Novel Structure: An Aggregate Paradigm
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I’m very much a believer that writers must find the methods that work best for them. But just as a musician must first understand something about the structure of music (rhythm, tempo, scales, etc.) to be able to invent and improvise, so, too, must a story writer have some understanding of the structure of story.
My previous article featured a list of novel structure resources. Having combed through that list, I found some common ground among the various paradigms I investigated. This post features a video in which I walk through the plot points I saw over and over again in my research.
Juggle External Action and Interiority
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External refers to what’s happening outside of characters’ minds. It’s the stuff that an observer could see. You could film it pretty easily. Internal refers to what’s going on inside a character’s head: feelings and thoughts. Prose storytelling regularly informs us of characters’ interiority in ways that, say, a screenplay cannot.
Creating Suspense
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I recently came across this insightful analysis of suspense in the opening of the film Inglorious Basterds. In it, there’s a mention of an article from the Psychology journal, Frontiers in Psychology about Tension and Suspense. The authors, Moritz Lehne and Stefan Koelsch, posit six components underlying suspense and tension, which I find useful in thinking about crafting scenes to engage your readers and get your characters into trouble.
Common Problems in Manuscripts
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I work with a lot of manuscripts–everything from novels to short stories; chapters, scenes; essays, memoir–and in this video, I go over four of the most common problems I’ve encountered in the work I’ve read in the past year or so.