Novel Writing Formula

I was editing a manuscript the other day. I had already been through it once before, and the author had done a good job revising it and making the story smoother.

But there was still something missing.

It got me thinking. What makes a good novel? Is there some magic formula?

I went back to the manuscript and read a few passages over and over. Then a light bulb came on. It wasn't just one thing that the author needed to work on -- it was several things that needed to be used effectively in order for the novel to make sense to the reader.

I believe there are four key items that need to be balanced in order for a novel to work. A sort of "formula" if you will. Test them against your favorite novels and see if you agree. Or test them against the manuscript you are writing to see if you left anything out. Each item below needs to be in balance, or the story will feel off to the reader.

1. Action. You can't have a story without it. The people in the story are doing something, or something is happening to them. We read the story because we want to know what is going to happen next. The action sets the pace and hooks us.

2. Description. We need to know what the scene looks like. We need to know what the characters look like. And then we need to know what the action looks like. An author who can paint a picture with words has the makings for a great novel. If we can picture the story in our minds as if it was playing out like a movie, you've hit gold.

3. Dialogue. This is further down the list, because without great action or description, you can't have great dialogue. You have to know what a character is doing and looks like before the dialogue will even begin to make sense. Dialogue should only include the most important things the characters say -- summarize the rest. Dialogue will bring attention and punch, so use it just in the places you want the move attention and punch.

4. Reflection. Readers need time to unwind. They want to think about what they are reading while they are continuing with the story. The need a minute to breathe. So the characters must reflect. If you are writing a novel, talk about the characters' insights on what is happened. While they are moving to the next adventure, show us their thoughts. How is it changing them?

Once you have each of those in balance, then simply repeat, repeat, repeat.

As it turns out, the manuscript I was editing was strong on action, ok with description, ok with dialogue, and definitely did not have enough reflection. So I complimented her action, offered a few additions to aid in the descriptions, added dialogue where she had previously summarized for some extra attention and punch, and finally I left long comments about how she could reflect.

What do you think is a good formula for writing a novel?

Should I Write My Book in First Person or Third Person?

My Sister's Keeper

First Person: I, me, my
Third Person: They, she, he

Maybe you are ready to start writing your novel, or you already have a completed fiction manuscript in hand. 

Either way, you'll have to decide which perspective is most engaging for your story -- first person or third person?

If it's coming from your head, but it's not about you, then you're probably writing in third person. Third person is very common. It's natural.

But like every writer, you must question every nook and cranny of what you are writing. {Writers are such fussy people.}

Writer Kris Cramer writes about First Person vs Third Person (and everything in between) in a great post {in a very non fussy way to boot}.

Here are just a few things that came to my mind when comparing the two:

First Person Pro:
readers really get to know the inside of the main character's head

First Person Con:
the story misses out on some possibly key play by play because the main character has to be present to witness it or figure out that it happened

Third Person Pro:
readers get a broad scope of all the characters from a subjective point of view

Third Person Con:
it can be harder for writers to develop so many characters or they may focus too much on descriptions rather than getting into characters' heads

So really, it comes down to your story. Which point of view will best bring across what you are trying to say? Which point of view is better for your reader?

*Is the story mostly about one character? Is getting into his mind important? Stick with First Person.

*What if you have a big plot with lots of players? Third Person might be a better choice.

Homework Assignment: Write a chapter in First Person. Then take the same chapter and write it in Third Person. Which one has bigger impact?

If you STILL can't decide, there are even other options. Jodi Picoult wrote My Sister's Keeper with each chapter in a different point of view -- each character takes turns telling "their side" of the story in First Person. It was a unique experience. For that particular book, I thought it worked wonders. Each chapter was a fresh new look into the story. Be careful if this interests you, though. Writing this way is definitely not for amateurs; it must be done right if done at all.


Discussion: What pros and cons of First Person and Third Person do you see?

How Do You Write?

Do you sit down and just... write?
Do the ideas come to you magically?
Or is there a method to how you get things on paper?

I recently read On Writing by Stephen King and I found it very interesting. In it, King described his own writing methods, which included setting aside specific time to write everyday. He also talked about how some of his ideas initially came about, and then how he brought them to life.

It's funny how we think the writing process is mysterious... how the story unfolded miraculously, sort of like being channeled from above, until it was all typed out and sent to the publisher.

But it's not quite so grand as we all think, at least in most cases. For King, he talks about using an idea for a situation (eventually a plot in other words) and then using characters .... he follows them and sees where they go. He figures out who these characters really are and lets them drive him through the story. Interesting eh?

Obviously there is some inborn talent there-- I think so many writers are talented in different ways. You can usually tell if a writer has a gift. But as King professes, every writer should go beyond that and write purposefully, regularly, and master writing techniques.

In essence, I think he's telling us to use our talents but to also work really hard. Good advice.

How do you write? When you sit down at the computer, notepad, or whatever, where do you start? Chapter 1? Or do you write the ending first? Perhaps you have an outline figured out before you even write any dialogue or look up any sources.

Inquiring minds want to know.

Dialogue/Quotes - If It's Not Interesting, Leave It Out

I've read and edited my fair share of manuscripts to be published, and I've read my share of books (and edited some in my mind while reading them). One thing I come across in all of them is that either the dialogue works or it doesn't.

It's so awesome when it's done right!
And it's so painful when it's not.

My family is a quick-witted bunch. They are beyond smart and hilariously funny. The come backs fly at every family reunion. My dad calls it "verbal jousting." An art-form sports event of sorts. I love dialogue that darts back and forth and has rich meat like that! And I expect nothing less of the characters I read.

In other words, I'm picky and have high expectations. Isn't that the definition of an editor? (Note: if you are an editor, please don't hate me for that comment or any grammatical errors I may have committed.)

You can tell a lot about a writer by the dialogue he chooses to include in his stories. How much is there? How thorough is it? Does it reflect feeling? Is it.... interesting?

Stephen King tells us in On Writing to stay away from adverbs when telling readers how a character said something... as in, she said sheepishly. King says that the dialogue and situation should be evidence enough of how something was said. Give the reader some credit! They like to read -- so let them imagine it a little. Stick with she said and you'll be fine (works in journalism, too).

The biggest thing that always jumps out at me when I read a story -- is the dialogue interesting? Do I care about what they are saying? Could it be better said in a paraphrase?

Paraphrase! Ok, you got me. I have a background in print journalism. But I believe the techniques behind good dialogue in fiction novels work the same as in quoting real people for a news story. Let me show you what I mean both ways.

News and Quotes
Quoting people is a reporter's life, but in order to grab the public's attention, a reporter can't simply run the interview verbatim (even Barbara Walters uses b-roll and cuts out the mundane stuff). You gotta hype it up! You weed out stuff. You gotta make it interesting.

When I have a news story assignment, and I am finished collecting all the interviews, the first thing I do is sit down with my notes and highlight the most interesting quotes. It doesn't mean those will lead the story; it means those will be used somewhere in the story. The rest of it-- the important but less interesting stuff like dates and facts and locations and so on -- I can find better ways to say it. I can paraphrase it.

That's what they teach you in journalism school. If you can say it better yourself, then paraphrase it. Case in point below. Which story would you rather read?

--------

Robber Still At Large After Morning Break In

Version 1: Police are still looking for a six-foot-tall man wearing a white bandanna who robbed the corner store sometime after 4 this morning.

"The man took a variety of items not consistent with most robberies we see," said Sgt. Officer. "It doesn't add up."

-------

Version 2: Police are still looking for a man who robbed the corner store sometime after 4 this morning.

"He was wearing a white bandanna. He was about six-feet tall," said Sgt. Officer. He also said that the man stole odd items.

---------

See the difference? How boring is reading about a description in a quote? A description IS important, and that's why it's in the lead paragraph. But it's not particularly interesting. In short, the only words I put in between quote marks have to earn their place.

Book Authors and Dialogue
The same should go for authors of fiction novels. Dialogue should serve a purpose. Perhaps it establishes a character, sets the scene, reveals the plot.... never should it be dull or lifeless. Never should it be used if paraphrasing could better share the information.

To move a story along, there will be a little of the "business" to take care of like traveling to different locations or talking on the phone or putting the kids to bed. This business stuff is important and helps the story work. BUT if these are just minor details to move the story along to the important stuff that comes later.... don't slow the story down or make the reader pay attention to the wrong things by adding too much extra dialogue.

---------

Highway 1 Mystery

Version 1: Peter and Sarah jumped in the car, barely escaping the grasp of the man who remained a mystery to everyone in the town of Hilly Valley.

"We'd better call police," Sarah said, fiddling with the phone in her pocket.

"Wait, I have a better idea," Peter said. He swerved off the road and slowed down just enough so the impact of the tree wouldn't cause injury.

"What did you do that for?!" Sarah yelled.

------

Version 2: Peter and Sarah jumped in the car.

"Oh my gosh, we barely got away!" Peter said, panting. "That guy is crazy! Who is he?"

"We'd better call police," Sarah said. "I need to find my phone!"

"Wait, I have a better idea," Peter said. He swerved off the road and slowed down just enough so the impact of the tree wouldn't cause injury.

"What did you do that for?!" Sarah yelled.

----------

The difference is slight, but see what an impact it makes? The crucial parts of the story are left intact, but only the most interesting dialogue is included. Sarah finding her phone is trivial and shouldn't be over-emphasized by dialogue. And things like "he's crazy" aren't really that interesting. It would be better to describe him via paraphrase as a "man who remained a mystery to everyone in the town of Hilly Valley."

Remember-- if it's not interesting, leave it out.

Holding Back Information for Suspense

I wrote out my love story. It's a true story. And I'm in it.

I decided to write it down because there are details I'm forgetting. Through writing it, I've been able to relive it, which is one of the best parts! (Who doesn't love falling in love all over again?) The story takes place over time, so early on I realized I would need to write a series.

I didn't know how long it would be, what I would include, or when it would end (First kiss? Engagement? Wedding day? Ever?). I just knew I had to keep writing.

Through it all, I've become addicted to suspense. With each portion I always try to end with something that will keep the reader coming back for more. That wasn't my intention, to gain readers or what-not. But the suspense has kept my family and friends on the edge of their seats and ME at the edge of the keyboard, hardly able to contain the next installment within my fingers.

What is it about suspense that we love so much?

The waiting, the wanting, the longing... we are impatient! We are busy! We want to know now. Suspense forces us to wait. It's a love-hate thing. We are so consumed with the story, that when it suddenly stops we throw up our hands and say "No! Not yet!"

Like on a recent episode of Castle when Ric realizes the killer isn't actually dead-- he runs to Kate's apartment and BOOM! It explodes before our eyes. Is she ok? Oh no! Then.... come the credits.

Gahhh!

I was so mad, being forced to wait another week to find out what happened. But at the same time, I loved it. Scenarios ran through my mind, and for the most part I knew Kate was ok. But there is that 1-2% of you that isn't sure. Maybe she's severely injured, or maybe Kate is about to die but Castle goes up and rescues her. There are a million possibilities. How it really happens, that is what we are waiting for.

Growing up, when we would watch movies as a family my dad could ALWAYS predict the end. It was so maddening! Don't tell us, dag nabbit! He was always right. At first I couldn't understand how he did it.

But lately I find myself doing the same thing. Really, most plots are fairly obvious. There are many ways it could go, but we all know which route will lead to maximum impact. Sure, some stories take twists and turns we don't expect. But for the most part, when I watch a movie or read a book, I know how it will end.

Regardless, I read or watch it anyway. I hunger for the story, especially for the suspense. A chapter ends and leaves me hanging for a few pages, and I almost race forward to see how it is resolved!

If you are a writer, I implore you to use suspense more in your writing.

Hold back a little information. Reveal bits and pieces here and there, but don't tell the reader EVERYTHING. Keep them guessing. Give them enough to think, "What does that mean? Is the author telling me something?" Whet their appetite.

In the case of my love story, we all know how it will end (duh, it's about me and my husband. We got married!) So I have to build suspense for it to be interesting. Here are some examples:

* * *

We laughed. She was embarrassed. But laughed some more. I liked this girl, crazy as she was. Tori would become one of my best friends ever, helping me survive my time in a new town. And as it turned out, Tori would become instrumental in leading me and Jon to the marriage alter. (to be continued)

* * *

Much to my happiness, he finally came to a stop, and my body peeled itself off the contraption. I literally fell to the ground, maybe even kissing the snow, except the ground was probably still spinning. I vowed to never, ever ride on a snowmobile with him again. To this day I can say I have upheld that vow.

But within a few weeks, Jon would muster up the courage and I would actually agree to ride with him... in his car.... on a date. (to be continued)

* * *

At some point I thought for sure Jon would jump right out of his seat. He was beaming, and fidgity. Once I was done eating and they took my plate away, I rested my hands on the table. Somehow Jon thought it was ok to rest his hands on mine.

"We're not dating." I scolded him.

"Oh! Sorry!" He was grinning from ear to ear.

It was like he knew something I didn't.

The Trick to Writing Young Adult Fiction, Part 1

I've been editing a book and the author recently asked me about writing for a Young Adult audience. I scratched my head and said, "I don't know" because while I've edited fiction and nonfiction of many different types, YA escapes me.

I also *gasp!* didn't even read the Harry Potter series. Please don't hate me.

When I was a young adult I did enjoy that genre. Many times I sneaked upstairs to the dusty bookshelves in my grandma's house. There I hid a old copies of Nancy Drew in my jacket until I finished and returned them a little less dusty than I had found them. Most of the books in the series followed the same premise -- young girl gets tangled in a mystery, young girl amazingly solves mystery. The end.

What I loved about Nancy Drew was I could identify with her at the time. She was on the nerdy side (am I giving away too much about my past?), but she was also confident and smart. In the end, though not "hip" by the cool kids' standards, she was pretty dang awesome. A super sleuth if you will. Sort of like a journalist maybe?

Today I probably still identify with her (I am a journalist and nerd, after all), but maybe I don't want to identify with stories that are for "little kids" or in the case of Harry Potter, I still prefer not to follow the crowd. You won't catch me waiting in line at midnight dressed up like Hermine. No sir.

It's funny that this author of the book I'm editing asked me about YA writing. Because only a few days later, I woke up from a nap with a light bulb over my head (probably the most exciting thing for a writer). Ding! An idea for a YA novel. In the past I've had ideas for religious nonfiction (which needs massive amounts of research first that I haven't even begun), fiction suspense (I've thought up and abandoned a few-- who hasn't?), and even a Broadway musical (stay tuned) but never in my wildest dreams would I have thought that YA would be on my menu.

But this impression was so strong, so vivid, and so cleaver, I had to start a file on my computer. In two days I already hashed out over 1,000 words. Now I not only need to find out the tricks for writing Young Adult fiction for this other author, I need to find them out for myself.

Tip Number One: Read the Harry Potter series.

Did I just say that?

Alright, maybe I can start with something else. Like the Diary of a Whimpy Kid. Or I could re-read my copy of Holes that I loved and placed on my sons' book self.

Here is a good blog post about YA writing over here on Women on Writing that offers some good ideas (while you're over there, check out the March/April 2010 issue which is all about YA).

Anyone else have any recommendations of good YA that doesn't involve wizards?