Novel Writing on Edge - Development Notes From Algonkian Writer Conferences

A question that comes up time and time again in workshops and with editorial clients, and it's always difficult to answer. Ultimately, the publication of bad novels, i.e., novels in any given genre deemed poorly written by any reasonable reader of that genre, is certainly not the fault of the reader, but of those involved in the actual publication process, from agent to publisher. How can it not be? Can one blame the gods or the stars in this matter?  After working with scores of agents, I've met a few who really don't have a clue what makes for a good story. Ok, so let's just assume that only 20% of active literary agents currently pushing projects in the marketplace are a bit short on taste and knowledge. Well, what of it? That's still a lot of projects being pushed in the face of editors at major houses.  Hopefully, editors, who are generally pretty sharp, will see through these loser manuscripts, but what if they are overworked, or to...

If you're working on a commercial fiction or narrative nonfiction manuscript, you will benefit if you view your project as possessing three layers of increasing complexity: Layer I: Overall story premise and plot. These involve top level decisions regarding major characters, the overall setting, plot line evolution, dramatic complications, theme, reversals, and other, as defined in the Six Act Two-Goal Novel guide (see below). Layer II: The actual scenes in the story, as well as the nature of the inter-scene narrative . Consider your story generally composed of units of scene, each scene performing specific tasks in the novel, always moving the plot line(s) forward and evolving the character(s). Each scene contains an opening set, an evolution of middle, and conclusion. But whether scene-based, or inter-scene, this layer comprises the matter and techniques that clarify, evolve, and elaborate on the matters of Layer I. Layer II I: The narrative composition and de...

Isabelle Allende says writing technique, e.g. suspense, cannot be taught. The faculty at Algonkian say NONSENSE. Is Isabelle wrong? Or does she know something we don't? Actually, she doesn't. I realize we're supposed to bow down before her god-ness... only just can't do it . She's a great writer, sure, no question, but that doesn't mean she's intellectually infallible.  Unfortunately, her viewpoint isn't unique. But who does it serve? Quite suddenly, we find ourselves face down and gasping for air in the dank pond of Iowa mantra: WRITING CANNOT BE TAUGHT. If Iowa's mantra possessed any substance whatsoever, then why does it always take so many years for a novel author to hone their editorial skills, technique, and knowledge base, if not for the fact that they're teaching themselves and/or being taught? Apparently, writing is BEING TAUGHT quite often, and I might add, ALL OVER THE WORLD. Perhaps Isabelle and Iowa cannot communicate ...

Classic and humorous portrayal of the ultimate, ignorant narcissist who one day decides he's going to be a best selling author overnight. If necessary, he'll max out his credit cards!

Have you ever won a Pulitzer for literature? If so, you might consider disregarding the advice in this section. If not, then proceed. No article here at WE could be more representative of the model-and-context method of novel writing than this. Look at the percentage of novels on the shelf right now that concentrate on creating a character the reader will become concerned with immediately. Quite a few? A novel hook with an interesting, unique, and sympathetic character will make agents sit up and take notice. This is vital to avoiding a rejection slip. A few classic examples of what we're talking about as follows below. Note that all points listed appear in the first 10 to 15 pages.     The Curious Incident of the Dog in the Night-Time  by Mark Haddon Christopher John Francis Boone - A first-person narrative from an autistic 15-year-old protagonist: "My name is Christopher John Francis Boone. I know all the countries of the world and their capital c...

Betsy Mitchell at Del Rey, imprint of Random House, was inspired to look at the numbers and reasons she rejected the manuscripts submitted to her over the course of one year.  During that time she passed on 133 manuscripts.   Here is her list of reasons why: Not what Del Rey is looking for (meaning we had enough on our list already of whatever subgenre was on offer): 22 A good manuscript but not right for our list (included a couple of nonfiction SF-related titles more suitable for a small press, the odd children’s book, etc.) 14 Not a genre that’s doing well right now (horror, mostly; some foreign novels being offered for translation, anthologies whose concepts weren’t strong enough) 18 Simply not good enough (a combination of mediocre writing and/or storytelling) 43 Contains major plot flaws (the story was too predictable, or the author made a choice I didn’t agree with which affected the entire manuscript) 5 Main characters not strong ...

First and foremost... The aspiring author must conceive and plan the steps of central conflict, the major source of drama that drives through the core of the novel from beginning to end and which zeniths with an important climax, the "falling action" of denouement to follow. This is true for nearly every genre-- thrillers, suspense, science fiction, fantasy, historical, etc.--with the exception of the most literary of works. Conflict, tension, complication, drama--all basically related and serving to prevent a reader's eyes from straying. Since the early days of literary time, serving up a big manuscript of quiet is a sure path to damnation. So what is the best way to prevent this? What is the first and most important structural step to avoid quiet and fixate the reader?  Consider "conflict" divided into three parts, all of which you should ideally have present in the novel. First, the primary conflict which drives through the core of the work from beg...

A must have for query letters and pitches . First of all, we're going to include a snippet or two from the Penguin Random House website on COMPARABLES, then follow up with notes from a former senior editor at Random House, Caitlin Alexander. Part I Comparison ("comp") titles are books that are similar to yours in one of two ways: either the content is comparable (premise, sometimes  with a dose of theme, and/or plot) or the sales trends are expected to be similar. For your publishing team, comp titles are extremely important . The comps help those editors making acquisition decisions figure out who and how big the audience might be for any given title .  Editors also look at the sales trajectories of comp titles: will Book X be the type to backlist forever, like Book Y, or go strong out of the gate and then fade fast when the publicity dies down, like Book Z? Marketing teams also find comps useful when putting together marketing plans for individual titles. Addi...

A subject that often goes by the wayside until too late. People say, I write for myself, and it sounds so awful and so narcissistic, but in a sense if you know how to read your own work—that is, with the necessary critical distance—it makes you a better writer and editor. When I teach creative writing, I always speak about how you have to learn how to read your work; I don’t mean enjoy it because you wrote it. I mean, go away from it, and read it as though it is the first time you’ve ever seen it.   - Elissa Schappell ____________ Twenty years, several novels, a room full of edited manuscripts, and hundreds of workshops later, I'd like to share three self-editing techniques for narrative that I've effectively utilized on a spectrum from foundation to final milkshake cherry. First Multi-Part Editorial Phase After pounding out a few pages on any given day, I devote a hour or so at the end to clean up, i.e., I read over what I've written and immediately make corrections ...

Consider, do screenplay writers or playwrights just begin writing without planning? Of course not. So why should the novel be different? And we're not talking about Beckett or Joycean flights of fancy, we're talking about the vast bulk of commercial novels, whether they be upmarket or genre.     Ever heard this?  Don't plan or outline your novel, let the character write the novel, or even more simply,  "Just start writing." How many times have I heard that? And guess where? At a writer conference, of course. A certain type of author is asked whether or not they plot or outline ahead of time. They smile and say something like, "I've been asked this question before, and I have to say no, I don't outline. It just all comes to me, the character inhabits me..." or some such drivel. But let's be logical.  If you understand the primary foundations for writing a novel you know your plot line must develop certain points as it moves forw...

Cuckoos, Rhinoceri, and Miss L  I admit a weakness for those darker novels of my youth, ones I pull from the shelf every ten years or so and reread, only to be fascinated and profoundly affected all over again. Three of favorites below, and each is a very good example of the intentional and methodical application of theme in the novel.   "One Flew Over the Cuckoo's Nest" Author Ken Kesey's primary theme may be expressed by the following statement: All human beings possesses a right to freedom and dignity, but they must struggle for this right in a society which relentlessly seeks conformity. Theme is represented in more than one way and can be found in nearly all novel elements. The characters are constructed to symbolize the extremes of freedom and conformity, especially the protagonist, McMurphy, and the antagonist, The Big Nurse. Each have minions or followers as well. The nurse commands her orderlies and McMurphy influences the patients. The majo...

We know that many writers will have other worthy contenders on their lists. These are ours, in reverse order, and even though a few of the authors are indeed irritating, they're still worthwhile. 10) Stein on Writing  by Sol Stein The value of this work is debatable. Sol rather drips with narcissism, but if you can sidestep the puddles he forms in your neocortex, you'll get a few gems from this. Buy it for plot points, then leap the mire of his ego as every other sentence seems to focus on something brilliant Sol Stein has published or written himself, or what an f'n genius his students believed him to be. Can you imagine the grade you'd get if you weren't kissing his butt? But again, this is a worthwhile read, easy to understand and utilize. Just say to yourself, I will not be nauseated by Stein's massive, unbearable ego, I will persevere, and I will grow as a writer! 9) Plot Perfect  by Paula Munier One of the best books on structuring plot, regardle...

A Chris Stewart Classic. I recently ran across an article in The Guardian , where authors were asked for their personal dos and don’ts. There was no indication of how or why certain writers were chosen and most of it is repetitious drivel, but let’s go through the first bunch and have some fun, and in my next post we’ll take on a sort of companion article in Salon , about readers’ advice to writers. Here we go, starting off positive, with an open mind: Big Yes! to Elmore Leonard’s rules about ‘said’ and adverbs. Been guilty of both transgressions myself. They just creep up on you and before you know it you are ‘gasping’ and ‘grumbling’ and ‘coaxing’ and, God Help Me, ‘trilling.’ Yes, I once used ‘trilling.’ You can’t hate me more than I hate myself for that one. I love Diana Athill’s idea of looking at passages you love with ‘a very beady eye.’ She says to check which passages would be better dead. Perfect lead in for a more updated version of Arthur Quiller-Couch’s ‘murde...