A book map is a visual representation of a book’s contents. This allows for easy analysis of elements and can reveal gaps in the content of a nonfiction book or the storyline of a novel. You may have used a book map without even realizing that’s what you were doing. It’s really just a visual way of rendering an outline. You may also have heard book maps called story grids or plot charts. Anything more complex than a simple outline could be called a book map.
There are many different ways to map a book, and I think often writers find them by accident, just out of the necessity of keeping track of a complex work. I know that was the case for me. Continue reading
Back in my college days, I had the great opportunity to take a writing course from TV comedy writer Danny Simon. He taught us a lot in that class, and I’ve probably forgotten most of it, but I kept my notes, so I can always go back and check.
One thing I don’t need to check is this: “Leave out the orange juice talk.”
What he meant by that is the boring conversations we have every day. Continue reading
Everything that’s true for prologues goes for epilogues as well.
☐ Epilogue, if used, is necessary and engaging.
It’s not enough that your epilogue be sweet and show how your characters live happily ever after. It has to wrap up the story in a way that, if it were omitted, the reader would feel some loose end was left hanging.
Generally speaking, most of your loose ends will be tied up either right before the climax or during it. Whatever’s left is tied up during the denouement. The only good reason for using an epilogue is if there’s a big gap in time between the denouement and the last story question that needs closure. Then it might be appropriate to have an epilogue to close up that one last matter. Continue reading
When you’re renovating a house and you put up new drywall, you have to seal the joints with putty so that when the wall is painted, the joins between the drywall don’t show. Sometimes our first drafts need a similar treatment.
☐ Vestiges of earlier versions have been edited into the current version seamlessly.
When writing the first draft—and sometimes the second or third—we often discover things about our characters that we didn’t know before, or new plot twists turn up, or we make new worldbuilding choices. The result can sometimes look ask if we built our draft out of scrap lumber rather than uniform drywall. Continue reading
The next item on the Elements of Fiction Editing Checklist has to do with continuity:
☐ Transitions clearly show how much time has elapsed and show how events relate to each other.
At the start of each scene, and especially at the start of chapters, give the reader some clues to where they are and how much time has elapsed. You don’t have to give exact dates unless you are writing historical fiction and they are important. You can use phrases like “Three days later, they arrived in the capital city.” Or, “The ship reached America shortly after midsummer.” Continue reading
Last time we looked at how to use flashbacks effectively.
But in new writers’ stories I often see a couple of ineffective ploys akin to flashbacks. One is what I call the Pointless Flashback—it flashes back to something that happened within the span of the story’s timeline.
A flashback is a fully dramatized scene that shows an event that happened before the story’s timeline. So there’s no reason to use a flashback for something that happens during the story’s timeline.
Here’s what I think leads people to do this. Continue reading
Many writing teachers and critique partners will tell you not to use flashbacks at all.
I’m never one to discard a potentially useful technique. It is possible to use flashbacks, and to do them well. You don’t want to use too many of them, or readers will start to wonder why you didn’t just start the story back then. They absolutely must be necessary to the plot, or why are they there? And they must be written in as engaging a fashion as the rest of your novel.
☐ Flashbacks, if used, are kept to a minimum, are necessary to the plot, and are engaging.
Note that they must be all three, not one or the other. Continue reading
Last time we talked about chapter breaks from a story standpoint. Now let’s look at the mechanics of how to do it.
I don’t recommend breaking your book out into chapters until you’re in at least your second draft and maybe even later. If you put chapter breaks in early, you may just wind up replacing and renumbering them if you move scenes around while editing. So wait until you’re sure the structure is solidly in place. Truth is, chapterizing can be the last thing you do before submitting the manuscript. Continue reading
It may seem trivial, but how long to make the chapters in a novel is a detail worth paying attention to. But this item also bears some explanation.
☐ Chapters are of approximately similar lengths.
Generally speaking, you want your chapters to be consistent in their length, as jerking back and forth between long chapters and short ones can be distracting. You don’t want to throw the reader out of the story with thoughts like this chapter is going on forever or wow, that was a short chapter. Continue reading
Many readers, whether in a shop or on Amazon, will make a decision about whether to buy a book by reading the first few pages. If you’re lucky, they read pages. They may only read the first few lines.
And if you are seeking traditional publication, whether through an agent or acquisitions editor, your first few lines must be brilliant to set you apart from all the other manuscripts on those desks.
☐ A strong opening hook pulls the reader into the story.
There are several things a novel’s opening can do. It can, among other things, reveal character, set the tone for the book, give a flavor of what the conflict will be, or show the setting. If you can do two or three of these things at once, go for it. But beware of trying to do too much in a short space. You want to intrigue the readers, not give them sensory overload. Continue reading