| I recently had the honor of being named as a | | | | about the character--sympathize with him/her? |
| finalist in the ACFW Genesis contest, and had two | | | | Do I enjoy the character's personality? Is there |
| days in which to make changes to my entry to | | | | something about him/her that I can relate to? |
| resumbit for the finals. | | | | This was probably the most difficult thing for me |
| That was a tense two days, as I agonized over | | | | in writing my own novel. The author walks a fine |
| every word, every sentence and every | | | | line between leaving room for the main character |
| paragraph (and for that matter--every comma). | | | | to grow by showing their faults/issues, and |
| My entry consisted of a one-page, single-spaced | | | | making them likable enough for the reader to |
| synopsis and the first fifteen pages of my | | | | connect with. There is very little wiggle room |
| manuscript. | | | | between a self-pitying, whiny heroine, and a |
| The whole process underscored for me the | | | | heroine who has experienced tragedy after |
| importance of the first few pages of any novel. | | | | tragedy and is having difficulty getting past it. |
| Here is the monumental task that a writer faces | | | | 5. Set the Tone of the Book |
| when beginning their manuscript: | | | | This was difficult for me as well. I wanted to |
| 1. Story Problem/Question | | | | show my main character as someone who had |
| Every story has to have one. If your story | | | | faced a lot of challenges, but I also wanted the |
| doesn't have a problem or question, then what | | | | tone of the novel to fun, zippy, humorous and |
| are you writing about? Why should the reader | | | | romantic. Very tall order, but not impossible. The |
| want to turn the page to find out what happens | | | | author really needs to know what kind of tone to |
| next? | | | | set from the very beginning, or you'll end up with |
| 2. Character's Desire | | | | a mishmash of tones that confuses the reader. |
| In order for the reader to connect with the main | | | | 6. Establish the Story World |
| character, they have to understand what he/she | | | | Understanding where the story is taking place is |
| wants. In my story, the character's desire is the | | | | crucial. When the stage is set for the reader, it |
| story problem, but I don't think it has to be in | | | | lends an air of credibility to the story--makes it |
| every story. What do you think? | | | | more real and lifelike. This is true whether you're |
| 3. Hook the Reader | | | | writing romance or science fiction. Without setting, |
| I can usually tell if I'm going to like a book within | | | | the characters float around with nothing to |
| the first few pages. Sometimes when I force | | | | connect them to reality. |
| myself to keep reading, I'm finally able to be | | | | 7. Establish the Conflict |
| drawn into the story. But most of the time it | | | | Every novel needs conflict. Donald Maass, author |
| never happens. The books I can't put down are | | | | of Writing The Breakout Novel, says that you |
| the ones that capture me from word one. | | | | need it on every page. It's a necessary ingredient |
| 4. Connect the Reader with the Main Character | | | | on the first few pages for sure. Without it, the |
| For me, this is closely related with the character's | | | | story is flat and boring. The conflict needs to be |
| desire. When I can connect with the character via | | | | both internal and external. |
| an understandable desire, I'm hooked. But it also | | | | If you want to make your novel |
| involves more. Is the character likable? If he/she's | | | | "un-put-downable" consider these seven topics to |
| not likable, is there a good reason why? Do I care | | | | improve your writing. |