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My cover designer, Frazer Payne, is as adept with words as he is with images. As we were fine-tuning the cover of Lifeform Three, he said to me: ‘I don’t know how you get a book finished. I have all these ideas but my imagination’s like a rope that frays into too many ends.’
(You see what I mean? He should definitely write.)
‘Do you make notes?’ I asked.
‘Yes, but when I look at them they’re dry and dull.’
Aha, my friend. You’re making the wrong kind of notes.
The wrong kind of notes?
Years ago, I used to keep a dream diary. I found it a few months ago and expected the entries would be indulgent nonsense, without the meaning, resonance or early-morning mind that makes a dream a good experience. But no; in those fragments the experience came back, just as odd and wondrous. Now I’m not going to bore (or scare) you by quoting one here, but what I will tell you is why they still worked.
They were written with a dream-head. They captured experience as well as logic and explanations.
What’s this got to do with making notes?
In Nail Your Novel (original flavour), I wrote that you should keep your earliest draft. If a scene has lost its sparkle, look back at the first time you had a go at writing it. Yes it will be shambling and embarrassing, blurted onto the page. But it will also contain emotional language, straight from the things you were feeling as you discovered it. This is the freshness and immediacy that can disappear with editing, or when you try to refine, get formal or explain.
It’s also the quality that can disappear when we write notes after a brainwave.
So when I write down an idea, I make sure I include this raw response. I write them as a stream of consciousness, like a dream. Because that’s what comes to me first: the certainty of what I want the reader to feel. If possible, I’ll also keep a talisman that will allow me to replay it again, and indeed might have been the initial inspiration – a scene in a book or a film, or a piece of music. (We know all about that here, with our Undercover Soundtracks.) There will be practical elements too, so it’s not complete gobbledygook – eg ‘man sees woman in coat that’s just like his wife’s, assumes it’s her and follows her’, but those look dry when you read them in isolation.
Stories are emotional. You want to make sure your notes help you remember the impact that made you so excited, as well as the hows and whyfores.
Do you find your ideas have dried up and died when you read your notes? Do you have any tips for keeping it? Let’s discuss!
Psst… My second novel Lifeform Three is coming very soon. It’s a fable in the tradition of Ray Bradbury. If you’d like to hear as soon as it’s released, sign up for my newsletter. If not, as you were
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What is too long?
In commercial publishing there are accepted lengths for books, ranging from 70,000 to 100,000 according to genre and audience. These conventions are created as much by the economics of distribution as reader preference, but they are pretty entrenched and can be dealbreakers. And if you’re self-publishing a monster epic in print, you might start to understand how paperback costs escalate as those pages pile up.
Too long for who?
You’re right. A book should be the length it deserves. As a reader, that’s what I want. As an editor, that’s what I strive for. And here’s the good news: I usually find when I tackle a manuscript that there’s enough redundancy to fillet the wordcount easily and painlessly. When I edited My Memories of a Future Life for publication, I found I’d been a bit generous and meandering. My ruthless eye took it from 152k words to 102k. Yes, with all the important story elements still intact.
So before you sacrifice a subplot, extract a much-loved set of characters, look at this list. It might do all the cutting you need.
1 Have you crammed too much of your research in? You need a lot of research to get comfortable with a subject, geographical area, historical period or life situation, but you don’t need all that in the book. And I see a lot of writers who can’t decide what to leave out. Or they’ve got carried away inventing atmospheric details, and have brought the story to a standstill (like my friend in the picture). Whenever you’re introducing details for this reason, consider whether the story has stopped for them. Choose just a few to make your point, and keep the rest for deleted scenes to delight your fans – seriously, you will make good use of this material and it’s never wasted.
2 Examine your descriptions for extraneous adjectives and adverbs. Often writers pile on several when one will do – ‘thick black hair’, ‘brilliant bright moonlight’. Sometimes they use a simile when a more exact verb would be crisper – ‘he threw panicky punches like a child’ might be better as ‘flailed’. (It might not be, of course. Fiction isn’t like instructions for plumbing a washing machine. Sometimes the luxuriant description suits your needs.)
3 Throat-clearing before the meat of a scene. Sometimes a writer seems to be warming up before they get to the important part of a scene. They might footle around with unnecessary details and internal dialogue. Of course, you don’t want to neuter all the atmosphere and panache, but ask yourself if you’re stating points we’ve already grasped, or if you could wind the scene forwards and start further in.
4 Watch for dialogue that is going nowhere. Often, characters dither and chit-chat before their dialogue gets interesting. Can you start at that point and still keep it natural?
5 Make your characterisation scenes do double duty. Scenes that display character traits, attitudes and relationships are very necessary, but they can be static. Can you incorporate them in a scene that also pushes the plot forwards?
6 Take out all the back story (don’t panic; we’re going to put some of it back in). Writers often cram in far too much back story. Like research, you don’t need to display nearly as much as you’ve prepared. Consider what the reader needs to know at each stage of the story and what you could reveal in more dynamic ways – eg scenes where characters bond by sharing a confidence.
7 Make a beat sheet. This is – and probably always will be – my pathfinder through a novel. Briefly, it’s an at-a-glance plan of the novel that shows the entire structure and the emotional beats. It has lots of uses, but if you need to shorten a book it will show where scenes are repeating parts of the story that you’ve already covered, or scenes that could be spliced together and achieve the same purpose. It’s explained at greater length in Nail Your Novel (original flavour)
NEWSFLASH This Wednesday I’m speaking at the GetRead online conference, which is all about marketing strategies for writers. Other speakers include authors Joanna Penn, James Scott Bell, Bella Andre, Chuck Wendig, Elizabeth S Craig, Barbara Freethy, MJ Rose, Therese Walsh, the literary agents Rachelle Gardner and Jason Allen Ashlock, book marketing experts and entrepreneurs Dan Blank and Kristen McLean, industry commentator Porter Anderson, and senior figures from Goodreads, Wattpad and Tumblr. It’s online, so you can join from your armchair. More here (and in the meantime, wish me luck – I had no idea it was so big!)
Back to important matters….
Do you have any tips for cutting without sacrificing story elements? Have you had to hack several thousand words out of a novel? Let’s discuss in the comments!
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In part 1, I discussed how to get into the mental zone for writing dialogue. In part 2, I talked about the non-talking and action elements that also make a dialogue scene come alive. Which brings me to the natural conclusion of this trilogy of posts on dialogue – subtext.
What is subtext?
Put simply, subtext in dialogue is what’s between the lines.
I find it easiest to split it into two aspects – subtext for the characters and subtext for the author.
The former is the hidden agendas or feelings of the characters; these may be deliberate, unconscious or a mixture of the two. The latter is the author’s themes; the universe of the story influencing the language and tone.
Subtext and characters
Novel dialogue has to be more condensed and purposeful than real-life chattering. As writers, we need to pick the encounters that will show something significant about the characters, the way they interact, the way they view the story events.
Subtext is useful when we don’t want to show this significance plainly. Indeed, it might be jarring if a character says ‘I don’t think you love me any more’ or ‘I know you meant to kill Jane’. It’s more human if characters say things indirectly, or the reader can intuit that they are grasping at a thought – perhaps one they haven’t fully acknowledged.
Another use of subtext is to demonstrate that characters know each other well. They might make assumptions about what is said, answer what they think the other person meant, rather than the literal words. Perhaps they’re in a situation where plain speaking isn’t possible. This gives a layer of depth under the superficial conversation, like a kind of code.
So if the characters are having an argument about a washing machine, they might also be displaying what’s wrong with their relationship. Perhaps one of them is always leaving all the household tasks to the other, or is much fussier than the other. Maybe the characters are flirting but not wanting to admit it. If you explore what might be left unsaid, it’s a terrific way to build tension.
When subtext works well, we can feel these agendas vibrating – but it doesn’t look obtrusive.
Subtext and the author’s thematic intentions
Subtext can also be wider than just the characters’ little world. It can resonate with the whole conceptual problem your story is tackling. So in My Memories of a Future Life the narrator remarks that she feels as though she’s in a dream where she’s been thrown out into a hostile world with nothing to protect her. This states one of the themes of the story – the difficulty and pain of a major life-change. (It also arises naturally from the action.)
How to do it
Subtext has to look natural (unless you’re aiming for an artificial effect). You’re building it from a scene where characters need to talk to each other, so that’s where you start. Don’t do it the other way round or the reader will feel jarred out of the spell of the story. Figure out what the characters will say on the superficial level, then make it stand for more than that. As with all aspects of dialogue, you might need a few passes to really hone it. I find this kind of editing very creative and rewarding (but then, I do like editing…).
For character subtext, play with Freudian slips, misunderstandings, questions that one character might be avoiding, coded dialogue, tensions that can’t be expressed. Look for underlying harmony and agreement too; it’s not all negative or sinister.
For thematic subtext, pay attention to your authorly portrayal of the scene. Look for suggestive synonyms, imagery, a dark bird sitting on the skyline that makes an ominous shape, church bells that suggest a celebration. The characters probably won’t demonstrate they are aware of this kind of subtext – unless they’re a first-person narrator.
Does every conversation in a novel need subtext?
By no means. Although subtext is very satisfying, not every line – or scene – has to have a hidden meaning. Sometimes characters just chat.
There are more tips on character creation, character voice, subtext and dialogue in Nail Your Novel: Bring Characters to Life
Thanks for the iceberg pic NOAA’s National Ocean Service
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This weekend I guested on John Rakestraw’s Google writing hangout. He sent me a bunch of questions about dialogue, and I wrote so much in preparation that I got an epic post. Then when we got nattering on air with his co-conspirators, we delved off into other questions anyway. So I thought I’d run a dialogue special in the next few weeks. If you’d like to watch the hangout the link is at the end of this post.
(That pic is not Mr Rakestraw and friends, BTW. Tis Husband Dave at the BBC, pretending to read the news with his writing partner Jamie Thomson.)
Meanwhile, here’s today’s topic -
How do we get the characters talking?
Some manuscripts I see have no dialogue, or very little. There will be plenty of description, back story and even action, but the writer won’t have allowed the characters to step out of the narration and express themselves and interact with others. If there are conversations, they will mostly be reported instead of shown ‘live’ -
‘he told her that the best thing he’d ever done was to buy that log cabin in the woods – especially now they needed somewhere to hide until the stalker stopped watching the house’
Of course, sometimes there are good reasons to report a conversation. It’s by no means forbidden. But if all or most conversations are reported it can feel like the characters are being shepherded by the book and never acting independently – and so they don’t seem as real.
Dialogue makes characters real
Dialogue scenes let characters come to life. We see them acting, responding to other humans, experiencing events. For the reader, it’s like the difference between reading a report and being an eyewitness. They feel a personal, vivid connection with the moment.
And it’s a rich connection. Dialogue scenes allow you to demonstrate human complexity – what the people feel about each other, what their innate responses are according to their personality. (This can often create trouble for the writer, as I’ll discuss in a moment.)
What about first-person narration?
First-person narratives might need less dialogue because we already feel the character. Every piece of description, back story or other prose will be seen through the filter of that person’s psyche. So will their encounters with other people. But it will seem odd if there are no scenes where other characters are allowed to breathe, act, emote and be real.
Readers often look for dialogue before they decide to buy
Some readers flick through a book and are put off if there isn’t a good proportion of dialogue. Dialogue is easier to read than screeds of prose. But that’s not just because the paragraphs are more spaced – it’s because good dialogue is vivid.
So why do writers find it hard?
Some don’t of course. And if you’ve been reading this with a halo of confidence, could I ask if you find non-dialogue prose difficult?
This difference is usually where the problem lies.
Writing dialogue requires a specific frame of mind. When you’re in the flow of setup, action, back story or description, it’s tricky to switch to dialogue. In every other kind of narration, you control the camera, the voice of all the in-between stuff. For dialogue you have to let other minds in. That’s quite a gear-change. Especially if you have to inhabit several people, with different agendas and personalities.
Sometimes you realise, as you put yourself in their shoes, that they don’t see things the way you do. The lines you want to give them feel false. Or they run away with the story because of their responses. You have to let them find their own way, and maybe adapt what you wanted them to do. You realise a plot event is impossible because the characters won’t do it and you can’t work around it. This sense of frustration rarely happens with other types of scenes.
How to get your dialogue scenes running smoothly
Write dialogue scenes on different days from narration. Give your brain time to adjust.
Don’t put too many characters in the scene. In novels, it’s hard to manage more than three people who are all talking and responding. In fact, three’s a crowd because someone usually has to take a back seat. I’ve often seen writers try to emulate the opening scene of Reservoir Dogs where seven characters are sitting around a table. In the movie it works, but in prose it usually becomes an unmanageable mess.
Be prepared to rework a dialogue scene over and over. I’ve often had to spend several days on a dialogue scene, trying to get it truthful and authentic (not to mention interesting). Some characters can be particularly stubborn; Gene Winter in My Memories of a Future Life was exciting to use because he was unknowable and unpredictable – but this made him a devil to handle. He sounded wrong until I found something he’d agree to do. This struggle, of course, made me write better scenes.
This is the great challenge and reward of dialogue. Because you’re taking a step into the characters’ psyches, you find out what they’re really made of.
Next post: dialogue is more than talking. Watch the full discussion with John Rakestraw here.
Thanks to Budd Margolis for the pics of Dave and Jamie
There are more tips on character creation, character voice and dialogue in Nail Your Novel: Bring Characters to Life
Do you have trouble writing dialogue scenes? How do you approach them?
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One of the deadly sins of writing is the ‘head-hop’ – inconsistency with the narrative point of view. The writer will be following one character’s perspective, then forgets to keep to it, or switches to another in a way that creates a logic hiccup.
The problem is often subtle, which is why it’s hard to spot in your own work. If you asked the reader what was wrong they might not be able to explain it. But they’ll sense something’s off and you’ll have lost your grip on their imagination.
First-person narratives usually don’t have this problem. The writer is usually extremely aware of what the character can and can’t know. (And often realises they need devices such as letters and diaries to get information across.)
But not all stories are written from one perspective only. Perhaps we have many characters whose experiences count. Or an omniscient narrator who contributes observations from time to time. Once you have these multiple voices, you need to be strict about how you handle them.
Here are my tips for keeping multiple POVs in control.
1 Stick with one POV per scene
Simple is usually best, so write each scene from the experience of just one character, making the POV clear in the scene opening. What if two equally major characters have a dramatic scene? I’ll discuss that below, but let’s get into good habits first.
Some novels with multiple POVs name their chapters according to who is ‘speaking’. Deborah Moggach’s Tulip Fever hops around a large cast in short chapters, each following the experience of one character. Gillian Flynn’s Gone Girl alternates between the male and the female accounts in different timelines, and the headings allow her to show who’s talking and when the action is happening.
Of course, many other novels use multiple POVs without chapter headings, and that’s fine too. But if you get confused about what you can and can’t show, put them in your draft to focus your mind. Or tint the text in a colour according to whose experience we’re following. Later, remove these props and you should have a logically flowing story.
3 Establish the POV pattern early on
At the beginning of the novel, you need to establish the rules your narrative will follow. If you’re going to circulate through a big cast, give each of them an early chapter, then we’re prepared for the pattern. If you stick with one character for a while and then switch, you might need a more obvious signpost such as a chapter or section heading to ease the gear-change.
Want to narrate some of your book as first person and some as third? No problem. Charles Dickens writes some of Bleak House in first person, following the experience of Esther Summerson. Her honest, diary-like narrative is a warm contrast to the conniving characters in the Dickens-narrated sections.
Deborah Moggach presents one of her Tulip Fever characters as first person, and explained on BBC Radio 4’s Book Club that she wanted the reader to understand some of the cruel things she does. Everyone else is close third person.
Moggach’s device of the headings also allows her to slip into omniscient distance – to convey time passing and chaos settling. One chapter is ‘Autumn’; another is ‘After the storm’.
But whatever you do, stick to it. If you begin by narrating one character as first person and change them to third, you risk disorientating the reader unless you have set up a mechanism for them to understand it. (And preferably a reason why they should bother.)
5 Two key characters in one scene? Which POV?
Of course, some characters will have overlapping experiences. For these, you could:
- Pick the person who will have the most intense experience.
- Pick the person with the least intense experience and rely on the reader to intuit the turmoil in the other character (can be very effective, but needs setting up)
- Hop between their experiences in different paragraphs, but be very disciplined to make sure the reader is clear whose experience they are following. To do this might interrupt the flow of the scene, especially the dialogue. And often when I see writers do this, they’re missing an opportunity for more tension.
- Settle into one POV, then change. Start the scene from one character’s experience and after a while, make the switch. Do this with a break in the action, or even a line break, so that the reader understands to tune into a different experience. And it’s a one-time thing. Don’t switch back again. Moggach solves this by writing a chapter in one POV, then starting a new chapter from the other character’s angle and winding time back to revisit the episode. (Do you notice something important here? She never breaks her rule. She’s schooled the reader to expect a framework and she never breaks it.)
There are more tips on character creation, character voice and dialogue in Nail Your Novel: Bring Characters to Life
Have you seen other ways to handle multiple POVs? How do you do it? Have you seen the rules ‘broken’ to interesting effect? Let’s discuss!
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I’ve had this very good question from Alison Strachan, who tweets as @Writingmytruth
What happens when you realise half way through writing that you needed to plan more?
There’s a story I tell in Nail Your Novel about how I learned the value of planning. Years ago, I embarked on a novel, ever so excited, wanting to explore a disturbing incident and see where I’d go. The first chapters galloped along nicely. I read it out to my writing group, who loved it. On I went, flinging ideas down. And soon I realised I didn’t know where the hell I was going. After 60,000 words I gave up. And I’m not a person who does that. It annoyed me intensely.
But I knew the characters were running in pointless circles. I simply couldn’t see a way out of the rut.
60,000 words. What do you do with all that?
I didn’t know then, but I do now. Here’s the cure.
1 Deep breath
It’s okay. You haven’t proved you’re unfit to write a novel. You haven’t ruined your idea.
2 It’s never too late to make a plan
Some novices feel they must write it all perfectly in one go. But seasoned writers might stop, start and re-start many times before the book is finally ready.
Once the manuscript is finished and handed to an editor or an agent, it’s likely that their critique will suggest extensive changes – especially if you’re learning the ropes. Some of these mean you have to re-plan on a fundamental scale, including character arcs, plot, structure and pacing. Welcome to rewriting.
So that means … even if you’re a chunk of the way into the book, it’s not too late to make drastic changes. Heck, it’s not even unusual.
3 You haven’t even wasted your time
All that stuff you wrote isn’t junk. It’s browsing. Some of the scenes you’ll be able to use as they are. Others will need to be rewritten, deleted or replaced. Relabel the file as ‘development notes’ and you’ll feel more comfortable about changing it.
4 Take control
Now you need to understand the material you’ve already got. My favourite tool is the beat sheet – a summary of the purpose of each scene as it is at the moment. Don’t judge whether they’re good or bad; that comes later. For the time being, you’re making a map of what you’ve already written. Another way to do this is by summarising each plot event on cards or a spreadsheet. Once you can see the book at a glance, you can figure out how to use this material or whether to delete it. You can also plan more events and scenes to the end of the book.
5 Restore your faith
The chances are you’re not as keen on the idea as you used to be. To rescue a book, you need to reconnect with the initial spark, see its potential once more. You might have some early notes you made right at the start – see if these rekindle your excitement to make a story. If you haven’t got any, start a new file and write yourself a note about the qualities of the idea that first inspired you.
Perhaps you’ve moved on from the original idea. If you’ve learned there are different depths to mine, that’s good. Write a new mission statement.
Or is it time to move on?
I never actually returned to that 60k draft, and sometimes our early attempts are not fit to be developed further. What they teach us is more important than the content. I still think there’s mileage in those characters and their situation, but they need a bigger spark to get them working properly. I’m not taking them on again until I’ve found it.
When I think about it, a good half of writing is rescue and salvage. Sorting out muddles and solving problems. If you’re writing and you suspect you should have made a plan, your instinct has just told you something important. Do whatever helps you get control of your material. There’s no wrong time to realise this. Except when you’ve hit ‘publish’…
You can, as you’ve probably guessed, find plenty of tips like this in Nail Your Novel, original flavour.
Thanks for a great question, Alison. Guys, what would you tell her? Share in the comments!
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Yes, I would usually have put up an original writing post this weekend, but I seem to have had a lot of posts on other blogs in the last few days. So rather than appearing in your inbox way too many times in one week, I thought I’d take a bit of a rest.
Today I’m back at Writers & Artists. They told me a lot of writers approach them for advice on self-publishing and self-publishing services, but it’s clear they’re not ready and would be better doing more work themselves. They asked me for a piece to help writers hone their novel before they pay for editorial services.
The number one problem I notice is that new writers try to publish a first draft – so this post is a newbie’s guide to revision and an insight into the secret graft behind a good novel. Many of you guys are more advanced than that, but if so, I hope you’ll know someone you can pass it on to. Even if it’s only your long-suffering family and friends, who are wondering why you haven’t ‘finished’ and published! Here it is…
Meanwhile, if you’d like to share how you revise a novel, or add your tips for getting it in perfect shape for publication, share them here!
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My novel is more than 170,000 words without the back story, which I had to cull because it was 70,000 words. I tried eliminating it; the book was a shallow disaster. I’ve tried summarising; it interrupted the story without explaining what was going on. The problem is that the culture and setting are predicated on an event 70 years before the story begins. This is key to the protagonist’s behaviour, attitude and circumstances.
The villain is involved 5 years before the story starts and works behind the scenes against the protagonist, who thinks the villain is dead. But if I don’t introduce the back story involving him, a lot of the story doesn’t make sense and characters’ reactions are hard to understand – especially in later books. I’m grateful for any suggestions.
Wow, Henry, I can see you’ve got a lot to squeeze in. And it’s far too much for the reader to catch up with. We need to restructure your story. This is what I would do.
Solution 1 – Try to simplify
DOES the story have to be this complex? Has it run away with you as you’ve added events and complications?
I frequently get myself into this kind of fix. I invent far more than I need. At some stage, I take a hard look and decide what I can streamline.
Take a blank sheet of paper and write down only the most important pieces of history. How do you decide that those are? They’re what help your readers understand the problems of your protagonist.
From other information you’ve told me, I know you’re writing a dystopia. There’s no better model than other novels that do it well – try Fahrenheit 451 and Nineteen Eighty-Four. Both have a heck of a lot of explaining to do, but never overwhelm the reader. They begin with the protagonist on an ordinary day, coping with a feeling they don’t fit with the world. This is accessible and relatable to everyone, and lets the reader connect with the character’s humanity. So look at your world’s problems in terms of what disturbs or distresses your protagonist in their normal life.
Both those novels do eventually reveal a lot of back story. We do get to World 101 – why it’s in such a mess, on a knife edge and who made it that way. But we don’t find out for some considerable time. First, we bed in with the characters. When the larger chunks of back story are revealed, they are parallel to the protagonist’s state of mind. They come at a stage where the character is curious to ask these deeper questions: how did we go so wrong? How can I get out of it?
If you do this, you will see how little of your back story you need to get the plot running. Concentrate on the characters and what makes life hard for them – and preferably harder than for other people in the story, so that they are the canary in the coal mine. The protagonists of Fahrenheit 451 and Nineteen Eighty-Four are first and foremost unhappy misfits. Second, they are echoing a sense of humanity gone wrong.
Even so, the authors might not have told us everything they had developed. So while you’re simplifying, look out for ideas you could leave out (even if you’re proud of them).
You made the back story this complex because it interests you, right? It’s become as important as the present story.
For instance, your villain had his heyday before your narrative starts. Why not write that story? And the main events happened 70 years before – that could be another story.
You could twine them together as parallel narratives – like The Godfather. Vito Corleone’s life is one strand: his son, Michael Corleone, is living in the world Vito made.
Now I can understand why you might not have thought to spotlight these stories. The outcomes, as we know, must be that baddies triumphed – a downbeat ending. But some books go like that – especially books about worlds. Think of A Game of Thrones – an epic series where some characters succeed and some fail. Your villain’s victory could surely be a dramatic story. People must have opposed him; he can’t have got away without a fight. Even if he succeeds, you could also suggest a twinkle of hope, a scrap of resistance that won’t stay quiet for ever.
Solution 3 – add a newcomer
Another way into a complex world is to introduce it through a proxy character like John Carter in Edgar Rice Burroughs’s series, who arrives on Mars from Earth. All the civilisation is new to him, which means he has to acclimatise along with the reader. (Same as John Carter in ER.)
You could also begin with a character growing up in the world, and having it explained – like Suldrun in Jack Vance’s Lyonesse series.
Thanks for the pic patriziasoliani
What would you say to Henry? Are there any books you would add to his reading list? Share in the comments!
Dystopias, Nineteen-Eighty-Four and Fahrenheit 451 are among the books and topics tackled in Nail Your Novel: Bring Characters to Life. Out now in all formats, including (ahem) combustible.
A Game of Thrones, A Princess of Mars, authors, back story, backstory, blank sheet of paper, deepen your story, dystopia, dystopias, Edgar Rice-Burroughs, entertainment, ER, ER TV series, Fahrenheit 451, fiction, Fix and Finish With Confidence, George Orwell, George RR Martin, having ideas, how to write a book, how to write a dystopia, how to write a novel, Jack Vance, John Carter, John Carter of Mars, Lyonesse, Mario Puzo, Michael Corleone, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Nineteen Eighty-Four, ordinary day, pieces of history, Plot, polishing, prequels, publishing, Ray Bradbury, Roz Morris, story doesn, The Godfather, Vito Corleone, writing, writing a novel - Nail Your Novel
When to trust the reader’s intuition – and when to spell out what a character feels: post at KM Weiland’s Wordplay
Readers don’t have to be told everything. Sometimes they will intuit how a character feels about a plot development or another character. Or they know what’s unsaid. Or they understand that the quiet character who rarely says anything is vibrating with mysterious depths.
Good storytellers are masters of the reader’s curiosity and emotions. They know what they can plant between the lines and how to make readers fill the blanks. So how do they do this? And how might it go wrong?
Today KM Weiland has invited me to her fabulous blog Wordplay, where I’m discussing this tricky – and exciting – balance. Do come over.
authors, Character, characterisation, characters, characters in novels, deepen your story, entertainment, fiction, Fix and Finish With Confidence, guest post, guest posts, how to write a book, how to write a novel, how to write great characters, ideas, improve characterisation, improve your novels characters, improve your writing, inspiration, KM Weiland, literary fiction, literature, My Memories of a Future Life, mysterious characters, mysterious depths, mystery, Nail Your Novel: Bring Characters to Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, novels, plot development, polishing, publishing, quiet character, reader expectations, reader intuition, revising, Roz Morris, weiland, Wordplay, writing, writing a novel - Nail Your Novel, writing advice
It’s live! New Nail Your Novel book shows you how to create characters who keep readers hooked and make you want to tell stories
Three guesses what it’s about … but here’s the formal blurb…
How do you create characters who keep readers hooked? How do you write the opposite sex? Teenagers? Believable relationships? Historical characters? Enigmatic characters? Plausible antagonists and chilling villains? How do you understand a character whose life is totally unlike your own?
How do you write characters for dystopias? How do you make dialogue sing? When can you let the reader intuit what the characters are feeling and when should you spell it out?
I’ve mined 20 years’ worth of writing and critiquing experience to create this book. It contains all the pitfalls and sticky points for writers, laid out as a set of discussions that are easy to dip into. And it wouldn’t be a Nail Your Novel book without a good dose of games, exercises and questionnaires to help you populate a novel from scratch.
Whether you write a straightforward story-based genre or literary fiction, Bring Characters to Life will show you how to create people who enthrall readers – and make you want to tell stories.
If you like more heft in your hand, the 200+-page paperback is in progress, and will proceed as fast as an index can be built and proofs can fly the Atlantic.
Ebook price GBP £3.56 USD $5.50 (rough conversion estimate)
Amazon.co.uk, authors, beginners, Character, character building, character design, characters and viewpoint, characters emotion and viewpoint, characters in search of an author, characters with secrets, deepen your story, ebook price, entertainment, fiction, fiction characters masterclass, fictional characters, Fix and Finish With Confidence, great fictional characters, how to write a book, how to write a novel, how to write fiction, how to write fictional characters, how to write great characters, improve your novel, improve your novels characters, improve your writing, inspiration, literary fiction, literature, My Memories of a Future Life, Nail Your Novel, Nail Your Novel: Bring Characters to Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, novels, polishing, publishing, revising, Roz Morris, self-publishing, writing, writing a novel - Nail Your Novel, writing fiction, writing great characters, writing masterclass, writing tutorials
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- ‘The thoughts start flowing again’ – The Undercover Soundtrack, Will Overby December 11, 2013
- From ‘To do’ to ‘Done’ – confessions of an organised author December 8, 2013
- ‘Music to make a creative space’ – The Undercover Soundtrack, Kirsty Greenwood December 4, 2013
- How to write down story ideas so you can remember why they were brilliant December 1, 2013
- Could The Undercover Soundtrack help you reach readers? Post at the Alliance of Independent Authors November 30, 2013
- ‘Sex, drugs, metaphysics and rock’n’roll’ – The Undercover Soundtrack, David Biddle November 27, 2013
- How do I develop something special in my writing? November 24, 2013
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