Tweet Last week I told you all about classical scene structure for novels. The core of it is that the scenes driving your story should always be tightly focused on a direct conflict between two characters, and the scene should end in catastrophe for the protagonist. One More Word on Catastrophe Now…there is a great […]
Today we’re going to discuss how to make a map work in your favor — or, how you can use your prewriting material in a way that doesn’t tie you down to structure.
Tweet Way back when, I tried to start a series around here on some of the specialized storytelling terminology I’ve been learning in my Master of Professional Writing course. I got into Plates and Hooks and Scene Questions and Story Questions, and that diverted me off into a separate series on Story Questions. I’m not […]
Tweet In yesterday’s article I introduced the concept of sequels in classical scene structure. They act as a kind of transition, a moment of reflection, and (as I said at the end) they provide your protagonist with a critical opportunity to shine. I described the sequel as a progression: It starts with an emotional reaction […]
Tweet Okay, I’ve been mentioning my Master of Professional Writing program left and right, but I want to say up front that full credit for the information in this week’s and next week’s posts goes to Deborah Chester. She’s the professor teaching my Writing the Novel class, and a lot of these ideas come straight […]
Tweet This week we’re talking about industry terms, and specifically focusing on the questions that keep people reading. Yesterday I talked about the gimmicks–hooks and plates–but today I want to talk about your load-bearing questions. These are the questions that form the foundation of your story. They’re the questions that drive your protagonist through some […]
Tweet I’ve told the story before about the time I graduated from college, realized I needed to get a job (yes, in that order), freaked out, and then fell into a high-paying technical-writing position that was created just for me. My interview went, “Would you prefer to work in this cubicle, or that one?” And […]
Tweet I’ve talked before about Deborah Chester, the core professor of my Master of Professional Writing program at the University of Oklahoma. She’s a phenomenal teacher, and she consistently displays a deep understanding of the process of writing commercial fiction. That’s a skill worth having, believe me. She also teaches several classes on the undergrad […]
Tweet I started the week talking about writing 17,000 words in three days…and all the catastrophes that made it necessary in the first place. Then yesterday I talked about a new writing technique I’ve been studying in class that pushes a novel toward lots of conflict and catastrophe. Today I want to make the connection. […]
Tweet Earlier this week I told a story. It was one I had to tell, under the circumstances. On the day I launched Gods Tomorrow to the public, you’d better bet I was going to talk about my novel. It works well as an illustration for the writing principles I want to talk about this […]
