How to Find the Story Within

by C. Patrick Schulze

Listen to a PODCAST of this article.

In my recent post, HOW TO OUTLINE A NOVEL, a couple of people mentioned they have trouble moving forward with their manuscript. This post is offered in an effort to help them move their story forward.

There are a number of reasons why the words don't come to us. One reason is the phenomena called Writer's Block, which always goes away. However, I think the one that's more common, but less acknowledged, is writers don't know how to build upon an idea they already have. They don't know where to start.

The good news? The story is there. You only have to find it.

If, by chance, you don't have an idea with which to build your story, here's a good article on HOW TO DEVELOP A STORY IDEA.

If you do have an idea, one method to bring out your story is to make yourself familiar with The Hero's Journey. Basically, The Hero's Journey gives you a twelve-step process for storytelling. It helps you develop your plot, or what happens to your characters. The Hero's Journey fits any genre and will result a compelling storyline if you follow it.

The Hero's Journey creates a framework with which to build your story. In effect, it is your outline. You just fill in the blanks. Here's some additional information on THE HERO'S JOURNEY.

Another method to bring out the story from within an idea is to write your story backwards.

Here's the trick. Try not to think of A to B to C. Think C to B to A, with C being your ending.

To do this, begin with your final scene and then write the scene that immediately precedes your ending. Then write the scene before that again and again until you've got your story. A question to ask yourself is "What had to happen to get me to point C or B or A?"

Think of that in this way, if your story idea tells you the hero gets the girl in the end, think backward to what made her want him in the first place. Then, think back before what convinced her to want him, to what he did to make her think that way. Before he did that, what did he do to make himself known to her. Each of these events is now a scene, or possibly a chapter, in your novel.

Of course, you don't have to write out the scenes as you develop them. Brief descriptions of what is going to happen is all that's necessary at this point.

Once you've got your story written backwards, the next thing you do is add conflict to your scenes. Conflict is the character's emotional reactions to the action they experience. (It's not the explosion, it's the character's emotional reaction to the explosion.) Read more about CONFLICT in this article.

Let's consider the "Boy Gets Girl" story I used as an example above to illustrate this idea.

When you figure out how he made himself known to her, insert some action and conflict to spice up that scene. For example, maybe they were passengers in the same bus when it crashed. The crash is the action. He became known to her when he pulled her from the flaming wreckage. Toss in some emotional reaction to his saving of her and you're on your way.

Regardless how you attack this problem, until you have your story, ignore everything else. Don't worry about dialogue, setting or whatever. Don't even flesh out your characters. Focus only on the story. Once you have that, the rest should fall in place.

What suggestions do you have to create a story from an idea?

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

Don't Write a Novel, Write a Story

by C. Patrick Schulze

Listen to a PODCAST of this article.

A reader of this blog asked if I might help get her NOVEL started. She said she had the idea and the research completed, but was uncertain as to how to get on track. This article is for her.

When I first began to WRITE, I joined a writer's group and sat in on a few meetings. I hoped the group could tell me how to write a novel, but found I had my proverbial horse way ahead of my cart. I didn't need to learn how to write a novel. I needed to learn how to tell a story. That little piece of information changed my life.

The next thing I learned was the difference between a story and a novel. A story is the plot, that succession of incidents within the novel. It's what happens in your novel. The novel is the narrative by which the story is presented.

That means you first write a story, then convert it into your novel.

All you need to get your story started is a plan. And with novels, the classic plan is called The Hero's Journey. It's been around since the days of Mythology and is still used by the best writers today. The Hero's Journey is nothing more than a structured string of the events your hero needs to endure.

The Hero's Journey has twelve situations your hero must face. This generates a plot and forces a story to pop out as if by osmosis. The novel is much more difficult, but the story, well, that's easy.

Here are the twelve steps to the Hero's Journey.

1. Ordinary World: You show your hero's life at the start of your story.

2. Call to Adventure: Something, whether the hero realizes it or not, calls him toward some grand quest.

3. Refusal of the Call: The hero first says he can't undertake this quest.

4. Meeting the Mentor: Your hero meets someone important to help him on his quest.

5. Crossing the Threshold: This represents that event that ensures your hero can not go back to his Ordinary World until he finishes his quest.

6. Tests, Allies and Enemies: These are people or events that help or hinder the hero.

7. Approach to the Innermost Cave: He closes in on the big bad villain.

8. Ordeal: He fights the bad guy.

9. Seizing the Sword: Your hero takes what it is he needed to complete his quest. It's what he's gained by his Ordeal.

10. The Road Back: The trials he may face to get back to his Ordinary World.

11. Resurrection: This is the time when your hero proves he's gained the right to use the "sword" he's won.

12. Return with the Elixir: This is where your hero reaches his Ordinary World once again and shares his "sword" with others.

If you think about these twelve steps, it makes perfect sense a story will be the natural outcome. You've got good guys, bad guys, conflict, excitement, rewards and all the rest.

Better yet, it works regardless your genre. For example, think about a story of an abused wife. Her ordeal may be the beatings she underwent and her "sword" may be her freedom. In the same light, in a war story the ordeal may be a battle and the "sword" the death of the enemy general. There is no genre for which The Hero's Journey does not work.

Now, a short article cannot teach you everything you need to know about how to write a story. However, further information is all over the Web and in countless books at any library or bookstore. Take some time to study The Hero's Journey and if you take it to heart, your story will emerge.

Is this all there is to The Hero's Journey? Of course not. Entire literature courses cover each of these twelve aspects. However, it worked for authors then and it works for authors now. It will get you started. It's step one.

Are they other ways to write a story? Of course, but until you've got some work under your belt, use it. As they say on television, "It works!"

Now, some say The Hero's Journey is outdated or incomplete. Maybe, maybe not, but here's a clue. That little black dress and a string of pearls still work, don't they? They work because they're classic. That is, they brought out a woman's beauty then and they do so to this day. Here's another way to look at this idea. If they can write "Star Wars," "The Lion King," "Pulp Fiction" and even "The Full Monty" by way of The Hero's Journey, you and I can use it for our story, too.

Now, are there any specific articles I can write to assist you on your path to publication? If so, let me know.

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel "Born to be Brothers"

The Recipe for Writing a Successful Novel

by C. Patrick Schulze

Listen to a PODCAST of this article.

Before I wrote my first manuscript, I picked up a book titled, "You Can Write a Novel" by James Smith. After I read it, I came to the conclusion WRITING a successful NOVEL would be a piece of the proverbial cake. I admit it, that assumption turned into my first of many mistakes relative to novel writing. Regardless, the major concept I picked up from the book is there exists a recipe for writing a successful novel. I likened writing a successful novel to cooking one of my favorite meals when I was a single guy - crock-pot stew. Maybe I should've called this article my recipe for a crock-pot novel?

The recipe for a crock-pot novel, like that of anything that's pleasing to the palate, contains various elements that must be incorporated in the correct doses, and even at the correct times, for the dish to please your readers' visual palate.

The recipe for our crock-pot novel includes these basic ingredients:

Theme

CHARACTERIZATION

PLOT

CONFLICT

POINT OF VIEW

SETTING

DIALOGUE

Let's take a quick look at each of these recipe components, shall we?

Theme is the message or meaning within your crock-pot novel. It's what you wish your readers to learn. Your message comes to life in the way your main characters overcome the conflict they face. In effect, it is the fundamental ingredient of your crock-pot novel recipe. Think of it as the beef stock, if you will.

Characterization is the most important part of your novel as it relates to your reader. Your reader must, without exception, care about at least one character and what happens to them. You should, therefore, create fleshed out characters with whom your readers can identify. This is the beef in your stew.

Plot is what moves the story forward. It fleshes out your storyline and gives it depth. It is that series of events that your characters must face and the obstacles they must overcome. It is what moves your story toward the final chapter in logical order. I relate it to those chopped ingredients in our stew; carrots, potatoes, onions and the like.

Conflict is what encourages a reader to continue to read your novel. Many aspiring authors envision conflict as the action that takes place in their stories, the explosions, the chases and the like. If truth be told, conflict is found in your characters' emotional responses to the action that takes place. Your conflict will rise and fall like the peaks of a mountain range until you reach the crescendo of your story. It's what holds your stew gravy together, the thickener, if you will.

Point of View, or POV, is who tells your story. It's the perspective of your story's narrator. This is where many aspiring authors fail in their novel writing endeavors. Without effective POV, a reader may become confused and their enjoyment of your work decreases. This is your recipe's spices.

Setting is the time and place where your characters exist. It comes to life by way of your characters' senses. It's the time it takes for your ingredients to turn into a meal.

Dialogue is the words your characters use. It offers your reader background information, highlights their personalities and advances your story. Consider dialogue as the heat that transforms your ingredients into a tasty meal.

Now, do other recipes for novel writing exist? Of course. Every cook/author has their own recipe, yet each will incorporate these basic ingredients. Should an author omit any of these basic ingredients, his crock-pot novel will lack something and won't taste as pleasing to the reader as the author had hoped.

Best of luck with your recipe and let me know how it turns out, will you?

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the now-at-the-editors novel "Born to be Brothers"

Point of View Demystified

by C. Patrick Schulze

Listen to a PODCAST of this article.

I recently sought to hire an editor for my MANUSCRIPT and found many of them willing to offer a CHAPTER length sample edit. One came back with the notation I had a Point of View error on page one.

How in the world did I miss a POV error on the first page? *shakes head - roll eyes*

If nothing else, the experience taught me two things. Editors are a necessity, and POV errors are easy to miss. With that said, I thought I'd pen an article on POV and share it with you.

Let’s first try to understand what POV is. In a sound bite, it’s who's telling the story. POV is nothing more than the writer’s method for presenting narrative. See, it’s not all that mysterious, though mistakes are evidently difficult to catch.

The first aspect of Point of View to understand is each POV has its advantages, disadvantages and typical uses. My focus for this article will be the three most common uses of POV.

The three major types are:

First Person POV - the writer tells the story

Second Person POV - the writer gives advice

Third Person POV - the major character or characters tell the story

Third Person POV has three subdivisions and they are:

Limited

Omniscient

Objective

Let’s take a look at First Person POV.

First Person has the writer, or narrator, tell the story. In effect, the author speaks to his readers. This POV is told in either present or past POV.

It is most often used when one authors a book about ones’ personal experiences or opinions. You’ll see the writer using the pronouns I, me, my, mine, we, our and ours. It does fit into fiction, but is widely used in memoirs.

Second Person POV

Think of this as an instruction manual with extensive use of the pronoun, “you.” This POV is rarely used in fiction as it simply tells the reader what the characters are doing and what they see. A weakness is it provides only limited access to creativity though a strength is it grabs the reader’s attention. It can also exist in past and present forms.

Third Person POV, where a character or characters tell the story, has three subtypes and we’ll discover each of these in time. It's the primary POV utilized in fiction.

Third Person - Omniscient POV

Third Person Omniscient POV has all the major characters in your novel tell the story. What is nice about this POV is the freedom it affords. The author can tell the reader everyone’s motivations and their thoughts. It allows the writer to give or withhold information at will.

The difficulties of this POV lie in lack of control and its potentially cumbersome nature. If you aren't careful and you show too much of what’s inside every character’s head, the reader receives an overabundance of information and can become frustrated if your POV loses cohesion.

To overcome this drawback, ensure consistency in your POV and have only one person at a time tell the story. It's also important to eliminate any information that is not pertinent to the story. Have each chapter focus on one individual to eliminate “head-hopping,” which is jumping from one character’s POV to another within chapters.

Third Person - Limited POV

Third Person Limited POV is perhaps the easiest to utilize and most popular when writing novels. Here the author writes from a single person’s vision throughout the entire book. In third person POV, you’ll see pronouns such as she, he, her, him, hers, his, it, its, they, them, theirs.

The disadvantages come with the writer’s limitation as to who sees what. The character who tells the story cannot get into the head of another to read his thoughts. He can only surmise what the other guy thinks by their facial expressions, actions and such. It’s also very easy to shift out of this POV.

Third Person Objective POV

In this POV, the author only tells his readers what happens by way of action or dialogue. Their characters’ feelings or thoughts are never revealed. It's not the most effective POV for fiction.

The secret to POV is to learn what type works well for your writing style and genre.

Now, who wishes to share a POV issue they've faced?

I hope you know by now, I wish for you only best-sellers.

C. Patrick Schulze

Author of the now-at-the-editors novel, "Born to be Brothers"

Symbolism in Novels

by C. Patrick Schulze 

Listen to a PODCAST of this article.

The other day I had a sudden flashback to that long ago time in English Lit 101. I had this odd little professor whose only purpose in life was to force disinterested freshmen to analyze symbolism is novels and short stories. 

One day in class, the professor called on me to offer my interpretation of the symbolism in a short story. I saw it as an illustration of the lives of prostitutes. The professor almost laughed and asked how I had come up with that. After my explanation, he acknowledged my interpretation as valid, just wrong. The story, he said, was about politicians. How's that for irony? In any case, that inconsequential moment in my life got me thinking about symbolism in fiction.

Let's first define symbolism as it applies to literature. It is an object or creature that represents something else. Think the whale in "Moby Dick."

Symbolism is often employed to give greater depth or meaning to a work of fiction. In fact, symbolism  enhances the quality of literature in a way that cannot be duplicated by any other literary device.

Your symbols may be obvious, such as a national flag, or subtle, such as the flask a character carries in his hip pocket. For an example of an obvious symbol, consider the snake as the logo for the House of Slithering in the Harry Potter series. For a more understated symbol, look to the sled in "Citizen Kane" which represents lost innocence.

Should you attempt to instill symbolism into your novel? It's not necessary at all. However, you can if you wish. The most obvious novel of this nature is "The Da Vinci Code," which is all about symbols.

Should you wish to incorporate symbolism in your novel, pay close attention to how others describe their symbols. You'll most likely find enhanced descriptions and multiple incidents of use. You may find names of people, places and things that are less than ordinary. "Slithering" is a great example of that.

Here are some tips to get you started using symbolism in your fiction.

The secret to effective symbolism is to develop it before you write your story. It will appear much less contrived and make a more profound statement if you do. Symbols lose their power if they appear thrown-in or arbitrary.

Use symbols everyone will interpret in the same manner as you. Does an apple represent a doctor kept from your door as in "an apple a day…," or eternal sleep as it did with Snow White? If your reader misinterprets your symbol, you've created a big hole in your book.

With that said, ensure your symbols are not clichés.

One type of symbolism that has yet to lose its flavor is color. Red still means heat, anger or passion, whites represent innocence and so on.

Ensure your symbols represent what you want them to represent. A skull and death is a pretty sure bet but a shoe and manhood? Well, that's a bit too deep for most readers.

Have your symbols represent something of value to the character to whom the symbol is tied.

Use them with care. Don't have too many or you may slip into the category of allegory. A couple should do you just fine.

A good time to reintroduce your symbol is at the climax of your story. Let's say you've used the aforementioned flask to symbolize a character's inability to control his vices. Then, on the day he finally overcomes his weaknesses, he might drop and break the flask.

Consider using a symbol in a contrary fashion. Maybe the good guy really does wear black.

Now, would you care to share the symbols you've used in your novels?

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel "Born to be Brothers"

Plot-Driven or Character-Driven Novel?

by C. Patrick Schulze

Listen to a PODCAST of this article.

First of all, we should understand the difference between the a character-driven novel and a plot-driven novel. A character-driven novel is based upon strong characters with a story built around them. In this case, the characters drive the PLOT. A plot-driven NOVEL is based upon a story with CHARACTERS created to fit the storyline. In effect, the plot drives the characters.

Novels that fit into a genre are most often plot-driven. In genre fiction, the major focus is to accomplish some task such as destroy the bad guy and save everybody else. It's of lesser importance who does this. As a rule of thumb, the hero chooses between a rock and a hard place and his decisions move the story forward. As the story develops, so does the hero.

In character-driven novels, the author creates a hero who's thoughts, emotions and other characteristics drive the story. In contrast to the plot-driven novel, as the character develops, so does the plot. Here, the hero doesn't so much choose between the rock and the hard place as create the rock and the hard place by his personality.

One advantage a character-drive novel has is characters carry endless possibilities within them. Plot does not. In fact, Jim Thompson says, “There is only one plot—things are not as they seem.”

A problem with character-driven novels is they often has weak plots. In contrast, a disadvantage to the plot-driven novel is they often lead to bland characters.

So, which type of novel should you write? A great part of that answer is based upon your personality. If you'll pardon my broad brush, I'll say people who write character-driven novels are often the type who focus on feelings, imagination and creativity, right-brainers, if you will. They steer clear of outlines and have a tendency to write from the cuff. In contrast, I believe plot-driven novelists lean toward the more logical, rational thinkers among us and are left-brainers. They'll outline, draw plot points and all the rest. I think it's similar to the difference between logical thinkers and emotional thinkers. Both types work well, they just use different tools.

So, which type of novel is better? Come on now… you've got an opinion. I know you do. The answer, in my opinion, is neither. I think the best novels have both strong characters and strong plots. I believe your success will improve if you have the ability to weave strong characters and a powerful plot together.

Should you write a plot driven novel with thin characters or a character-driven novel with a thin plot? Neither. If you have a strong plot and weak characters, you have a plot-driven novel with poor characterization. The reverse, of course, is also true. Plot and characterization are not mutually exclusive, any more than are dialogue and character emotions. All aspects of your novel must be woven together for best results.

So, what type of writer are you and how does your writing method hamper your writing?

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

The Secret to Plot in Your Novel

by C. Patrick Schulze

Listen to a PODCAST of this article.

What makes for good fiction? Is it character, PLOT, story, setting, voice, dialogue or some other component of your novel? The answer is PLOT; the story of what happens. Think of it this way. You can find millions of different characters, tens of thousands of settings and about a dozen stories. But as Jim Thompson says, “There is only one plot—things are not as they seem.” What makes your novel stand out is its plot, that series of causes and effects found within your story.

To create a meaningful plot, you need at least one main character who suffers some level of conflict, that inability to achieve what it is he wants. This conflict, his emotional reactions to the obstacles placed before him, is the crux of your plot. It is this inexorable series of obstacles your hero faces, and how he overcomes them, that hooks your readers.

The secret to plot, is that it flows from your characters. The basis of this is your hero's desire for something beyond all else, that is kept from him. This ever-rising tension and conflict or your character's hardships, are what make up your plot.

When you write a story, you create a sequence of events that moves the hero toward what it is he wants. However, your greatest effort should be in your introduction of conflict, those ever larger obstacles and the increasing resistance your hero experiences. You first give him a goal to surpass, then once he completes this task, deny him his desire. Then you have him master a more difficult challenge, then deny him yet again. Do this over, and over, and over again. Of course, the hero will at some point reach his goal, but you must keep it from him as long as the story, and your word count, allow. This constant battle between upheaval and triumph is what develops your plot and engrosses your readers.

Your character's conflict, and thus the plot, may derive from either internal or external sources. Regardless, they thwart his progress until the very end of your novel. We all know external conflict can be exciting, but what can place your novel above others is your hero's internal struggles. Consider this basic storyline. Your hero has a burning desire to become a surgeon, but faints at the sight of blood. Which is the most moving aspect to the character's goals? Is it the struggle to become a doctor or the sight of blood issue? His struggles to master his fear will have the most power with your readers.

In addition to plot, you have a wonderful tool you may employ called "SUBPLOT." That is, each major character is haunted by some minor conflict that further hinders him. This, too, can be internal or external in nature but if used effectively, can give a great deal of life to your novel.

Now for some quotes about plot from those famous among us.

"'The King died and the Queen died' is a story. 'The King died and the Queen died of grief' is a plot." E.M. Forster

“Plots are what the writer sees with.” Eudora Welty

“Plot is structuring the events of the story.” Aristotle

“Character, of course, is the heart of fiction. Plot is there to give the characters something to do.” John Dufresne

“When a character does something, he becomes that character; and it’s the character’s act of doing that becomes your plot.” Henry James

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

10 Tips on How to Improve Your Writing

by C. Patrick Schulze

Listen to a PODCAST of this article.

Nice to have you visit again.

I am in the middle of wrestling my manuscript to the ground and find I learn something new every day. With that in mind, I thought I might offer all my writer friends some general writing tips on how to improve your writing. Outside of the first tip, these aren’t offered in any specific order other than what came to mind at the time.

Let’s begin with what I think is the secret to success as a writer: persistence. As a father, the mantra I imposed upon my poor daughters was, “Practice, practice, practice.” (Though grown, they still make fun of me about that one.) In any case, as with every profession, the more you do it the better you become.

2. Invade your readers’ senses. This means when writing you find opportunities to have your characters use their five, or as some say, twelve, senses. When your characters smell the honeysuckle, so do your readers.

3. Diamond’s are not a girl’s best friend. Well, I think it was Marilyn Monroe who informed all men that diamonds are indeed a girl’s best friend, but for women writers, (and their male counterparts), it’s verbs. The strength and exactness of the verbs you choose is the most powerful tool you possess to elevate your writing. The best verbs bring emotions or pictures to your readers’ minds.

4. Create interactive settings. That is, write in such a way as to have your setting come alive. The first time I took my writing to my critique group, every person mentioned a visual I had in my story. They commented on a scene where a boy reached up to grab his father’s shotgun from over the mantel and I wrote about the glow from the fire as it warmed the boy’s legs. It is those inconsequential images that paint those all important and powerful word pictures that immerse readers into your story.

5. Backstory belongs in the back. When I learned how to write backstory into my novel, I had to rewrite large chunks of what I already had on paper. Those long-winded paragraphs about what happened before my character came into my story became short, concise inserts within the story.

6. Bodies have language, too. Think of a person who has received astonishing news. What might they do at that time? Inhale? Shriek? Curl a lip? So might your characters. And best of all, readers love characters’ body language.

7. Conflict is king. Conflict is much like a drug drip in a hospital. That happy little bottle always hangs around and you get to dial it up whenever you want to. Conflict, not action mind you, but conflict is the power behind your novel.

8. If conflict is king, characterization is queen. Every novel rises and falls on the backs of those people who populate your novels. Effective characterization is a difficult skill to master but when you do, even you’ll fall for your books.

9. Knowledge is power. By this I mean, your writing has more strength if you give your readers the knowledge they require. It’s more interesting if your characters know the bomb is about to explode as this creates tension in your reader’s mind. As Alfred Hitchcock said, "There is no terror in a bang, only in the anticipation of it."

10. Give ‘em what they want. Your readers read for a reason and as a writer you should know that reason and cater to it. The lesson here is to learn your market. Write to satisfy your readers’ needs and not your own.

What tips might you like to share with my readers?

As always, know I wish for you only best -sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers"

Writing a Novel’s Plot

by C. Patrick Schulze

Listen to a PODCAST of this article.

As an author learns how to write a novel, he must develop the skill to pen an effective plot, or that string of events through which your major characters move.

The first concept to understand about plot is the recipe. Gather your two needed ingredients, story and conflict, then blend them together and bake it up. You must have both ingredients, story and conflict, for it to taste just right.

Another way to look at this concept is a story asks the questions of what and how, whereas the plot asks the why.

Your plot is not just a jumble of unrelated events. It’s comprised of a series of events that follow naturally from one to the next.

Read this for more on PLOT.

A secret to plot is that it is directly related to your major characters’ personalities, especially your hero’s. As one event occurs, the character’s persona encourages him to make a decision as to how to respond to this occurrence. This, in turn, forces the next event. This relationship between characterization and plot is why there are so few plot lines but so many stories.

Of course the main rationale for plot is to entertain your readers, but other than that, what does it do? It’s primary purposes include:

1. Move your story forward and toward its conclusion

2. Give life to your characters

3. Foreshadow coming events.

4. Propel your hero toward his goal and past his many obstacles

Though some disagree with the number of elements in a plot, I see seven major components to plot. They are:

1. Your hero or protagonist: You need someone, or something, to move through your story.

2. The setting in which your hero finds himself: Everything happens somewhere and at some time.

3. The goal your hero must achieve: Every protagonist needs a great quest of some sort.

4. The conflict he faces: During his quest, your hero will come upon difficulties that hamper his forward movement toward his goals.

5. The turning point of your story: At some place in your story, the major character must make a decision that alters everything.

6. The near disaster your hero must endure: Every hero must face an ultimate challenge that can, at least metaphorically, kill him.

7. The resolution of the story. Your story needs an ending, don’t you think and shouldn’t it all come out for the best?

Once you grasp these basic fundamentals, you’re well on your way to an effective storyline.

Now, here are some general tips as to how to develop your plot.

Plot develops by way of the adversity your characters face. Their physical and emotional responses to this adversity is what develops your plot. Imagine “Lord of the Rings” if none of those characters faced problems. Wouldn’t quite have the punch, would it?

You plot should foreshadow all major conflict points. Though mysteries may have a bye in this regard, your plot should identify all troubling events that are yet to transpire. To reword this, what happens early in your story sets up what is to happen later.

Your hero must at some point, take things in hand. He’s the good guy in your narrative and he needs to possess the strength and fortitude to do what his challenge requires of him.

Nothing happens at random. Every part of your plot should have a reason for being in your story.

The plot is not only about your hero. Each of your major characters, of which there should be no more than three, has their own agenda. And these agendas most often conflict with those of the other primary characters.

Your plot should show the personalities of your major characters. That is, the way they react to what happens to them should give your reader a better understanding of who these people really are.

If you’ll insure your plot drives your story and not the other way around, you’ll find your writing life will have a better chance to thrive.

Now, what else might you wish to know about plot?

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

9 Essentials for Writing Your Climactic Scene

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

Every novel requires that final, explosive scene where the protagonist and his villain struggle with each other to the certain demise of one or the other. It matters not if you hero is a working mother trying to make ends meet, or the commander of the forces ready to invade Omaha Beach on D-Day. Every novel should have this climactic scene and you should consider certain criteria to make it as powerful as you can.

Here are nine tips to help you when writing that all-important scene.

This scene should be an epic confrontation with a clear winner and a clear loser. Someone gets the girl and someone goes home from the party by himself.

Your hero must confront his most worthy of adversaries. Secondary evil doers simply won’t do. Make this clash between the biggest and baddest.

Your reader expects your hero to win and so he should. However, his victory need not be what they expect. Regardless the sour taste of your hero’s success, a victory he should have.

Your hero should win something of value for his trials. It could be the realization that “The Girl” just ain’t worth the work, or it may be real estate garnered by an incredible battle. Whatever he learns or wins, it must make him a better person, or creature, as the case may be.

In this scene it is not the time for surprise arrivals of any sort. The cavalry, in any of its many forms, should not jump into the story at this point. All that should be set up earlier in your novel.

Have your hero save himself. Imagine if your hero is fighting the villain in hand-to-hand combat and just as the bad guy puts the sword to his throat, an unmentioned meteor streaks from the sky to obliterate the bad guy in a magnificent blaze of fire. Don’t you think your readers will be disappointed in that? Now, that’s not to say the beautiful model can’t Kung Fu in and save him earlier in the story, but at this time, he’s on his own.

There should be no flashbacks at this point in your novel. Flashbacks are tough anyway, but they break the tension and can kill the entire scene. Once the scene opens, focus on the conflict in that scene. Your readers’ interest should be at its peak and they deserve a healthy portion of suspense, action and conflict.

Speaking of action and conflict, this scene should be resolved with action and conflict. Let them duke it out, metaphorically, emotionally or physically, but get the tussle going. Make this thing as exciting as you can. (For more information on the difference between action and conflict, read this ARTICLE.)

Clarification of anything is death to this scene. This is the time for action and your readers should have already received any explanations they need, although mysteries might get away with this to a point.

And finally, this scene should end in a rational fashion. Make it suspenseful, but logical. You never want your readers to say, “Don’t buy it,” at the end of your story. If they do, they’ll tell their friends the same thing; “Don’t buy it.”

Now, are there any aspects to the climactic scene I’ve forgotten?

Until my next post, you knows I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers”

The Keys to Effective Dialogue in Novels

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

Dialogue is one of the premier aspects of your novel and every word of it should have a reason as to why it exists within your manuscript.

The reasons for dialogue in a fiction are varied, with the major goals listed below. 

1.  Provide backstory 
2.  Reveal a character’s personality, internal conflicts or mental state 
3.  Establish the tone or mood of a particular point in your story 
4.  Provide for character motivation 
5.  Build reader empathy 
6.  Build or expand on conflict 
7.  Move the plot forward 
8.  Increase or decrease the pace of your novel 
9.  Tweak the reader’s memory of past events within the novel 
10. Foreshadow Event yet to happen

If your dialogue does not perform one or more of the above functions, you can most likely delete it from your manuscript. A good test is to read the scene without the questionable dialogue and see if your story, or any critical plot points, are affected. If they are not, cut the dialogue.

Here are some tips for creating better dialogue.

Punctuation Counts

I hate to say this, but punctuation is key to effective dialogue. If you do not follow grammatical rules, your dialogue may not read as intended.

A quick example:

            “Maggie said No I will not go with you.”

In this case, it’s difficult to understand if Maggie said the words or if someone else said Maggie said them. This distinction may have quite the effect on your story. As written, it holds little or no tension, whereas in the corrected sentence below, it implies danger and a more exciting plot.

            Maggie said, “No! I will not go with you.”

For more on dialogue punctuation, read THIS blog post.

Dialogue is Different

Dialogue happens when a character speaks, of course, but the secret is to not write so your characters speak the way people do. The secret is to write so it sounds like people speaking. It’s a tricky thing to do, but an essential aspect of writing effective dialogue.

You’ll find people speak in clipped sentences peppered with, “um’s” and “ah’s” and the like. You’ll also find they speak in incomplete sentences, incomprehensible grunts and all sorts of other communication you cannot use in your manuscript. Further, and this is fact, ninety-five percent of the time people don’t answer the question asked. (Yeah, that’s true.) If you were to write as people speak, your reader would get bored at once and put down your book. Worse, they’d not recommend it to others.

So, how do you interpret speech to read as effective dialogue? The secret to translate natural linguistics into dialogue is, cut all the dull parts. (I think it was Alfred Hitchcock who first penned that phrase.) If you study the way people speak, you’ll learn the dull parts are most of what they say. Once you’ve identified and eliminated all the inconsequential words, which is most of any actual discussion, you’ll be left with the meat. And the meat is all that goes into your novel.

Here’s an example of how a real conversation might sound and how it could be altered to read as effective novel dialogue:

John said, “What did you do today?”

Mary answered, “Uh, nothing really. I went to the store, bought a pair of black slacks. What did you do?”

“Not much.”

“Oh, by the way, did you know I ran into Sara while I was shopping?”

“Sara!” John was surprised to hear her name.

When you read this exchange, you’ll notice the tension rose when Mary mentioned Sara’s name. In that case, Sara is the turning point to this exchange and the only part of this conversation necessary for novel dialogue.

If you compare their conversation with the purposes of dialogue listed above, you’ll see much of this exchange need not be included in your novel. If you eliminate the “dull parts” the result would cut fifty-one words to twenty-one and might read as follows:

John said, “What did you do today?”

Mary answered, “I ran into Sara.”

“Sara!” John was surprised to hear her name.

Compare this second exchange to our ten reasons to include dialogue in your novel and you’ll find it adheres to seven of the ten rationale on the list.  Can you identify the seven it does match? If so, you’re well on your way to understand the use of dialogue in novels.

Once you’ve learned how to write effective dialogue, you’ll see there is a secret in how it relates to your plot. As with the mention of Sara, turning points are often found within your dialogue. That is, things don’t often just happen to characters, characters tell each other what transpires or is about to transpire.

A “rule” found within the craft of writing says dialogue should comprise as much as fifty percent of your book, specifically your word count. Now we all know there are no rules in writing, but the idea does offer an indication of how powerful and meaningful dialogue is to your novel. Therefore, it is one of aspects to the craft of writing you should spend a great deal of your time to study and learn.

I hope you know by now I wish you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”

How to Write Your Novel’s 1st Chapter

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

We all know the first chapter of your book is the most critical in the novel. We also know within this initial chapter, the first paragraph is of utmost importance. And of your first paragraph, the first sentence is primary above all. Why is this, and if these things in your novel carry so much weight, how does an author insure he gets it right?

They “why” is simple. Book sales.

Have you ever seen someone in a store pull out a book, flip it open, read for a moment then set it back on the shelf? Truth be told, they do that much more often than not. So, how does an author get the buyer to say, “yes?” Of course your cover, your title and your blurbs all have power to help form the buyer’s decision, yet despite all these, before they buy they’ll read that first paragraph or two.

The worst part of this? They offer you three, maybe four seconds to capture their attention. That’s it. You’ve got mere seconds to convince them to pay you a royalty. And that is why you’ve got to grab them right away. It’s all about the sale, my friends.

So, once they flip open your novel, how is it you capture their curiosity?

One tool to consider is Point of View, or POV as it’s known. If you’re new to the craft of writing, give serious consideration to third-person point of view. You might contemplate this even if you’re not so new to the craft of writing. Third-person POV, where the author acts as narrator, can be considered a default Point of View, if you will. It’s a powerful Point of View and offers the writer much more versatility with his words. It’s easiest to write and most familiar to your reader.

Another tip is to get to setting right away. This creates that first important word picture and immerses the reader in your story at once. You need not get too descriptive, for this can bog down the action, but give them a fact or two to ground them in time and place. For example, in my current manuscript, “Born to be Brothers,” right away the reader sees a wiry man as he reins in his plow mule. Can you see how the mule and plow give you a hint of setting? The secret with this is to make the setting active. That is, have your character perform some action in relation to the setting.

You also might wish to employ some startling action in the first sentence or two. Give them a reason to raise an eyebrow as they peruse your first page. Be sure not to give them the entire picture all at once or their curiosity won’t compel them to take your novel home.

Another possibility is to open with a puzzle of sorts. You might have your hero look over something he doesn’t understand. Of course, the “something” must be integral to the storyline, but if you do this well, it may raise a question in the reader’s mind and encourage him to learn more.

You might attempt to create that perfect twist of words that captures their imagination. “It was the best of times. It was the worst of times.” It’s tough to do, but quite effective.

You might introduce the reader to an intriguing character in context or perspective. Is he an outsider, an outlaw or an odd duck? Again, this just might spark the reader’s imagination.

Another potential opening could include a microcosm of your entire story. If you’re writing about a murder, begin with a murder. If  your story revolves around a young girls fantasies, begin with a fantasy. This type of opening can bring your reader into focus fast.

You can also attempt to fascinate or intrigue the reader with an interesting character. Imagine an opening sentence that shows a female detective thrashing an ex-con. Might your reader want to know more about her? If you use this tactic, focus on the character’s emotional state during the scene and not their physical description. For more on how to create effective characters, consider THIS blog article.

Maybe you could introduce your intriguing character in context. Identify their personality. Is he an outsider, an outlaw or an odd duck? Again, the secret here is to focus on the emotional aspects of your character.

One way to draw a reader into your novel is to establish a powerful mood. Even Snoopy of “Peanuts” fame understood this. He always stated his stories with, “It was a dark and stormy night.” Don’t use that line, but you get the idea. An evocative atmosphere from the very beginning may just work for you, if fits your story.

Now I have a question for you. What remarkable openings have your written or read that might work for the readers of this blog?

As always, you know I wish  you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”