This maxim is best remembered in the words of Anton Chekhov, who gave the advice several times and in different ways, one of which is this: If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely …
Category: Editing
Make subplots integral to the story
We’re still working on the Plot section of the Elements of Fiction Editing Checklist. ☐ Subplots arise organically and make sense as they unfold, not only in light of the ending. Done right, subplots add richness and depth to a novel. They give us a chance to see characters in different …
Avoid using coincidences to move plot
When you’re escalating the stakes and getting your protagonists into deeper and deeper trouble, a great principle to keep in mind is this one from the “Pixar Rules:” ☐ Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating. Authors of yore used …
Use surprise in your story, but realistically
Last time, I noted that stories about characters who never fail can become boring. One of the ways to keep things interesting—in addition to giving your characters the occasional setback—is with unexpected plot turns. Hence this checklist item: ☐ The plot contains elements of surprise. On the one hand, readers, …
Escalate the stakes to engage the reader
We noted before that the stakes for the protagonist should be stated early. In the best stories, though, the stakes will change as the story develops. The stakes get higher—at the outset, the heroine might have a promotion on the line, and by midway through her job, and by the …
Story tension doesn’t mean everyone fights
Last time, I noted that tension is one of the key elements that keeps readers turning pages. One mistake new writers make is confusing conflict with tension. Conflict is opposition—it’s a fight. When the hero wants one thing, and the villain wants the opposite, that’s conflict. Tension is strain—a stretching, …
Plot: The other half of story
Early on in this journey, I said Character + Plot = Story. So we’ve talked about characters and as an adjunct to that, point of view, which is how the reader experiences the character. On to plot. There are some genres of fiction, notably literary fiction, in which you can …
Ensure clear point of view transitions
We’re down to the last two items in the POV section of the Elements of Fiction Editing Checklist. ☐ If using deep POV, the narrative and interior monologue reflect the personality of the POV character(s) This goes back to avoiding generic narrator voice. The narrative in a deep POV novel …
Why second person doesn’t work in fiction
Last time we talked about first versus third person in light of this item on our checklist: ☐ The chosen grammatical person is suitable to the story and the POV characters. I glossed over second person, in which the reader is addressed as “you,” noting only that it is Not …
Grammatical person and viewpoint character
The next item on the Elements of Fiction Editing Checklist may seem a little odd: ☐ The chosen grammatical person is suitable to the story and the POV characters. What does that even mean?