How to Write a Perfect novel

Writing the perfect novel

Begin a scene with a descriptive paragraph. When you change to a new setting or situation in your novel, describe the current atmosphere. Imagine the position of the character. Just imagine exactly what you would experience if you were in the same situation. Writing the perfect novel brings you artistry through Negative Learning(TM)!

Writing the ideal novel

"Like many people have already replied, "perfect" is an imprecise name. There is ALWAYS something else you can do with a novel, so you probably want to make a novel you can be proud of. "I can' t even think of writing a novel you can be proud of."

This will depend on your present knowledge, the kind of novel you want to compose, and more. A good sequence contains changes. Be it a good or evil shift, a shift in action or personality, a sequence is all about that. Genuine changes too. When there is no actual alteration in the instant of a narrative, it shouldn't be a sequence, it would be what is normally called a" continuation" or it would be overleaped.

So, if a sequence changes, what's a good one? What a good diversion? The good scenario (good change) is a transformation that occupies the readership. What is the best way to involve our readership? They are committed when they worry. So, how can we get them to take this? Likeability preoccupies a readership by making them awareness connected to something in history.

They' re committed and worried because they value the characters/events/stakes, and they need to see that they work well, because these things are intimate and important to them. The reader is bound to the intimate, and by incorporating the intimate into your scenes/story, you are building up an existing offer of goodwill.

You' re building a good scenario by making a transformation that involves something the readers do. Nostalgia and voyeurism occupy the readers for the OPPOSITE sake that does likeability. It is something the readers may NOT be acquainted with, and this strangeness generates curiosity and suspense through the known. Connecting the known with the confidant generates suspense because the things that are important to us and with which we are acquainted are endangered and provoked by the known.

They want both to captivate the readers in one and the same sequence. Showcase unfamiliar and diverse people. Respond to the public's expectation and present the unforeseen - but in a way that "feels familiar". They want to see moments (changes) that are "surprising but inevitable". Perhaps the sign is exactly as the readers expect it......

Do the same with all facets of a scene: a settings should be intimate and atmospheric..... This should really be feelin' like it. It should also be beyond, unfamiliar and new. I want the story to sound intimate, but still offer a surprise. Players should be like we could know them and yet be MORE than they are.

Writing a good, captivating sequence means writing changes in a way that a readership cares about them in a way they didn't think possible. It is about nourishing in a readership the emotions of anxiety, affection, excitement, satisfaction, astonishment and a nodded feeling of "natural, natural" at the right time.

because if you want them to take good charge of you, you have to let them do it.

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