Your Character Bible by Randy Ingermanson | Advanced Fiction Writing

 

Your Character Bible

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

Most novels contain several major characters. And maybe a dozen minor characters. And maybe twice that number of walk-on characters. Or more.

If you’re writing a series, you know that each book seems to accumulate new characters.

After awhile, it gets hard to remember all the details about all your characters. And how they’re related to each other. When did they get married? When did they get divorced? When did they die? When did they have kids?

Any of your characters can potentially have some sort of relationship with any of your other characters. If you have 10 characters, that’s 45 possible relationships to keep track of. If you have 50 characters, that balloons up to 1225 possible relationships!

And every character has a history. And a physical description.

The details grow exponentially until it’s impossible to remember it all. Sure, you can search through your manuscript using your word processor. But if Joe is on every page, your search function may not help a whole lot. Or if you have three characters named Mary, that’s a lot of wrong Marys to sort through. (Who would be dumb enough to write a novel with three Marys? Somebody writing a historical novel that has three actual historical persons named Mary. It happens.)

And it gets even more complicated when you’ve written a lot of books, and your list of characters expands up into the hundreds.

That’s why many authors create a “character bible” that has all the details on every character. Because if it’s 3 AM on the night before final edits are due on your book, you don’t want to be frantically trying to track down what year Harry met Sally so you can figure out how old she was on that magic day.

Speaking from personal experience, on the last night before a book is due, I prefer to be sleeping at 3 AM. But usually I’m doing final fact-checks and checking off my punch-list of last-chance detail-questions on the story.

How to Make a Character Bible

Making a character bible is not that complicated.

A character bible needs to be on a computer, because this is the 21^st century, and we don’t have to do things the slow way anymore.

One way to do it is to just make a Word document or a Scrivener document. Start with the names of all your characters. Under each character, leave some space.

Then start filling in information. The kind of information you need depends on what kind of book you’re writing, but for most books, the date and year a character was born is a good place to start. Then work out their age when the story takes place. You probably also want some basic info like height, weight, physical description, color of eyes and hair.

After that, you have a lot of different things you could add. What does the character want in life? What is their goal in the story? What are their personal values that control how they make decisions? Where do they live? Where were they raised? What events in their past have put scars on them in the present? What do they do for a living? Who else in the story are they related to?

You can easily think of hundreds of questions you could potentially ask. Most of these are irrelevant to your story. Leave those out and put in the ones that are relevant.

Using Your Character Bible in Story Development

Many writers build their character bible while developing the story. That is, they grow the plot and their characters out in stages, working a bit on one and a bit on the other until they have a clear understanding of the story. My Snowflake Method uses this approach.

Of course you don’t have to use a character bible to develop your story. A lot of writers just write the story and let things happen. Characters appear and reveal who they are. If you’re writing your story this way, it’s still a useful thing to keep a character bible. As each new character comes on stage, you can easily update your character bible with the basic info on that character. As your story moves along, you’ll learn more and more about your character. As you do, it’s a smart idea to keep adding to your character bible.

Should You Create a Character Bible?

Making a character bible is a lot of work, so it’s worth asking whether you really have to do it.

No, you don’t have to do it. You don’t have to do anything. You can write your novel however you like.

Keep in mind the reason anyone creates a character bible. It’s to help them keep their characters consistent.

The classic example is the novel where John has blue eyes when we meet him on page 10, green eyes on page 154, and brown eyes on page 302. There are readers who will find this an insult to their intelligence and will let you know about it. If this matters to you, your character bible will give you the definitive answer on the color of John’s eyes. And then when you’re doing final panicked edits at 3 AM, you know where to look.

If the color of eyes seems like a trivial detail, I can’t argue with you. Lately, I’ve been writing novels set in a place where all the characters have brown eyes, so I don’t really care about eye color. But the motivations of your characters is something slightly more important. And your character bible is a fine place to keep track of that. Along with a whole lot of other important stuff.

Homework:

• Does your novel need a character bible? (There’s no wrong answer here, but for every book, you get to decide, and your choices are “yes” or “no.”)
• If you need a character bible, what’s your best option for creating it?
• If you don’t know your best option, then that’s a research question that you need to tackle first.
• Once you figure out what tool you’re going to use, start by creating a separate entry for every character you care about. You won’t fill in the same level of detail for all characters, but every character worth caring about has a name, so start there. Then just add info as you have time and energy.
• Someday at 3 AM, you may thank me for this. You’re welcome.

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

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The Golden Rule of Fiction by Randy Ingermanson | Advanced Fiction Writing

 

The Golden Rule of Fiction

by Randy Ingermanson 

 

Advanced Fiction Writing

About twenty years ago, I was accepted into a small mentoring group led by Sol Stein, a famous novelist, playwright, publisher, and writing teacher.

It was a great group and I enjoyed hanging out with so many talented novelists.

Sol had a recent book out, THE BEST REVENGE, and most of us in the group bought a copy.

Sol, knowing that I'm a physicist, autographed mine as follows:

"Physics = facts; Fiction = truth"

I've often thought of that over the years. A fair number of people think that fiction is the opposite of truth -- it's just something made-up that doesn't mean anything.

But Sol was right. Fiction is truth. Good fiction, anyway. It's the truth about people.

My only quibble with Sol was with the first half of his formula. Physics isn't really about facts. Physics is about what lies behind the facts.

Physics is truth, too. It's a different kind of truth than fiction, but it's truth.

The hardest part of fiction is telling the truth. 

It's very easy to misrepresent your characters. To fail to tell the whole truth about them. To reduce them to a caricature. But as a novelist, you can't afford to do that.

The problem is that you don't always realize you're doing it. It's one of those things that you don't know that you don't know.

It's easier to see a caricature when you're the one being caricatured. Because when somebody misrepresents YOU, you get angry.

Some examples from the usual fault lines will make this clear:

If you're a Democrat, then you get irritated when Republicans call you a big-spending, soft-on-crime panderer to the poor.

If you're a Republican, then you get irritated when Democrats call you a militaristic, greed-driven pawn of the big corporations.

If you're pro-choice, then you hate having the pro-lifers painting you as a baby-killer.

If you're pro-life, then you hate having the pro-choicers painting you as a Bible-thumper.

When somebody uses simplistic terms to misrepresent you, it makes you angry. You know good and well that you aren't that way. You know that things are more complicated than that.

Now here's the Golden Rule of Fiction: 

Treat your characters the way you want to be treated.

You don't want people misrepresenting you. Don't do it to your characters.

If you intend to tell the truth about your characters, then you have to dive deep into them. You can't settle for a cartoon level understanding. When a character disagrees with you on some deeply held position, you have to play fair with him.

That's hard.

When your character is WRONG about something, when you know he's wrong, when it's plain as day he's wrong, when you just want to shake him and show him how wrong he is -- that's when you're in the most danger of not playing fair.

It's your job to understand your character. Even when he's wrong.

It's your job to become your character. To be wrong when you're inside his skin. To believe (if only for a moment) that he's right.

That's treating your character the way you want to be treated. It's playing fair.

Remember that only YOU are obligated to play fair. None of your characters have to. In fact, most of the time they won't. Most of the time they'll misunderstand each other. Most of the time, they'll misrepresent each other. Most of the time, they'll caricature each other.

That creates conflict, and conflict is good.

But when it's just you and your character, alone on the page, then you have to do your utmost to put yourself inside her shoes. To see the world from her point of view, not yours.

Even if she's wrong.

I think that's part of what Sol meant when he said that fiction is truth.

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

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A Quick Note on How to Write Weird Fiction for the Novice Writer by Ryker J. Phoenix

 

A Quick Note on How to Write Weird Fiction for the Novice Writer

 

by Ryker J. Phoenix

 

 

Weird fiction is a genre of literature that has gained immense popularity over the years. It involves the creation of stories that are strange, bizarre, and completely surreal. It is this sense of the uncanny in weird fiction that has made it appealing to many readers. One particular work of weird fiction that has captivated readers for generations is H.P Lovecraft's "The Call of Cthulhu".

"The Call of Cthulhu" tells the story of a group of sailors who discover an ancient tomb that houses a monstrous entity known as Cthulhu. The existence of Cthulhu is said to be tied to a cosmic, unknown force. As the sailors explore the depths of this ancient tomb, they uncover several horrifying truths about the universe and its inhabitants.

What makes "The Call of Cthulhu" an exceptional example of weird fiction is its ability to use the concept of the unknown to create a sense of horror and dread. The dread that surrounds Cthulhu in the story is not because of his physical appearance but rather what he represents. Lovecraft is able to create a sense of dread by making his readers question the very nature of reality.

Throughout the story, Lovecraft makes use of a particular style of writing that adds to the eeriness of the work. His use of long, complicated sentences adds to the sense of desolation that pervades the story. Moreover, his descriptive language paints vivid images in the reader's mind, making them feel as though they are a part of the story.

Another aspect that makes "The Call of Cthulhu" stand out is its themes of cosmic horror and the existence of a deity-like figure that exists beyond human comprehension. This theme of cosmic horror shows up across other works of weird fiction and creates a sense of an uncaring, hostile universe that is indifferent to the fate of human beings.

Here are some guidelines on how to write weird fiction:

1. Incorporate surreal and complex imagery: Weird fiction typically features bizarre or otherworldly images that challenge the reader's perception of reality. Consider exploring strange locations, unusual objects or creatures, and other oddities that will make your story feel alien and unsettling.

2. Create an atmosphere of unease: Use language and description to establish an unsettling tone throughout your narrative. Characters should feel anxious, uneasy or disoriented, and the setting should be mysterious and disconcerting.

3. Use non-linear storytelling: Instead of following a traditional narrative structure, experiment with unconventional methods of storytelling such as stream-of-consciousness, disjointed timelines or unreliable narrators. These techniques create a sense of disorientation and can enhance the feeling of weirdness in your story.

4. Draw from mythology and folklore: Many weird fiction stories incorporate elements of mythology or folklore, combining real-world legends with fantastical elements. Researching these myths and legends can provide inspiration for your story and help you create a thoroughly unique experience.

5. Don't be afraid to experiment: Weird fiction is a genre that allows for a lot of experimentation and creativity, so don't be afraid to try something new. Take risks with your storytelling and embrace the strange and unusual in your writing.

In conclusion, Lovecraft's "The Call of Cthulhu" is an excellent example of weird fiction that has captured readers' imaginations for generations. The use of cosmic horror, the unknown, and a surreal world create an atmosphere of dread that is unmatched in the realm of literature. Its themes of cosmic horror and the idea of a universe beyond human comprehension are still relevant today, and it is why "The Call of Cthulhu" continues to inspire readers across the world.

Also see:

• The Call of Cthulhu
• Classic Weird Tales
• Weird Fiction at Amazon

 

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There is a Magic in Story Writing by John Steinbeck | Writing Quote

 

There is a Magic in Story Writing

 

by John Steinbeck

 

 

 If there is a magic in story writing, and I am convinced there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another. The formula seems to lie solely in the aching urge of the writer to convey something he feels important to the reader. If the writer has that urge, he may sometimes, but by no means always, find the way to do it. You must perceive the excellence that makes a good story good or the errors that make a bad story. For a bad story is only an ineffective story.

-- John Steinbeck

About thr Author  

John Ernst Steinbeck Jr. (February 27, 1902 – December 20, 1968) was an American author and the 1962 Nobel Prize in Literature winner "for his realistic and imaginative writings, combining as they do sympathetic humor and keen social perception." He has been called "a giant of American letters."  Wikipedia 

 John Steinbeck at Amazon

How to Enrage Your Character by Randy Ingermanson | Advanced Fiction Writing

 

How to Enrage Your Character

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

 

How to Enrage Your Character

As I’ve said many times, writing fiction is about giving your reader a powerful emotional experience. And you do that by giving your characters a powerful emotional experience.

The question is how to do that realistically. How do you set up a situation in which the character would naturally feel strong emotions?

That’s a large subject, too big for one column, but I can tackle one piece of it today.

Let’s talk about rage. That’s a powerful emotion for you, and it’s one that some of your characters will feel. 

Sometimes rage is justified. Think about the #MeToo hashtag, and you can come up with millions of examples of justified rage. I think we can all understand justified rage.

Unjustified Rage

But sometimes rage is unjustified. That’s a little harder to understand. Why would somebody go into an unjustified rage? Are they bad people, or is there some other explanation?

This is important. If we can’t understand it, we can’t write it. 

Let’s do a little thinking on unjustified rage. How do we make sense of it? Or is rage so irrational that we can’t make sense of it?

Think about the last time somebody was enraged at you. Has that happened to you, ever?  

If you can’t remember, let me toss out some short phrases that may jog your memory. I got these phrases by going to four popular web sites and scrolling down, looking for controversial topics, and typing them out in the exact order I saw them. It’s kind of a long list, even after I removed the duplicates:

• Guns
• National anthem
• Election districting
• Fundamentalism
• UFOs
• Federal corruption
• Russian investigation
• Climate change
• Environment/conservation
• Trump
• Obama
• Election fraud
• Putin
• Mega pastors
• Immigration
• LGBT
• Economic inequality
• Crime
• Fake news
• Taxes
• Bitcoin
• Euthanasia
• Creationism

 

What Makes People Angry?

Have you ever had a discussion on one of these topics and gotten angry at somebody? Maybe even enraged? 

Were you justifiably enraged, or unjustifiably? That’s actually a bad question. No doubt your rage was justified. 

But let’s turn it around. Has anyone ever been unjustifiably enraged at you over one of these topics? I’m guessing they have.

Now let’s ask the hard question—what caused them to be unjustifiably enraged?

That’s tough to answer, because you can’t go inside someone’s head to know what they’re thinking. All you can do is guess.

Here’s my guess, and I know it’s just a partial answer. People get unjustifiably enraged when they have a strong false belief about a current danger that is being ignored by “those other people.”

The rage comes from the strong belief that this terrible danger is being ignored.

If they actually had some expertise on the subject, their rage would probably be justified, because there are real dangers in the world. Ignoring those dangers is wrong. If a danger is high enough, people should be enraged that it’s being ignored. 

If you’re on the Titanic and you know there’s an iceberg ahead, you should be enraged when the captain says, “Full speed ahead.”

The Dunning-Kruger Effect

But what if the danger isn’t real? What if the person is misinformed? What if there is no iceberg?

That happens a lot. In that case, the rage is unjustified.

I’ve seen a fair number of cases where it looked to me like the rage-provider was much less informed on the subject than the rage-receiver. I bet you have too.

There’s some rather weird psychology that comes into play here, the “Dunning-Kruger effect.” It has two sides:

• Incompetent people often think they are much more competent than they actually are.
• Very competent people often assume that other people are much more competent than they actually are.

The key point here is that incompetents tend to rate themselves too high. Competents tend to rate other people too high. 

Competent people tend to rate themselves fairly accurately. They know what they know and what they don’t know. They have a good understanding of the level of uncertainty in ideas. They know which statements are real facts and can be known with high certainty. They also know which statements are less certain and could be right or could be wrong.  

But competent people tend to assume that “if it’s easy for me to understand, it’s easy for other people,” which is why they overrate other people’s level of knowledge. Note that they are overrating “other people” taken all together as a group. Of course, a competent person can easily tell that a particular person is incompetent by talking to them one-on-one. 

Incompetent people, on the other hand, tend to lack the knowledge to even recognize what competence is. They don’t realize how much there is to know. So they think they know more than they actually do. As your grandmother told you, “a little knowledge is a dangerous thing.” You might say that incompetent people are logjammed by their own incompetence.

The way to break that logam is for incompetent people to study the subject more. A lot more. Once you get past the beginner stage, you realize how much you don’t know and you stop overrating yourself. Then as you start getting some actual expertise, you begin to rate yourself higher and higher, but now your self-rating is justified.

One advantage of education is that you learn how much you don’t know. When I was 13, I knew pretty much everything. By the time I was 26, I knew pretty much nothing, except on a very few subjects where I had some level of expertise. I like learning, and I know a lot more now than I did at 26. But I’ll never again be as smart as when I was 13.

One disadvantage of education is that there is an endless supply of people who know very little, but think they know more than you.

I’ve found that I can learn something from just about anyone, if only I can find out what subject they’re an expert on. The trick is figuring out if they’re a real expert, or if they just think they are. You can do that by asking questions about how they know that they know what they say they know. Real experts will answer differently than non-experts.

Authentic Unjustifiable Rage

So getting back to the subject of unjustifiable rage, here are my thoughts. Over the years, I’ve had some massive rage directed at me in discussions on certain controversial subjects where I actually have some expertise. Things I’ve spent years studying.

And the rage has come most often from people who didn’t appear to have much knowledge at all on the subject. But they thought they did. And they thought my opinion was not only wrong, it was dangerous. Hence, the rage.

The Dunning-Kruger effect explains this. They have a little knowledge. They see a danger that isn’t real. They get angry because I don’t see the danger.

They’re not necessarily bad people. But they’re still angry and the rage is still toxic. Knowing that can make it easier to deal with toxic people. (Although I wouldn’t advise ever telling anybody, “You’re toxic because you’re ignorant.” There are probably better ways to respond than that!)

And if you want to write fiction with three-dimensional characters, that’s the key thing you’re looking for. You can have nice people go into a terrible, toxic rage attack. The secret is to make them ignorant on the thing they’re angry about. It’s no sin to be ignorant. Everybody is ignorant on something. 

Homework

Think about the novel you’re writing right now. Is there any scene where a character goes into a rage? Is that character a bad person? Or just a regular, flawed human? How are you playing that character? What’s the motivation you’re showing for the rage? Is it possible you’ve got a Dunning-Kruger situation? How would you show that to make your character more three-dimensional? 

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

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Your One-Sentence Summary by Randy Ingermanson | Advanced Fiction Writing

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

 

Your One-Sentence Summary

My friend Larry Brooks is an extremely well-known writing teacher. Last November, he released his latest book, Great Stories Don’t Write Themselves. I’ve been reading the book lately, and I’m not quite ready to review it here, but it got me thinking.

Larry is very big on the idea that great stories need a great “premise.” Which sounds obvious, but it’s hard to nail down, because different people mean different things by the word “premise.” Larry spends quite a fair bit of time disentangling the various meanings of the word. He’s also got a lot of practical insight on how you test the premise of your book to make it better.

It’s all good stuff, but “premise” is Larry’s thunder, not mine, so I won’t steal it. If you want to know what he says, you can read his book. I did a lot of highlighting in his book, and I’ll certainly be using his various tests on my current novel to see how well it works.

But all this talk of “premise” got me thinking of a subject that is most definitely part of my thunder—the idea of a one-sentence summary.

What Is a One-Sentence Summary?

A one-sentence summary is a sentence of up to 25 words that enflames the imagination of your Target Audience and repels everyone else.

See what I just did? I wrote a one-sentence summary about one-sentence summaries. That’s kind of meta.

Who would want to write a one-sentence summary? (That is to say, who is the Target Audience for the very notion of writing a one-sentence summary?) Novelists who want to be successful. That would be you.

Novelists who want to be successful know:

• They should market only to their Target Audience.
• Marketing is about exciting emotions.
• Good marketing actually drives away the “wrong sort of reader.”

So my one-sentence summary above is designed for just those people. Here’s what I did in that one-sentence summary:

• I used the phrase “Target Audience.” That phrase gets the attention of any market-savvy novelists.
• I used the phrase “enflames the imagination.” Those are emotive words, aimed at writers who want to attract the right sort of reader.
• I also used the phrase “repels.” Another emotive word, aimed at writers who want to drive away the wrong sort of reader.

How is a One-Sentence Summary Related to “Premise?”

Larry Brooks is big on “premise,” and rightly so, because a great premise is practically an absolute requirement for a great book. I’m big on writing a great one-sentence summary, because it distills a novel’s premise down to one sentence that makes an amazing marketing tool.

You will use your one-sentence summary forever to sell your book to:

• An agent you meet at a conference.
• The editor the agent sends your book proposal to.
• The publishing committee who decides whether to publish your book.
• The publisher’s sales team, if they still have one.
• The bookstore buyers.
• People browsing for books in the store.
• People browsing for books online.
• Anyone those people ever talk to about your book.

You need a one-sentence summary, whether your novel has a great premise or not. In fact, even if your premise isn’t spectacular, you still need a one-sentence summary, for a couple of reasons.

First, it catches people’s attention so you can sell them your book.

Second, it keeps you focused when you’re writing and editing the book.

An Example One-Sentence Summary

Larry’s book spends quite a bit of time analyzing a mega-bestselling novel by Robert Dugoni, My Sister’s Grave.

I had never read this novel, but Larry’s book got me interested, so I bought My Sister’s Grave. I’m in the target audience. It’s a legal thriller and I like legal thrillers.

I read the book and thought it was fantastic.

Here’s my one-sentence summary for My Sister’s Grave:

“A homicide detective learns that her sister’s grave has been found, with conclusive proof that the man convicted of the murder was framed.”

A few comments are in order:

My first cut at this sentence was 27 words. I clipped out a few and got it down to 23.

The Target Audience for this novel is readers who like either police procedurals or legal thrillers. The novel is a bit of both. There is some forensic work and some detective work and a long series of scenes in a courtroom.

Look at the emotive words and phrases in my one-sentence summary:

• homicide detective
• sister
• grave
• convicted
• murder
• framed

With one exception, these words are designed to attract readers specifically in the Target Audience. The exception is the word “sister,” which is an emotive word not normally associated with this kind of book. But the contextual fact that the sister is the murder victim actually heightens the emotive force for the Target Audience and increases the repellant force for people outside the Target Audience.

What Your One-Sentence Summary Won’t Do

Your one-sentence summary is not the whole tuna. You still have to write a good novel, and it needs to fulfill the promise you made in the one-sentence summary.

Your one-sentence summary doesn’t even make a complete “premise.” If you want a complete premise, see Larry’s book, Great Stories Don’t Write Themselves.

Your one-sentence summary won’t sell your book, at least not by itself. All it does is get the attention of the right sort of person (your Target Audience) and scare away everyone else. The thing that sells your book is your first scene, because that proves you can actually write.

Homework:

• Do you know who the Target Audience is for your current work-in-progress?
• Do you know what the “premise” is?
• If the answer to both of the above is yes, can you distill your premise down to one sentence that attracts your Target Audience and repels everyone else?

 

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

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How to Write a Novel: A Practical Guide to the Art of Fiction

by Anonymous

(PDF)

 PDF - Audio - eText

FOREWORD BY OLIVIA SALTER

Writing a novel is a journey that captivates the imagination and transports both the author and the reader to new worlds. It is an art form that allows us to explore the depths of human experience, to delve into the recesses of our creativity, and to create narratives that resonate with our souls. Yet for many aspiring writers, the thought of embarking on such a formidable task can seem overwhelming.

That's why I am delighted to present to you this practical guide, "How to Write a Novel: A Practical Guide to the Art of Fiction." Whether you are a novice writer just starting your literary journey or an experienced author looking to refine your craft, this book is a valuable resource that will equip you with the knowledge and tools necessary to navigate the complexities of storytelling.

Within these pages, you will find expert guidance on every step of the novel-writing process, from the initial spark of inspiration to the final revision. The esteemed authors and writing professionals who have contributed to this guide bring a wealth of experience and expertise from their own successful careers. Their insights, advice, and practical exercises will empower you to unleash your creativity and develop your unique voice as a writer.

Throughout this book, you will be introduced to essential elements of storytelling, such as plot structure, character development, dialogue setting, and theme. You will learn how to craft compelling beginnings that hook your readers, sustain momentum throughout the middle, and deliver satisfying resolutions. You will discover techniques to create vivid and authentic characters that resonate with your audience. And you will gain valuable insights into the intricacies of writing effective dialogue and constructing immersive settings that transport readers to the heart of your story.

But this guide goes beyond the mechanics of writing. It delves into the artistry that lies at the core of any great novel. It explores the power of language, the importance of voice, and the interplay of emotion and theme. It encourages you to embrace the messiness of creativity, to trust your instincts, and to fearlessly explore the depths of your imagination.

Writing a novel is both a labor of love and a dance with the unknown. It requires dedication, perseverance, and the courage to face the blank page. But it is also a transformative experience—a chance to discover truths about ourselves, to give voice to our dreams, and to share our stories with the world.

So I invite you to embark on this journey with an open heart and an open mind. Let this guide be your trusted companion, offering inspiration, guidance, and encouragement when self-doubt creeps in. May it empower you to tell the stories burning within you and to forge a lifelong connection with the transformative magic of the written word.

Now let the adventure begin.

Olivia Salter

04/01/2023

CONTENTS

CHAPTER I
THE OBJECT IN VIEW

An Inevitable Comparison    3
A Model Lesson in Novel-Writing    5
The Teachable and the Unteachable    9
 
CHAPTER II
A GOOD STORY TO TELL 

Where do Novelists get their Stories from?    12
Is there a Deeper Question?    14
What about the Newspapers?    17
 
CHAPTER III
HOW TO BEGIN 

Formation of the Plot    25
The Agonies and Joys of "Plot-Construction"    28
[viii]Care in the Use of Actual Events    31
The Natural History of a Plot    35
Sir Walter Besant on the Evolution of a Plot    40
Plot-Formation in Earnest    43
Characters first: Plot afterwards    45
The Natural Background    47
 
CHAPTER IV
CHARACTERS AND CHARACTERISATION

The Chief Character    50
How to Portray Character    52
Methods of Characterisation    55
The Trick of "Idiosyncrasies"    58
 
CHAPTER V
STUDIES IN LITERARY TECHNIQUE

Narrative Art    63
Movement    66
Aids to Description: The Point of View    67
[ix]Selecting the Main Features    70
Description by Suggestion    73
Facts to Remember    75
 
CHAPTER VI
STUDIES IN LITERARY TECHNIQUE—CONTINUED

Colour: Local and Otherwise    79
What about Dialect?    84
On Dialogue    86
Points in Conversation    91
"Atmosphere"    94
 
CHAPTER VII
PITFALLS

Items of General Knowledge    96
Specific Subjects    98
Topography and Geography    100
Scientific Facts    101
Grammar    103
 
[x]CHAPTER VIII
THE SECRET OF STYLE

Communicable Elements    105
Incommunicable Elements    110
 
CHAPTER IX
HOW AUTHORS WORK

Quick and Slow    116
How many Words a Day?    119
Charles Reade and Anthony Trollope    122
The Mission of Fancy    127
Fancies of another Type    129
Some of our Younger Writers: Mr Zangwill, Mr Coulson Kernahan, Mr Robert Barr, Mr H. G. Wells    132
Curious Methods    134
 
CHAPTER X
IS THE SUBJECT-MATTER OF NOVELS EXHAUSTED?

The Question Stated    138
"Change" not "Exhaustion"    142
Why we talk about Exhaustion    145
 
[xi]CHAPTER XI
THE NOVEL v. THE SHORT STORY

Practise the Short Story    154
Short Story Writers on their Art    159
 
CHAPTER XII
SUCCESS: AND SOME OF ITS MINOR CONDITIONS 

The Truth about Success    164
Minor Conditions of Success    169
 
APPENDIX I
The Philosophy of Composition. By Edgar Allan Poe    175
 
APPENDIX II
Books Worth Reading    201
 
APPENDIX III
Magazine Article on Writing Fiction    205

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