It’s a workbook! Unlock your book’s full potential and finish like a pro

In my previous post, I mentioned how I’ve just hit my ten-year blogging anniversary and the surprising things that brought. So it’s high time to revisit the first book I ever published under my real name – and today I’m proud to present the Nail Your Novel Workbook!

(The title’s a bit longer than that… Nail Your Novel: Draft, Fix & Finish With Confidence – A Companion Workbook.)

It enlarges the 10-step process in Nail Your Novel Original, with expanded questions to tackle all the creative stages. I’ve added sections to help you discover your best writing method, beat writer’s block, squeeze maximum originality out of your idea, keep yourself on message when the manuscript is having a rest. And an in-depth workshop to help you find a knockout title. It’s a contract with yourself to produce your best possible book.

A proper post is coming tomorrow – continuing the in-depth interview with creative writing professor Garry Craig Powell. Last time we asked when – and if – it’s worthwhile taking a writing degree. This time, we’ll be discussing how to choose one.

In the meantime, have fun with the new book – and if you want to take pictures of your workings, I’d love to see them. x

4 Cs – a plotting formula for writers who hate the formulaic – guest post at Ingram Spark

How do we tease a bunch of ideas into a plot? How much notice should we take of common plot shapes such as the Hero’s Journey? Are they worn to death now? If we get creative and throw the rules out of the window, how do we ensure we don’t end up with an unreadable mess? IngramSpark noticed I have a book about plot, so they asked me over to their blog to write a quick guide to plotting with pizzazz, panache and unpredictability. (I realise that’s 3 Ps, but my post is actually about Cs. Oh well. All will be explained.) Do come over.

3 creative writing exercises to help you read like an author – at Reedsy

Want to learn some ninja plotting skills? Try these exercises at Reedsy.

Reedsy is principally known as a marketplace for authors and publishers, but it also offers a range of useful lists, from review sites to writing tips. It’s just compiled a set of 100 creative writing exercises from its favourite bloggers (thanks, guys!).

I was invited to contribute three short exercises and I’ve chosen subjects that help you read with a writer’s mindset. They are:

1 Foreshadowing plot twists so they are surprising and fair (the clue hunt)

2  How to keep the reader gripped (the page-turner)

3 Using your material with economy and elegance (the observant writer)

And psst … there are plenty more insider plotting tips in Writing Plots With Drama, Depth & Heart: Nail Your Novel 3

 

 

Struggling to write your ending? Some pointers – guest post at Writers Helping Writers

This year I’ve been one of the guest tutors at Angela Ackerman and Becca Puglisi’s site Writers Helping Writers. It’s my turn to take the lectern there again, and the subject they asked for is endings.

Are there any must-haves for an ending? Well, the answer isn’t simple, but there are some abiding principles that hold good no matter what you’re writing. You can read about them at Angela and Becca’s site … and if you want even more, there’s a chapter about them in my Nail Your Novel plot book. Have fun!

Suspense: storytelling’s big tease – guest post at Writers Helping Writers

I’m at Angela Ackerman and Becca Puglisi’s blog today with a post about how to use suspense. I think I first mentioned it on this blog a few weeks ago, but actually I got the date wrong, so you might have been waiting a while for this.

Which is exactly how suspense works, of course. Sorry, I couldn’t resist.

Bargain! Don’t forget there’s a special offer on Nail Your Novel – Amazon have chosen it for a Book Of The Month deal, so the Kindle edition is just USD$1.99.

Bargain! again! – Read my novels FREE and choose from hundreds more titles on subscription service Bookmate – exclusive code at this link.

Now, hie yourself over to the suspense department to read the post. I see you shiver with antici…

…pation.

Two cool ways to use misdirection as a storyteller

I’ve had an interesting question from Jonathan McKenna Moore (who was one of this blog’s earliest readers – quick fanfare 🙂 ).

Jonathan had seen Anthony Horowitz talk about writing new Sherlock Holmes stories, which led him to ask this question:

‘How does misdirection work in prose? Horowitz says that one of the functions of Dr Watson is misdirection, following false trails that Holmes would never entertain, and lulling the reader into considering them. He goes on to describe misdirection as drawing attention to one object in the room so the audience doesn’t notice another. While I can understand how that would work in a film, in prose you have to go out of your way to mention object 2, and spend time describing it. It isn’t just set dressing. How do you show the reader something, without letting them know that it’s important? Is it just a case of losing the significant detail in a haystack of description?  If so, then that rules out the sparse writing that often suits mystery stories.

Misdirection 101

Okay! First a brief definition – misdirection is planting a clue that will become significant, but disguising it so that the reader doesn’t spot how important it is. Then, at the right time, you reveal it in a lovely ‘aha’ moment. It’s one of the fundamentals of plotting. And it goes a lot further than just mysteries. Almost any type of story might need misdirection.

So … how do you do this in prose?

Two keys to effective misdirection

There are two elements to effective misdirection.

1 Hiding

2 … in plain sight.

When using misdirection in a novel, the reader must feel you played fair. They mustn’t think you randomly invented a new thing that answers the mystery, solves the case, resolves the characters’ problems. So a key feature of good misdirection is that you draw attention to the clue. If you hide it too well, the reader might not notice it.

To use Jonathan’s good phrase, the last thing you want to do is ‘lose the detail in the haystack of description’.

Devil in the detail

Novels contain heaps of details that hardly any reader will remember. So if you are planting a detail that will be important later, you have to draw attention to it – but in a way that looks like it serves some other purpose. The detail must be memorable, so that it’s noticed, but it must also appear inconsequential. Its final significance must be disguised. You have to be sneaky.

And actually, it’s quite easy to do in prose. You always need incidental details to flesh out characters’ lives or enable parts of the plot. Your character needs somewhere to drive to while he has a conversation with his old friend. Your clandestine lovers need a place to meet. Your spies need an item they can use to hide an SD card full of important photos. A character needs an excuse for why he’s late. These are details we often invent on the spur of the moment because they’re not that important to our scene. But they are excellent places to smuggle in an element you want to hide in plain sight. You can make the reader notice it, but they won’t realise how important it is.

Examples might be

• A location
• an object
• an explanation
• a hobby or talent
• a personality trait, allergy, dislike
• a mutual acquaintance or common background.

How to do it

Make a list of any significant details that you need to plant. When you come to a moment where you have to add an inconsequential element, see if you can sneak in something important. (Don’t overdo it, though, or you’ll alert the reader to your technique.)

The false trail

Jonathan also mentioned the false trail. This is another handy way to misdirect the reader. Again, you work backwards from your story’s final solution. Find a way to interpret your clue in the wrong way, send your characters off to chase it, and then bring it back in as a vital signpost to the real thing.

It’s tricky to give examples from stories without spoiling their punchlines, but it so happens I can illustrate with real life. On Friday I wrote the word ‘pineapple’ on my hand. My hand is my low-tech Evernote, and I needed to remind myself to go home via the supermarket. But it so happened that I was also going to a class at Pineapple dance studios. Naturally, having a storyteller mentality, I started thinking this was an amusing piece of misdirection. If I was found in nefarious circumstances, a detective might see ‘pineapple’ on my hand and think it was connected with the dance class, because they’d find my membership card. So the hunt for clues would start at the dance studio – until someone smart would ask ‘why would she write a note to remind herself to go to class … could it be her shopping list’? Then they might check my credit card use to find my usual supermarket, and find signs of a scuffle in the car park … voila.

So, to answer Jonathan’s final point about the use of misdirection in the sparse style of mystery stories … you don’t have to break style and write a conspicuously lavish description of your item. You slip your detail in naturally, as part of the fabric of the scene.

Thanks for the cards pic Gordon Cowan

If you found this useful, there are lots more tips for slick plotting in Writing Plots With Drama, Depth & Heart: Nail Your Novel 3.

There’s a lot more about writing in my Nail Your Novel books – find them all here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.Save

Pace and story structure: a blueprint for keeping the reader gripped

I’ve had an interesting question from Josephine of the blog Muscat Tales:

Can you talk about pace? How to speed up/slow down the action/plot – and when? Is there a general blueprint for this or does the story type dictate the peaks and troughs of emotion, action and change?

There’s much to chew on here. And I think I can provide a few blueprints.

In order to answer, I’ll reorder the questions.

First, a definition. What’s pace? Put simply, it’s the speed at which the story seems to proceed in the reader’s mind. It’s the sense of whether enough is happening.
When to speed up or slow down?

This comes down to emphasis. You don’t want the pace of the story to flag. But equally, you don’t want to rip through the events at speed. Sometimes you want to take a scene slowly so the reader savours the full impact. If you rush, you can lose them.

Here’s an example. In one of my books I had feedback that a scene read too slowly. Instead of making it shorter, I added material? Why? I realised the reader wanted more detail, that they were involved with the character and needed to see more of their emotions and thoughts. The feedback for the new, longer version? ‘It reads much faster now’.

More pace, less speed. It could almost be a proverb.

So pace is nothing to do with how long you take over a scene or the speediness of your narration. Whatever you’re writing, you need to keep pace with what the reader wants to know. If you linger too long on something that isn’t important, they’ll disengage. If you race through a situation they want to savour, they’ll disengage. But when you get it right … they feel the book is racing along.
How to keep the sense of pace?

This comes down to one idea: change. The plot moves when we have a sense of change. Sometimes these are big surprises or shocks or moments of intense emotion. Sometimes they’re slight adjustments in the characters’ knowledge or feelings, or what we understand about the story situation. A change could even be a deftly placed piece of back story. But every scene should leave the reader with something new.

This feeling of change is the pulse that keeps the story alive – and keeps the reader curious. In my plot book I talk about the 4 Cs of a great plot – two of them are change and curiosity. (The other two are crescendo and coherence, in case you were wondering.)

Where to place the peaks and troughs of action and emotion

And now to peaks and troughs. These are your major changes that spin everything in a new direction. As a rule of thumb, they work best if they’re placed at the quarter points (25% in, 50% in, 75% in). You usually need at least three, but you can have more if you like. Just space them out equally through the manuscript so you make the most of the repercussions. But that’s not a cast-iron rule (more here about general story structure).

The biggest question is this – has the plot settled into an unwanted lull? You might solve it by moving a pivotal revelation to one of these mathematically determined points.

Does the story type dictate the use of pace and change?

Yes and no.

Why no? Because these principles are universal – a change is whatever will keep your audience interested. It might be an emotional shift. An earthquake. A person recognising a stranger across a room. A betrayal. A murder. A cold breeze that echoes the fear in a character’s heart. An assailant jumping in through a window. A line that pulls a memory out of the reader’s own life. It’s all change.

Why yes? Because the type of story will dictate the kind of change your readers want to see. Thrillers need big bangs and danger; interior literary novels need shades and nuance.

Why no, again? Because all stories need change.

Thanks for the pic Joe Mabel

There’s lots more about pace and structure in my plot book, of course.

 

 

 

NEWSFLASH Chance to WIN 2 print copies

So many readers of My Memories of a Future Life have told me they wanted to discuss it with a friend. So I dreamed up a special idea to mark the relaunch with the new cover. Enter the giveaway on Facebook and you could win 2 copies – one for you and one for a like-minded soul. Closing date is this Wednesday, 12 Oct, so hurry. This could be the beginning of a beautiful book club… but don’t enter here.  Follow this link and go to Facebook.

Any questions about structure or pace? Any lessons learned from experience? Let’s discuss.

An exercise in character and story development – guest spot at Triskele Books

If you’re exploring characters for your story, this exercise might help. Triskele Books is holding a creative writing summer school and I’ve contributed this snippet to uncover  interesting tensions that make a scene sizzle. And once you’re there, you’ll find several other storybending assignments from seasoned fictioneers. Step this way.

Conflict in every scene? Disasters in every act? Yes and no

I’ve had an interesting question from Ben Collins.

I have read that each part of a novel should contain a ‘disaster’ and that every scene should either contain conflict or be deleted. Is this too rigid a formula, or do you think it is correct?

That’s a good question with a lot of answers.

So let’s take it apart.

‘Every scene should either contain conflict or be deleted’

I certainly subscribe to the view that every scene should feel like it’s moving forwards. Something should change, and in a way that keeps the reader curious.

In my plot book I talk about the 4 Cs of a plot – crescendo, curiosity, coherence and change. You can hear me discuss it here with Joanna Penn on her podcast. Three of those Cs are relevant to this question – curiosity change, and crescendo. Crescendo is a sense that the pressure is building – which, if we’re thinking in terms of formulas, comes from a constant state of change.

The change in a scene might be major – a secret uncovered, a betrayal. Or it might be lower key – perhaps deepening the reader’s understanding of a problem, or weaving an ominous atmosphere.

So what about that other C, conflict? Well, plots come from unstable situations. They can be epic scale – character flaws, character clashes, impossible choices, regrets in the deepest recesses of the soul, attacks from outer space. They can be tiny – two protagonists who irritate the hell out of each other. Good storytellers will sniff out every possible opportunity to add conflict to a scene.

But do you need conflict in every scene? It depends what you’re writing. In a high octane thriller, you need to pack in the punches. If your book is quieter, your developments might be sotto voce. Nevertheless, it’s good to think of keeping the story bounding forwards, in whatever steps would be suitable for your readers.

Beware of overdoing it, though. Even the fastest-paced thriller or suspense novel needs downtime scenes or you’ll wear the reader out. Relentless conflict is exhausting after a while. The most famous illustration of this in action is the campfire scene in an action movie. Usually before a climax, there’s a quiet scene where the characters get some personal time, in a safe place away from the main action. This is a great time for a romance to blossom. Or to drop in a personal piece of back story – a character can finally tell their life story. It lets the tension settle so that the audience is ready for the final big reckoning.

Is it keeping up the sense of change? Well yes it is, because it usually deepens the stakes. The characters might grow to like each other more. It might add an extra moral dimension, so there’s a deeper reason to right a wrong.  And the reader will feel more strongly bonded to the characters, so it becomes more important that they succeed – which is onward movement in the pace of the story.

Remember I said earlier on that a change in a scene might be a change in the reader’s understanding? This is an example.

So your scene should definitely contain a change. But there’s a wide definition of what that might be. Each scene should deepen the sense of instability and trouble. It should have something that makes the reader think – that’s not what I expected, or this is now a bit more perilous.

And now to part 2 of the question:

Should each part of the story contain a disaster? 

First, let’s define what might be meant by parts. I’m guessing this will be the major phases of the story, or acts. If you’ve seen my posts on story structure you’ll already know what that means. You’ve already got a steady pace of change, with each scene adding something to keep the reader curious. As well as this, you need bigger changes. Something that breaks the pattern and punts everything off in a different direction.

And yes, it might be a disaster. It’s usually something that makes the situation much worse, and sends the story off in a new direction. The murderer strikes again. The Twin Towers fall. The husband begins an affair. It’s a point of no return. a one-way threshold.

Ben’s question

So Ben asked: Each part of a novel should contain a ‘disaster’ and every scene should either contain conflict or be deleted.

Let’s amend that statement: each act of a novel should contain something that propels the story into a new, more serious direction; a point of no return. And every individual scene should contain a change, whether big or small.

Thanks for the pic KIm Stovring on Flickr

Clear as mud? Let’s discuss. What would you say?

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Three diagrams to make your plot a page-turner

I’ve had this question from Elizabeth Lord: I have just finished your book Nail Your Novel and found it extremely helpful for the rewrite phase of my novel. You mention graphs as a way to see where plots are plodding and character arcs intertwine – do you have any examples?

What a good question! Diagrams coming up.

First, though, a bit of explanation. Readers get bored if the plot appears to be predictable – ie the characters start with a goal and proceed doggedly towards it, step by step by step. This is a linear plot and it looks dead dull, like reading the syllabus for an education course, not a story. So when the characters have a clear goal at the start, we try to introduce developments that upset expectations. They’re going on the Orient Express? Great. Make one of them miss the train. Now everyone has a new problem that matters far more.

The major changes diagram
So your first drawing exercise is to go through the plot looking for points where you throw in a development that changes the characters’ priorities in a significant way. Make a ‘didn’t expect that’ diagram.

You want several of these developments, BTW, and they’ll probably be the main turning points in the story. Note also that they’re emotional. They’re about changing the characters’ goals – the things they want, the things that matter to them. So early in the story, they’re trying to catch a murderer. By the end of the story, they’re trying to stop the murderer killing their wife. Or murderer and detective are embroiled in a towering love affair.

The highs and lows diagram
Another helpful diagram might look at the main characters’ emotional state throughout the book. You want them to feel increasingly pressured and troubled, and you want their worst moment to be the climax of the book. So try a diagram where you look at their levels of joy and achievement versus despair. The joy part isn’t so important, although you want to give your characters a few breaks so that the disasters are more agonising – and also to show what matters to them. Make sure the despair increases in magnitude as the story proceeds.

The un-convenience diagram
You can look for smaller reversals too. You might not realise you’ve made everything too easy for your characters. Every time they need to accomplish something, make it harder than they expect. Or make it backfire. You can check on this by going through your manuscript and drawing a little circle whenever you’ve thwarted your characters.

If you have a lot of little circles, you’ll probably keep your reader gripped. If you haven’t, you know to throw some spanners into their spokes.

Compare your plot strands at a glance
If you have several plot strands or main characters, you could combine them on one diagram and use different colours. Thus you will see, at a glance, how your character arcs intertwine and if you like the harmony of their highs and lows. Or you might spot a general lull where several characters seem to be having a successful run – in that case, it might be good to rework the story and introduce a setback or twist. If you’re the kind of person who has music manuscript paper lying around (how stylish of you), you could draw your diagrams on the staves, like lines for different instruments.

X-ray your plot
The serious point is this: these exercises are ways to extract and visualise important plot mechanisms that might otherwise be invisible to you, and help you fix problems with the structure and pacing. Have fun!

Elizabeth’s question was inspired by a section in Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence. There’s also a lot more about plot and structure in Writing Plots With Drama, Depth and Heart: Nail Your Novel 3.

Do you draw diagrams to assess your plot – or any other aspect of your book? Share them here!