Index Post to Art and Craft of Story and Plot Arcs

Index Post to Art and Craft of Story and Plot Arcs
by
Jacqueline Lichtenberg

Catch up on these posts before we launch into a wide discussion of constructing "story springboards" and focusing on the episodic structure of story and plot. 

Put these posts together -- like the pixels of an image -- and you will find a 3-D image of how to manipulate the story inside your mind into a novel or series of novels (or a videogame) product that can be marketed by the existing marketing system.

(You can write about inventing a new marketing system that would accommodate your product without manipulation and sell that book to the existing market!)

Here is an index to 8 parts of the THEME-PLOT-INTEGRATION series:

http://aliendjinnromances.blogspot.com/2013/05/index-to-theme-plot-integration.html

For the Art of Arcs series pay particular attention to:

http://aliendjinnromances.blogspot.com/2013/05/theme-plot-integration-part-8-use-of-co.html

Here is the STORY SPRINGBOARDS series part 1 and 2 -- part 3 coming next week getting very deep into this subject of "potential energy" in a story concept. Part 4, the following week will discuss how to learn to write an "interesting" story. 

http://aliendjinnromances.blogspot.com/2012/01/story-springboards-part-1-art-heists-by.html
http://aliendjinnromances.blogspot.com/2012/04/story-springboards-part-2-tv-shows.html

Master Theme Structure, The Camera, Nesting Plots and Stories is the title of the following entry in "verisimilitude vs reality" which covers point of view and shifting point of view.

http://aliendjinnromances.blogspot.com/2011/09/verisimilitude-vs-reality-part-2-master.html

Part 3 "The Game, The Stakes, the Template continues the point of view discussion.

http://aliendjinnromances.blogspot.com/2011/09/verisimilitude-vs-reality-part-3-game.html

Remember, to create CONFLICT you must be able to speak FOR the side of any issue in your reader's daily news feed that you deeply, personally, and adamantly disagree with as you present the side you do agree with.  Otherwise, any characcters you set up as adversaries for your Main Character will tend to be "paper tigers." 

For the time you are writing the deeds, thinking, motives and dialogue of the adversary, you must become that person -- believing in your gut all the things you, personally and in real life, abhor. 

That is why Alma Hill taught that WRITING IS A PERFORMING ART -- it is.  You must be an ACTOR to pull off characters Point of View with verisimilitude.

Now the THEME-WORLDBUILDING series -- not yet ready for its own index post but germain to the Art and Craft of Story and Plot ARCS -- the "arc" is built into story/plot at the point where theme and worldbuilding intersect, which is the story-springboard that manifests as conflict. 

http://aliendjinnromances.blogspot.com/2013/02/theme-worldbuilding-integration-part-6.html 

THEME-WORLDBUILDING has 7 parts so far:
http://aliendjinnromances.blogspot.com/2013/10/theme-worldbuilding-integration-part-7.html

Part 6 of Theme-Worldbuilding is about the use of Media Headlines -- and reveals the ART OF THE MISNOMER (which is headline writing, and "tagging" complex issues with misleading but short nicknames.)

"Fast Food" as unhealthy because of its speed is a handy example of a misnomer since no food is "faster" than say picking an apple and chomping into it.  Few foods are as healthy as an apple or a handful of fresh-picked blueberries.  So the faster the food, the more healthy it is. 

The MISNOMER is all about misdirecting the attention away from the actual issue. 

In the  case of "fast food" the issue is complex, artificial additives that are manufactured by slow, arduous and expensive chemical processing, as well as fats and oils that have nutritional values tediously processed out of them.  The faster the food, the more healthy it tends to be -- so the correct nomenclature for "Fast Food That Is Bad For You" should be "SLOW FOOD."  Would "Slow Food" make a selling headline?

It's all about MARKETING: 
http://en.wikipedia.org/wiki/History_of_public_relations  -- details the development of a mathematical model for controlling the behavior of large groups of people (e.g. MARKETING).  This mathematical model has been the primary mover of modern civilization since the successful application to shoring up the price of bacon for farmers by creating the myth that the "bacon and eggs breakfast" is the path to success in life, starting with commissioning a scholarly study about breakfasts paid for by the firm hired to publicize the health benefits of bacon (because pig farmers were losing money.) 

Much of our current culture is based on manipulating people.  So the misnomer "interesting" is attached to novels, movies, non-fiction subjects, and news broadcasts, as if the attribute "grabs attention" is an attribute intrinsic to the Event or the Report of the Event rather than to the person whose attention has been grabbed.

Of course, if everyone understood what "interesting" really means, no commercial would ever be profitable, and none of our current politicians would be elected.   Public Relations (as a mathematical model of  how to manipulate behavior) only works because the public is ignorant of how and why it works, but Public Relations is what the big Publishers have whole departments of experts to do for writers -- that Indie Writers don't yet know how to do for themselves.  (yet, mind you! yet!)

The "arc" techniques we'll be discussing are much like building a bridge -- whether it can carry the traffic depends on the anchor points and the suspension cables.  It is a structure and the load capability of the structure depends on the materials used and the design of the intersecting points that bear that load.  Arc techniques are all very much like engineering, and also resemble "Public Relations."

Story and Plot are like the pylons and cables that support the roadway.  There is a science to the engineering -- the choice of materials, location the bridge, design of load-bearing angles -- but there's an "art" too because it matters how the thing looks, how it fits into its surroundings, blends with the scenery and at the same time stands out as elegant and beautiful in its own right.  There is also a political component to bridge building in getting the permissions, clearances, contracts, etc.  That political component is analogous to "selling" your story to a "publisher" who will turn it over to their staff of experts in the Publicity Department -- people whose schooling is in Public Relations not story-craft.   

Here are links to Astrology and Tarot posts just for writers:

Here is an index to Astrology posts:
http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me_30.html

And here is one that carries that subject on a bit farther:

http://aliendjinnromances.blogspot.com/2011/11/astrology-just-for-writers-part-11.html

Here is are index posts for the 20 posts on Tarot for writers:

http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me.html

http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me_23.html

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Verisimilitude VS Reality - Part 3 The Game, The Stakes, The Template

Last week we covered 3 "Clues" about how to integrate Multiple Point of View with Story Structure; Master Theme Structure,  The Camera,  Nesting Plots and Stories. 

http://aliendjinnromances.blogspot.com/2011/09/verisimilitude-vs-reality-part-2-master.html
This week we have 3 more "Clues" for the advanced writing student, and a homework assignment that should keep you busy a few years.

CLUE 4   The Tennis Match vs The Football Game

Your reader is reading your novel as if watching a tennis match, or a football game (depending on how many Point of View characters you have).

If you write a novel with only one point of view character, that character is the only thing in the novel that the reader is watching.  That character is the only thing that matters to the reader.  So if that character fails to capture affection or identification from the reader, the novel fails.  But it is much, much easier to write from a single point of view with one theme, one conflict, one resolution.  Do that in 1st person, and you may have a small readership, but you will glue those readers to the page.

When you have more than one point of view character, the reader ceases to be totally absorbed in one character. 

At least that's how it should work.  If a reader finds one POV character much more absorbing than the others, the reader is likely to skip the sections from the other POV and then not recommend the novel to friends.

So when you move from single POV to multiple POV, you shift what is important to the readership from the character of the person experiencing a story, to the PLOT rather than the STORY.

Consider the person who goes to a dance recital to see one dancer perform several pieces on stage, to demonstrate what they've learned, or how good a dancer they are.  Or Figure Skating championships where you have the single skater at a time, but several in a row to judge against each other. 

That's a single POV novel, or novel series where each novel has a different protagonist, POV character.

The typical Romance bounces the POV from the woman to the man and back, each of them most concerned about what's going on in the other's head and how to get the attention they want.

The typical Romance novel is more like a Tennis match where the audience watches two people volleying a ball back and forth.  It's pretty simple, the stakes and the feats required to prevail are clear.  But the viewer watches the ball, not the characters. 

Now move up to the football game. 

Yes, we cheer particular players or root for this team or that, but we go to THE GAME not a given player's performance.

The performance (the story) is secondary to the GAME and it's outcome. 

The viewer's attention is on the scoreboard, the referees' calls, the bench, the coach, the cheerleaders, and the concessionaire barker moving through the stands, maybe the TV cameras in the booth above.  And the viewer is having a great time.  People "go to the game" not for the players but to have a great time! 

The Camera mentioned in Clue 2 which was on the POV character's shoulder, and is on the shoulder of each of the POV characters in a more complex work, now is on the viewer's shoulder.

The writer of a 2 or 3 POV novel can inter-cut from all 2 or 3 cameras on character's shoulders, creating verisimilitude by following each POV character's story and plot within that character's "blinders." 

Use more than 3 characters and you don't "intercut" you "pan" the camera from one thread of a story to another.  The reader's attention is under the reader's control, not yours, and your success as a writer depends on anticipating where the reader's eye will light next, not on guiding it where you want it.

The technique of inter-cutting between cameras to get a different perspective on what's going on, becomes the technique of following The Game - following the ball when it's in play, following the bench when a player substitution goes on, following the TV cameras up above when something happens, following the cheerleaders when they take the field at half-time (yes, the 'beat' that belongs at the halfway point changes by how many POV characters there are).

The reader is no longer interested in the emotional reality of an individual character, or two, but is interested in the outcome of The Game.

That makes all the stories of all the characters of lesser import.

But it allows the writer to tackle bigger, more emphatically egregious themes, themes which violate all the reader's ideas of reality.

Such novels place the reader in the position of Observer, outside the action, above "all that."  The reader can feel superior to all the characters because the reader understands what's going on better than any given character on the field.

That makes it harder for the writer to get the reader to care about "the stakes" a given player is playing for.

The trick in Point of View Shifts is to follow The Ball, follow The Game, to follow the journey toward finding out whether the stakes are won or lost. 

So you come to a point where a character throws the ball, and shift point of view in a PAN not a CUT to the player who catches that ball, then follow what the player with the ball does with it until it leaves his/her hands, and you follow that ball not the character's story, across point of view shifts.  How the ball travels, where, to whom, who gets smeared and who carries it to the next touchdown all explicate and illustrate the theme without ever stating that theme. 

So in a multiple point of view novel, you don't shift point of view, you follow the ball that is describing the theme by the way it moves. 

So we're back to THEME. 

CLUE 5 The Stakes

The more points of view the writer presents, the more crucial it is to get the reader involved in The Stakes, and the harder it is for the writer to achieve that involvement.

When you have only one Point of View, "The Stakes" are just what that one person stands to gain, lose, or learn from resolving the conflict.

When you have 2 Points of View (as in a Romance) "The Stakes" are whether that couple will coalesce into a working Relationship that will last.  The rest is decoration.  The real goal is forming a stable Relationship.

When you have multiple Points of View, "The Stakes" is the outcome of "The Game." 

In the first two instances, the writer's job of getting the reader to care is fairly easy.  Show don't tell how the character is likeable and the rest falls into place.  That's the thesis of Blake Snyder's works on screenwriting, SAVE THE CAT.

To create a likeable character, show the character's very first action the reader sees as "saving a cat" -- doing something that displays a good heart, something the reader/viewer approves of that takes an effort or a risk on the part of the character, a risk beyond the ostensible reward.

So even in multiple point of view novels, you must create that likeable character trait.  What's "likeable" varies with target readership.

But one thing is always the same. 

The outcome of The Game is the important thing to the reader.

How The Game comes out will defy or validate the reader's sense of Reality, of Truth, Justice And The American Way, of Good vs. Evil, or whatever The Game is about.

The Game is always The Game Of Life.

And it is the reader's life at stake, not the writer's.

Hence the writer must learn to walk a mile in the reader's moccasins, must learn to espouse with vigor and sincere enthusiasm whatever philosophy the reader holds most dear but has no clue is inside them.

When the writer brings a subconscious value held dear by the reader to the surface, or just barely under the surface, at the end of the novel, the reader CRIES or LAUGHS or responds in a part of their being they didn't know was there.  In a way, the reader loses virginity in this process.  And the reader will always remember that book. 

That is the payload the writer lives to deliver.  It is the essence of the artform.  Punch.  Impact. Revelation.

So in the outcome of The Game the reader has been viewing from the 50-yard line, the reader will come to understand the theme of your novel.

But the reader's understanding of your theme will not be your understanding of it.

If you have "the good guys" win, the reader could conclude not, "justice prevails" but "might makes right."  Or possibly the reader won't "buy" the ending, and will feel it's "contrived" because they were rooting for the bad guys.

You can't make a reader understand life the way you do because their reality isn't yours.

But using verisimilitude, you can allow the reader to experience a reality that is not their own, even if it isn't yours either.

The more point of view characters you use, the more likely it is the reader will not even be aware of your theme.

But if you, as writer, are not very clear on why each element is emphasized in the novel just this amount, not more or less, then the reader won't feel verisimilitude or reality -- they will feel confused.

CLUE 6   Steal From The Best

One mistake many new writers make is to attempt to create or innovate a brand new, never before used, plot structure in order to be seen by publishers a "original" and thus get promoted big time.

But if you study some first-published works of very famous writers, you will find (and this is not an easy study) that their first novels, or breakout novels, all shared one characteristic.

They used an old, tried and true, done to death, plot structure.

They say there aren't any new plots.  Maybe not, but there are new plot structures popping up all the time -- just not as first sales by unknown writers.

Occasionally you'll see one that seems to be a first sale, but digging a little you'll find that writer has a professional track record under a different name. 

You might want to read my post on pen-names:
http://aliendjinnromances.blogspot.com/2011/05/should-you-make-up-pen-name-part-ii.html
It has a link to part one.

If you have Microsoft Office, you may have found on the Microsoft website where they sell or give away "templates" for their more complicated programs.

You need such a template to attempt the leap from single POV to multiple POV novel structure.  It's what I used to structure MOLT BROTHER.

But they don't give away templates for novels.  The closest thing I've found is Blake Snyder's Beat Sheet, referenced so many times in the posts listed in Part 2 of this series.

Using a familiar Template for your multiple point of view novel gives you a leg up with inducing suspension of disbelief in your readers.

Snyder uses the 3-act screenplay template.

There is a 4-act screenplay structure favored by many.

The classic 100,000 word novel structure is 4-act.

But you can't really do more than 2 or possibly 3 points of view in 100,000 words of novel.

For real multiple point of view, a whole football game, you need 150,000 to 175,000 words, and few publishers would take a chance on a new writer at that expensive length, at least not if they hadn't won some prestigious awards in the same category with short stories.

So pick a word length you think you can sell, and figure how many points of view you'll need to cover your theme.  If there are too many points of view for the length you can sell, divide the work into a series of novels.

Today you can sell novel series provided the first novel stands alone well enough that it works if the second novel is not published because sales on the first didn't justify it.

I would suggest finishing, completely polishing, 3 novels in a series before presenting them to a publisher if you have no previous sales.

Now, find four or five novels in the general genre or subject area of your material, aimed at your market, that are all of the same length as what you think you can sell.  Choose novels which really twang your heartstrings just the way you want to reach your readers.  Be sure you choose novels that you find unutterably fascinating, re-readable, and moving.  Choose the best of the best of what you have read that represent the reason you want to write this story.  Eventually, your marketing materials will be based on these choices.  Editors will pitch your novel to their sales staff as "just like" or "appealing to lovers of" those 5 novel choices. 

By the time you get done with the following exercise, you may be bored to tears with those novels.

Study those novels for structure. 

Count how many pages between internal-climaxes (I don't mean sex scenes).

Count the length of the scenes (750 words is a great meter per narrative scene).

Count the points of view.  You want to choose novels that have the same number of points of view that you will be using.

Find the story and the plot-thread for each point of view.

Find the Beginning, Middle, End, and quarter-points for each story.

Find which story starts first and ends last.

Find which starts second and find where it ends.  And so on, until you've charted the emotional ups and downs, climaxes and suspense-lines of each of the points of view in all your samples.

Find the "ball" -- and name the Game -- in each novel.  What is the objective of the game?  Who's playing?  What are the stakes?  What is the meaning of it all? 

Read reviews, especially by other readers such as you find on amazon.com, to find what other readers found interesting or boring in these novels.

If I've guessed right, you will find the novel structure behind each of your choices is the same.

Yes, very likely, if you loved each of these chosen novels all that much, you will very likely find that all (or at least most) conform to the same structure.

Why is that?  Because what makes us love novels is not the characters but the structure.

Every single reader believes to the tips of their toenails that what they love is the character in this or that TV show or novel.

It isn't.  What evokes that fascination is the structure that displays the character.

It's like putting a classy, sparkling diamond on a glittery white background under flourescent lights, or putting that same diamond on clean, rich black velvet with one single, tiny spotlight of sunlight spectrum.  Do you love the sight of the diamond or the setting?  Unless you're a gem-buff, it's the setting that sparks the emotion.  That setting in the gem world is the same as the structure in the novel world.  The structure is the part the consumer, the buyer, never notices.  But the professional will fuss over it endlessly. 

Or as caterers will tell you, how delicious food is said to taste depends entirely on presentation not ingredients.  Ingredients count, of course, but presentation can ruin marvelous ingredients. 

Why is this presentation, or novel structure, really the heart-grabber?

Because that structure (like the football game and its rules) provides the element of verisimilitude.

The novel's structure reflects or echos our perception of reality.

In order to deal with reality, we cut it down to size by wearing philosophical "blinders" - like a racehorse wears so the horse won't spook at movement to the side or get flying mud in their eyes.

We try to understand reality.

We impose our own philosophical structure on our personal reality, just so we can deal.

Likewise, in entertainment or art, in the perception of beauty or deliciousness, or sexiness, we respond most strongly to that which fits into the structure we use to understand our reality.

Fiction seems realistic, and thus more satisfying, when its structure mimics our own perception of reality.

That structure of novel and our reality contains within its bones our most cherished, subconscious assumptions about reality, our values, our notion of what is right and what is wrong, of good and evil and whether such a thing actually exists.  The most fundamental axioms and postulates of our personal philosophy (you can't trust men/women; Big Business is the Enemy of the People), are encoded into that structure.

In my series on Astrology Just For Writers on this blog, I think I've explained how Saturn is structure -- it is referred to by some of the most prominent Astrologers as the Illusion that Reality is Real.

That's what I'm talking about here.  The structure of our fiction contains the skeleton that supports our cherished (and necessary for sanity, just as a racehorse's blinders are necessary for the horse's sanity) illusion that our reality is real.

Some people go to fiction for a challenge to that illusion, for a glimpse outside their daily blinders.

Others go to fiction for a validation of that illusion they need so much.


The same reader might have either or both purposes in mind when choosing a given novel to read.  Whatever your reader's purpose, thwart it at your own peril. 

Romance actually caters well to both purposes.

A writer's journey to craft mastery requires the cautious, gentle, shedding of those blinders, at least the cultural ones.

The first step on that journey is choosing the 5 novels that have impacted you the hardest and analyzing them for all these traits I've listed, and more that I've touched on in other posts.

But most especially analyze for the structure that validates your personal reality via theme.

The only place for theme in fiction (except for maybe one line of dialogue at the end, or possibly one line at the beginning, and rarely should that line be "on the nose.") - the only place for theme is inside the bone marrow of that skeleton of structure.

So find 5 novels, analyze them for their structure, and then extract that structure to be your TEMPLATE for this type of novel (chosen by number of POV characters).

If you work at it, you'll end up with several such templates, each for a different type of novel aimed at a different readership, different kinds of publishers, different number of points of view.

This same trick works for non-fiction too.  Structure is everything in fiction and non-fiction. 

Extract successful templates, shake off the clinging details, delete anything specific to other writer's styles, and use that template for your own fiction or non-fiction.

For MOLT BROTHER I used a template of converging plot-lines.






I took two main characters connected by a single huge Project (in this case an interstellar archeological pursuit of evidence of a forerunner civilization in the galaxy).  The two characters' lives were connected by secondary characters who were running the dig.

The weak spot in this novel is that the reader can't see clearly enough, right off the bat, what the connection between the two groups of characters will be.  You don't see the convergence of the plot lines until too deep into the novel. 

But the novel developes velocity as the two main POV characters are on a collision course, and finally meet.

Then both main characters and their secondary characters are furiously involved in the same big stakes game.

MOLT BROTHER and CITY OF A MILLION LEGENDS
are about individual characters and their present lives, but what they are doing, why they do it, and what happens because they do it are all the result of karmic forces they let loose thousands of years ago, converging forces.  One of those forces is the invisible, unknown to exist, arch-enemy orchestrating dire events off stage - the evil puppet master. 

It's an enormously complex piece of worldbuilding with a deceptively simple reader-interface. 

The Converging Plot Lines structure is classic, but it's difficult to do. 

MOLT BROTHER has enough technical flaws in the facade to allow writers to deconstruct it and learn the template for their own use.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Verisimilitude VS Reality-Part 2: Master Theme Structure, The Camera, Nesting Plots and Stories

Part 1 of this series can be found here:
http://aliendjinnromances.blogspot.com/2009/01/verisimilitude-vs-reality.html


And now we're going to tackle an advanced topic, integrating two whole sets of writing techniques into a more complex composition.  I'll highlight 3 major clues this week, and three more next week, a lot to digest.

But first, review these previous posts that we'll build on here.  They contain the components of integrating multiple point of view with story structure. 

Related posts:
http://aliendjinnromances.blogspot.com/2009/07/six-kinds-of-power-in-relationship.html

http://aliendjinnromances.blogspot.com/2009/02/expletive-deleted-tender-romance.html

http://aliendjinnromances.blogspot.com/2009/02/dissing-formula-novel.html

http://aliendjinnromances.blogspot.com/2009/08/plot-vs-story.html

http://aliendjinnromances.blogspot.com/2009/01/shifting-pov.html

http://aliendjinnromances.blogspot.com/2008/09/how-to-learn-to-use-theme-as-art.html

http://aliendjinnromances.blogspot.com/2008/09/what-you-can-do-in-novel-that-you-cant.html
(that you can't do in a Movie)

Oddly enough that last one has the structural trick of multiple Points Of View explained in the best way I've managed, but I've been asked to revisit the topic of integrating multiple-point-of-view stories with Plot Structure.

Last week I told you about my first attempt at the 2-POV plot structure.

http://aliendjinnromances.blogspot.com/2011/09/audiblecom-audiobook-adventure.html
So this week's focus on multiple point of view and plot structure will make a good lead-in to a much deeper exploration of THEME and how to work with it, because that's the core of the integration technique.  Theme  holds a story and plot together.  Theme is what makes it possible to switch points of view without losing the reader's interest.

Integrating Point of View with Plot is a juggling act, for sure, and an advanced craft technique newly published writers may need to master swiftly after their first sale, both because long series require it, and because editors are seeing sales statistics that make them lean hard on writers to do it, even though the editor doesn't know how to teach it.

I can't honestly say I've mastered it myself.

My first attempt was my novel Molt Brother, newly available in a very wide variety of e-book formats. 




Now here's the thing.  The readership at the time Molt Brother was first published in Mass Market (I'm assuming you've read it because I've discussed it here before) was not conditioned to reading SF novels with a plot structured for two different points of view.  Worse than that, actually using both a male and female point of view, or a human and non-human point of view, was just not done in the action genres.  Yet I did both male/female and human/non-human in the same novel. 

So Molt  Brother was both an experimental piece and my first attempt at this structure.

Molt Brother has recently been picked up for audiobook, and you will find it on audible.com, iTunes, and Amazon in audiobook.  I'm hoping the direct sequel, City of a Million Legends will be out in audiobook soon. 

I tried Molt Brother out on a Historical writer I admire, Carol Buchanan, and she has praised it several times on twitter.  I told you a little about that last week.  See the link above. 

From the readers at the time of first publication, I got a lot of blowback about how readers really couldn't tolerate one of the point of view characters, an alien female named Arshel.  More recent readers don't seem to be having the same problem (others maybe, but not the same ones). 

Arshel was a character pretty much invented by my editor and the dual point of view was required, not something I had originally intended for telling this interstellar archeology story.

So I can sympathize with the new writer, recently breaking into publishing, who is now wrestling with this problem.

The lesson is basically, don't try to do too many new techniques in one novel.  Master them one at a time, but keep adding techniques.

You don't "master" a "technique" by paying close attention and concentrating, rewriting until you get the manuscript "right." 

The object of these doing writing lessons is not to  produce one perfect novel.  The object is to master the process of producing novels so you don't have to think about craft and can fully concentrate on your art. 

You master a technique by doing 5 or 10 manuscripts with it, until you can do it without knowing you've done it.  When you can write it while minding the kids and talking on the phone, timing dinner in the oven, and jotting down notes for your next novel, then you've "mastered" the technique. 

But first you do have to do it on purpose, one tiny step, one line and one paragraph, one bit of dialogue at a time, rewriting and rewriting one manuscript until it's the best you can do.  Then do another story, then another, work against distractions and against the clock. 

The hallmark of professional mastery in any field, particularly a performing art like writing, is that you meet your deadlines.  "The Show Must Go On" is the main adage of the writer.  Get the manuscript out of your hands, go on to the next.  

So let's break this down into components that can be added one at a time to the writer's toolbox.

CLUE 1   Master Theme Structure

From my post: http://aliendjinnromances.blogspot.com/2008/09/what-you-can-do-in-novel-that-you-cant.html


-------QUOTE---------
I was delighted when a student writer asked me (and then reminded me) to explain the structure of very long novels, with emphasis on how to structure a novel for 3 viewpoint characters, even if they're all protagonists.

It's really very simple to do, but infernally difficult to explain.

In order to understand how to craft such a long novel that doesn't sag in the middle or peter out at the end, you have to have a firm grasp of the basics of structure that I've discussed previously.

Protagonist, antagonist, conflict, beginning, middle, end, and THEME.

And the most important structural component in a long piece is THEME.

A short story (under 7,500 words) can have one theme, and only ONE. It must be something very clear, starkly simple, mostly concrete -- something you can say in 3 to 10 words. "Life is Just A Bowl Of Cherries" -- "No Good Deed Goes Unpunished" -- a bumper sticker.

A novelette (to 17,500 words) can have a DOMINANT THEME and 1 SUB-THEME (and only one).

A novella (17,500 to 40,000) can have a DOMINANT THEME and 2 SUB-THEMES (only 2).

A NOVEL (40,000 words and up) (up to any length) can (but doesn't have to have) a DOMINANT THEME and UP TO 3 SUB-THEMES and no more than 3.

I did not make this up. I learned it in the Famous Writer's Course (a correspondence course on how to write fiction which I completed in the 1970's).

I've been a professional reviewer since the 1980's and a paid reviewer for The Monthly Aspectarian since 1993. I've read a lot of books in addition to the books I read just because I want to. I have NEVER seen this above paradigm of thematic relationships successfully violated.

If you want to see how it works in practice, read the early draft of my Sime~Gen Novel, UNTO ZEOR, FOREVER which is titled SIME SURGEON and posted for free reading at
http://www.simegen.com/sgfandom/rimonslibrary/surgeon/SURGEON1.html Then read UNTO ZEOR, FOREVER (which had a HC edition and a paperback edition so you might find a copy somewhere).

The difference is the thematic structure paradigm strictly enforced, rigidly applied -- because my editor at Doubleday insisted or no publication. Her favorite mantra "It isn't clear" -- comes from how she searches for that thematic structure and the inner relationships between the sub-themes. But she, like most writers, does that subconsciously.
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You can find all the Sime~Gen novels here:
http://astore.amazon.com/simegen-20  (that's an Amazon "store" with links to paper and ebook editions)

Look on the right, find Jacqueline Lichtenberg, click, and find Molt Brother, City of a Million Legends, the Dushau Trilogy, and other books including 2 short story collections by me.  Many of Jean Lorrah's novels are there too.

So, the first CLUE is to master THEME STRUCTURE.   And to understand the use of the Master Theme, or the main theme.  We'll have to discuss that in later posts, slicing and dicing philosophy, psychology, religion and other really discomforting topics.  To be able to extract the most Romance Writing Craft clues out of those future posts, you will need to foster a clinical distance from your own personal belief system and subconscious assumptions about reality. 

Most writers have probably been fostering that clinical distance from about age 5 already, simply because writers, like actors, just adore studying people --- other people with different points of view.

So now --

CLUE 2   The Camera

I don't think I've used this Camera analogy before, but again, as with the thematic structure clue, I didn't make it up.  I learned it.

And it isn't something that the e-book revolution will change, destroy, wipe-out or even modify.

That's because this is how the basic human brain is hard-wired.

In "Reality" from the title of this piece, humans (the majority of your readership will be human, probably) view their lives, and the world through one, single, narrow point of view with "blinders" (like race horses) on the sides of their philophical vision to narrow and concentrate their vision of reality.

It's disturbing to glimpse what's outside those blinders.

Your personal philosophy is probably outside the blinders of the majority of your intended readership.

People used to publish books because they were "important" -- because they would "disturb" readers -- because they said something most readers hadn't thought of.  That was before publishing was thrust onto a "profit or die" platform, when readers were only the highly educated, vastly intelligent 5% of humanity looking for new ideas.

Today, that 5% is gravitating toward the ebook and indie-publishing market, and everyone else is buying from Barnes&Noble, often on Nook but really just looking for "the same but different" as Hollywood puts it.  You can be successful with strange, different things in the indie market that won't fly in Mass Market.

That shift is maybe half done, and there could be a sea change before you finish your latest novel, so stay in touch with what's succeeding and what is not.

So if you're aiming at Mass Market (or an "opens everywhere" screenplay, not an indie screenplay) you must create verisimilitude -- the illusion of reality.

To do that, you have to have a good grasp of what your readership sees as reality, then you must frame your information feed (oh, do read those posts listed above) to cast the illusion of reality around your characters and their world.

Lately, many Action-Fantasy and Fantasy-Romance novels are being publishing using First Person narrative because it is easy for a writer who can't handle point of view to cast that illusion of reality if the narrative is all about "I did this, I thought this, I wanted that, I changed my mind" -- it's a cheap trick, and not literarily valid all the time, but it works and it's very easy to do.

The success of the First Person narrative in today's market may reflect our modern young culture's obsession with Self.  It often seems as if in our reality, we are very concerned about "I think about others all the time," or "I can't let the helpless starve," or whatever idealistic value is in focus.  It's about how I practice this value in my life. 

So First Person narratives have verisimilitude for those who, in reality, think inside their own minds "I - I - I"

So if you choose a Third Person narrative, or Omniscient Narrator, you have to work harder at verisimilitude.

What exactly do you do in your mind to create verisimilitude in a Third Person narrative?

Here's how I learned it.

You set a video camera on the shoulder of your character and show the reader what it records.

The camera is not inside the character's head.  You can discuss his "I" narrative only by inference. 

The camera analogy automatically sets those "blinders" around the edges of the character's peripheral vision -- this works wonders for writing Mystery or Mystery-Romance. 

The writer will be tempted to talk about (in those dreaded expository lumps) all the things going on that the writer knows about (must know about) but that the character doesn't know about, doesn't see, isn't aware of.  The CAMERA POINT OF VIEW will prevent the writer from spilling the beans to the reader, or make it easy for the editor to slash out the expository paragraphs and send the manuscript back for rewrite.

What the character does not (yet) know is the single, easiest, way to create a "suspense line" right alongside the "because line" that I've discussed in those posts listed above.

When the character finds out what was happening outside their camera angle, outside their blinders, the reader will experience the emotional shock right along with the character -- so you have created empathy and character identification in your reader, all by leaving out the exposition.

Now, using the Camera On the Shoulder, you can insert a character's thoughts on ocasion when the "beats" (oh, do read the posts listed above) require the information be fed to the reader.  You do that by setting the character's thoughts in a different "grammatical voice" and using a different verb tense than in the narrative.  And you set those "worded thoughts" in italics, not for emphasis but because they are not spoken.  So you don't use quotes on worded thoughts. 

The character's inner-story is revealed, only one sparse hint at a time, in those worded thoughts.   Be very VERY careful to get the verb tense right because that's what carries the emotional impact, the shift from third to first person brings a loud shout of immediacy and personal contact.  A lot of Mass Market novels today are too loosely edited and very often the italics are omitted or the verb tense and person of the pronouns aren't changed properly in the worded thought.  For good examples, see Marion Zimmer Bradley's novels.  Studying her work for the source of the effects she creates is where I learned the worded-thought technique.

CLUE 3   Nesting Plots and Stories

In a very long novel with multiple points of view, you need to have a complete story for each character, but only one plot for all the characters.

No two writers do this breakdown in the same sequence, and any given writer will do this exact breakdown in different ways for different projects.  How it's accomplished is never the same twice.  But every really great novel or film with wide readerships/ viewerships displays the exact same results as I'm about to describe.

As you outline before writing, during writing, and after finishing the first draft, look for and impose this structure on the work, ruthlessly.  After the structure is in place, go back and polish up the "art" that was your original intent.

1) MAIN THEME - nail a single main philosophical theme that dominates the work

2) MAIN CHARACTER - the main theme is the lesson the main character learns.  Don't let the supporting players overshadow or upstage the main character.  Count the main character's pages of "face-time" and dialogue lines just like an actor's agent would.  The FIRST CHARACTER intro'd on page 1 is the MAIN CHARACTER, and his/her conflict resolves on the LAST PAGE.  This is the envelope surrounding all the internal commentary.

3) 1st SUPPORTING PLAYER  -- that character's complete story explicates the 1st sub-dominant theme, and the lesson of that sub-dominant (fraction of the main theme) theme is the lesson driven home to the supporting player at the single climax of the novel.  The 1st supporting player is intro'd second, and his/her sub-plot conflict resolves just before the Main Character's story resolves.  The 1st supporting character's plot-conflict resolution CAUSES the Main Character's conflict to resolve.

4) 2nd SUPPORTING PLAYER - exactly the same as 1st Supporting Player except this one is intro'd third, has a plot conflict that resolves before the 1st Supporting Player's conflict resolves, and CAUSES the 1st Supporting Player's conflict to resolve. 

See the pattern?  NESTED STORIES, one inside the other like Russian dolls.

That's enough to chew on for a while, especially if you re-read the posts linked at the top of this entry.

I'll give you 3 more CLUES next week.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com