Suspense And Foreshadowing—Two Great Tools For Writers

Types of Opening Scenes for Your Novel

Here are a handful of ways to open the very first scene in your book! There are plenty more to explore, but these are a set of very tried and true methods.

Autobiographic - your protagonist starts the book reflecting or talking about a past event. They’re looking back in time and sharing an important piece of information with the reader.

In trouble/conflict - a problem has arisen for the protagonist and a sense of urgency is established. This can be an intense conflict like a chase scene or a puzzling problem.

Mysterious opening - the reader is introduced to something peculiar (a fantasy location, unique magic, a cloaked figure, etc.) that raises questions in their mind. Their curiosity will keep them reading.

Scene-setting - the most common opening where you focus on introducing the setting and the characters in it before anything else.

The questioner - the protagonist is questioning something: “Who invited the guy in the trench coat covered in red?”

Beginning with a thought - the novel is started with a philosophical quote or meaningful thought from the protagonist. “What is living worth if she’s not doing it with me?”

Intriguing dialogue - the book starts with interesting dialogue that captures the attention of the reader.

Mood establisher - the novel opens with a deliberate mood that signifies to the reader what they should expect from the story. Ex. a spooky story may open with eerie words and a dark atmosphere.

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Me gustaba su estilo, su elegancia, no cualquier mujer puede tener ese garbo de verse clásica como en el Partenón de Atenas con lineas y figuras estéticas en el vestir, que se complementan con las formas artísticas de su cuerpo. El Partenon de Atenas tenia esa lineas horizontales y verticales enmarcadas en una belleza estética clásica, sin lineas garigoleadas y góticas, sino simples en belleza, para demostrar la grandeza del pensamiento del hombre en lo simple sin perder lo estético, y arrojado en una pieza de arquitectura.

Asi era ella, o quizás asi la construia por el efecto de su belleza en mi corazón.

“Las Mil y Una Noches con Ms Beautiful”. Extracto.

Writing Tips

Scene Checklist

Does your scene include everything it should?

「 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

News Radio Promo at Radio Vida 2007

novlr.org

How To Story Edit Like A Pro - Novlr

Have you finished your first draft but are unsure what to do next? Learn how to story edit to get your draft to the next stage.

Story Edit Like A Pro!

If you begin a story edit with these questions to evaluate your characters, plot, and setting, you’ll be amazed at how this will help you improve your story!

Evaluating Characters

We’re going to look at characters first. 

The cast of characters is the list of characters in your story. These characters act and react. They create emotion. They show motivation. Without any of this, you don’t have a story. That’s a tall order for your characters. So how do you make sure you’re getting the most out of them?

Who appears in each scene?

Having a list of your characters per scene gives a specific method for evaluating how you’re using the characters and shows you when you need to revise a scene.

It’s time to revise a scene if:

There are too many characters in a scene. Is every character required to achieve the purpose of the scene?

An introduced character lacks detail or has too much detail.

There are names that are too similar and might confuse the reader.

What are their goals?

A character goal is what a character wants. She should want it so badly that your readers feel her need in their guts. And failing to achieve the goal will be devastating.

What gets in the way of their goals?

Characters will drive the tension in your story, and tension is what keeps a reader reading. Putting obstacles in the way of achieving the goal will raise the tension.

Evaluating Plot

Plot is what happens in the story. It’s what your story is about. Here are three questions to help you evaluate each scene and how they relate to the plot.

What is the purpose of each scene?

There must always be a reason any given scene exists in your story. That’s what we mean by its purpose. A scene without a purpose will distract the reader from the main story. It may even bore the reader.

Is there an entry hook opening each scene?

Whatever you read at the beginning of the scene that keeps you reading is the scene entry hook. Every scene must have one by the end of the first three paragraphs or so.

Is there an exit hook at the end of each scene?

Whatever you read at the end of the scene that keeps you turning the page to the next scene is the exit hook. Every scene must have an exit hook. This includes a secret revealed, a cliffhanger, a clue, or a story twist.

Evaluating Settings

Finally, while you perform a story edit, examine your settings. Settings are key to keeping your reader engaged, so don’t ignore them. 

Is the location you chose the best place for emotional impact?

Each scene must take place somewhere, and each location has the potential to ramp up emotion. Often a writer doesn’t think hard enough about where a scene takes place and doesn’t end up using locations effectively. Does the location elicit emotion in the reader or the characters? If not, choose a different location.

Are there objects relevant to the plot or characterization in each scene?

Watch a film without props or a backdrop, and you’d probably get confused or bored. You’d just be watching actors on an empty stage, which would make it hard to believe the reality they’re trying to portray.

Readers are much more engaged in a story if they can imagine the setting that stirs their emotions. 

Are some of the 5 senses used in every scene?

Sensory details keep the “stage” and characters interesting. Without them, both the setting and the characters will seem flat.  Using the POV character’s senses to describe the action will bring your reader closer to the character. So ensure the senses used show characterization or move the plot forward.

How To Write Friendships Pt. 2

🦢        ―        &. FRIENDSHIPS . ( steps to develop friendships )

4) Give Them A History That Shines Through.

By no means do you want them to seem like they just met each other yesterday, if your two friends have known each other for a while now. What you need to do is throw out hints that these friends have known each other for a while ― you need to make the readers curious about these two friends and their history with each other.

And even if your characters meet within the timeline of the story, sneaking in hints that these characters are learning more about each other is a great way to develop your friendship.

Here are a few ways to show that:

1) Give Them An Inside Joke.

2) Give Them A Silly, On-going Argument.

Friends aren’t always going to agree on everything and their points of conflict don’t always have to be some dramatic issue ― they can be arguing over which one is better: Star Trek or Star Wars, they can argue over whether pineapple belong on pizza or not or maybe they argue over who is the taller one.

Giving them a silly, ongoing argument will make the characters feel real and simultaneously reveal different shades of their personality. Not only that, but it also offers a window into how they handle arguments between themselves. Who is the one that gets really worked up? Who is the one who makes all the great points?

3) Utilize Nonverbal Communication.

When you can start communicating with someone without words, that's when you really know someone. For example:

Let your characters be comfortable sitting in silence with each other

Use gestures and facial expressions to convey meaning to each other

Give them an unspoken rule

One friend asks a question, the other answers with silence

They can predict what each other are going to do

5) Create A Glue.

What is keeping your friends from parting ways? Without something to keep them together, your characters might grow apart. What is the glue that keeps this friendship intact? This can be a character, a goal, or the two of them are just thrown into a situation where they can't get away from each other.

One friend is the gardener of the other

The two of them must deliver a secret message to a Jedi

They both go the same extracurricular club 

They are toys who both have been captured by an evil kid who likes to torture toys

One friend can't  achieve his story goal without helping the other friend win a cart race

6) Create Meaningful Scenes.

Now that you have all the key components to an amazing friendship, it’s time to develop it through your story. Insert a few key friendship moments in your novel and show your reader the power of this relationship. 

Here are some ideas:

One friend gives the other a gift

They play a game together

They share a jacket 

They eat food together

They teach each other something

One friend gives the other a foot massage

7) Don't Make Their Relationship Perfect.

People aren’t perfect, and your friends can’t get along together all the time. But that doesn't mean you should stuff in a bunch of contrived conflict between your friendships. Instead, set up situations that will naturally occur because of who these characters are, and what they believe.

Maybe their differences get the better of them, maybe they react differently to a pivotal event in your novel, maybe one of the friend's internal demons gets the better of them, and the other friend has to call them out on it. This only results in more tension between them. This is an especially brilliant method to enhance a character arc.

Or simply make their friendship a more complex. Perhaps your two characters look out for one another, but they are always being compared to one another, and they need to overcome their deep feelings of jealousy for each other or they work well together, but one friend is keeping a lot of secrets from the other.

These complications and character differences not only add to your story, but watching these characters overcome these obstacles and still come out as friends makes your friendship feel more real, deep, and deserved.

True meaning of love! Love trough the light, coming out of beautiful eyes

Pro tips here

5 Quotes on Editing That Will Always Be Relevant

During January of our “Now What?” Months, we’re here to give you some inspiration and resources as you dive into those daunting edits on your novel. While we usually share lots of advice with you from contemporary authors, sometimes it’s nice to take a look back through history and realize that editing problems have always been the same:

1. James Baldwin

“Rewriting [is] very painful. You know it’s finished when you can’t do anything more to it, though it’s never exactly the way you want it… The hardest thing in the world is simplicity. And the most fearful thing, too. You have to strip yourself of all your disguises, some of which you didn’t know you had. You want to write a sentence as clean as a bone. That is the goal.” 

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