Brenda Hill
Novel Editing, Plotting Help & Writers Resources
TIPS TO TAKE YOUR MANUSCRIPT FROM AMATEUR TO PROFESSIONAL Define Your GENRE
What is your story about? Each has its own set of rules: word count, number of pages, etc.
a) children's
b) horror
c) literary
d) mystery
e) romance--single-title; series
1) historical
2) futuristic
3) contemporary
4) paranormal
f) science fiction
g) suspense
h) teenage
1) horror
2) coming of age
i) thriller
1) high-tech
2) psychological
j) western
k) women's fiction
I've had questions concerning the difference in mystery and suspense genres.
A true mystery is a whodunit, a fast-paced puzzle of clues a sleuth, professional or amateur, works to solve.
In a suspense, the perpetrator may be known from the beginning. The protagonist's life is usually in danger and we follow along, getting more emotionally involved while he/she tries to stay alive.
Your CAST of CHARACTERS
Who is in your story? What do they want? What is as important to them
as that next breath? List ten things for each. Avoid opening confusion
with too many characters. Each character, except walk-ons, should have
a goal, a strong point, as well as a fatal flaw. What mannerism; way of
speaking, is unique to each one?
a) Star of the show - protagonist
b) Villain - antagonist
c) Love interest
d) Mentor: wise old woman, best friend, grandmother, grandfather, etc
e) Bit parts - the walk-on cab driver, waitress
THEME
What is the point of your story? One sentence: Romeo & Juliet--great love defies death. Stay Off Your Soapbox or you will lose your reader.
Number one rule on Theme, which is also the Number One Rule for everything in your writing:
NEVER BORE YOUR READER.
If you absolutely must lecture on your theory of life, go to your bathroom, stand in front of your mirror and talk to your heart's content. Learn the fine art of subtlety for your novels.
PLOTTING/STRUCTURE
Story strucutre is the
stumbling block in most writers' adventure. Basic plot:
character A wants something and character B tries to stop him. The
story is presented in three parts, each important in laying out your
story.
According to Aristotle, there are
three sections of a story--the
beginning, middle and end, or,
Act 1, Act 2 & Act 3
Each act has a specfic job to perform, and
therefore, each act has different requirements. Do you know what they
are?
Plotting Stepping Stones not only help you plot, but when they are used
correctly, they increase the dramatic action for the reader.
After all, a writer's goal is to keep the reader turning pages.
For more information, click on 'plotting help'.
POINT of VIEW
Who is telling the story? Reader needs to identify with character.
a) First person narrative: I kept my eye on the driveway, waiting for headlights . . .
b) Second, not recommended:
You are waiting for your husband/wife/children to come home and
you’re checking
the windows every three minutes…
c) Third:
1) Single
- one character all through book:
He walked to the window, pulled
back the drape and stood watching for their Camry to turn into the driveway. It was almost
midnight . . .
2) Multiple - two or more PsOV. Avoid scene HEAD-HOPPING
3) Omniscient - all knowing, also not recommended as the reader cannot identify with character.
SHOW, don't TELL
"Show, don't Tell is the most repeated phrase in writing classes and how-to books. It's also one of the most difficult techniques for a writer to master, yet it's critical for reader identification. But what does it mean?
When you tell about something or someone, you're stating a fact as you know it. But does the reader FEEL anything? Chances are they won't. Therefore, to connect with the reader, you must learn the technique of SHOWing in your writing.
EXAMPLE: You want to introduce Mr Jones to your reader. What is the best way?
a) Telling: Mr Jones liked children.
When you read that statement, do you FEEL anything? You're giving your opinion, but readers like to make up their own minds. How about this one:
b) Showing: Every Saturday, Mr. Jones gathers the neighborhood children and takes them to the park. Three Saturdays ago, he taught them to fish. Another day he gave instructions on swimming and diving. For those few hours each weekend, he could pretend to be the father he'd always longed to be.
While (b) may be better, it's still narration. The best way to SHOW how Mr Jones likes children is to dramatize a specific Saturday in a SCENE with action and dialogue. Then the reader can 'see' Mr Jones with the children.
SCENE
Scene is the building block of your story. Story consists of scene, sequel and narration, repeated over and over until the end. A scene is a single unit of action, taking place in real time. Each scene must have three essential elements.
SEQUEL
Sequel is a time to reflect, to let loose the emotions from the devastating scene. Slam the door; go on a crying jag; wail and moan to your best friend. Or retreat behind closed doors, whatever is in the nature of the character you devised. However, a book full of moaning is tedious, so he/she must decide how to proceed. Therefore, SEQUEL, similar to SCENE, has it's own three vital steps in order to move the story forward.
DIALOGUE
The heart of your story--getting your characters talking. You do not want to sound like an English professor unless your character teaches English. Nor do you want them to be illiterate, unless you're writing another Grapes of Wrath. It all depends on your character and story.
Do not, under any circumstances, use dialogue to 'info dump' back story into dialogue.
Use contractions, the way people speak. Avoid dialect. Use tags and beats.
STYLE
Style is more than the way you string words together. It's also how you present your story to the reader. Be sure to vary scene/chapter as well as sentence length.
Once you learn pacing, you'll be able to control whether the reader flies through your manuscript, not wanting to put it down, or whether the unfolding is so slow the reader feels close to a coma.
TENSE:
a) PRESENT--not recomended: She looks into the mirror. What will the other girls wear? She tugs at her skirt, wondering if it is too long.
b) PAST--more popular: She looked into the mirror. What would the other girls wear? She tugged at her skirt, wondering if it was too long.
SETTING
Never bore them with lengthily description. Set that scene following the rule of 3.
Avoid confusion with the journalistic five W's--Who, What, When, Where and How.
EMOTION
Do not have your character emoting all over the page--it will resemble an old-fashioned melodrama. Remember, less is more.
Instead of saying your character feels sad, WRITE IT SO YOUR READER WILL CRY.
How to accomplish that? Craft. Technique, such as the M-R unit.
SUSPENSE
Suspense is not just for mysteries. Without some kind of suspense to your story, your reader will yawn, think of bedtime or all of the other chores he/she should be doing. The book goes down and your next one will sit on the bookstore shelf. You want your reader to stay up all night turning pages; you don't want to put him/her into a coma.
How to make your material engrossing? Technique, the craft of knowing how to create tension and suspense.
OUTLINE
To outline or not to outline. Do you really need it? One writer outlines extensively using index cards and colored markers. Another simply lists chapters and their one-line content. One former instructor writes his story then, during revision, outlines using Stepping Stones. You must find what works for you.
Do you know what Stepping Stones are and when to use them? If not, check my Plotting Help section.
MINI-SYNOPSIS, your JEWEL
Your Jewel is your story condensed into one hundred words or
less. It's great for query letters, blurbs. Make sure you hit the
Stepping Stones so the agent/editor can see you know classic story
structure.
EDITING
A
famous quote says, "Writing is rewriting." How long it takes you to
produce a publishable manuscript depends on several factors:a) correct grammar, punctuation and sentence structure
b) use of all five senses to give the reader the full experience of the fiction world
c) a cool-off period after the first draft
d) and, most important of all, an excellent proofreader. No one can write a mistake-proof manuscript, but a manuscript full of errors is a sure way to get it rejected. If you can't afford a professional, perhaps a retired school teacher would be willing to check your manuscript, or you might think about joining a writers' group. Most participants are willing, even eager to trade manuscripts for critiquing.
