Structuring Your Novel (affiliate link)
We’re only a month away from the release of what I feel is the most helpful information I’ve ever written about writing how-to. Structuring Your Novel: Essential Keys for Writing an Outstanding Story comes out September 1st, 2013 (stay tuned for info about another big drawing—this time worth $3,500). In the meantime, here’s a peek at the table of contents to whet your appetite!
Introduction: Why Should You Care About Story Structure?
Part 1: Story Structure
Chapter 1: The Hook
Five Elements of a Riveting First Line
Examples From Film and Literature
Chapter 2: Where to Begin
Character
Action
Setting
In Medias Res
The Dramatic Question
Chapter 3: Opening Chapter Pitfalls
Questions Your Readers Shouldn’t Have to Ask
Skip the Prologue?
Dream Sequences
Flashforwards: Use With Care
How to Handle Backstory
Chapter 4: The First Act, Pt. 1: Introducing Your Characters
Discovering Your Characters
Which Characters Should Be Introduced?
How Big Should Your Cast Be?
Helping Readers Keep Your Characters Straight
Chapter 5: The First Act, Pt. 2: Introducing Stakes and Settings
Introducing the Stakes
Introducing the Settings
Choosing the Settings
Using Your Character’s Personal Surroundings
Examples From Film and Literature
Chapter 6: The First Plot Point
Examples From Film and Literature
The Inciting and Key Events
Examples From Film and Literature
Chapter 7: The First Half of the Second Act
The First Half
Examples From Film and Literature
The Midpoint
Examples From Film and Literature
Chapter 8: The Second Half of the Second Act
Subplots
Examples From Film and Literature
Chapter 9: The Third Act
The Third Plot Point
Fulfilling Your Character’s Arc
Examples From Film and Literature
Chapter 10: The Climax
What Is the Climax?
Make It Fast, Make It Big!
Examples From Film and Literature
Chapter 11: The Resolution
Tying Off the Loose Ends—or Not?
Five Elements of a Resonant Closing Line
Examples From Film and Literature
Chapter 12: Further Considerations for Your Ending
Happy Ending or Sad Ending?
How Not to End Your Story
Killing Your Climax With Deus Ex Machina
Abandoning Your Characters in the Climax
Lying to Readers With Trick Endings
Avoiding Resolution With Cliffhangers
Watering Down the Denouement With Epilogues
Chapter 13: FAQs About Story Structure
Part 2: Scene Structure
Chapter 14: The Scene
The Two Types of Scene
The Scene
The Sequel
The Three Building Blocks of the Scene
Figuring Out the Purpose of Your Scene
Keeping Slow Scenes Moving
The Scene in Action
Chapter 15: Options for Goals in a Scene
Plot Goals vs. Scene Goals
Shared Goals
Options for Scene Goals
Questions to Ask About Your Scene Goals
Scene Goals in Action
Chapter 16: Options for Conflict in a Scene
Is Your Conflict Integral?
Allowing Conflict to Arise From Character
Framing Conflict in Dialogue
Options for Scene Conflict
Questions to Ask About Your Scene Conflict
Scene Conflict in Action
Chapter 17: Options for Disasters in a Scene
Make Your Disaster Disastrous
The “Yes, But!” Disaster
Options for Scene Disasters
Questions to Ask About Your Scene Disasters
Scene Disasters in Action
Chapter 18: The Sequel
The Three Building Blocks of the Sequel
Conflict or Tension?
The Sequel in Action
Chapter 19: Options for Reactions in a Sequel
Don’t Be Afraid of Boring Readers
Options for Sequel Reactions
Questions to Ask About Your Sequel Reactions
Sequel Reactions in Action
Chapter 20: Options for Dilemmas in a Sequel
The Three Phases of the Dilemma
Options for Sequel Dilemmas
Questions to Ask About Your Sequel Dilemmas
Sequel Dilemmas in Action
Chapter 21: Options for Decisions in a Sequel
Long-Term Goal, Short-Term Decision
Obvious Decision or Long-Shot Decision?
To State the Decision or Not?
Options for Sequel Decisions
Questions to Ask About Your Sequel Decisions
Sequel Decisions in Action
Chapter 22: Variations on Scene Structure
Variations on the Scene
Variations on the Sequel
Chapter 23: FAQs About Scene Structure
Part 3: Sentence Structure
Chapter 24: Sentence Structure
Motivation-Reaction Units
The Motivation
The Reaction
Getting the Order Right
Variations on the MRU
Common Sentence Slip-Ups
Eliminating Unnecessary Verbiage
