The answers have a lot to do with harnessing and manipulating human curiosity: our need to know what happens next, how a difficult situation will “turn out.” Will the characters we love live to see another day, and, if so, how? Something in our brain cannot rest until we know all is right—or at least resolved—in the story world.

When I wrote my novel They Will Be Coming for Us, my intent was to keep the reader entertained every step of the way. This required several things: a sprinkling of humor, a dash or two of sex, and an overall sense of danger. I was elated when my first pre-publication reviewer wrote that my book “holds readers spellbound” (more on how to do this here).

A true page turner skips like a stone from one conflict to the next. In between, a bit of downtime occurs so both readers and characters can catch their breath. But quiet moments of reflection soon segue into motion. All will not be settled until the end of the book, when the loose ends tie together in an unexpected yet plausible finish.

Here are five ways to produce a page turner:

1. Conflict and Tension. 

Fear. Emotional pain. Physical pain. Annoyance. Irritation. Confrontation. Threats of any of the above—or worse, of death. These are the things that create pressure, anxiety. 

Humans may avoid tension in their everyday lives, but it plays an important role in keeping readers engaged in the story world. Life for characters should rarely be copacetic. Even if two friends have a civil conversation, tension should be present in some form. Their conversation strains under the weight of that thing they don’t want to talk about or are afraid to ask. Or, they are talking about the thing that causes stress, and their words are heated. 

The unease of conflict must be present on the surface or below it in most every scene.

2. Make the reader worry. 

How? Create suspense. Once again, it can be subtle or it can be obvious. An ominous atmosphere, such as a twister (metaphorical or otherwise) appears in the near distance. It might be a dangerous situation that requires careful skill in order to survive. A silent man lurking in the corner, a scary dream or other portentous activity. Something could easily go wrong—make sure your readers fear that it will. 

Provide a hint of what could happen in a worst-case scenario. Then, later, when tensions are high, make the “bad” thing happen in some way, shape, or form.

3. Unpredictable Characters.

No one is all good or all bad, all nice or all mean, all prim and proper or rough around the edges. Some characters begin as the enemy and end up the savior. If you want to create twists and surprises, you need characters that can break out of whatever mold you’ve put them in, in a believable way. 

You need round characters, three-dimensional characters. Characters who may be steadfast about something, but then you reveal a tiny crack in that steadfastness, a hint of what may come. And readers will read on to see whether it does.

For example, in a scene you present a young woman who loathes the expensive coffee shop her best friend often drags her to. She refuses to order there. Before the scene ends, however, you show her sniffing the air in a way that suggests she wouldn’t mind having a delicious coffee (the hint). At the end of the story, the best friend pops in for her daily caffeine fix and finds this anti-coffee drinker alone at a table, sipping happily.

Granted, this is a minor twist, but you can imagine using the technique in a bigger, more significant way. Real people aren’t consistent, and you can use that to your advantage when creating twists and other surprises.

4. Snappy Dialogue. 

Nothing eases readers down the page faster than crisp dialogue. All dialogue should be lean, but the more intense the situation, the shorter, terser, and quicker it will be. Establish who is speaking at the get-go so you can lose the “he said/she said” and let the back-and-forth flow like a river down the page.

“Get your bag,” I say. “We’re leaving.”

“What? No.” Bella scowls.

“Laurent is coming. We can’t handle Laurent.”

“I promised I’d stay.”

“Text him from the car.”

“No.”

“Get. Your. Bag.”

Our eyes lock.

“He’ll kill us,” I say.

She runs to her room.

5. Short Sentences. 

The same effect can be created with short sentences, which quicken the pace of the action.

Jessica hovers in the doorway. If only she could reach the light. The floor creaks behind her. She startles back. “Adam!” she cries.

One might argue that every plot has the potential to be a page turner in its own way, whether action packed or quietly intense. The hint of what’s to come can act as a powerful push forward. We want to know, Will it happen? If so, what will be the result? Will the main character prevent the disaster? If she doesn’t, what kind of tragedy will occur? Even if only a personal tragedy. The need to know is the key.

Kim Catanzarite has been a freelance writer and editor for almost three decades, and she teaches copyediting for Writer’s Digest University. Her debut sci-fi thriller, They Will Be Coming for Us, published June 1, 2021. You can subscribe to her self-publishing blog, and follow her on Twitter, Instagram, or Facebook.

The post #5onFri: Five Ways to Turn Your Plot into a Page Turner appeared first on DIY MFA.

By following the mechanics of writing plot twists and paying attention to the nuts and bolts, you will force your reader to stop mid-scene, turn back a few pages (or chapters), and try to determine how you sneaked in this startling twist without them having a clue. But they had a clue. Several. 

Here’s the deal with a plot twist: You must outsmart your reader. If you don’t think smart and write smart, your reader will slap your book closed and buy nothing that leaked from your pen again. You have to get this right. So:

Plan Like You Are Building a Cottage . . . A Book Cottage!

Your future best-selling twisty-turny novel must start with a solid foundation. You need a plan. Planners have an edge over Pansters when writing a romance novel with twists and turns. Why? Because we must lay subtle clues in the proper places for the magic to work.

Foundation

Write an outline of your entire romance novel from the first word in chapter one through the starry-eyed happily ever after ending. Scour your outline as you consider places to add plot twists. Do this from beginning to end, jotting down every single incidence. Then delete this list.   Delete? Yes. If you so easily found places and ideas for plot twists, so did your reader. You must be shiftier than that. 

Think of sneaky places for plot twists that are so snarky and out of the box you will fool even the seasoned reader. Guess what? Toss those ideas too and think of some more. 

Create a twist so unforeseen that not one reader can guess what is in the works. When the twist is revealed, your reader thinks, Yes, that makes perfect sense, and I never saw it coming. Your goal? To write plot twists no one guesses, and after the reveal, everyone gives themselves a forehead thump.

Once you determine the perfect, I gotcha plot twist jewels, the ones that made the final, final  cut, insert them into your novel with a sly, sneaky, snarky grin. 

Install Insulation

Read your manuscript to make certain each twist moves the plot forward and makes sense to the story. Otherwise, what are they doing in your book?

The insulation is the story around the story. The protective covering holding the story together and composed of the setting, characters, plot points, etc. The whole enchilada with air spaces for the insertion of twists and turns.

A potential elevator pitch for an “insulated” romance novel with a twist? Young man stationed overseas tells pregnant girlfriend how much she will adore his mother when she goes to live with her during her final trimester of pregnancy. The girl thinks her boyfriend is a weirdo when his mother turns out to be a Mom-Zilla.

Twist: This woman (aka psychotic she-demon) had murdered the actual mother before the girl’s arrival and is posing as her for monetary gain. Woo Hoo, a twisty-twist!

Interior and Exterior Finishes

Once you tuck twists nice and cozy into your manuscript, it is time to find hidey-holes to plant the subtle clues for your twists. Don’t ignore “hot spots” for tucking clues into scenes of your story where the reader may concentrate on the action, like a love scene, and may not notice the addition of your clue. 

The Final Walk Through 

Read your manuscript carefully to make sure your twists and turns fit the story and make sense. 

Decide if subtle clues are too obvious and need toning down, or if you need to consider adding more clues. Paint an overall picture of your story in your mind and make certain to apply every virtual brushstroke.

Finally, ask yourself: Have I used the best clues to uphold the major story while creating twists that bring more continuity to the story—but only after revealing the twist? If the answer is yes, congratulations, you made it to twisted authordom!

Writers Write!

Tammy Lough is an award-winning author of over 65 published works who loves writing romance and creating unique characters who burst with personality and frequent sprinklings of humor. She writes a monthly column, On the Back Page with Tammy, for Saturday Writers, a Chapter of the Missouri Writers Guild and is an active member of the Missouri Romance Writers of America, Romance Writers of America, and the Missouri Writers Guild. You can connect with Tammy on her website www.TammyLough.com.

The post Romance Writers: Do the Twist! Part 3 appeared first on DIY MFA.

I want to tell you a secret about my own experience with this exercise. When I first started, I had a grand plan of taking my daily data and creating a beautiful graph in Excel that would reveal the secret inner workings of my mind. What actually happened is that, about a month in, I realized I didn’t need the beautiful graph. While the data was important for giving my routine structure and to help my comparison from day to day, the most important thing I got out of it was the general awareness of myself.

As I progressed with this daily routine, I found it easier to apply it to my writing even though I was not tracking anything specific from day to day. Thanks to my daily habit I became aware enough that I finally noticed what my Writer’s Intuition was telling me: I was happier writing in the mornings, I need to have no distractions when I’m writing new words, and I love revision. I had always “known” these things, but now I could actively work toward writing in the situations and places that helped me be the most productive. That is when my Writer’s Intuition really took off because I could more easily separate problems with writing from problems with myself.

Let’s discuss how to use your Writer’s Intuition to help when you get stuck in your writing…

Figure out where the problem is.

Most often when I get stuck writing, I ask myself one simple question first: What is the exact problem keeping the story from moving forward? A lot of people know there’s a problem but aren’t able to narrow it down any further. “There is a problem” doesn’t really give you much direction. So read over the section, the page, or the story again and this time listen to what your Writer’s Intuition is trying to tell you. Try for a definition such as, “The character isn’t doing what I want here,” “There’s no way to get them out of this situation” or “This plot point doesn’t make any sense because of this other thing.”

At first you might have trouble defining the problem, but again, the more mistakes you make and the more times you get stuck, the better your Writer’s Intuition will get at telling you where the problem is. That being said, your brain knows when it can’t focus on writing, but it doesn’t always tell you in an easy-to-understand way. Sometimes you might get stuck on your story for a reason that has nothing to do with the story.

If I can’t come up with a specific problem with the story, then my Writer’s Intuition might be telling me the problem isn’t with the story. That means the stuck spot might actually be me. Maybe I’m worried about something at work, perhaps I didn’t get enough sleep the night before, or today could just be a self-care day due to my depression. If this is the case, then I take a step back from my story to take care of my own needs so I can come back when I’m at my best.

When you have identified the stuck spot in your story, even if you’re not 100% sure you have it right, it’s time to…

Dive into your toolbox

Sort through all the writing skills and exercises you have accrued over your writing time. I’m not going to go into any specifics here, since that’s not what this article is about, but think of the ways you have dealt with this problem in the past. If you haven’t dealt with this specific issue before, or if what you’ve tried isn’t working to fix the problem, then head to the Internet. Ask your writer friends if they have suggestions, search for the problem and see what kind of articles come up, or take a writing course based around the problem you’re having.

You will make mistakes. You might think you’re having trouble writing because you’re worried about your spouse’s job, but it’s really a plot problem. You think a character has a motivational issue, but it’s really that your well is empty and you need to recharge. Your Writer’s Intuition can just be wrong, because you can’t know everything. My advice to you is…get used to being wrong. It happens to everyone. But don’t let that discourage you from trying! Making mistakes is how humans learn; it’s how we hone our skills and develop our Writer’s Intuition. Plus, if everything went perfectly all the time, that would make for a pretty boring story.

And always remember to…

Trust your Writer’s Intuition

Writing a book is a marathon, not a sprint. Don’t think you have to solve a problem right away if it’s giving you trouble. If you can’t define the problem, or if you try a few things and it still hasn’t helped, then it’s fine to take a step back. Go take a walk, do the laundry, play with a pet, read a book. Your Writer’s Intuition will continue working on the problem subconsciously, because that’s just what it does.

Of course, this doesn’t mean that it always comes up with the perfect fix. Your Writer’s Intuition is a compilation of all of your experiences. If you’re continually pushing yourself to be a better writer, you’re going to run into problems you’ve never had before. Don’t let these stop you. Sometimes I have problems in my story that I simply don’t have the skill to fix yet. In that case, all you can do is keep going, and keep learning, and work on fixing it in the next draft. Your Writer’s Intuition will continue to expand and grow.

Laura Highcove has a degree in computer science, which is obviously why she is a fantasy writer. She is influenced by anime, video games, table-top gaming, programming, horses, and Norse mythology in no particular order. She currently lives in beautiful Blacksburg, Virginia with her computer, two cats, and husband. Her psychic abilities have not yet developed, but she remains hopeful. If you’d like to learn more about her, head over to her website and sign up for her newsletter (and get a free short story) here.

The post Using Your Writer’s Intuition Intentionally appeared first on DIY MFA.

The catch, of course? Developing that list of questions can be HARD. Even if you’ve worked on your book for years and know it inside out, you may wonder which ideas or questions will prompt deep and insightful conversation among readers . . . or where to even start with making your list.

But here’s the good news. You already have an excellent place to start: your book’s literary themes.

Yes, knowing your book’s big ideas is key to creating a fantastic list of thought-provoking questions. Don’t worry if you haven’t thought about the themes before, though. In this post, we’ll offer suggestions on which storytelling elements (a.k.a. sources) to review and what questions you can ask yourself so you can identify the themes and figure out what, in your opinion, is most important for your audience to talk about.

Review Your Book’s Plot or Structure

With fiction books and some memoirs, the plot can be a treasure trove of discussion question possibilities. The big events that move the story forward are often the juiciest ones to analyze, especially if the protagonist’s choices or actions cause those events to happen. But sometimes, other plot points that seem less significant are just as noteworthy because of the themes they unearth. Chances are those themes will be the same ones that are explored in the more major events.

How you tackle your review of the plot for discussion question ideas is up to you. You can start with the main plot points, such as the inciting incident, the end of Act I, or the dark night of the soul. Or you can focus on your favorite moments of the story, including game-changing revelations or meaningful exchanges of dialogue or interactions between characters. However you approach this process, use the suggestions below to brainstorm potential discussion questions based on the plot (thought don’t feel obligated to create a question for each of these):

• How is this event significant or meaningful to the overall story? What theme(s) is demonstrated in this event?
• What do the protagonist, the antagonist (if one exists), and supporting characters do during this event? How does this tie into the theme(s) explored?
• What scene(s) may draw conflicting opinions from readers? Could readers have different thoughts on the theme(s) emerging from this event?
• What events may shock or surprise the reader? If so, how and why? How does this impact the way in which any theme(s) is explored?
• How might the reader be able to relate to certain plot events based on their own experiences with the theme(s) explored?
• What else is interesting or important for the reader to consider regarding this event?

Now, what if you’re writing nonfiction that has a clear structure but no plot, so to speak? (A great example of this is Susan Cain’s Quiet.) Instead of looking for plot events, choose the most salient moments in the book—arguments you make, examples or anecdotes you share, notable facts or quotes from other sources—and see what themes emerge. Then determine which of the above questions you can reframe for your purposes. At the same time, remember that your discussion questions aren’t meant to quiz your audience about the details of your book. Rather, invite them to consider how the information you share impacts them and the world at large, as well as why it’s worth discussing in the first place.

Revisit Your Characters

If there’s one storytelling element that readers LOVE talking about most, it’s the characters they “meet.” We can’t help but gush about who our favorite characters are and why, or share memorable snippets of that character’s dialogue. So why not encourage your readership to talk about your characters by means of your discussion questions?

Just as the plot’s events illustrate your book’s themes, your characters—especially the protagonist—will be moving, breathing examples of those big ideas. Each character’s actions, decisions, motivations, thoughts and speech, and lessons learned don’t just reveal the themes. They influence those overarching concepts from the very beginning. So as you look to your characters for possible discussion questions, ask yourself—or maybe the even the characters themselves—any of the following:

• What is the protagonist’s motivation or goal? What theme(s) does it demonstrate?
• What kind of journey does this character take (externally and internally) during the book? How does the character change between Page One and The End? What theme(s) emerge from this arc?
• How do the protagonist’s relationships with other characters (e.g., love interest, mentors, family members, friends, the antagonist) influence the book’s themes? What about these relationships or interactions is critical for your readers to talk about?
• What attributes, actions, or choices from the protagonist or other major characters could draw conflicting opinions from readers? How could this create an in-depth group discussion, regardless of whether it reflects a specific theme?
• What character revelations may shock or surprise readers? If so, how and why? Do they reflect any of the story’s themes? Regardless, how could this foster an interesting discussion between readers?
• What are the most important pieces of dialogue from the book? Why is each quote significant? What theme(s) does each quote reflect?

Other Storytelling Elements

Plot and characters aren’t the only sources of theme in your book. Nor are they the only seeds that can inspire discussion questions. Other crucial elements can reflect the themes and lead to engaging discussions among your readers. So as you review your book for possible questions, consider what else influences your story’s themes besides the first two elements we covered. Here are a few suggestions:

• Setting: How does the book’s setting (location, time period, etc.) influence the themes? What events, characters, etc. are featured specifically because of the setting? (If you’re writing fiction or nonfiction that’s historical in nature, setting-related questions are a must for your questionnaire.)
• Worldbuilding: If you’re working on speculative fiction, what aspects of the story world (e.g., government/power structures, religion, magic system, culture) influence the story’s themes? How do these aspects play a pivotal role in the story? What will readers remember most about this world when they finish reading your book?
• Symbolism: What objects act as symbols? What theme(s) does each one represent?
• Title: Why did you choose your book’s title? Does it hint at any of the themes?
• Other Repeating Elements: What ideas or elements appear repeatedly throughout the book? Why are they important? Which theme(s) do they influence?

Here’s a great example of repeating elements: When I was editing Julie Jacky’s memoir On the Other Side, one aspect of the book that moved me was how Julie’s journey of healing and forgiveness after childhood sexual abuse was full of mentors, from mindset coaches and therapists to spiritual mediums and even her chiropractor. Sometimes Julie had sought out their help and guidance. Other times, she had serendipitously received what she needed at the time. So when Julie later asked me to develop book club questions for On the Other Side, I included a question about mentors, asking readers to talk about the impact Julie’s mentors had on her and to consider the mentors in their own lives.

Meaningful Questions Lead to Meaningful Discussions

Obviously there’s more to consider than the book’s themes when creating discussion questions. For example, how should you phrase your questions? And how many should you include? No matter what, it’s a good idea to check the books you own (especially ones in the same genre as yours or that explore similar topics and themes) to see how the author or publisher handled their questionnaires. This can help you gauge how long you’d like your list to be and how to write your questions in a way that sparks the reader’s curiosity.

Above all, remember that your goal with discussion questions is to get your audience thinking about your book in deeper ways than a simple reading would. So how many questions you ask and how you word them isn’t as crucial as what you ask your readers to think about. Using the book’s themes to help you craft your questions will help you ensure that they touch on topics or ideas that are meaningful to you and your characters. And by doing this, you’ll increase the chances of nurturing equally meaningful conversations among your readers.

Have you created discussion questions for your book(s)? If you have, how did you develop those questions? If you haven’t, what plot point(s), character(s), etc. would you ask your readers to talk or think about? What themes would they discuss as a result? 

Sara Letourneau is a freelance editor and writing coach who lives in Massachusetts. She’s also a poet whose work has appeared in Mass Poetry’s Poem of the Moment, The Aurorean, The Avocet, The Bookends Review, Golden Walkman Magazine, Soul-Lit, and other journals and anthologies. She can often be found performing her poems at local open mic nights, reading good books, roaming the shores of Cape Cod, and enjoying a cup of tea. Learn more about how Sara can help you with your writing at Heart of the Story Editorial & Coaching Services. You can also connect with her at her writer website, Twitter, Goodreads, or Instagram.

The post Creating Discussion Questions Using Your Book’s Themes appeared first on DIY MFA.

This doesn’t mean you have to lock yourself in a creative box. Great structure comes in many shapes and forms, and can emerge from plotters and pantsers alike! However, there are certain red flags that will crop up if your structure is less than optimal, and these are what you need to look out for — especially if you’re a first-time author.

Though I know it’s hard to appraise your work objectively, I implore you to look for these five signs that your book’s structure isn’t working, so you can fix it before readers realize the same thing. To help you identify them, I’ve included titles that I feel demonstrate these structural defects, at least to some extent; they’ll show you how even the most experienced authors can falter, and why we all need to be vigilant with our own work.

1) Your plot peaks too soon

Picture this: you’re a reader halfway through a novel. You know something big is coming, whether through foreshadowing, increasing tension, or open acknowledgement that a major event is about to occur. Then it happens — and as it turns out, the remainder of the book is more or less falling action. There’s nothing significant left to reveal to readers or change the fates of the characters; in other words, the plot has peaked far too soon.

It might sound easily avoidable, but this is a surprisingly common issue, especially among authors who don’t outline. And even for those who do outline, the compulsion to get to the “exciting part” may cause them to rush through the buildup, resulting in a climax that arrives many pages earlier than intended… and which often means filling the subsequent pages with drawn-out resolution or total fluff.

In my opinion, this is the essential structural flaw that undermines Elizabeth Gilbert’s recent novel City of Girls. (Spoilers ahead for this and all other books discussed here!) The plot follows a young woman named Vivian who gets involved in the sparkling show biz and social scenes of 1940s New York City. She’s surrounded by fascinating characters, ever-changing relationships, and potent drama, all of which makes for an excellent story.

However, about two-thirds of the way through the book, Vivian gets caught up in a scandal that forces her to leave her life of glamor behind. And while I know some readers found Vivian’s post-NYC existence interesting and narratively fulfilling, I was disappointed by the abandonment of the plot up to that point — especially once I realized nothing else was really going to happen.

If you suspect your book may suffer from this problem, think about how you might extend the buildup and/or the post-peak plot in a worthwhile manner. For example, Gone Girl has a major reveal in the middle that easily could have made the rest of the book seem lackluster! But Gillian Flynn ensures the story doesn’t end there, keeping readers hanging on with plenty of additional drama and satisfying twists.

2) You have too many threads to tie off

Another unfortunate structural issue is having too many character arcs, subplots, and other details you initially intend to be important, but which feel superfluous as you approach the end of your book. Fortunately, these threads aren’t hard to identify: if you’re wrapping up the main plot and you have more than one minor storyline still to resolve, you have too much going on.

There are two ways to handle this, structure-wise. The first is to simply remove the plot and character threads that don’t add anything substantial. For example, if you have a character who only appears a handful of times and doesn’t impact the plot, you can reduce or eliminate them entirely. (For authors with series aspirations, this may even be a blessing in disguise; a character you want to write more about, but who doesn’t have much bearing on the story you’re currently telling, could be perfect fodder for your next book.)

The second method is to try and resolve some of those minor threads earlier, so they don’t pile up and become overwhelming. This requires more thoughtful restructuring than scrapping whole subplots and characters, but it can be extremely rewarding, especially if the resolutions of those earlier threads contribute to the reader’s understanding of the “big” resolution later.

As for a concrete example of what not to do, you might look at some of Dickens’ works as having far too many threads. Of course, many would argue that this is exactly what makes Dickens great — the epic number of characters and subplots, the extreme level of detail. But, as I imagine anyone who’s read Bleak House would concede, a bit of pruning is sometimes necessary to make a book more comprehensible (and tolerable) for readers.

3) Your timeline jumps around too much

We’ve all read books with time jumps, and I won’t deny that flashbacks in particular are a great way to build narrative suspense. However, some time jumps can be more confusing than compelling, and may even cause readers to lose interest completely; this is why a jumpy timeline can be a sign that you need to restructure your book.

Continuing in my vein of controversial examples, Slaughterhouse-Five by Kurt Vonnegut is a quintessential case of too many time jumps. To be fair, the chaotic structure of this somewhat dystopian novel does accurately reflect the story — that of a man “unstuck in time” — and over the course of reading it, I’ll admit that I came to respect Vonnegut’s unorthodox approach.

However, I’ve since realized this is a case of the exception proving the rule. Even upon rereading the book, each time jump was still quite disorienting; I only remained invested and entertained because of Vonnegut’s immense skill as a writer. Needless to say, if Kurt Vonnegut can barely get away with this kind of time-jumping, the rest of us probably shouldn’t attempt it.

That said, if you find your story’s timeline jumps around too much (especially if you, the author, have trouble keeping track!) the best thing to do is go back to square one. What did you intend to accomplish with this structure, and might the same goals be attainable through fewer time jumps — and perhaps fewer perspectives, if that’s a complicating factor as well?

If you end up re-outlining your entire book, it might help to use a writing app to keep track of different elements. This way, even if you continue to use time jumps, you’ll have a clear visual sense of your chronology. (Scrivener 3 with Label View is the one I have in mind, but any writing tool with outlining functionality should greatly improve your use of time in a narrative.)

4) Your late-stage “revelations” are unsatisfying

This is perhaps the most irksome structural flaw I’ve come across as a reader, because it’s almost impossible to identify until you’ve read the book in full. In a way, it’s the opposite of the first issue I mentioned: rather than peaking too soon, the story builds and builds, dropping tantalizing hints and drawing out every bit of tension, and then… it fails to resolve in a satisfying way.

Sometimes the “big reveal” is glaringly obvious, or it’s not much of a reveal at all. Or sometimes a late-stage twist will arise with no foreshadowing whatsoever, which has the added “bonus” of making the reader frantically flip back through the book to scan for signs that were never there.

Whatever the form, it’s incredibly frustrating to invest so much time and energy in a book, only to be cheated out of a satisfying resolution. Once again, I speak from experience; I recently picked up Tangerine by Christine Mangan, a book claiming to be “The Girl on the Train meets The Talented Mr. Ripley.” High praise!

But despite an atmospheric start, Tangerine quickly devolves into a sort of suspenseful endurance test, doling out promising information without ever doing anything interesting with it. In the end, as one reviewer put it, “everything is exactly as it seems” — what’s perhaps intended to be a twist is just a slightly clearer iteration of information that was already provided.

Of course, to pinpoint this kind of structural problem in your own book, you have to be extremely honest with yourself. Consider your ending and what you’ve done to build to it. If there’s a reveal or dramatic ending of any kind, have you hinted at it without being too obvious? If there’s not, or if it’s intentionally out of left field, might readers feel that you led them on? Any doubts should prompt you to take another look at your structure, and potentially rework it for a more satisfying outcome, whatever that might mean for your readers. Speaking of which…

5) Your readers become confused

This is an undeniable catch-all for any author worried about their book’s structure: if other readers have trouble following it — even if it’s crystal-clear to you! — you have a problem. This could be due to any number of reasons, including any or all of the issues outlined above. But whatever the culprit, if a third-party reader tells you the structure doesn’t make sense to them, you’d better trust their objective opinion.

This is why, if you’re planning to publish your book, you should seek out beta readers and other trusted commentators to provide feedback as early as possible. Hire a professional editor if you have to; just get some eyes on your book that aren’t your own.

And even if they tell you to burn everything and start over, that’s still much better than releasing a book with a structure no one can understand. Plus, the next time you write a book, you’ll know exactly what tends to go wrong with your structure… which some might say is the first step toward making sure everything goes right.

Savannah Cordova is a writer with Reedsy, a marketplace that connects authors and publishers with the world’s best editors, designers, and marketers. In her spare time, Savannah enjoys reading contemporary fiction and writing short stories.

The post #5onFri: Five Signs Your Book’s Structure Needs Work appeared first on DIY MFA.

If you missed our previous posts on this theme, why not read those first? Start with our case study on man and the natural world if you’d like an introduction to the theme. Or check out our recommended reading list of books about man and the natural world or our five reasons for why this theme matters. Otherwise, let’s get writing!

Make the Setting Integral to the Plot

Setting is already one of your story’s central elements. So when man and the natural world is one of the themes, the setting becomes an even bigger player in the game–so big, in fact, that it can influence the plot.

Think of stories you’ve read where the plot relies on the setting. How do the unique natural elements of the setting make the story’s events possible? In Frances Hodgson Burnett’s The Secret Garden, for example, Mary’s transformation from sickly and selfish to healthy and caring happens as a result of her nurturing her uncle’s abandoned garden back to life. The friendships she develops with the other residents of Misselthwaite Manor contribute to this as well. But how would the story change if Mary was sent to live in a downtown orphanage that had no garden? The theme of man and the natural world would probably disappear—and the plot of this classic children’s tale would be drastically different.

So as you determine how the setting influences the plot, consider the following six keys to connecting these two building blocks of storytelling:

1. Location: Where does the story take place? Ensure you think about the macro (country, state, town / city) and micro (neighborhoods, buildings, landmarks) elements of the location.
2. Time: When does the story take place? Consider the time period, season, and (for certain scenes) the time of day. Whether it’s daytime or nighttime can significantly impact how a scene plays out.
3. Natural Elements: What are some of the unique natural elements (e.g., topography, climate, bodies of water, weather conditions, wildlife) of this location at this time?
4. Goals: What is the character’s goal in this story? What conflict is he trying to resolve?
5. Connection: How does the character’s story goal or main conflict connect with the setting? In other words, how do the setting and its unique natural elements make the story possible?
6. Impact: How do the natural elements of the setting affect or influence the character’s ability to achieve his story goal or resolve the main conflict?

If you’re unsure of how to answer the final question, stay tuned for more insights and a related exercise in the next section.

Exercise #1

Choose a setting with natural elements that could play a big role in a story, and write down your answers to the six questions listed above. (This setting can be one you’ve written about before or one that’s brand new.) Then write a scene or short story in which the character’s story-goal pursuit or the main conflict relies on this setting and its natural elements. 

How does the natural world make the character’s struggles or the scene’s events possible? How would the scene / story change—or be rendered impossible—if it occurred in a setting with different natural elements?

Also, check out the writing exercises in our post on using setting to illustrate literary themes.

“Characterize” Nature as Your Character’s Friend or Foe

No story ever goes smoothly for the protagonist. Between the beginning and the end, she’ll run into complications and setbacks as she struggles to reach her goal or resolve the main conflict. And in stories where man and the natural world is a central theme, these complications include natural obstacles that hinder the character’s progress or threaten the safety of herself and others. In this way, nature acts as one of the story’s antagonists. It may not be a human character whose motives and actions oppose the protagonist’s, but the power it holds over the protagonist through changing weather, expected seasonal conditions, and natural disasters can just as easily throw her off course. 

It’s also important to consider how the natural world can help the protagonist. Sometimes it’s more like a friend or ally and assists the character through shelter, sources of food or water, and signals of danger. Elements like these can give the protagonist a sense of hope, relief, joy, and other positive emotions that can, among other things, rekindle their commitment to their story goal. They must also be carefully chosen based on what occurs or is available in the story’s setting.

If you need some examples on how nature can antagonist or assist your character, here are two excellent ones:

• Rae Carson’s Walk on Earth a Stranger: Leah Westfall rides in a covered wagon across the American plains and Rocky Mountains to reach the gold mines of California. Along the way, she braves whitewater rapids, a buffalo stampede, oppressive heat, and other natural elements that act as obstacles to her journey and overall safety. She also witnesses the beauty of natural landmarks and acknowledges her gratitude for off-road hiding spots and other ways that nature protects her.
• Andy Weir’s The Martian: After being left behind on the planet Mars, astronaut Mark Watney must find a way to survive until a rescue mission arrives. The planet’s harsh environment—marked by dust storms, frigid temperatures, dangerous terrain, and lack of oxygen—makes this the biggest challenge of his life. But thanks to his engineering ingenuity, Mark figures out how to grow a crop of potatoes inside his laboratory using technology, Martian soil, and (*ahem*) human waste, which stretches his food supply and increases his odds of living long enough to come home.

Exercise #2A

Create a two-column table on paper or in a word processing document. Label the columns “Antagonize” and “Assist.” Then, in each column, list the ways in which the story’s setting and its natural elements either antagonize or assist the protagonist as she works toward achieving her goal or resolving the main conflict. Don’t worry if you fill one column with more ideas than the other, but make sure you consider how the natural world can both hinder and help the protagonist in her efforts.

Exercise #2B

Return to the scene or short story you wrote for Exercise #1, and write two new scenes: one where the setting and its natural elements antagonize the protagonist, and one where they assist her. Or, if you’re up for a challenge, write a single scene where the natural world does both for the character. How does your character react to these events? How do they complicate or aid her progress? How does it all make her feel? Is it even possible for nature to be both friend and foe in your story? If so, what does the protagonist think about this duality?

Infuse Your Descriptions of Nature with the Character’s Mood

Stories about man and the natural world never skim the setting’s surface. The natural elements must be carefully considered and described appropriately. This doesn’t mean you need to write about every leaf, insect, or drop of water. Rather, focus first on the elements that the character would notice and that best serve the scene, and then phrase those descriptions based on how the character thinks, feels, or reacts at that moment.

Put yourself in your character’s shoes and imagine he’s in a natural setting. What kind of environment is he in? What time of day is it? What’s the weather like? What kinds of wildlife (flora, fauna, etc.) does the character notice? What other unique elements of that setting does he make note of? Then consider the character’s circumstances and emotions at that moment. What just happened or is currently happening in the story? What thoughts or emotions is the character experiencing as a result? How do the setting’s natural elements and current conditions exacerbate his situation and feelings? Or how do they make things more bearable for him?

Remember that the key here is to illustrate the character’s relationship with nature. This is why it’s crucial to frame the description according to his observations, circumstances, and attitude at that moment. Depending on what’s happening, the character might not pay much attention to the dry grass or the chirping of crickets, but he may be exhausted enough to notice the heat and lack of shade. Or maybe he’ll be so distracted by the beauty of the moon that he doesn’t realize how much the temperatures have dropped. By inhabiting your character fully in each scene, you’ll ensure your descriptions of nature are accurate, imaginative, and meaningful.

Exercise #3

Review the last scene you wrote for your story, and notice your character’s state of mind at the end. Then, imagine your character going outside immediately after this scene ends and into the closest natural environment. What is that environment like? How does that environment affect the character’s mood? Or how does the character’s mood influence what he notices about the natural setting? List various scenarios such as daytime versus nighttime, heat versus cold, rain versus sunshine, etc. and determine how the character’s reaction changes in each one. If the story’s next scene were to occur outdoors, which scenario would be most impactful? Why?

Use the Story’s Events to Demonstrate Humanity’s Impact on Nature

We’ve likely read stories where trees are cut down, animals are forced to leave their homes, and pollution dirties the water and air. These and other moments are meant to remind readers of the havoc humanity can wreak on the natural world and the potential consequences if no one takes action to stop it. This also creates the reverse scenario of Exercises #2A and #2B above. Instead of nature acting as an antagonist to a human character, this time the character is antagonizing nature.

When taking this approach to the theme, first consider why the destruction is happening. For example, if characters are razing a forest, what are their reasons for doing so? Do they want the land for farming or development for homes and businesses? Do they need wood and other natural resources for their use or consumption? Are they driving out inhabitants such as birds, animals, and people—or using them to further their goals?

Next, ponder the consequences of this devastation. How would the natural elements of this setting change forever if the antagonist’s plans are carried out to completion? Think about how the terrain, wildlife, climate, and other aspects of nature would be impacted. How would these changes affect the characters living and working there? (Food and water supply, weather conditions, options for shade or cover, and nature’s aesthetic qualities are just some of the things to consider here.) Maybe even the worst-case scenario has already become reality. Jay Kristoff’s Stormdancer is a harrowing example of characters living—and dying—in a country where deforestation and pollution due to industrialization have led to climate change, famine, and disease, among other problems. 

This angle on the theme doesn’t have to be all “gloom and doom,” though. In most cases, one of the characters—your protagonist, for instance—may be determined to fight back or counter the damage that’s been done. If so, then ask yourself why this character cares so much about the world she lives in. What is she willing to do to save what’s left of it? Most importantly, what steps will she take (perhaps with help) to achieve her goal? Once you’ve brainstormed this as well as the reasons for and consequences of the destruction of the natural setting, you’ll have in place the first puzzle pieces for an exciting and emotionally charged story.

Exercise #4

Brainstorm the ways in which the natural world of your story’s setting could be impacted by your characters. If it helps, create a table that lists different “man-made” scenarios, possible reasons for each one occurring, and its impacts on the environment and the characters. Where does your protagonist fit into the picture on any of these scenarios? Would she be assisting with the destruction? Or fighting to stop it? Make note of her motivations for engaging in either side, then write a scene or short story in which the character witnesses or participates in the devastation. What does she or other characters try to do to save the story’s setting?

How have you explored man and the natural world in your own stories? What other writing prompts or exercises would you recommend to nurture this theme?

Sara Letourneau is a freelance editor and writing coach who lives in Massachusetts. She’s also a poet whose work has appeared in Mass Poetry’s Poem of the Moment, The Aurorean, The Avocet, The Bookends Review, Golden Walkman Magazine, Soul-Lit, and other journals and anthologies. She can often be found performing her poems at local open mic nights, reading good books, roaming the shores of Cape Cod, and enjoying a cup of tea. Learn more about how Sara can help you with your writing at Heart of the Story Editorial & Coaching Services. You can also connect with her at her writer website, Twitter, Goodreads, or Instagram.

The post Writing Exercises for Exploring the Theme of Man and the Natural World appeared first on DIY MFA.

Interestingly, the more and more I read of the submissions, the more similarities I found between creative nonfiction and fiction. Many of the most successful nonfiction pieces utilized certain elements from fiction, which made for more compelling narratives and, ultimately, were the pieces that I flagged with a “Yes.”

So, what makes a creative nonfiction piece stand out in the slush pile? Simple: the same elements that make a fiction piece stand out.

When I read fiction, I want a strong sense of conflict (plot) and a cohesive theme throughout the piece (i.e. what am I supposed to take away from this story?). Of course, those aren’t the only elements that make for a fantastic story, but they’re the ones that I find most lacking in a lot of submissions.

Plot: Conflict and Tension

I know what you’re thinking: real life is messy; it doesn’t have a plot! And you’re right. 99.9% of the time, our daily routines are not fraught with riveting conflict (unless I count the time I got pulled over on my way to work one morning). However, the moments you choose to write about in your creative nonfiction typically have had a profound impact on you and/or the people around you. Those are the moments that can be filled with conflict and tension.

Much like fiction writers are encouraged to come up with an “inciting incident” for their characters, the inciting incident in your creative nonfiction is the moment that forces you personally to take some kind of action and, as a result, changes you in some way. Without conflict and tension, this change can’t really occur.

For a good example of conflict and tension in a nonfiction piece, check out Jaclyn Gilbert’s “Core Being,” which was published by Tin House. In her essay, Gilbert discusses the way her body and her relationship with her father slowly deteriorated during her time in college. These dual conflicts push the narrative forward in a way that is heartbreaking, but ultimately hopeful. Gilbert’s essay spans years, however, the memories she chooses to include each serve a purpose: they show how certain moments in her life forced her to take action and change, for better or worse.

So, as you draft your creative nonfiction piece, keep this idea of plot in mind. While it’s true that many of our life experiences don’t have clear cut plots (like in fiction), there are still moments that are ripe with conflict and tension. And, in my opinion, it’s those moments that make for compelling stories—fiction or not.

Theme: The Takeaway

When you’re writing fiction, it’s always a good idea to keep a theme (or multiple themes) in mind; this can create a sense of cohesion throughout the piece. Ideally, a strong theme doesn’t leave your readers confused by the end of the story; instead, they should have a clear takeaway (for example: “This story was about love.” or “This story was about grief.”).

Theme is equally as important in creative nonfiction. There could be several moments from your life that have had a profound impact on you, however, if they are not linked in some way, they can seem disjointed or disorganized on paper. One way to fix this issue is by asking yourself: What is the main thing I want readers to take away from my experiences? Your answer should give you a good idea of the theme of your work, or at least point you in the right direction.

As I mentioned above, Gilbert’s Tin House essay spans years, yet it still feels cohesive. I think this is largely due to her focus on one or two major themes. Relationships played a big role in her past—with her father, with exercise, with her body—and it’s a theme that is present throughout the entire piece. Gilbert doesn’t just haphazardly hop from one memory to another; rather, each memory hearkens back to that one specific theme and they each lead up to a satisfying conclusion.

Over To You, Writers!

If you’re a writer of creative nonfiction, I would love to hear from you in the comments. How do you craft compelling essays? Do you use any techniques from fiction writing? Let me know!

Manuela Williams is a Las Vegas-based writer and editor. She is the author of Ghost In Girl Costume, which won the 2017 Hard To Swallow Chapbook Contest. Her second poetry chapbook, Witch, is forthcoming from Dancing Girl Press. When she’s not writing, Manuela is busy drinking coffee and spending time with her blind Pomeranian, Redford. You can connect with her on LinkedIn and Pinterest.

The post Using Fiction Writing Techniques to Enhance Your Creative Nonfiction appeared first on DIY MFA.

But readers won’t care about a disturbing event if they don’t care about who the event is upsetting—the protagonist. So how do we get readers to like our protagonist? Solution: the care package, Bell’s second signpost scene in his super structure.

The Care Package vs. Pet the Dog

First, I’d like to point out that the Care Package is not the same as the Pet the Dog beat, an event that occurs in Act II. So what’s the difference?

According to Bell, the Care Package is “a relationship the Lead has before the story begins.” In other words, this is a person, place, or thing that the protagonist cares about prior to the events in Act I. Such a concern gives readers a glimpse of the protagonist’s bond to someone or something other than her struggles and personal feelings. We will explore examples of such care packages later in this article.

Meanwhile, Bell describes the Pet the Dog beat as an event that happens in Act II when “the Lead takes a moment out of her own troubles to help someone weaker than herself.” Screenwriters might tag this beat the “save the cat” beat, coined by Blake Snyder in his screenwriting book Save the Cat! The Last Book on Screenwriting You’ll Ever Need.

Both the Care Package and the Pet the Dog scenes tug on the emotional strings of the reader. The difference is that the Care Package drives the protagonist (or Lead) before a story starts, whereas the Pet the Dog is a decision a protagonist makes during an external event in Act II.

Make sense?

The Care Package in Madeleine L’Engle’s A Wrinkle in Time

Considering the exciting buzz revolving around A Wrinkle in Time after the recent film release, let’s take a look at Meg Murray’s Care Package in Madeleine L’engle’s bestseller A Wrinkle in Time.

Remembering that the Care Package is a story element in Act I that enhances the reader’s connection to the protagonist, we needn’t look further than page four in the first chapter. Troubled by a stormy night, Meg sits awake in her bed replaying some of the ugly events that happened earlier that day. Such brief reflection gives the readers deeper insight on two people Meg cares about: her father, who has been MIA for some time, and her younger brother Charles Wallace. Careful not to dump too much information on us, L’engle describes why Meg participated in a fight earlier that day. The description is brief, but reflective of the kind of sister Meg is to Charles Wallace. This is the excerpt:

“And on the way home from school, as she walked up the road with her arms full of books, one of the boys had said something about her “dumb baby brother.” At this she’d thrown the books on the side of the road and tackled him with every ounce of strength she had, and arrived home with her blouse torn and a big bruise under one eye.”

What’s happened here? We have Meg, a twelve year-old girl who feels like an alien among her peers, reflecting on why she attacked a boy at school. And why was that? Because some pompous hotshot called Charles Wallace her “dumb baby brother.” Meg, known for her impatience and short temper, literally lunges at the boy to defend her brother’s reputation. Even though Charles Wallace doesn’t care about what other people say about him, Meg desires to protect her brother’s honor. Notice how this description suggests that the boy said nasty things about Meg, but she didn’t react until he targeted Charles Wallace. This establishes Meg as a loyal and protective sister, even if she doesn’t stand up for herself. Her impulsivity and warrior-like actions give us a reason to root for her.

Later on, we see Meg’s second Care Package factor: her father. Although Mr. Murray is not physically present for most of the novel, he is the reason Meg takes on the story’s adventure. Readers are aware from chapter one that Mr. Murray went missing after a secret government mission, and Meg’s distress over his absence is obvious in the way she sympathizes for her mother, and admits she wishes her father were “here.” Without knowing why her father is missing—and with his absence in general—Meg feels lost. She longs for Mr. Murray’s presence, which is why she later finds the courage to take on a dangerous mission in order to rescue him. But for now, in Act I, readers know Meg has a deep love and respect for her parent. This sense of love and longing makes her a protagonist readers can empathize with.

Why This Works

A protagonist with a Care Package relationship prevents them from seeming selfish, if not completely self-centered or unlikeable due to overpowering weaknesses. Readers don’t like selfish or whiny characters; the Care Package gives readers a reason to root for the protagonist—because they are fighting for something or someone bigger than the Lead.

Don’t believe me? Think about why Breaking Bad was such a blockbuster hit despite the unspeakable, unforgivable things Walter White did.

Walter White had a Care Package—two, in fact. The whole reason he gets into the meth cooking game is to earn enough money to support his wife and disabled son when he thinks he is dying from cancer. And then, after Walter survives cancer and falls deep within the drug world, he has a second Care Package in his concern for Jesse, Walter White’s former student and later meth-cooking-comrade.

Now, Walter and Jesse might appear like they want to tear the other’s heads off a good amount of the series, but let’s face it: no matter how terrible situations get, Walter goes out of his way to protect Jesse. Jesse becomes his number one Care Package after his family disowns him. Without his concern for Jesse’s well-being, we would hate Walter White.

Now It’s Your Turn!

Writers, now that you know what the Care Package element is, go back and read your first couple of chapters. Does your protagonist have a Care Package? Who or what is it? Do you create some sort of event that shows how your protagonist cares about this person, place, or thing?

If you do, fabulous! Go back to this section and see if you can increase tension in the scene by raising the stakes—i.e. make the event even harder for your protagonist to protect this Care Package.

If you don’t, no worries! Take the time to make a list of thirty potential Care Package factors for your protagonist. Then, go take a short walk. Come back and review your list. Pick your top two and write a short scene for each that shows how an external event unveils your protagonist’s Care Package.

For example, maybe your protagonist Cindy is a farmer’s daughter who loves cows, especially Maggie Moo. But when her father needs to sell Maggie Moo to a butcher, Cindy must step in to protect her favorite friend. What does Cindy do?

And last but not least, don’t judge your ideas before you write them. You never know what your creative mind is begging to get out. Don’t let your inner critic prevent you from exploring your best creative ideas! Let your imagination run wild! Find the joy in this exercise. Know your characters, and your Care Package will rise to the surface.

What is your Care Package? Did you notice another Care Package for Meg Murray? What are some other ways you can make your characters relatable? Share your thoughts in the discussion board using the #LetsTalkBooks

Abigail K. Perry is a commercial fiction writer living in Massachusetts where she teaches creative writing and film production. She received her B.S. in TV, Radio, and Film from Syracuse University and her Master’s in Education from Endicott College. She has worked as a creative production intern in for Overbrook Entertainment and as a marketing and sales intern for Charlesbridge Publishing.

Abigail is a member of the DIY MFA street team and a loyal follower of Writer’s Digest. You can read more about her work on her website www.akperry.com or follow her on Twitter @A_K_Perry.

The post The Care Package — Signpost Scene #2 appeared first on DIY MFA.

Well, I’ve got even greater news. While reading up on more books about the craft of writing, I came across another James Scott Bell title—Super Structure: The Key to Understanding the Power of Story. This book digs deeper into the process of signposting scenes, following fourteen signposts that Bell believes mold a page-turner.

Coming from a screenwriting background, I immediately felt pulled to his process, having adored both Blake Snyder’s famous fifteen beat-sheet and Joseph Campbell’s master breakdown of the hero’s journey. And so, I purchased Bell’s book (for a mere $3.99 y’all!) with high expectations that, I am pleased to say, were stretched and satisfied.

So buckle up, because for the next fourteen articles I’m going to discuss in length these signpost scenes, using various beloved stories (and one constant) to show how they work. However, before you come with me on this journey I highly recommend that you purchase a copy of Super Structure for your bookshelf.

Signpost One —The Disturbance

In Bell’s book, he opens his chapter about the first signpost scene (the disturbance) with a question: “What is the opening shot, after the credits in The Wizard of Oz?”

Surprisingly, he’s collected various answers over the years, one main answer being the tornado (you know, that twister that hits Dorothy’s farm and sends her into that oblivion otherwise known as Oz). This answer, despite its popularity, is indeed not the disturbance, seeing that it occurs a quarter into the movie and acts as the main factor of plot point one more than anything else.

But the tornado is a disturbance, isn’t it? Of course it is, but not the disturbance Bell refers to as his first signpost scene structure.

What is The Disturbance?

A disturbing event in a character’s ordinary world that hooks a reader to that character because it causes her trouble, a challenge, or threatens a change.

But the tornado does all this to Dorothy. Yes, it does, which is why I want to add another important detail to the disturbance’s definition…

The disturbance must happen on page one.

Ah-ha! The secret factor! The tornado cannot be the disturbance then, can it? And it’s not. The opening scene in The Wizard of Oz is nothing more than Dorothy sprinting down a road with her little dog, anxiously looking over her shoulder. There’s a disturbance to her ordinary world that we cannot see…but definitely want to learn more about.

(For those of you who remember the movie well, you’ll know this disturbance turns out to be none other than that nasty Miss Gulch trying to take Toto! Disgusting!)

The Disturbance in C.S. Lewis’s The Magician’s Nephew

For today’s story, I’d like to analyze the first book in C.S. Lewis’s classic Chronicles of Narnia series, otherwise known as The Magician’s Nephew. Although disturbances should always create trouble, challenges, or change to a character’s ordinary world, they don’t always have to be as drastic as war.

In The Magician’s Nephew, for example, the disturbance is none other than a new child moving in next door to a little girl. A boy named Digory.

Notice the first lines: “This is the story about something that happened long ago when your grandfather was a child. It is a very important story because it shows how all the comings and goings between our own world and the land of Narnia began.”

Now, Digory (the disturbance) isn’t mentioned until page two: “One morning she was out in the back garden when a boy scrambled up from the garden next door and put his face against the wall.” Before you ponder over why this doesn’t happen on page one, I’ll tell you, it’s because there is a very large graphic on the first page that takes over half the page’s room. Thus, I would wager that if this picture were removed, Digory’s disturbance to the little girl Polly’s world would be, indeed, on page one.

And what a disturbance it is! True, there are no bombs or basilisks on page one of this story, but there is a boy who, for reasons we know not, “put his head against the wall.” Something is wrong with the boy. In fact, he is crying. And because we humans care about characters that are in trouble, have a challenge, or experience a change to their ordinary world, we want to know why. The answer, readers learn, will come before the end of the chapter.

And a relationship that we know will begin the “comings and goings” of Narnia will, from this new friendship, begin.

I’m in!

How Can I Apply This To My Writing?

Now you might be thinking, “well, that’s all good and grand that Bell came up with this amazing structure of signposts scene, but how can I apply it to me writing?”

I have an answer for you: Train your writing mind to naturally brainstorm potential chapter one disturbances before writing your book. One good exercise I like to try is the first line exercise.

The First Line Exercise

Spend a good chunk of time writing as many first lines as you can brainstorm. Don’t judge your ideas, and don’t slow down as you jot them on paper (or word document). Go, go, go write! Do this for at least twenty first lines.

Then, go up and pour yourself a cup of tea or coffee. Come back and read your lines over. Does anything stand out to you? Does one line create a more exciting disturbance than another? Eliminate all the lines but your top three.

Last, plot the scenes that would follow these top three first-line contenders. Scribble ideas for the characters in each scene (the first chapter), the action, and the purpose. Then, get writing! And stop judging your initial work so much. All writers need to revise. You can fix anything weak about your story later…but this feat is much harder if you need to revamp developmental ideas verses basic line-editing.

Lucky for you, you’ve taken on Bell’s fourteen signposts scenes, which structures a basic skeleton for a strong story before writing and inevitably rewriting one.

A story that always starts with the disturbance.

What is the disturbance for your novel? Is there a clear threat, needed change, or trouble for your protagonist? How can you make the disturbance even tougher? Why is it important to observe how your protagonist reacts to this event?

Use #LetsTalkBooks to continue the discussion!

Abigail K. Perry is a commercial fiction writer living in Massachusetts where she teaches creative writing and film production. She received her B.S. in TV, Radio, and Film from Syracuse University and her Master’s in Education from Endicott College. She has worked as a creative production intern in for Overbrook Entertainment and as a marketing and sales intern for Charlesbridge Publishing.

Abigail is a member of the DIY MFA street team and a loyal follower of Writer’s Digest. You can read more about her work on her website www.akperry.com or follow her on Twitter @A_K_Perry

The post The Disturbance — Signpost Scene #1 appeared first on DIY MFA.

Today I’m delighted to have K.M. Weiland on the show.

K.M. Weiland is an award winning and internationally published author with a passion for helping writers become published authors. Through her award winning website, Helping Writers Become Authors, she has mentored numerous writers. She is also the author of several books on the craft of writing.

In our interview, we dive into her book Creating Character Arcs, and the craft elements that make characters of all types pop off the page.

In this episode K.M. Weiland and I discuss:

• How to create a strong character arc that works with your plot, and why there is danger in not structuring your characters.
• Why theme is an important element in your story, and how to use for maximum effect.
• What the three types of character arcs are, and how to recognize and craft each type.
• How change occurs in a flat arc, and why these characters resonate with readers.
• How to fix a story with no character arc, and why a no arc story can work.
• How to craft change in a story on both internal and external levels, and why the power of choice is important to all types of character arc.

Plus, her #1 tip for writers.

About the Author

K.M. Weiland lives in make-believe worlds, talks to imaginary friends, and survives primarily on chocolate truffles and espresso.

She is the IPPY, NIEA, and Lyra Award-winning and internationally published author of Outlining Your Novel, Structuring Your Novel, and Creating Character Arcs.

She also writes historical and speculative fiction from her home in western Nebraska and mentors authors on her award-winning website Helping Writers Become Authors. Click the link to connect with K.M. Weiland.

Creating Character Arcs

Have you written a story with an exciting concept and interesting characters—but it just isn’t grabbing the attention of readers or agents? It’s time to look deeper into the story beats that create realistic and compelling character arcs. Internationally published, award-winning novelist K.M. Weiland shares her acclaimed method for achieving memorable and moving character arcs in every book you write.

By applying the foundation of the Three-Act Story Structure and then delving even deeper into the psychology of realistic and dynamic human change, Weiland offers a beat-by-beat checklist of character arc guidelines that flexes to fit any type of story.

Gaining an understanding of how to write character arcs is a game-changing moment in any author’s pursuit of the craft.

If you decide to check out the book, we hope you’ll do so via this Amazon affiliate link, where if you choose to purchase DIY MFA makes a small commission at no cost to you. As always, thank you for supporting DIY MFA!

Link to Episode 146

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Until next week, keep writing and keep being awesome!

The post Episode 146: Create Compelling Character Arcs — Interview with K.M. Weiland appeared first on DIY MFA.