Novel Writing on Edge - Development Maxims and Master Class Narrative From Algonkian

By Chris Stewart As someone who organizes readings and a large literary arts festival with workshops, author appearances, and exhibitors, I have developed a list of writers who I will not work with again. And rest assured, I’m not the only one who does this. Why? Because they didn’t follow directions. It’s that simple. Who's on it? Writers who acted like the organizer/staff were their personal assistant/manager.  Take note of the following ways to avoid this blacklist and be a true professional! KNOW YOUR OWN SCHEDULE Double booking is such a big no-no we can’t believe you’re not aware of this already yourself. Whatever you have to do to make sure you know the days you are already booked: DO IT. Back out of our event at the last minute because you “forgot” you already had a gig? You’re on the list. SEND THE REQUIRED INFORMATION It should be no surprise to you that we need your bio and right away—possibly a short one and a long one. We also need a hig

Note, MARKET VALUE FIRST... Listed below are a summation of "coverage" checkpoints utilized by various screenplay and novel ms readers in both Hollywood and New York. Not every publisher intern or assistant will necessarily employ all these categories (a mistake), however, they're a great checklist for you, the aspiring author, to help ascertain whether or not you're meeting your goals for a successful commercial genre novel. MARKET VALUE: Originality, freshness - high concept Clear target readership? Hook Quality STRUCTURE:     Act Zero backstory development Exposition delivery Effective setup with inciting incident Plot line arc, and subplots (if appropriate) Well designed reversals (major and minor) Pinch points (at least two) Catalytic situation driven Conflict, tension, rising action, Every scene relevant (i.e., to driving plot forward) Effective, believable climax Resolution/Denouement CHARACTERS: Antagonist Quality and Role Consistent opp

Before the novel, there was drama... Ancient dramatists understood the requirements of a good tale, one in which willful human beings engaged in major conflict, the goal being to possess or achieve something of value. A designated character, by virtue of position and personality, became the antagonist, naturally defying the efforts of the protagonist, or hero, to overcome. This basic conflict scenario resurfaces again and again in a myriad of forms, not only in life, but in novels, short stories, and of course, film and television. What makes true dramatic conflict so universally effective is not only its ability to create tension, suspense, and powerful characters, but its unique method for portraying the need for value in human existence. Below we've created a drama primer with quotes ("European Theories of the Drama") from three important dramatists to illustrate the nature of the drama and it's overwhelming relevancy to novel writing discussion here at WE.