Writing Better Part 10

BUILD A SOLID NOVEL FOUNDATION

L.O.C.K. in a great novel every time:

01) L is for lead - your lead character must be interesting, and he must have an emotional bond with readers. There are four ways to accomplish the latter:

a) Identification - the reader must be able to identify with the character;

b) Sympathy - readers want to be able to sympathize with characters. Anytime a character which readers can identify faces hardship, danger, or struggle - whether physical or emotional - this generates sympathy;

c) Likability - readers are most drawn to characters who do likable things;

d) Inner conflict - readers are especially drawn to characters who do likable things despite inner conflict or turmoil.

02) O is for objective - interest in a character zooms if he has a purpose in life. An objective can take two forms:

a) To get something (or someplace);

b) To get away from something (or someplace, or someone).

03) C is for confrontation - or conflict. Opposition from other characters and/or outside forces adds drama to any story, drama adds interest, and gaining interest is the primary purpose of any story;

04) K is for knockout - make the resolution (climax and conclusion) of your story conclusive. Meet all the goals, accomplish the tasks, tie up all the loose ends.

Follow the knockout with either an "ah" or and "uh oh":

01) An "ah" leaves the reader satisfied. All the story’s emotional complications (sub-plots) have been resolved;

02) An "uh oh" leaves the reader with a sense of foreboding… it leaves the story open for a sequel.

CONQUERING THE THREE ACT STRUCTURE

The first and third acts should be of roughly equal length, with the second act roughly twice as long. (In a screenplay, each page will equal roughly one minute);

01) Act one - the first 15 pages are where you set up your story. Tell the audience the basic facts (main characters, setting/time period, genre, theme, catalyst, central question). End act one with the first turning point, which should accomplish several things:

a) Turn the story in a new direction;

b) Set up what act 2 is going to be;

c) Raise the stakes (if possible);

d) Re-ask the central question with possibly a different outcome.

02) Act two - builds to the second turning point, while developing relationships, plot thickening, thematic ideas, and subplots, and the second turning point should accomplish (if possible) the following:

a) Turn the story direction again;

b) Raise the stakes again;

c) Start a "ticking clock";

d) Re-ask the central question.

03) Act three - should head directly for the climax and end with a brief conclusion in which loose ends (subplots) are wrapped up.

CROSS-GENDER WRITING

Tips on writing from the P.O.V. of the opposite sex:

01) Do not be judgmental - it will come across in your writing and make your character seem unbelievable, insufferable, or just plain wrong;

02) Observe and research - and if you know someone who embodies the personality of the character you want to write, get to know that person well;

03) Empathize - to write convincingly from the P.O.V. of the opposite sex, there are three key elements to determine:

a) What makes your character likable?;

b) What is her cause for suffering?’

c) What does she want? - we all want to be happy, but what each of us imagines will make us happy varies.

Just make sure to keep your characters human.