Are you trying to fit into a genre or sub-genre because it's popular right now? That's like trying to fit into a political party when your philosophy is somewhere in the middle. It's hard to find the right fit in either party, right? Maybe it's time you created your own sub-genre or genre. Look at what *Bridget Jones's Diary* did for chick lit. And what *The Hunger Games* did for YA dystopian. And I'm still not sure how to categorize Jodi Picoult's novels. If you look up the genres of her books, you'll find "Genre: Fiction + Literature; Sub-Genre: Literary or Contemporary." Huh? Nonetheless, she's created her own space on the best seller list.
Are you ready to create a strong, thorough outline for your novel? Brilliant! From September to November this year, ProWritingAid will be paying for its community to have **FREE access for 30 days** to Beemgee's world-class novel-outlining software. Whether you are preparing for NaNoWriMo or just ready to finally write that book, this 30-day challenge is crucial for getting you to the finish line.
Are we hard-wired to seek symbolism in everything from our literature to our everyday life? Spirituality is rife with symbolism, advertisers use symbols to sell their products, and we interpret a smile from someone as a symbol of friendship. Symbolism in literature uses an object or a word to represent something abstract in your work. A person, an action, a place, a single word, or an object can have symbolic meaning. Symbolism, done well, allows you to hint at a certain mood or emotion instead of showing it.
Your antagonist can make the difference between a ho-hum novel and a break-out one. A fully realized villain is someone who shows us parts of ourselves in his or her makeup. If you can connect in some human way with the antagonist, it's going to bring up all kinds of tension for readers.
I recently came across a book by James Scott Bell that lays out an interesting premise about something he calls the 'mirror moment'. Bell's theory is that there is a single moment in the middle of the story where the main character takes a "long, hard look at himself (as in a mirror). He asks, Who am I? What have I become? Who am I supposed to be?" Bell says if you can nail that moment, everything that comes before and after it will have more depth and resonance.
When you’re starting a new story, determining POV is a very important choice. Writing from multiple POVs can be frustrating and confusing for readers if it’s not handled well, so you need to have a very good reason for using multiple POVs in your story. That said, here are a few tips on how to craft a story using multiple POVs:
Have you ever been so engrossed in a book that if the ending isn't strong and doesn't resolve all the plot threads, you're disappointed in the whole book? I once read a novel with a deeply engaging main character I really connected with. She struggled and overcame and struggled and overcame. And at the very end of the book, the author killed her. WHAT? It's the only time I've ever thrown a book. And I refused to read anything more by that author. You know how important it is to hook your reader from the very beginning. It's why you start in the middle of the action, plunging your reader right in so they get caught up in the excitement. Your ending is as important…if not more.
Mind maps have been a useful tool for creative folks to brainstorm for quite a while. Remember the old days when you’d draw a circle in the middle of a piece of paper and draw lines from there to connect your thoughts? It’s much easier today. Brainstorming is a huge part of preparing for any writing project. Mind maps help you capture your creativity in a right-brained manner, by graphically displaying the connections between ideas. If you’re trying to outline a novel (left-brained) and it’s just getting messy, consider trying a mind map first to let the ideas flow naturally. With a mind map in front of you, ideas will spark and you’ll see connections where you hadn’t before. It’s also a great tool for generating new ideas, like scenes for your story or character traits for each character.
Chefs around the world don’t merely copy the recipes of other great chefs. Instead, they dissect the completed dish, looking for ways to improve it and make it their own. In the same sense, writers shouldn’t copy the masters. We’re not saying don’t learn from the masters, but rather dissect their work and see what makes it great.
If you haven’t read *The Martian*, it’s 369 pages of full-on tension. Mark Watney, the main character, faces one set-back after another as he’s fighting for his life on Mars. The stakes are pretty high; if he doesn’t get off Mars soon, he’ll die. Weir is a master at creating tension. Just when things are finally going right for Watney, Weir pulls the rug out from under his feet. We watch as Watney perseveres through untenable disasters that would crush the rest of us. Weir keeps readers asking throughout the story, “How’s he going to get out of this one?”
A flashback is a scene you use in your current narrative to show something that happened in the past. The two key differentiators are: 1) it must be a scene (as opposed to narration about an event), and 2) it’s past news. Flashbacks are great for building three-dimensional characters because readers gains insight on how a character’s thoughts, feelings, and morals were formed by important events. They’re also useful for dropping hints about what happened to lead your main character to the current point in time. They help your readers understand and care deeply about your characters and what happens to them.
So you are ready to write your novel. Excellent. Are you prepared? The last thing you want when you sit down to write your first draft is to lose momentum. Have you figured out the key traits of your characters so that you know how they will act (and react) in each scene? Have you thought through the climax of your narrative so that you can lay all the groundwork to get there? Have you researched the setting of your story so you can make it feel authentic? Use this guide before you start writing to work out your narrative arc, plan out your key plot points, flesh out your characters, and begin to build your world. Then, when you begin your writing journey, you will have a map to follow along the way.
Scenes are the rising and falling action, and the soft moments in between, that move your story forward. They have a couple of basic purposes: - They establish time and place. They give the reader a marker on where and when things are happening. - They help develop character. Even if the scene is pure action, you learn about the character’s motivations by his or her decisions, choices, and actions. - They let characters set goals. Without goals to achieve, characters have no reason to act or emote. Readers want to know what’s at stake. - They allow the action to rise or fall. This movement is what carries your reader forward. - They let you crank up the conflict. Without conflict, you won’t have tension. And without tension, your story is boring.
The Enneagram details 9 internal levels of developmentwhere your main character can find him or herself at any point in time. A person’s personality isn’t static, meaning that it fluctuates depending on whether they are under duress or some good fortune happens. Each of these 9 levels of development represents a major paradigm shift in awareness, meaning your main character changes—for better or worse. Have a look at the different levels and see if you can place your main character(s) at the beginning of your story and where you want them to be at the end.
The standard definition of a character arc is how your main character changes over the course of your story. The most common form of character arc is the Hero’s Journey. An ordinary person receives a call to adventure and, at first, he or she refuses that call. There’s usually a mentor who helps the hero accept or learn how to attempt the adventure. Think of Yoda in Star Wars. But there’s more out there than just the good guy or gal who’s transformed by the end of the story. Not all characters undergo some major transformation. In some cases, they will grow, but not transform.