The Novelry Blog
Where the writers are.
A Member's Story.
From the desk of Cate Guthleben.
How to Start Your Novel?
Some Ideas for Writing the First Line.
If the agent of change in the novel is a person and you’re telling the story as an outside observer.
“In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since.” The Great Gatsby, F Scott Fitzgerald.
“Elmer Gantry was drunk.” Elmer Gantry, Sinclair Lewis.
“I first met Dean not long after my wife and I split up.” On The Road, Jack Kerouac.
If the agent of change is the narrator.
“You don’t know about me, without you have read a book by the name of The Adventures of Tom Sawyer, but that ain’t no matter. That book was made by a Mr Mark Twain, and he told the truth, mainly.” Mark Twain.
“If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before...
To the Battle!
The battle in the classics of Tolkien and others is often a bit of a let down.
There’s a long walk, a lot of fine talk, plenty of awe then either the human hero finds an exit and postpones the battle or there’s a divine intervention which crushes evil a tad unfairly I think.
So, we have a complete rout, or evil sneaks off. There’s not much in the way or real prolonged suffering, no lingering in the mud of the trenches here. But hey ho. We’ve all been surprised by our first punch and children milk-fed on reading books are no doubt the most sucker-punched of all. But we all know there’s no alternative without completely compromising the experience of wonderment.
Tolkien approaches the battle in short sentences. You will know one’s coming because his word count between full stops drops dramatically. This seems to me to prove that discretion really is the better part of valour.
Bilbo almost stopped breathing, and went stiff...
It's crucial to invest in the groundwork of story before going on to potter in prose if you mean business (i.e, to sell books.)
Our 'big story' course - the Classic course, one option in our series of online novel writing courses - is good for all writers but absolutely essential for those who are world-building - which is to say writing Fantasy, Historical, Young Adult and Children's. Pack it in your writer's kit bag, toss it behind you back and whistle all the way to the literary agency (nail that theme tune en route).
I'll be referring to the 'classics' in this blog but don't worry, I'm not being lofty and referring to works of Ancient Greece etc, I'm being low-brow. Populist! (Hoorah!) I'm referring to the golden classics of fiction, the bestsellers enjoyed by adults and kids. The genre-busting crossovers!
The course delves into the cunning plots of seven of the ten bestselling books of the last hundred years. (With apologies for the omission of...
“ I'm afraid, I just didn't warm to Cheryl.”
I get to see a lot of novels-in-waiting as you might imagine. Sometimes my writers will share with me the editorial reports or feedback they have had from other writing courses and agents and ask me to interpret them. I don't read them before I make my own diagnosis. But after I have read the work and made some recommendations, I do take a look.
"The action feels generic and doesn’t feel specific enough for the predicament to be entirely engaging in my opinion." Er, ok.
But sometimes, and especially when you get feedback from agents who want a product that's more or less finished on their desk, you'll get something like the remark above - that they just don't like the main character. Of course, at the end of the day, the problem is in the writing not Cheryl!
Remember, you are not defective as a writer, this is not about you. A novel can be fixed.
Yes, we can and we will fix it. That's what we do at...
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