This past semester, I took a college course entitled Broadcast Writing and Production. Although its focus was on writing for news, television, and the screen, many of the topics touched upon are relevant to creative writing and, in particular, the writing of novels.
Every novel has structure. Whether this is pre-planned in outline form by the author or arisen out of revision work and "pantsing" the story, the structure is there. Being aware of a three-act structure beforehand can make writing a whole lot easier. The following structure is derived from a movie's three-act structure, but can (and should) be used as a guideline in novels, as well:
ACT ONE
1. Establishing scene: the first scene of a story is pivotal. It needs to include a--
2. Narrative hook: something that draws the reader in right away, whether it be dialogue, action, or interesting details.
3. Introduction of protagonist: the reader should meet the main character(s) ASAP, as he/she/they should drive the story.
4. Introduction of antagonist: who or what is the protagonist up against? This should arise ASAP, too.
5. Introduction of problem: if a story has no conflict, then it is not a story. A conflict should exist from the beginning, though the protagonist may not be immediately aware of it.
6. Complication leads protagonist to confront problem and take on antagonist
ACT TWO
1. Aftermath of complication: The protag may defeat the antag, but it is not a complete victory.
2. Back-story for action: This is when it is best to bring character histories into play, through the action and complications that arise in the story.
3. B-storyline(s) developed: Romantic and other sub-plots of the story come into play.
4. Antagonist developed: The reader learns more about the antagonist's back-story. Evil plotting may ensue.
5. Another complication overcomes protagonist who seems defeated by problem and antagonist
ACT THREE
1. Preparation for climax: The protag begins to realize the weaknesses of the antag, heading towards a way of defeating the antag and the problem.
2. Resolution of sub-plots: Tie-up all loose ends!
3. Climax: Make it epic.
4. Epilogue
Happy Sunday!
Stephanie
Showing posts with label editing. Show all posts
Showing posts with label editing. Show all posts
6.05.2011
6.02.2011
The Dilemma of POV
One of the first things most authors decide on before beginning a novel, short story, or poem is the point-of-view the work will be written in. However, I have come across a couple people who never heard the specific names of the various POVs, or knew why some might be considered "easier" than others.
Today, I will go over the three most common POVs used by writers, provide examples from published works, and mention some pros and cons of each.
First Person
In this POV, the narrator of the story is one of the characters involved in the plot, whether minor or major. Words like "I" and "me" are used to describe to describe the narrator's viewpoint. This is the most limiting POV, because it restricts all narration, thought, and bias to one character. However, it can also strengthen the bond between reader and character, because the reader will get to know the narrator so well. Here's an example from The Hunger Games by Suzanne Collins:
Words like "he," "she," and "they" are used to describe the action in the story. An example from a specific moment in the story would look very much like Third Person, Limited, while on overview would illustrate how multiple viewpoints are touched upon.
It's important to note that POVs can always be tampered with. There are many books where, for example, 3rd person limited is used, but each chapter is devoted to a different character's perspective. As long as it's not confusing for the reader, choosing a POV is just a guideline.
Happy writing,
Stephanie
Today, I will go over the three most common POVs used by writers, provide examples from published works, and mention some pros and cons of each.
First Person
In this POV, the narrator of the story is one of the characters involved in the plot, whether minor or major. Words like "I" and "me" are used to describe to describe the narrator's viewpoint. This is the most limiting POV, because it restricts all narration, thought, and bias to one character. However, it can also strengthen the bond between reader and character, because the reader will get to know the narrator so well. Here's an example from The Hunger Games by Suzanne Collins:
As we walk, I glance over my shoulder at Gale's face,
still smoldering underneath his stony expression.
His rages seem pointless to me, although I never say so.
still smoldering underneath his stony expression.
His rages seem pointless to me, although I never say so.
Third Person, Limited
In this POV, the narrator only reveals the emotions and interior thoughts of one character, while relaying only external behaviors of the others. This makes it more similar to First Person, but allows for more freedom because aspects of the story not related to the main character can still be illustrated.
Words like "he," "she," and "they" are used to describe the action in the story. Here's an example from Fall of a Kingdom by Hilari Bell:
Third Person, Omniscient
In this POV, the narrator is considered "all-knowing." This means that the narrator already knows how the story will end, what conflicts will happen along the way, and also what every character is feeling. Therefore, multiple viewpoints are available to the reader, and the author has the most freedom concerning how he or she wants to explain an event. The downside is that the author runs the risk of distancing the reader from the characters too much.In this POV, the narrator only reveals the emotions and interior thoughts of one character, while relaying only external behaviors of the others. This makes it more similar to First Person, but allows for more freedom because aspects of the story not related to the main character can still be illustrated.
Words like "he," "she," and "they" are used to describe the action in the story. Here's an example from Fall of a Kingdom by Hilari Bell:
Jiaan wondered uneasily which of the commander's enemies
had bribed the priests to say it. And why.
No, he didn't envy his half sister.
Even if she was a silly, spoiled she-bitch.
had bribed the priests to say it. And why.
No, he didn't envy his half sister.
Even if she was a silly, spoiled she-bitch.
Third Person, Omniscient
Words like "he," "she," and "they" are used to describe the action in the story. An example from a specific moment in the story would look very much like Third Person, Limited, while on overview would illustrate how multiple viewpoints are touched upon.
It's important to note that POVs can always be tampered with. There are many books where, for example, 3rd person limited is used, but each chapter is devoted to a different character's perspective. As long as it's not confusing for the reader, choosing a POV is just a guideline.
Happy writing,
Stephanie
5.30.2011
Pressing "Delete" on Back-story
It's been said before, but I'll say it again. Revisions are crazy hard.
Not so much the grammatical stuff--that just takes patience.
Not even the editing of plot--thinking through the arc of your story and realizing parts of it are crap or could really be a whole lot better. Maybe it takes a while, but in the end it's easy. Because we know what's crap and what's pristine and glorious. Even if we push it to the back of our brains for awhile and convince ourselves otherwise, we always know when something isn't working. Eventually.
So, no, it's not that. The hardest part is sitting down in front of your computer or a printed manuscript, setting your hands on the keyboard or firmly clasped around a pen, and pressing "delete" when you still love what you've done. Scratching out half the words. Looking at your work and realizing that though it isn't bad (maybe it's even really good!), it doesn't fit within the context of the story. That it's not really necessary to the complications and resolution; it's just back-story.
I had to do this, recently. My love for the back-story had me ignoring how unnecessary it was to the actual plot, until a wonderful beta partner snapped me out of it. All 70 pages, gone. Vanished.
But I've realized that it's better this way. It wasn't that the back-story was bad--really, it was pretty well-written. It was just wasn't necessary. That doesn't mean parts of it never happened, because all characters have back-story. It just means a reader won't get to see it.
But that's okay. I would be happy sharing only pieces of this world in my head with readers. My novel, minus those 70-odd pages, is enough.
Not so much the grammatical stuff--that just takes patience.
Not even the editing of plot--thinking through the arc of your story and realizing parts of it are crap or could really be a whole lot better. Maybe it takes a while, but in the end it's easy. Because we know what's crap and what's pristine and glorious. Even if we push it to the back of our brains for awhile and convince ourselves otherwise, we always know when something isn't working. Eventually.
So, no, it's not that. The hardest part is sitting down in front of your computer or a printed manuscript, setting your hands on the keyboard or firmly clasped around a pen, and pressing "delete" when you still love what you've done. Scratching out half the words. Looking at your work and realizing that though it isn't bad (maybe it's even really good!), it doesn't fit within the context of the story. That it's not really necessary to the complications and resolution; it's just back-story.
I had to do this, recently. My love for the back-story had me ignoring how unnecessary it was to the actual plot, until a wonderful beta partner snapped me out of it. All 70 pages, gone. Vanished.
But I've realized that it's better this way. It wasn't that the back-story was bad--really, it was pretty well-written. It was just wasn't necessary. That doesn't mean parts of it never happened, because all characters have back-story. It just means a reader won't get to see it.
But that's okay. I would be happy sharing only pieces of this world in my head with readers. My novel, minus those 70-odd pages, is enough.
5.21.2011
On Naming Characters
When developing an idea for a novel, one of the first things that comes to mind is the main character(s). Boy or girl? Fearless or hesitant? Smart or dim-witted? Thrust into a heroic position, or steps into it willingly? Such attributes will drive the story, for the characters make decisions based on their characteristics.
Once the attributes are figured it (or maybe even before), a big question becomes: what should I name these characters?
You have your standard names, of course: Tom, Nancy, Jennifer, and so on. You also have your make-believe names which often reside in fantasy novels. But most names begin somewhere. Most have an origin, and most have a meaning. Therefore, this meaning is something author's can consider when naming characters, to add a layer of depth to personality and purpose within the novel.
An example that instantly comes to mind is Suzanne Collin's The Hunger Games. Peeta Mellark, the Boy with the Bread, is named after peeta bread. Cato, the District 2 tribute, is named for a Roman politician and general who wrote the first history of Rome. Every single character name has a meaning or association that fits its character and adds a level of interest.
Characters in our novels have history, but so do their names. Whether it be a specific meaning or a relation to another person or object, choosing the right name is essential for a piece of fiction. And looking up etymology (name meanings) can be really fun for the readers, too!
So even if there's a name you want to use just because it sounds cool or seems to fit a character, considering researching the name's meaning and history. Make sure the etymology fits with your view of the character, and it will add an extra dimension to your characters and story!
Have a great weekend everyone,
Stephanie
Once the attributes are figured it (or maybe even before), a big question becomes: what should I name these characters?
You have your standard names, of course: Tom, Nancy, Jennifer, and so on. You also have your make-believe names which often reside in fantasy novels. But most names begin somewhere. Most have an origin, and most have a meaning. Therefore, this meaning is something author's can consider when naming characters, to add a layer of depth to personality and purpose within the novel.
An example that instantly comes to mind is Suzanne Collin's The Hunger Games. Peeta Mellark, the Boy with the Bread, is named after peeta bread. Cato, the District 2 tribute, is named for a Roman politician and general who wrote the first history of Rome. Every single character name has a meaning or association that fits its character and adds a level of interest.
Characters in our novels have history, but so do their names. Whether it be a specific meaning or a relation to another person or object, choosing the right name is essential for a piece of fiction. And looking up etymology (name meanings) can be really fun for the readers, too!
So even if there's a name you want to use just because it sounds cool or seems to fit a character, considering researching the name's meaning and history. Make sure the etymology fits with your view of the character, and it will add an extra dimension to your characters and story!
Have a great weekend everyone,
Stephanie
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