Writing a good novel

Write a good novel

You can learn how to write a novel that suits your audience with our structured novel writing course. Skip to How strong is your main character? Uncover something good about your villain and something dark in your hero's past. The first big lines have this power, the power to seduce your reader so much that it would be unthinkable to lay down the book. To abandon my original design turned out to be a great decision.

Nicolas Sparks: 10 mysteries for writing a great novel.... or film

"When I' m writing a tale like "The Happy One," it's one of the things I do: I' m trying to move the readers through all the different feelings of life", says writer Nicholas Sparks, who has written more than a decade of bestseller novels, many of which have become blockbusters like "The Lucky One", "A Wander to Remember", "Message in a Bottle" and "The Notebook".

"There is always a romance in my books," he wrote, "and there is rage, treachery, jealousy and a fight. When you miss one of them, the whole thing will feel like a fairy tale."

Mysteries of writing a successful novel

There is nothing better than fleeing into a good lovestory - and points of reward when there are ~sexy times~ in this one. What is behind writing this romantic? is Cue Jill Shalvis, New York Times bestselling writer of a dozen modern books. In the years in which she has been writing eight serials (the youngest, the Heartbreaker Bay serial, describing her as "Friends Encounters Sixth and the City"), she has taken up one or two things.

Below are Jill's hints for what's going on behind the curtains of your favourite loves. Jill's latest novel, Accessally on Purpose, the newest part of the Heartbreaker Bay range, is now available.

Writing a novel in 30 jours

Each November, every year ten thousand would-be novelists, new publishers, experienced vets and those who drop somewhere in the center come out of their writing caverns and blink into the limelight to join the overall Fellowship of NaNoWriMo (also known as National Novel Writing Month). NunoWriMo invites contributors to write more than 50,000 words of a novel in just 30 working hours.

However, the trouble is.... they don't have to be "good" words. Well, while I appreciate the aim of NaNoWriMo - and other writing activities (getting folks to write) - I think there is a better way to do it. So, for this piece I have the help of Joe Nassise (picture above) - an NYT ordering writer of over 40 books (in several different tongues - and with over 1m volumes in print) to divide his writing processes like a quick-ax.

It' all part of what we call story engines. Whether you want to participate in the next NaNoWriMo or not, with this procedure you can significantly improve both the performance and the qualitiy of your writing. And if you would like to have a full tutorial, take a look at our complete "Story Engines" videoseries here for free:

To so many writers, the notion of writing a novel with over 50,000 words in 30 consecutive working day is enough to put them into a hectic state. While writing a complete design in 30 day may seem like a big order, it is actually very feasible to get to the point of view and have all your canards in a series.

So to make sure you have all your geese in a line, that is, I will guide you through the procedure I would use if I intend to do so. That doesn't mean I'll sit around until then - it's a procedure you can use every single second.

But before we delve into this whole thing, let us be clear about what we need to do to achieve our objective. In order to achieve 50,000 words in 30 working day, we need to type 1,667 words per working Day. You' re gonna know what words to spell every single word, because you and I are gonna find out all this prematurely.

As November 1 unfolds, you will have your whole history scheduled using the storyline engines that we' re discussing in this paper, and you'll be ready not to be worried. I have a straightforward and seven concrete stages. It has been developed to help you reduce the amount of work you need to do for major rewriting and to get you up and running quickly.

Well, remember - each of these 7 stages involves creating your storyline around a particular storyline tree. This means that your textbook is made up of "the right sequences in the right order" to give your storyline the right tempo and the right effect (to keep the reader hooked). That may sound elemental, but I can't tell you how many occasions I've worked with a pupil who really doesn't know what he's writing about.

It' s really difficult to put 50,000 words on a particular topic if you don't really know what it is. First thing you need to do is find out what you want to be writing about. Perhaps you want to compose a novel about the discovering of a missing continen.

Or, perhaps, the tale of a priden who has an incurable disease and of the aristocrat bravely trying to rescue her. If done right, it should tell you who the protagonist or heroes of the game are, what they must do to gain the date, and both the type of opponents and the endangered bets if they do not.

The introduction of oppositions and missions also creates conflicts in your history - which is unbelievably important (without conflicts, history is boring). You can use your premises to describe your books or "blurb" later. You know who your heroe and your bad guy are.

It' s a good idea to make it a little more concrete, to put it in your spirit so that you can find out what the tale you want to tell about it will be. I' m always doing this by asking myself a few special question about each of them (and about any other main characters I would like to explain in more detail at this point):

It' important to keep in mind that storytelling is about conflicts. To have conflicts, your hero's and your villain's targets must be diagametrically opposite. Allow me to say it again - your hero's and your villain's targets must be diagametrically opposite.

You will probably already see single sequences in your mind showing these figures. That' good - that' s exactly what we want. If you don't edit yourself in any way, begin writing down these sequences. This is a map of one of my last novels: It doesn't make any difference whether I know where it suits the plot or whether it seems completely laughable at the present time - when it comes to me, I just put it down.

I' m essentially doing an non-censored fantasy dive, just let my unconscious mind drop things to the top and get them on tape (note: you can put them on real "cards" or use softwares like Scrivener). Next I put out all my maps and try to create a history around them.

It identifies or creates my three alternating elements according to the story engine structure: Here you get an insight into the "everyday life" of your heroes or heroines - it makes them more likeable and helps to build up an emotive relationship. Gamemodeling Moment (GCM) 1: The "event" that urges the heroes or heroines out of "everyday life" and brings them to react.

Proactive Phase: The character or character now assumes complete command (as distinct from the active phase) and gets nearer to its target. This is where the heroes or heroines find what they need to reach their goals and get over the major battle in history. It is this sequence of "story elements" that connects your history.

The right texture helps you prevent "the squishy middle", and you can predict which sequences have to go where and which don't even match your storyline (e.g. - you can edit them out). At the end I have a map for each sequence in the correct order of its occurrence in the film.

I' ll be able to see if my storyline is in balance and contains the right element by matching my maps with the seven core components of the storyline engine system. And what's more important, I'll know exactly what to do during my thirty-day period, because my novel will be fully worked out from beginning to end.

If you are more of a "pant" (e.g. - you are writing "at the bottom of your pants"), that is also okay. After all my plans have been cleared out of the way, I am prepared to make my first design. But I know what the whole thing is about. I have a good feeling for my personalities and what they want.

They are conflicting and I know how this is being resolved. For me writing is a matter of focus, so I use a different system named springing to finish my words every single second. I' ve got a 25-minute timeout and I am writing during that period.

Do not distract me from researching or verifying detail or gambling on my own mobile - I just do it. Only the rough produce, without thinking about how good it sounded or whether I could have said something better. This part of my creative work is only to put words on the page.

As soon as the design is finished, I just squeeze it out, put it in a folder with three rings and begin the processing (the printout will help me to detect errors that I wouldn't see on the computer monitor. When it comes to the Story Engines game, it's about scheduling your storyline in advance, so I seldom have to make big changes because I already know that the storyline works the way I have it.

However, it means that I don't throw away 30% of my design because I didn't grasp the basic contradiction in the novel, or because I walked along a rabbit path that had nothing to do with the storyline. In the folder next to me I take my editorial note and start the last stage of my procedure - polished work.

So that' s seven stages, each with a certain objective and each brings your novel projects further towards the end. Keep in mind: 99% of the problem can be attributed to the structures. Utilize the seven-level storyline engines above to keep your storyline with the right actions in the right order.

You use the formulas I have agreed with you to transform these concepts into spaces - and those that stand the test are fine. Next, some sequences - just a title and a few short enumerations - are put into the right order (using the story engine structure).

If each of your stages has enough moments, you can skip to writing. If you are writing the notebook, try "sprinting" to increase your concentration and your pace. Don't work while you are writing. Carving parts of the daily just for writing. Eventually go back and type the parts that need to be slightly improved, work on the grammar and orthography, and you are good to go with a script that is willing to be sent away for final corrections and - soon after - publishing.

To find out more about the Story Engines experience - which includes the architecture of a bestselling novel and the seven-step writing of your novel in 30 working hours - take a look at our free 30-day set of videos. Well, I need to know from you.... What's your number one fight when it comes to writing your bibliography--?

Notify me that your #1 fight with writing your textbooks in the commentaries below - I am reading every one.

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