Thriller author Todd Moss discusses the pitfalls of using current events as the basis for a novel.
When we talk about plot as separate from the characters, the symbols, the locales, the dialogue, and the philosophical introspection, what we are doing is privileging events over everything else. But nothing exists in a vacuum.
Writers flounder trying to figure out how to make their idea compelling enough to sustain a great novel. Here’s how to go from ordinary to extraordinary.
Most novels have some amount of back story—because they rarely start from the beginning of a character’s life. However, writers tend to misuse it or include too much.
In a thought-provoking post over at Glimmer Train, Josh Weil talks about Chekhov’s rule: If you bring a gun into the story, then it must fire by the end. Weil reverses it to produce a new insight: “If you’re going to fire a gun at the end, you’d better bring it in near the beginning.” He goes on to discuss […]
A reader is drawn into a story in one of two ways: shocked or seduced. This is called the hook, and it must be in the first three paragraphs of the text, preferably in the first sentence. The hook also sets up the initial pace of the story, which is maintained through the beginning of the tale.