Even if you have the most exciting, engaging ideas for your novel, you might struggle to write it because you have to deal with chapters. These are a few of the most frequently asked questions about chapters and a few tips that might help you overcome manuscript challenges.
Unfortunately, there’s no straightforward answer to this question. Genres and intended audiences influence manuscript word counts. Younger readers will need shorter chapters to keep their interest and older readers might prefer longer chapters that dive deep into conflict or theme.
Storytelling elements also change the number of chapters per book. A fast-paced novel might have more short chapters to keep up the faster narrative pace. A slower novel might linger in wordier scenes, so there could be fewer chapters with longer page counts per chapter.
You can always look at comparable novels in the same genre to guestimate how many your manuscript could include. If you’re writing a Twilight-inspired novel in the same fantasy genre and Twilight has 26 chapters in a ~110,000 word count range, you could aim for a similar number.
Chapters divide longer stories into segments that help readers process new plot events. They give people breathing room to digest heavier topics or moments by pausing or putting the book down to do other things for a while.
They also give more weight to cliffhanger moments or events made to shock readers. Even if they immediately flip the page to keep reading, the momentary pause lends gravity and meaning to whatever ends the chapter before.
The first line of every chapter doesn’t need to be a dramatic car chase scene, but the chapter in its entirety should include some plot-moving action. It hooks readers and gets your pacing started.
Action can only intrigue readers so much. What’s the emotional weight compelling your protagonist to take part in, react to, or fight back against your inciting incident? Establish some emotional weight in the first chapter to motivate your protagonist, like showing how much they love their sister before getting betrayed by her in the inciting incident.
Readers don’t need to know everything about your world-building or protagonist in the first chapter. The infodumping only weighs down your pace. Sprinkle your descriptions and reveals throughout the first act of your book to keep readers coming back to learn more about the world.
Choices help stories move along at a pace that keeps readers engaged. If your protagonist is stuck in their head for most of a chapter, there’s nothing pushing your story forward. Always include at least one choice when starting a chapter, whether it’s big or small.
Every chapter should expand your primary conflict in some way. It might affect newly introduced characters, change your protagonist’s world, or require a sacrifice. As long as your conflict is relevant to your chapter in some way, your story will always remain true to its thematic purpose.
An initial chapter sets up or introduces a conflict that gets your plot moving. If you’re unsure what to do in the following chapter, use it to address the effects of that previous chapter’s conflict. Although the conflict likely won’t get resolved that quickly, you can still write about your characters’ choices post-conflict or how the world changes in a way that affects their futures.
I used to be afraid of ending a chapter without some shocking, groundbreaking plot twist. Althought that’s a great place to put those moments, it’s not plausible to end every chapter with one. Where would your readers feel comfortable pausing for the night? When would they feel the quiet sanctity of peaceful moments where characters build trust between themselves?
Play around with your endings by refusing to be afraid to cut your manuscript into segments. If one doesn’t feel right during your read-through, you can always merge it into the next chapter and cut them differently during editing.
When your story needs to change times of day, locations, or perspectives, that’s usually a good sign that you need a page or chapter break. It’s not always necessary, but these are the types of chapter breaks that give readers breathing room.
Again, you can always re-work your chapters during editing if you find that they aren’t ending in the right places during your first few read-throughs.
Who says chapters always have to end on a cliffhanger? You can also end them when the action or tension is becoming more intense. When two characters are in the car on the way to rob a bank, they argue over whether or not to actually shoot people. One character’s eagerness and the other’s disgust raises the tension. As it escalates into them yelling in the parking lot, the chapter can end when one leaves the car and slams the door.
Ending on a moment of heightened tension is another reason readers turn pages and stay engaged. In the above case, they might not be able to put the book down until they find out if the robbery resulted in murder.
-----
Starting and stopping chapters can cause plenty of anxiety, but remember—you’re always in control of your manuscript. Play around with these ideas and make any necessary changes in your editing phases. You’ll figure out the best way to organize your story by chapters and develop more confidence in your long-form storytelling abilities.
Decía Octavio Paz en su libro “El Laberinto de la Soledad”, que niños y adultos pueden trascender su soledad, es decir, pueden traspasar esa soledad, pero aquellos que buscan su identificación y sus pretendidas formas de ser, entre ese laberinto de la soledad respecto a su ser, se definen más por lo que HACEN, que por lo que DICEN SER en esas pretendidas formas de su ser, y sus definiciones de cómo se ven. Entonces la verdadera definición del ser humano, no está en las categorías, ni en los estigmas ni en los espejos, sino en las realidades de un concepto, de una idea, y su expresión en un mundo físico, lo cual siempre me congratulo hacer, porque soy mas por lo que hago, que por lo que digo de mis pretendidas formas de ser, y así les quito las definiciones a los otros de mi ser.
Fairy tales are contested terrain — places where we battle out truth and power.
Book review: ‘Once Upon a Time: A Short History of Fairy Tale’ by Marina Warner - Books - The Boston Globe (via oupacademic)
After my extensive [list of questions for towns and cities] for your main setting, there will also be many countries, regions and cultures mentioned in your project, that aren't central to the plot, that you don't have time to delve into detail about, but that still should feel 'real'.
For this use (or, really, in general, if you don't have much time to worldbuild before you start your first draft), I prepared a list with 10 very rough, basic questions to make your world feel alive:
What is their most important export good or economy?
What was the most important event in their recent history, and how long ago did it happen?
What do people from that place wear and how do they style? Are they distinguishable in a crowd?
What is their language, and is it understandable for your narrator? Do they have an accent?
What are they famous for? (People from there, their humor, their food, their skills at something...)?
Are or were they at war / at the brink of war with other people; esp. with those at the center of your story?
What is their most important difference to your "main" / narrator's culture? (Religion, society, economy...?)
Are representatives of that culture seen often in your setting?
What is something outsiders say about them?
What do they say about themselves?
I recommend thinking about these for your side character's home cultures, as well as for your setting's most important regions and neighboring countries. Five or so might even be enough, just as a handy ressource to make your setting feel alive and real.
U.S. cities with the happiest workers More: http://nbcnews.to/1vsaFSM
LoveSucks: remeber?
Writing Tips
Scene Checklist
「 note: this is for the editing stage; remember, first draft is for the writer & editing is for the reader; get it down before worrying about these things unless it is just for practice 」
✧
ACTIONS
↦ are the actions necessary?
↦ are the verbs as descriptive as possible?
↦ do the actions match the character? why did the character take those actions?
↦ are the actions clear?
DIALOGUE
↦ what is the purpose for each statement?
↦ does each statement move the story forward?
↦ are the dialogue tags as descriptive as possible?
↦ does the dialogue match the character? why did the character say those things?
EMOTIONS
↦ are each character’s emotions clearly stated or implied?
↦ are the character’s emotions justifiable?
↦ how does the character’s emotions affect their actions?
LANGUAGE
↦ are you showing or telling?
↦ does the scene have clarity & coherence?
↦ does the scene have the desired tone, mood, & voice?
PURPOSE
↦ is this scene necessary? (if removed, would the story still make sense?)
↦ are there stakes at risk in this scene? is there tension?
↦ has something changed from the beginning to the end of the scene?
↦ possible purposes: advance the plot? reveal character goal? increase tension? develop character? reveal conflict? react to conflict? explain backstory? foreshadow? build world? reinforce theme, tone, or mood?
SETTING
↦ will your reader clearly know the setting throughout the scene?
↦ room? house? city? state? country? planet? galaxy?
↦ time of day? season of year? weather?
↦ chronologically within story?
STRUCTURE
↦ is there a distinct beginning, middle, and end?
↦ is the chronological order of events clear?
↦ does the scene smoothly transition from one to another?
✧
DWIGHT SWAIN’S SCENE VS SEQUEL
↦ Swain believed scenes should repeat these sequences in order to keep the interest of the reader piqued
↦ Swain says “a scene is a unit of conflict lived through by character and reader” & “a sequel is a unit of transition that links two scenes”
↦ scene: goal, conflict, disaster
⟿ goal: character’s decision to do something for a purpose
⟿ conflict: something opposing the character’s ability to achieve goal
⟿ disaster: a disruption or turning point to keep the readers hooked
↦ sequel: reaction, dilemma, decision
⟿ reaction: character’s emotional/analytical reaction to the disaster
⟿ dilemma: what should the character do now
⟿ decision: what does the character do now
↦ does your scene have one of these three-part patterns?
DWIGHT SWAIN’S MRU
↦ MRU: motivation-reaction units
↦ these are for alternating sentences or paragraphs
↦ motivation: objective thing your character externally senses (what happens?)
↦ reaction: subjective response your character internally has (how does your character react? feeling, reflex, action, dialogue?)
↦ this is very difficult to follow, especially without practice, but it is a way to guarantee your reader’s interest & attention
SEGUNDA ESCENA
La niña, mira como su mama lee todos las preguntas, y cuando mira hacia el otro lado, mira otra hoja suelta con otro crucigrama que dice:
Dia, después de ayer?
Código personal que se usa para abrir archivos?
Qué hay adentro de la envoltura (wrapping paper) de un regalo que el novio regaló, y lo puso en el trunk del carro, en INGLES y todo en minúsculas, una sola palabra y cinco letras?
Después la mama sigue leyendo, las otras instrucciones que están en la hoja.
Como se le llama al conjunto de lineas de conductas que se ponen en una escuela o en las casas por los padres para evitar conflictos?
100 dividido entre 2 =
Qué se hace para quitar el polvo de los objetos?
Cómo se le llama a la persona que participa en una sociedad junto a otra persona?
Cuál es la autoridad máxima y el tipo de autoridad que le otorga el Estado a un diplomático para ejecutar negocios en su nombre?
El tipo de autoridad que se establece sólo en una region específica es: regional, estatal, o nacional?
Cual es el señalamiento que se pone a una obra de remodelacion en las calles?
Los museos tienen fechas de apertura? Cuándo?
Las audiencias están en canales distintos, y las represas están listos para abrir la compuerta, que llevarán al río de su inauguración.
Look for Letter to the protagonist, and follow the instructions.
Las casas, tienen los aromas y los aires, de los dos que la construyen?
Here you will find some of the things that I really like. I like writing, music, poems, and producing any idea that comes to my mind. I hope you like it!
288 posts