pubDate><atom:updated>2020-12-30T09:37:53.462-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">advanced writing craft</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><title>Ruthless F. Scott on &quot;Darling Killing&quot;</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;When it comes to rewriting, a writer must make hard choices.&lt;/b&gt;
  1511. &lt;br /&gt;&lt;br /&gt;
  1512.  
  1513. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCw9sbQEdGzZ_YEgfB70h4aSQvoWu3Ut4pEJzg8Hs4_LSw7Lne0ok0cmnEj_3oknDn8dLtQxqYdTpG4LnYnAshi7Dd9zlwyp_awNbk59Ft2KiW0OgaHSssc2qds1MyZAB2CUELQ_CBfwo/s507/fscott.jpg&quot; imageanchor=&quot;1&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;472&quot; data-original-width=&quot;507&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCw9sbQEdGzZ_YEgfB70h4aSQvoWu3Ut4pEJzg8Hs4_LSw7Lne0ok0cmnEj_3oknDn8dLtQxqYdTpG4LnYnAshi7Dd9zlwyp_awNbk59Ft2KiW0OgaHSssc2qds1MyZAB2CUELQ_CBfwo/s320/fscott.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Fitzgerald warned us writers about the danger of becoming way too attached to something you’ve written. &quot;Keep an objective eye on the whole piece,&quot; he says, &quot;and if something isn’t working get rid of it.&quot;&amp;nbsp;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;In a 1933 &lt;i&gt;Saturday Evening Post&lt;/i&gt; article titled “One Hundred False Starts,” he writes:
  1514. &lt;br /&gt;&lt;ul&gt;
  1515. &lt;i&gt;I am alone in the privacy of my faded blue room with my sick cat, the bare February branches waving at the window, an ironic paper weight that says Business is Good, my New England conscience–developed in Minnesota–and my greatest problem:
  1516. &lt;br /&gt;&lt;br /&gt;
  1517. “Shall I run it out? Or shall I turn back?”
  1518. &lt;br /&gt;&lt;br /&gt;
  1519. Shall I say:
  1520. &lt;br /&gt;&lt;br /&gt;
  1521. “I know I had something to prove, and it may develop farther along in the story?”
  1522. &lt;br /&gt;&lt;br /&gt;
  1523. Or:
  1524. &lt;br /&gt;&lt;br /&gt;
  1525. “This is just bullheadedness. Better throw it away and start over.”
  1526. &lt;br /&gt;&lt;br /&gt;
  1527. The latter is one of the most difficult decisions that an author must make. To make it philosophically, before he has exhausted himself in a hundred-hour effort to resuscitate a corpse or disentangle innumerable wet snarls, is a test of whether or not he is really a professional. There are often occasions when such a decision is doubly difficult. In the last stages of a novel, for instance, where there is no question of junking the whole, but when an entire favorite character has to be hauled out by the heels, screeching, and dragging half a dozen good scenes with him.&lt;/i&gt;
  1528.  &lt;br /&gt;&lt;br /&gt;
  1529.  &lt;hr /&gt;&lt;/ul&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/ruthless-f-scott-on-darling-killing.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCw9sbQEdGzZ_YEgfB70h4aSQvoWu3Ut4pEJzg8Hs4_LSw7Lne0ok0cmnEj_3oknDn8dLtQxqYdTpG4LnYnAshi7Dd9zlwyp_awNbk59Ft2KiW0OgaHSssc2qds1MyZAB2CUELQ_CBfwo/s72-c/fscott.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-3161048681564247280</guid><pubDate>Sat, 07 Nov 2020 02:42:00 +0000</pubDate><atom:updated>2020-12-07T10:16:11.460-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">novel development</category><category domain="http://www.blogger.com/atom/ns#">novel rejection reasons</category><title>Writer Ego and the Imaginary Bob</title><description>&lt;p&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;You begin your first novel with equal parts ignorance and false optimism.&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;Many months, or even years later, you finally learn the enormity of your mistakes. Those popular writer magazines and the&amp;nbsp;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;sociable little group&lt;/a&gt; of amateur writers that looked like a great plan, at first, now appear unreliable and even time wasting. At this juncture, you will either deny reality, quit altogether, or else vow to become a true and humble apprentice to the art of novel writing&lt;/b&gt;.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;/p&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5I4o1AsfsGON70GlYQYgQ1LmJHfjQ66pvCbmhtSyAqtgKO5gAsD0rxMyR5rsbV_R7A1YXPbuBA74ZAkSldCHoVcojho9mIfWZE-aMJMqB2ulLWQ3iwL8FF_byIyHn0-7v0bDwSOd3s18/s225/egobuddha.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;225&quot; data-original-width=&quot;225&quot; height=&quot;305&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5I4o1AsfsGON70GlYQYgQ1LmJHfjQ66pvCbmhtSyAqtgKO5gAsD0rxMyR5rsbV_R7A1YXPbuBA74ZAkSldCHoVcojho9mIfWZE-aMJMqB2ulLWQ3iwL8FF_byIyHn0-7v0bDwSOd3s18/w305-h305/egobuddha.jpg&quot; width=&quot;305&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  1530.  
  1531. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  1532. &lt;i&gt;Ne confondez jamais une seule défaite avec une défaite finale.&lt;/i&gt;&amp;nbsp; &amp;nbsp;&amp;nbsp;&lt;div&gt;&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;- F. Scott&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  1533.  
  1534. &lt;div&gt;The process above is nearly inevitable for the vast majority of aspiring authors, and only the eternal narcissist is incapable of achieving a productive second stage. We&#39;ve &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/10/spotting-thin-skinned-narcissist.html&quot; target=&quot;_blank&quot;&gt;discussed this subject&lt;/a&gt; more than once. Of course, such a personality will always disagree and fume like a child, but what about less volatile, less serious forms of counterproductive ego?&lt;p&gt;&lt;/p&gt;
  1535.  
  1536. &lt;p&gt;About a year past, a screenplay writer I knew who lived in Kalamazoo called and asked me to help him&amp;nbsp;&lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/screenplay-into-novel-will-you-listen.html&quot; target=&quot;_blank&quot;&gt;convert his screenplay into a novel&lt;/a&gt;. I&#39;d known this fellow for years (let&#39;s call him BOB) and he&#39;d won various contests, even had a thriller-action screenplay optioned a few times by major studios, including Lions Gate. Nonetheless, he decided one day to convert one of his script creations into a full blown commercial novel, and intended to accomplish this incredible transformation in no less than six months. After all, he needed to make haste in order to attend a writer conference in Seattle where he felt reasonably certain a &quot;smart agent&quot; would sign him.&lt;/p&gt;&lt;p&gt;Now, I knew that Bob wasn&#39;t a narcissist as such. I&#39;d been present when he accepted critique, and I&#39;d been around him and talked with him enough that I would have seen the N flag raised more than once. Like other writer workshop leaders and teachers, I possess a fairly good sense for narcissist eruptions in the making, even in the early stages. But this wasn&#39;t Bob&#39;s way, as I&#39;ve noted. However, upon speaking with him on the phone about his forced novel conversion deadline (keep in mind, he knew zip about novel writing), he reacted with disbelief. He could not grasp that &lt;a href=&quot;https://writersedgeinfo.blogspot.com/2020/11/screenplay-into-novel-will-you-listen.html&quot; target=&quot;_blank&quot;&gt;transforming a 96 page screenplay&lt;/a&gt; into an 86,000+ word novel could actually take longer, perhaps far longer than six months.&amp;nbsp;&lt;/p&gt;&lt;p&gt;&lt;/p&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3nT50F2VIzn9Jpx_Ai5-Ryqu0jteR0AOxTYRjeUBHH8E7Q51T_TJGdqKcqqNHaJKbSrX2GGFMz_Am20CUyRttiNavDVNF2Vf-7CP-Gtlc5lkq6hbuaNK3Af9b2XhwE7kSj-khMRwgrsQ/s275/madwriter.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;275&quot; data-original-width=&quot;183&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3nT50F2VIzn9Jpx_Ai5-Ryqu0jteR0AOxTYRjeUBHH8E7Q51T_TJGdqKcqqNHaJKbSrX2GGFMz_Am20CUyRttiNavDVNF2Vf-7CP-Gtlc5lkq6hbuaNK3Af9b2XhwE7kSj-khMRwgrsQ/s0/madwriter.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;i&gt;&lt;b&gt;Even if he were already a veteran novel writer&lt;/b&gt;&lt;/i&gt;&amp;nbsp;working under the best of circumstances, it would most likely take eight to 12 months to augment and gilt a sufficiently suitable masterpiece. But as a rank beginner, we must assume that between the clueless planning and actual execution (that would include at least three major revisions), then a final editorial scalding of one kind or another (barring any Oh-Shit-I-Neglected-to-do-XYZ), Bob was looking at &lt;i&gt;a minimum of two years, but perhaps upwards of four or more.&lt;/i&gt; If he devoted full-time and worked closely with a professional novel editor, page by page, scene by scene, line by line, perhaps only one year? But the dollar cost would be tremendous.&lt;p&gt;&lt;/p&gt;&lt;p&gt;Regardless, Bob avoided me after that phone conversation for a long time. I emailed him, inquired now and then, but he would always sound optimistic without divulging details. Finally, more than four years&amp;nbsp; later, we got together one night for dinner. He was excited to tell me he&#39;d written a new thriller with a major Hollywood producer behind it, and when I inquired about the novel conversion, he just shook his head and said, &quot;I&#39;ve moved on.&quot;&amp;nbsp;&lt;/p&gt;&lt;p&gt;Via a few other bits of information reluctantly delivered, I surmised that Bob had finally assembled a creaking shipwreck of a manuscript within a year&#39;s time, sent it out to agents, and following 50 or more boilerplate rejections, the ms finally served as cheap tinder for the living room fireplace.&lt;/p&gt;&lt;p&gt;The above is one of my stand-out examples, but there are many. These writers in question were not narcissists as such, no, but their egos just couldn&#39;t allow them to believe they were wrong in certain crucial circumstances, or accept they did not yet possess the necessary skill-set to accomplish the huge task before them.&lt;/p&gt;&lt;/div&gt;&lt;/span&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/writer-ego-and-imaginary-bob.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5I4o1AsfsGON70GlYQYgQ1LmJHfjQ66pvCbmhtSyAqtgKO5gAsD0rxMyR5rsbV_R7A1YXPbuBA74ZAkSldCHoVcojho9mIfWZE-aMJMqB2ulLWQ3iwL8FF_byIyHn0-7v0bDwSOd3s18/s72-w305-h305-c/egobuddha.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-7057473530027830266</guid><pubDate>Fri, 06 Nov 2020 15:34:00 +0000</pubDate><atom:updated>2020-12-13T23:00:26.478-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">character development</category><category domain="http://www.blogger.com/atom/ns#">novel development</category><title>What the Classics Teach us About Exposition</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;The literary science of accomplishing exposition is set in stone. &lt;/b&gt;&amp;nbsp;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv6kqBdsWDwxosxcLH_sBKQzXXiWXuX-VRSjjnezHxFn6SuqjKwAaZB2i5AkKEjVNTzHIWZ8hMxbYyt-00w5qurNpf_zU1Zi0Nt7bOBIe0FUSKk2jBIcLsOxgBKziZlcVBDMmLOZq-Uig/s442/flannery2.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;442&quot; data-original-width=&quot;383&quot; height=&quot;366&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv6kqBdsWDwxosxcLH_sBKQzXXiWXuX-VRSjjnezHxFn6SuqjKwAaZB2i5AkKEjVNTzHIWZ8hMxbYyt-00w5qurNpf_zU1Zi0Nt7bOBIe0FUSKk2jBIcLsOxgBKziZlcVBDMmLOZq-Uig/w317-h366/flannery2.jpg&quot; width=&quot;317&quot; /&gt;&lt;/a&gt;&lt;/div&gt;The inexperienced writer dumps it like rocky weights on the reader&#39;s head (or not at all).The experienced author delivers at the right time and place, fusing it within the narrative flow so as to avoid the appearance of artifice. But wait, let&#39;s provide a simple definition before going further:&amp;nbsp; &quot;&lt;/span&gt;&lt;b style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;exposition&quot; is that sum of information which must be delivered to the reader to enable them to fully understand the plot of the novel going forward.&lt;/b&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial;&quot;&gt;&lt;b&gt;&lt;br /&gt;&lt;/b&gt;&lt;/span&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Generally speaking, the reader learns exposition in a similar manner to the way life teaches it, e.g., upon moving into a new neighborhood, you learn the background history of the neighbors a bit at a time. They tell you about themselves, and others, as circumstances and conditions permit. By combining these fragments, you are finally able to perceive the entire picture of neighborhood society.&amp;nbsp;&lt;/span&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;The example above should give us a clue as to the best methods for delivering exposition. Here we arrive at classic SHOW, DON&#39;T TELL situation. Consider plays and screenplays. How do the writers of these fictional products deliver exposition? Primarily via characters engaging in expositional dialogue at the right time and place (see novel examples below with &lt;i&gt;Gatsby&lt;/i&gt; and &lt;i&gt;Sun Also Rises&lt;/i&gt;).&lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1537. NOTE: keep in mind that most if not all major exposition MUST be delivered to the reader by the time the FIRST MAJOR PLOT POINT&lt;/b&gt; arrives (usually within the first 50 pages or earlier). It only makes sense.  The reader must understand the backstory and exposition before the course of the plot changes and creates the major rising action of the tale.  If this doesn&#39;t take place it would be equivalent of a friend telling you about the car accident she had yesterday, beginning the story by saying: &quot;And then the car exploded and I was taken to the hospital.&quot; Doesn&#39;t work. You have no context, no backstory. Where had she been driving? What caused the explosion? etc.
  1538. &lt;br /&gt;&lt;br /&gt;
  1539. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Below are a few character and narrative techniques for delivering exposition.
  1540. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  1541. From &lt;i&gt;The Great Gatsby&lt;/i&gt; by F. Scott Fitzgerald
  1542. &lt;/span&gt;&lt;/span&gt;&lt;/h3&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Nick, the narrator and friend of Gatsby, has been dating Jordon Baker, a friend of Daisy. &lt;b&gt;Using Jordon in a scene dedicated to expositional purposes&lt;/b&gt;, the author conjures up Daisy&#39;s past by means of dialogue and narrative, thus revealing that Gatsby was a former boyfriend of Daisy&#39;s (surprise) while further exposing the nature of Daisy&#39;s marriage to Tom, including notes on his infidelity. The past of the major characters is revealed, the present given orientation, and as a bonus, the novel&#39;s major source of dramatic tension is further advanced (i.e., Gatsby&#39;s attempt to renew his relationship with Daisy), and suspense increased thereby.
  1543. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1544. NOTE:&lt;/b&gt; F. Scott uses anecdotal recollection and dialogue with a minor character to deliver exposition on the major characters&lt;b&gt;.&lt;/b&gt; It seems natural, of course, since Jordon is involved with Nick, the narrator, and at the same time involved in the lives of Tom and Daisy. &lt;b&gt;She serves F. Scott as the perfect vehicle for delivering expo, arguably existing in the novel solely for this purpose&lt;/b&gt;.
  1545. &lt;br /&gt;&lt;br /&gt;
  1546. Authors of novels, plays and screenplays, almost always create characters to deliver exposition at the right time and place.
  1547. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  1548.  
  1549. From &lt;i&gt;One Flew Over The Cuckoo&#39;s Nest&lt;/i&gt; by Ken Kesey
  1550. &lt;/span&gt;&lt;/span&gt;&lt;/h3&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;In Scene 12 of One Flew Over The Cuckoo&#39;s Nest (btw, the bestselling American novel of all time), a conversation takes place between McMurphy, the protagonist, and Harding, one of the more intelligent patients.&lt;b&gt;  In this scene which begins the first major plot point, Harding delivers a final dose of exposition on the insidious workings of the asylum wherein they are imprisoned.&lt;/b&gt; It all boils down to one thing: if one doesn&#39;t cooperate with the therapy sessions and provide answers to questions in a suitable manner, he is labeled &quot;Uncooperative,&quot; and if irritation is finally demonstrated, relabeled &quot;Potential Assaultive&quot; and immediately whisked off to the Disturbed Ward where a final fate of electro-shock awaits if cooperation isn&#39;t achieved.
  1551. &lt;br /&gt;&lt;br /&gt;
  1552. According to Harding:
  1553. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;blockquote style=&quot;border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;And, my friend, if you continue to demonstrate such hostile tendencies, such as telling people to go to hell, you get lined up to go the Shock Shop, perhaps even on to greater things, an operation... The Shock Shop, Mr. McMurphy, is jargon for the EST machine, the Electro Shock Therapy. A device that might be said to do the work of the sleeping pill... You are strapped to a table, shaped, ironically, like a cross, with a crown of electric sparks in place of thorns... Enough of these treatments and you could turn out like Mr. Ellis you see over there against the wall. A drooling, pants-wetting idiot at thirty-five.&lt;/span&gt;&lt;/span&gt;&lt;/blockquote&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;&lt;b&gt;
  1554. Once the above is accomplished, the reader finally understands the dangers and insidious workings of the asylum environment,&lt;/b&gt; thereby establishing concern for McMurphy once he announces he will challenge the authorities and make a game of it.  His announcement is the foundation of the first major plot point.
  1555. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  1556.  
  1557. From &lt;i&gt;The Sun Also Rises&lt;/i&gt; by Hemingway
  1558. &lt;/span&gt;&lt;/span&gt;&lt;/h3&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;The narrator and main character, Jake, meets up with Robert Cohn, a friend who has become enamored with his Jake&#39;s love, Brett Ashley. The following dialogue, crackling with tension, aids in characterizing the narrator and Cohn, providing a foreshadow of Cohn‘s temper yet to come. Hemingway also uses this scene for the same purpose as Kesey in Scene 12 above: &lt;b&gt;the final exposition we need to understand is delivered here and the first major point begins&lt;/b&gt;, i.e., at this point, the story transitions effectively to Robert Cohn&#39;s ongoing pursuit of Ashley.
  1559. &lt;br /&gt;&lt;ul&gt;
  1560. &quot;What do you know about Lady Brett Ashley, Jake?&quot;
  1561. &lt;br /&gt;&lt;br /&gt;
  1562. &quot;Her name is Lady Ashley. Brett‘s her own name. She‘s a nice girl,&quot; I said. &quot;She‘s getting a divorce and she‘s going to marry Mike Campbell. He‘s over in Scotland now. Why?&quot;
  1563. &lt;br /&gt;&lt;br /&gt;
  1564. &quot;She‘s a remarkably attractive woman.&quot;
  1565. &lt;br /&gt;&lt;br /&gt;
  1566. &quot;Isn‘t she?&quot;
  1567. &lt;br /&gt;&lt;br /&gt;
  1568. &quot;There‘s a certain quality about her, a certain fineness. She seems to be absolutely fine and straight.&quot;
  1569. &lt;br /&gt;&lt;br /&gt;
  1570. &quot;She‘s very nice.&quot;
  1571. &lt;br /&gt;&lt;br /&gt;
  1572. &quot;I don‘t know how to describe the quality,&quot; Cohn said. &quot;I supposed it‘s breeding.&quot;
  1573. &lt;br /&gt;&lt;br /&gt;
  1574. &quot;You sound as though you liked her pretty well.&quot;
  1575. &lt;br /&gt;&lt;br /&gt;
  1576. &quot;I do. I shouldn‘t wonder if I were in love with her.&quot;
  1577. &lt;br /&gt;&lt;br /&gt;
  1578. &quot;She‘s a drunk,&quot; I said. &quot;She‘s in love with Mike Campbell, and she‘s going to marry him. He‘s going to be rich as hell some day.&quot;
  1579. &lt;br /&gt;&lt;br /&gt;
  1580. &quot;I don‘t believe she‘ll ever marry him.&quot;
  1581. &lt;br /&gt;&lt;br /&gt;
  1582. &quot;Why not?&quot;
  1583. &lt;br /&gt;&lt;br /&gt;
  1584. &quot;I don‘t know. I just don‘t believe it. Have you known her a long time?&quot;
  1585. &lt;br /&gt;&lt;br /&gt;
  1586. &quot;Yes,&quot; I said. &quot;She was a V.A.D. in a hospital I was in during the war.&quot;
  1587. &lt;br /&gt;&lt;br /&gt;
  1588. &quot;She must have been just a kid then.&quot;
  1589. &lt;br /&gt;&lt;br /&gt;
  1590. &quot;She‘s thirty-four now.&quot;
  1591. &lt;br /&gt;&lt;br /&gt;
  1592. &quot;When did she marry Ashley?&quot;
  1593. &lt;br /&gt;&lt;br /&gt;
  1594. &quot;During the war. Her own true love had just kicked off with the dysentery.&quot;
  1595. &lt;br /&gt;&lt;br /&gt;
  1596. &quot;You talk sort of bitter.&quot;
  1597. &lt;br /&gt;&lt;br /&gt;
  1598. &quot;Sorry. I didn‘t mean to. I was just trying to give you the facts.&quot;
  1599.  &lt;br /&gt;&lt;/ul&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;
  1600.  
  1601.  &lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  1602.  
  1603.  
  1604. From &lt;i&gt;Wise Blood &lt;/i&gt;by Flannery O&#39;Connor
  1605. &lt;/span&gt;&lt;/span&gt;&lt;/h3&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;During the course of narrative in the beginning of the novel, a triggering device subtly begins an associative process in the mind of the major character that redirects the narrative flow towards exposition of his life.  The character is riding on a train:
  1606. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;blockquote style=&quot;border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;He crawled into the dark narrow space of the berth. In his half sleep he thought where he was lying was like a coffin. The first coffin he had seen with someone in it was his grandfather‘s.&lt;/span&gt;&lt;/span&gt;&lt;/blockquote&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;
  1607. An artful obscuring of the author‘s purpose occurs when the exposition is partially &quot;masked.&quot; &lt;b&gt;In this particular case, a form of masking is accomplished by fixating the reader&#39;s attention with narrative so engaging that nothing but the subject at hand matters.&lt;/b&gt; For example, no sooner is the grandfather recalled in the coffin than Flannery O‘Connor animates the corpse, making it appear as though it will suddenly rear up and prevent death from closing down on it. The author thus seeds the exposition with a provocative image to counterbalance.
  1608. &lt;br /&gt;&lt;br /&gt;
  1609. The character&#39;s past can now be discussed via berth to coffin. He wanders a dreamscape that reveals items of backstory.
  1610. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;
  1611. To later resume the non-expositional narrative, another triggering device is used to transit the reader back to the present.&lt;/b&gt; The character finds himself going to sleep in an old house. His thoughts conjure the image of his mother in a coffin, and then, himself in the coffin in her stead: &quot;From inside he saw it closing.&quot; Abruptly he awakens, frightened, but safe in his berth on the train.
  1612. &lt;br /&gt;&lt;br /&gt;
  1613. The character has left the expositional dream and returned to novel reality.
  1614.  &lt;br /&gt;&lt;br /&gt;
  1615. _______________
  1616.  &lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/learning-exposition-from-classics.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv6kqBdsWDwxosxcLH_sBKQzXXiWXuX-VRSjjnezHxFn6SuqjKwAaZB2i5AkKEjVNTzHIWZ8hMxbYyt-00w5qurNpf_zU1Zi0Nt7bOBIe0FUSKk2jBIcLsOxgBKziZlcVBDMmLOZq-Uig/s72-w317-h366-c/flannery2.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-4342069717000474352</guid><pubDate>Thu, 05 Nov 2020 21:44:00 +0000</pubDate><atom:updated>2021-02-28T20:24:58.424-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">novel development</category><category domain="http://www.blogger.com/atom/ns#">novel outline</category><title>Best 10 Steps for Starting the Novel - All Genres</title><description>&lt;p&gt;
  1617. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;As you explore the nooks and literary crannies of NWOE, you&#39;ll find considerable words devoted to warning you away from foolish and terrible advice.&amp;nbsp;&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;&lt;span&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiNijG_Dr5Kc2IRSSDAoZGuV8I7ft0QbuxJELXp3gtFNPRAfnRqEiO6fY6n6gaslUxzjDvHBSj9m56Kj8tZ3pm0iH_eA0mG9IHXAPtWEgWhMiyrP26JQLqJ2GsJSO9GrZySm24Y5kbV-8/s400/rolltop.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;300&quot; data-original-width=&quot;400&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiNijG_Dr5Kc2IRSSDAoZGuV8I7ft0QbuxJELXp3gtFNPRAfnRqEiO6fY6n6gaslUxzjDvHBSj9m56Kj8tZ3pm0iH_eA0mG9IHXAPtWEgWhMiyrP26JQLqJ2GsJSO9GrZySm24Y5kbV-8/s320/rolltop.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;But what about professional, tested, and proven advice? Below are ten bullet points for aspiring authors designed to help them overcome any confusion or misdirection when it comes to starting the novel. However, before you investigate, make certain you&#39;ve already prepared by reading &lt;/span&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/the-author-dawn-rise-and-blink.html&quot; style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot; target=&quot;_blank&quot;&gt;this sensible prologue&lt;/a&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;.&lt;/span&gt;&lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;/p&gt;
  1618.  
  1619. &lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;span style=&quot;color: #444444;&quot;&gt;Note: the list below makes a base assumption that the writer is a relative novice and currently searching for direction and focus--the same stage every one of us passes through. For those in the second stage, or higher, the list might well begin further down. Nonetheless, we cannot stress enough how important it is to fully understand your genre. Eat and breathe it. Know the currents in the market, what makes for a &quot;high concept&quot; story in this context. You&#39;ll never be published otherwise.&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;
  1620.  
  1621. &lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;&lt;span style=&quot;color: #990000;&quot;&gt;&lt;u&gt;KEY CONCEPTS&lt;/u&gt;: genre, high concept, Publisher&#39;s Marketplace, self-editing, readers, core development strategies, craft and research, story premise, SATG Novel, novel hook, first draft outline, inciting incident, plot point.&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/p&gt;
  1622.  
  1623.  &lt;hr /&gt;
  1624.  
  1625. &lt;h1 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Choose Your Genre First&lt;/span&gt;&lt;/h1&gt;
  1626.  
  1627. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Historical, thriller, women&#39;s fiction, mystery cozy, etc&lt;b&gt;. &lt;/b&gt;Focus on one that will consume you, one you have passion for. Passionless choice never bodes well (can you guess why?). If on the fence, consider &lt;i&gt;what kind of author do you wish to be known as five years from now?&lt;/i&gt; A thriller author? Horror author? Mystery?... Makes a difference, no? So be specific and take a slot (no &quot;slot&quot; shaming). You are attempting to break into a crowded and tough marketplace with a breakout novel. As of this point, you have no real idea how difficult it will really be in a country as big as America.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;div&gt;&lt;span&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Best to begin wisely.&lt;/span&gt;
  1628.  
  1629. &lt;p style=&quot;font-family: &amp;quot;trebuchet ms&amp;quot;, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;WARNING&lt;/b&gt;: failing to locate yourself firmly in one genre &lt;i&gt;will only result in failure&lt;/i&gt;. And believe us when we tell you that agents and publishers will be merciless in their demand that you understand and obey the rules of that genre.&amp;nbsp;&lt;i&gt;From the heart, but smart.&lt;/i&gt; One last thing--you cannot invent your own genre. Don&#39;t try. Don&#39;t even ask. For the love of all that is holy!&lt;/span&gt;&lt;/p&gt;
  1630.  
  1631. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Mercilessly Immerse&lt;/span&gt;&lt;/h2&gt;
  1632.  
  1633. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Read the classics in your genre combined with the latest and hottest. Look up &quot;best book&quot; lists, read reviews on Amazon, dive into review journals dedicated to your genre, and obtain a membership at &lt;b&gt;&lt;a href=&quot;https://www.publishersmarketplace.com/&quot; target=&quot;_blank&quot;&gt;Publisher&#39;s Marketplace&lt;/a&gt;&lt;/b&gt;. It&#39;s never too early to familiarize yourself with who is publishing what in your genre. At PM it&#39;s all there. &lt;i&gt;And no, we don&#39;t get a kickback.&amp;nbsp;&lt;/i&gt;As a bonus, you get to review expertly written hook lines for new novels bought by publishers, thereby also getting a chance to note &lt;b&gt;the type of &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html&quot; target=&quot;_blank&quot;&gt;high concept stories&lt;/a&gt;&lt;/b&gt; in the works. Invaluable! Truly.&amp;nbsp;&lt;/span&gt;
  1634.  
  1635. &lt;p&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Via obsessive immersing, you&#39;ll also get an idea which authors and novels might compare favorably with you and your own work. Strongly consider analyzing story progression, character introduction, and scene development in three to five of the best in your genre. Take notes. Compare what you&#39;ve learned to what you read here at NWOE.&lt;/span&gt;&lt;/p&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  1636.  
  1637. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Avoid Writer Groups&lt;/span&gt;&lt;/h2&gt;
  1638.  
  1639. Do not join a local or online writer group, however socially alluring it may be, and regardless of what its apostles tell you. &lt;i&gt;Don&#39;t fall for it&lt;/i&gt;. We know, it feels like the right thing because so many recommend it, but it&#39;s the wrong thing by a lightyear. You *might* consider it once you&#39;ve developed enough novel writing savvy to actually know the difference between an amateur group that *might* be somewhat productive and one that could be potentially ruinous or time wasting at a minimum. Review carefully our notes on &lt;b&gt;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/problems-with-writer-groups-where-to.html&quot; target=&quot;_blank&quot;&gt;this crucial and controversial subject&lt;/a&gt;&lt;/b&gt;.&amp;nbsp;&amp;nbsp;&lt;/span&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaS5w75Y-XEGiL15YDxoWOGGU0M9Wax5zfFB3Q0wSiR0ds0q-7LYraSguS_48Hj9mlH9SXDkRihyr7Yg54oF-FCKzCsuSF63SDyokayTeukM6tZ0ZFpO5V2W3k-yF-FRKegbWY-EOsizA/s160/banner-wtm.jpg&quot; style=&quot;clear: right; float: right; margin-bottom: 1em; margin-left: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;144&quot; data-original-width=&quot;160&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaS5w75Y-XEGiL15YDxoWOGGU0M9Wax5zfFB3Q0wSiR0ds0q-7LYraSguS_48Hj9mlH9SXDkRihyr7Yg54oF-FCKzCsuSF63SDyokayTeukM6tZ0ZFpO5V2W3k-yF-FRKegbWY-EOsizA/s0/banner-wtm.jpg&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;p&gt;&lt;/p&gt;
  1640.  
  1641. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Begin the Reader Hunt&lt;/span&gt;&lt;/h2&gt;
  1642. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;
  1643. Following on above, attempt to engage upwards of five good readers, if humanly possible. It will take time to ID the right ones, so begin the hunt early. Take note, they &lt;i&gt;will not be in a group&lt;/i&gt;. They &lt;i&gt;will not meet&lt;/i&gt; to discuss your work. If possible, best they do not interact or know each other. This condition will disallow the inevitable evolution of group politics, groupthink, imagined slights, false flattery, etc. Yes, it can happen. Regardless, can your picks be reasonably trusted to provide generally intelligent reaction to your narrative? You might have to jettison a few. Be prepared. &lt;b&gt;Additionally, serving as a reader for them will provide you with a form of editorial experience that might prove invaluable.&lt;/b&gt;&lt;/span&gt;
  1644.  
  1645. &lt;p&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;IMPORTANT&lt;/b&gt;: utilize &quot;beta readers&quot; for narrative purposes only (prose style, clarity, imagery, dynamic motion, dialogue quality--that sort of thing), NEVER for novel development, i.e., premise, plot, character roles, important setting details, etc. Engaging in the latter imperiling act will only threaten your progress with those insidious major flaws inherent in 98% of writer groups.&lt;/span&gt;&lt;/p&gt;
  1646.  
  1647. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Study Self-editing Technique&lt;/span&gt;&lt;/h2&gt;
  1648.  
  1649. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Do it carefully, it&#39;s an &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/crucial-self-editing-and-advanced-brain.html&quot; target=&quot;_blank&quot;&gt;art form&lt;/a&gt;, even if you&#39;re not onto your second draft. No reason to delay. It takes experimentation and practice. Relying exclusively on your betas or future freelance editors is a mistake. Ultimately, you are responsible for the final product. Faith should not be necessary. Also, keep in mind, &lt;i&gt;the more refined your fiction narrative waxes, the more productive the future editorial professionals engaged to review your work&lt;/i&gt;&amp;nbsp;will&amp;nbsp; be, i.e., if you&#39;ve already ascended to level 8, they can bump you to level 10. Now, what about that contract?
  1650.  
  1651. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Craft Until Your Head Hurts&lt;/span&gt;&lt;/h2&gt;
  1652.  
  1653. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;While researching your genre, immerse simultaneously into your core novel development strategy. Don&#39;t rush it or fret over it. You will inevitably revise. Meanwhile, utilize NWOE and especially&amp;nbsp;&lt;b&gt;&lt;a href=&quot;https://algonkianconferences.com/authorconnect/index.php?/forum/1-novel-writing-courses-and-novel-writing-on-edge-work-and-study-forums/&quot; target=&quot;_blank&quot;&gt;Algonkian Author Connect&lt;/a&gt;&lt;/b&gt; as a staging platform for the illuminating pursuit of brilliant and necessary craft technique. This is NOT an option.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Devour every single article or essay on development, drama, plotting, prose, and viewpoints. Set aside a space for experimentation. Practice writing scenes, dialogue, complex descriptions for starters. Additionally, consume only the&amp;nbsp;&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/ten-best-books-on-novel-writing.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;best books&lt;/b&gt;&lt;/a&gt; on novel writing.&amp;nbsp;&lt;i&gt;&lt;b&gt;You will ALWAYS be an apprentice to your craft.&lt;/b&gt;&lt;/i&gt; Let &lt;a href=&quot;https://en.wikipedia.org/wiki/Truman_Capote&quot; target=&quot;_blank&quot;&gt;Truman Capote&lt;/a&gt; be an inspiration.
  1654.  
  1655. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Conceive Primary Premise&lt;/span&gt;&lt;/h2&gt;
  1656.  
  1657. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Given that you&#39;ve chosen your genre and you&#39;re well on your way to possessing a true literary skill set (it&#39;s not easy, so don&#39;t be impatient), and given you&#39;ve taken careful note of the quality of new novels coming to life at &lt;b&gt;&lt;a href=&quot;https://www.publishersmarketplace.com/&quot; target=&quot;_blank&quot;&gt;Publisher&#39;s Marketplace&lt;/a&gt;&lt;/b&gt; (have you?), you may now begin to formulate your own novel premise, the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;&quot;high concept&quot; story&lt;/b&gt;&lt;/a&gt; that will form the development, writing, and marketing basis of your genre novel from title to last sentence.&lt;p&gt;Uncertain on how to go about it? One way to initiate a bit of productive pondering is to visit the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;High Concept page&lt;/b&gt;&lt;/a&gt; first, followed by the&lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/hook-lines-with-core-wounds.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;&amp;nbsp;Loglines and Core Wounds&lt;/b&gt;&lt;/a&gt; page. Read carefully. Note the &lt;b&gt;three &quot;hook line&quot; examples&lt;/b&gt;. Consider WHAT WILL BE YOUR CORE CONFLICT, AND WHAT WILL BE THE CORE WOUND? (all caps for emphasis). Play with it. Write down options. Choose wisely. Seek discreet professional advice if necessary.&lt;/p&gt;
  1658.  
  1659. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Begin the Planning Process&lt;/span&gt;&lt;/h2&gt;
  1660.  
  1661. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Engage in a careful examination of the &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/the-six-act-two-goal-novel.html&quot; style=&quot;font-weight: bold;&quot; target=&quot;_blank&quot;&gt;Six Act Two-Goal Novel.&lt;/a&gt;&amp;nbsp;With your embryonic story concept nearing the birth canal, use the SATG Novel outline to assist with beginning to conceive smaller parts of the bigger picture. At each separate stage, from Act to Act, take a deep breath and sketch ideas, circumstances, characters. Be free and easy with the process. Jot down everything that comes to mind. Keep in mind it&#39;s all in dynamic flux. It can change. Just as importantly, attempt to finalize insofar as possible your &lt;a href=&quot;https://www.novelwritingonedge.com/2020/11/great-settings-maximize-opportunity.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;novel&#39;s major setting&lt;/b&gt;&lt;/a&gt;. Extremely important. Organize your thoughts, questions, commentary, and scenarios as needed.&amp;nbsp;&lt;/span&gt;&lt;i&gt;Imagination is truly your best friend (&lt;/i&gt;even if you don&#39;t like the original &lt;i&gt;&lt;a href=&quot;https://www.amazon.com/Willy-Wonka-Chocolate-Factory-Wilder/dp/B005F96UJ6&quot; target=&quot;_blank&quot;&gt;Willy Wonka&lt;/a&gt;).&lt;/i&gt;
  1662.  
  1663. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Sketch a Draft Outline&lt;/span&gt;&lt;/h2&gt;
  1664.    
  1665. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Make certain your story premise is &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;commercially viable&lt;/b&gt;&lt;/a&gt; and your chosen setting is simmering. Have on hand sketches of your major and &lt;a href=&quot;https://www.novelwritingonedge.com/2020/10/deep-and-fresh-traits-for-majors.html&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;secondary characters&lt;/b&gt;&lt;/a&gt;. &lt;u&gt;Use the SATG&lt;/u&gt; to locate and ruminate over your major plot points.&lt;p&gt;Sketch your inciting incident and first major plot point. Go from there to your first major reversal, pinch point, etc., all the way to climax. Keep in mind this is a draft, however, it should reflect your efforts to date at fleshing out your story.&amp;nbsp;&lt;/p&gt;&lt;p&gt;Consider also, &lt;b&gt;not just your basic plot but those special points, twists, and turns demanded by your chosen genre&lt;/b&gt;, e.g., if writing a cozy mystery you best get that body on the first page (or pretty close). Refer to steps 1 and 2 above.&lt;/p&gt;
  1666.  
  1667. &lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;color: #990000; font-family: Montserrat; font-size: large;&quot;&gt;Draft Your Hook Scenes&lt;/span&gt;&lt;/h2&gt;
  1668.  
  1669. &lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Don&#39;t think of the novel in units of chapter. Think of it as &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/scenes-to-z-glue-drama-sex-sass.html&quot; target=&quot;_blank&quot;&gt;units of scene&lt;/a&gt;, each scene dedicated to a particular task, and each driving the plot forward (a must) in one way or another. I use the term &quot;hook scenes&quot; to refer to that combination of &lt;a href=&quot;https://www.novelwritingonedge.com/2020/12/scenes-to-z-glue-drama-sex-sass.html&quot; target=&quot;_blank&quot;&gt;opening scenes&lt;/a&gt; that will lead us through the initial set-up to the inciting incident and from there to the first major plot point that begins the next Act of the novel--30 to 50 pages into the novel, roughly. There are always exceptions.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;div&gt;&lt;span&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Download the &lt;a href=&quot;https://algonkianconferences.com/algonkiancfg.pdf&quot; target=&quot;_blank&quot;&gt;&lt;b&gt;Algonkian Study Guide&lt;/b&gt;&lt;/a&gt; for necessary additional references and a breakdown of hook scenes up to and beyond the first major plot point in&amp;nbsp;&lt;i&gt;One Flew Over the Cuckoo&#39;s Nest &lt;/i&gt;(a favorite for the application of classic dramatic technique in the novel)&lt;i&gt;.&lt;/i&gt;&lt;p&gt;_______________&lt;/p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/best-10-steps-for-starting-novel-all.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiNijG_Dr5Kc2IRSSDAoZGuV8I7ft0QbuxJELXp3gtFNPRAfnRqEiO6fY6n6gaslUxzjDvHBSj9m56Kj8tZ3pm0iH_eA0mG9IHXAPtWEgWhMiyrP26JQLqJ2GsJSO9GrZySm24Y5kbV-8/s72-c/rolltop.jpg" height="72" width="72"/><thr:total>3</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-1017951724114846163.post-5146480872112475094</guid><pubDate>Tue, 03 Nov 2020 00:30:00 +0000</pubDate><atom:updated>2020-12-13T22:58:16.321-05:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">advanced writing craft</category><category domain="http://www.blogger.com/atom/ns#">novel rejection reasons</category><title>Brilliant Fiction Narrative in Four Stages</title><description>&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;From Drab or Quiet to Can&#39;t Put It Down.&amp;nbsp;&lt;/b&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;
  1670. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJazpmDexJEwbk53vsvV24A-tIN2nnRegYoog_2o2IqrDFzlHaVdiXwdzwgwkhDskf2SyeHXWcq22yvht6APFgMUpUe2SNlGYoo9jxTcwrBO7wYe4zJg7mEZtsonT5qtZIjGcQqpW1h4M/s946/bradbury.jpg&quot; style=&quot;clear: left; float: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;754&quot; data-original-width=&quot;946&quot; height=&quot;328&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJazpmDexJEwbk53vsvV24A-tIN2nnRegYoog_2o2IqrDFzlHaVdiXwdzwgwkhDskf2SyeHXWcq22yvht6APFgMUpUe2SNlGYoo9jxTcwrBO7wYe4zJg7mEZtsonT5qtZIjGcQqpW1h4M/w411-h328/bradbury.jpg&quot; width=&quot;411&quot; /&gt;&lt;/a&gt;&lt;/div&gt;What&#39;s one of the best ways to ensure a publishing contract? Master the art of writing fiction narrative, of course. But what does that mean, and are &lt;b&gt;you sure you know the difference between relatively quiet&amp;nbsp; narrative and cinematic, verve-packed narrative?&lt;/b&gt; Are you setting your standards high enough? Are you aware of the level of craft and attention to detail necessary to make you into a great writer? And btw, why shouldn&#39;t you strive to be a great writer? All it takes is work.&lt;br /&gt;&lt;br /&gt;
  1671.  
  1672. &lt;img src=&quot;https://algonkianconferences.com/att.jpg&quot; /&gt; &lt;b&gt;New writers set standards for themselves while often remaining ignorant of just how high their standards must be raised in order to become as competitive as possible in the current literary or commercial book marketplace.&lt;/b&gt;
  1673. &lt;br /&gt;&lt;br /&gt;
  1674. Rather than tell, let&#39;s show examples of how to take reasonably good fiction narrative and transform it by making it as competitive and energetic as possible. We will add imagery, metaphor, emotion, more active verbs, and better sentence structure.&amp;nbsp;&lt;b&gt;And BTW, for this exercise we&#39;re going to channel Ray Bradbury and Eudora Welty at the same time in order to reach a final stage of &lt;i&gt;pretty damn good&lt;/i&gt;.&lt;/b&gt;&amp;nbsp;But don&#39;t let this freak you. They learned the hard way, took their lumps like everyone else, and rewrote and rewrote and rewrote&amp;nbsp;&amp;nbsp;&lt;i&gt;just like everyone else&lt;/i&gt;.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Let&#39;s begin with a hypothetical chunk of speculative fiction narrative. The imagination needs a boost and the passive voice is obvious. No emotions or tension either, therefore characters flatter than they should be. The writer could also benefit by injecting a bit more meaningful detail.
  1675. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  1676. THE ORIGINAL CHUNK
  1677. &lt;/span&gt;&lt;/span&gt;&lt;/h3&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;(Good enough for Tor.Com)&lt;/b&gt;
  1678.  &lt;br /&gt;&lt;br /&gt;Senna and Father usually set the traps together, because it was she who had the knack of following animals to their habitat. Father was blind to it--he could never see the trails that marked the passage of his future meal. But to Senna, it was, and always had been, part of what her eyes could see. The newer the path, the easier she could see it.
  1679. &lt;br /&gt;&lt;br /&gt;
  1680. As a toddler, Senna had quickly learned what the signs meant: little leavings, like drops of water. Besides the wetness and the small size of the drops, there was a sort of colorful glimmer to each one. She could tell at a glance the difference between a human and an animal, or between the different species.
  1681. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  1682.  
  1683. MORE IMAGINATION AND COMPLEXITY ADDED&lt;/span&gt;
  1684. &lt;/span&gt;&lt;/h3&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;(a second enhancement draft, good enough for authors with a huge fan base)&lt;/b&gt;
  1685. &lt;br /&gt;&lt;br /&gt;
  1686. Senna and Father usually set traps together, because it was Senna who possessed the knack of seeing paths the animals always used.
  1687. &lt;br /&gt;&lt;br /&gt;
  1688. Father was blind to it. He could never view the thin shimmering trails in the air that marked the passage of living creatures through the world. But to Senna, it was, and always had been, part of what her eyes could see. The newer the path, the bluer the shimmer; older ones were green or waned to yellow; the truly ancient ones tended toward red.
  1689. &lt;br /&gt;&lt;br /&gt;
  1690. As a toddler, Senna had quickly learned what the shimmering meant, because she could see everyone leaving trails behind them as they went. Besides the color, there was a sort of signature to each one, and over the years, Senna became adept at recognizing them. She could tell at a glance the difference between a human and an animal, or between the different species, and if she looked closely, she could sort out the tracks so clearly that he could follow the path of a single person or individual beast.
  1691. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;MORE ACTIVE VERBS AND REFINED SENTENCES&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/h3&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;(third or fourth draft -- eliminate any last vestiges of passive)
  1692. &lt;/b&gt;&lt;br /&gt;&lt;br /&gt;
  1693. Senna and her father set the traps together, for Senna possessed the unique ability to see the trails of the animals they hunted.
  1694. &lt;br /&gt;&lt;br /&gt;
  1695. Father never saw the thin and shimmering trails in the air that marked the passage of living creatures through the world. His blindness to it seemed like a failure to him. But to Senna, her &quot;trail eyes,&quot; as she called them, felt natural and effortless, always a part of her vision. The newer the path of the animal, the more blue the shimmer. Older ones glowed in hues of green or waned to yellow, and the truly ancient ones softened to a dark red.
  1696. &lt;br /&gt;&lt;br /&gt;
  1697. As a toddler, Senna quickly learned what the shimmering meant, because she saw everyone leaving trails behind them as they walked or ran. Besides the color, a signature of sorts attached to each one, and over the years, Senna became adept at recognizing them. She knew at a glance the difference between a human and an animal, or between the various species, and if she looked closely, she could sort out the tracks so clearly that following the path of a single person or individual beast came easily.
  1698. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;h3 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;
  1699.  
  1700. MORE INFUSION OF IMAGINATION, NUANCE, AND EMOTION&lt;/span&gt;
  1701. &lt;/span&gt;&lt;/h3&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;b&gt;(draft five or six -- towards a major award - National Book or Nebula?)&lt;/b&gt;&amp;nbsp;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;
  1702. Senna and her father set the traps together, for Senna possessed the power to see the trails of the animals they hunted--often dangerous trails that led the two of them into wounding thickets or up the slick trunks of tamarand trees, following wild Cholu monkeys that set traps for predators like themselves.
  1703. &lt;br /&gt;&lt;br /&gt;
  1704. Father never saw the thin shimmering trails in the air, scattered all around and leading every which way, looking as if interweaving spiders had drawn impossibly gigantic webs. He could not mark the passage of living creatures through the world, and blindness to it seemed like a failure to him. Senna knew he felt jealous. Her instincts often contradicted his own hunting wisdom, and that especially irritated him. But to Senna, her &quot;trail eyes,&quot; as she called them, felt natural, her ability effortless and always part of her vision. The newer the path of the animal, the more blue the shimmer. Older ones glowed in hues of green or waned to yellow, and the truly ancient ones softened to a dark red.
  1705.        
  1706. &lt;br /&gt;&lt;br /&gt;
  1707. As a toddler, Senna quickly learned what the shimmering meant because she saw everyone leaving trails behind them as they walked or ran. Besides the color, a unique scent attached to each one, and over the years, Senna became adept at recognizing them. Many a time her father watched in a befuddled daze as his daughter stooped to one knee and lightly sniffed the air, breathing molecules in one part per million infused with the gossamer thread of trail. To her, humans smelled a bit salty and raw, and most animals too, but with a scent of warm earth about them. She sorted the tracks so keenly with her eyes and nose that following the path of a single human or beast came easily.
  1708. &lt;br /&gt;&lt;br /&gt;
  1709. Father could only fume, or act annoyed, depending on the hour and his mood. Senna avoided him if his mood darkened, and she feared that further development of her power might make him feel even more obsolete and angry for her power grew each day. She knew that soon, she would detect the odors with her eyes alone, the hue of the trail invoking the scent within her.
  1710. &lt;br /&gt;&lt;br /&gt;
  1711. _______________
  1712.  
  1713.  &lt;br /&gt;&lt;/span&gt;&lt;h2 style=&quot;text-align: left;&quot;&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;&lt;span style=&quot;color: #990000;&quot;&gt;THE METHOD
  1714.  &lt;/span&gt;&lt;/span&gt;&lt;/h2&gt;&lt;span style=&quot;font-family: trebuchet ms, arial; font-size: 16px;&quot;&gt;Do the analysis on the fiction narrative examples above and learn for yourself what it takes to make a huge difference in the quality of your writing.  Note how the potential conflict with the father developed and caused complication and therefore tension, and note also the non-passive voice, and more importantly, the injections of imaginative imagery and circumstance, as well as more development of setting (e.g., the thickets, trees, monkeys, etc.).
  1715. &lt;br /&gt;&lt;br /&gt;
  1716. Experiment with gradually evolving your own block of sample narrative through the four stages.  Be aggressive with your work.
  1717. &lt;br /&gt;&lt;br /&gt;
  1718. You&#39;ll be glad you did, and so will all your future readers.
  1719. &lt;br /&gt;&lt;br /&gt;
  1720. _______________
  1721.  
  1722. &lt;/span&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;________________________________&lt;/div&gt;</description><link>http://www.novelwritingonedge.com/2020/11/writing-brilliant-fiction-narrative-in.html</link><author>noreply@blogger.com (Michael Neff)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJazpmDexJEwbk53vsvV24A-tIN2nnRegYoog_2o2IqrDFzlHaVdiXwdzwgwkhDskf2SyeHXWcq22yvht6APFgMUpUe2SNlGYoo9jxTcwrBO7wYe4zJg7mEZtsonT5qtZIjGcQqpW1h4M/s72-w411-h328-c/bradbury.jpg" height="72" width="72"/><thr:total>0</thr:total></item></channel></rss>

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