the plot is not what really happened

Of course, nothing “really happened” since a novel is fiction. Life is nothing like a novel. And you should not try to make your novel like life. It won’t work if you do. Life is full of events, interactions, and living that could be many stories, plus what you ate for lunch. A story is more like an analysis of something that happened in life with all the extraneous things that actually happened taken out.

We all tell stories, all the time. It is how we understand the world and is a basic part of what being a human is. Perhaps something happens at work and you want to tell your friend or partner or mother. You tell them “Something weird happened at work today.” And go on to tell your story. But you don’t tell uninteresting things. And you don’t tell everything that happened that day. You leave out all the things that happened that have no relation to your story - your interesting thing. That is plot.

A plot is like an analysis of an out-come. It is everything that happened that contributed to the out-come and nothing that did not. It’s like a mathematical proof. And all the events of the story are arranged in a cause-and-effect style. Indeed, cause-and-effect is what it’s all about. The reader wants to know why something happened and the novel answers that question.

A novel is also written to be more interesting and dramatic than how things are in real life. Writers are often told to listen to people talk as a study for writing dialogue. Certainly, you can find snatches of overheard dialogue that are great, but as a whole real people speak is a mess when transcribed. It is full of boring stuff, repetitions, bad grammar that is hard to follow, etc.

In Life one doesn’t’ know what people are thinking. A lot of stories we tell each other are concerned with trying to figure out what other people were thinking; and getting help doing it from the person you tell your story to. A novel can tell you what the characters are thinking, or what some of them are thinking. And the reader really wants to know what the protagonist is thinking. What they are thinking, what they decide to do -> what happens because of that -> how they think and feel about the outcome -> what they decide to do next, etc., etc. That is the great thing about novels, we get to know what the characters are thinking (some of the characters). In life you do not.

Things to remember about plot:

1. Dialogue is not like real people speaking just written down. It should leave out all the boring stuff. It is more witty, mysterious, emotional.  I have another post just on dialogue.
2. Don’t include events that have nothing to do with the out-come. Leave out everything that the reader doesn’t need to know to get the story. Everything. From pouring a cup of coffee, routine actions: she walked into the room, put down her bag and sat down,  routine dialogue:  hello – hello – nice to see you today - to someone’s relationship with their great-aunt that has nothing to do with the out-come.
3. Leave out the boring stuff as Elmore Leonard said “I try to leave out the parts readers skip”
4. Don’t include red herrings. The only exception is in mystery/detective stories and then they must be plausible. Readers expect everything to be important to the out-come and if something isn’t, they get annoyed, plus they invest time in trying to figure out how it fits in.
5. Remember cause-and-effect.
6. The reader really, really wants to know what the main character is thinking/feeling - give it to them. Don’t think it is suspenseful to withhold this - it’s not suspenseful it’s unsatisfying. 

    

 

The Title – what it’s for

 

The purpose of the book title is to let the reader know what to expect from the book. Readers when looking for a book to read usually know what they want. Even if they think they don’t, they do. A reader may be looking for something to read and think they don’t have anything in mind but they probably want something like something they read, and liked, previously. So, if I read cosey mysteries, non-fiction on food, and short stories I probably want more of the same. If they like funny, or scary, or romantic, or any other genre, the title should say to them “here I am.”

Now, I believe the final title of a published book is decided by the publisher. This may disappoint some, but it is what it is. Still when submitting your manuscript to an agent or editor you want to make the title you give your MS signal to your reader what to expect.

Think about a title which is a woman’s first name like:

Emma

Rebecca

Carrie

Matilda

All famous, wonderful books of very different genres. All different reading experiences. So, should they have been titled something else? No, but you might want to think twice about doing that, particularly if you are as yet unpublished or not a household name.

Check out these titles:

Do You Want to Start a Scandal

Beasting Beauty

In Bed with the Devil

Mine till Midnight

They are all romance novels. No surprises here.

 

Take a look at these:

House of Flame and Shadow

Quicksilver

The WingFeather saga

The Magician’s Nephew

If you guessed fantasy, you nailed it.

 

More:

Alien Clay

The Killing Star

The Third Rule of Time Travel

Sifi here.

 

More:

In A Dark Wood

None of this is True

Alienist

Against all Enemies

Only the Dead

Thriller here.

 

More:

A Study in Scarlet

The Hunter

Book Scavenger

Destination Unknown

The Mystery of the Yellow Room

Yeah mystery.

 

What are these?

Bossypants (so obvious)

Birdie and Harlow

This Book is Perfect

Bury My Heart at Chuck E. Cheese’s

The Stinky Cheese Man

It’s humor. (I guess cheese is inherently funny)

 

Now when you get into literary fiction things get trickier

To Kill a Mockingbird

One Hundred Years of Solitude

Crime and Punishment

By Any Other Name

James

The Evolution of Annabel Craig

One thing about these titles they don’t scream any of the genres. Even Crime and Punishment is just too in your face to be a thriller, or mystery, or detective novel. But it might be a non-fiction sociology book.

In my humble opinion the best way to go is not too obvious, not to obscure, something with a bit of poetry or mystery to it. Like:

Brave New World – not too obvious but very euphonious

The Unbearable Lightness of Being – I never read this, but I adore the title

East of Eden – I have read this. I’m not a fan, but the title is great (it's from the Bible)

The Tale of Despereaux – I love this book, and the title is great because of the name Despereaux, any other name would not be as good. Now if the name was funny, like “Dippy Dawg” it would work also for a humorous book.

If you are not yet published, you might want to error on the obvious side; nothing wrong with obvious if it is also done well.

 

 what it's all about

What is a novel for?  Presenting something that is noteworthy. I mean that in the broadest sense. Something of human experience that is meaningful. Not necessarily meaningful to everyone, but to someone. Not necessarily true, or good, or bad, right or wrong, etc. Experientially noteworthy.

For instance, think of cozy mysteries. What do they do besides entertain. Not that entertainment isn’t valuable. But on a deeper level, these types of books assure the reader of a world that is just and tidy. There is crime or evil if you like, but it is not graphic or monstrous, and it can be brought to justice by a calm, intelligent, persistent force (the detective) bringing the world back into order. Basically, the world is safe and in order even if occasionally it gets a little bit of whack.

Think of the book Huckleberry Finn. It is an exploration of racism in the pre-civil war American South. Certainly meaningful.

Each book is a representation of a world view and it instantiates that view in the reader’s mind. Something that can be thought of as pure entertainment or distraction is a little more than that. By reading a book, and accepting that book, it becomes a part of the reader’s psyche, even if only a little part.

And how does the book insinuate itself into the reader’s mind and emotions? Through the protagonist or protagonists. The book is a psychic journey taken by its main character(s). But for the reader to ride along they must know the thoughts and feeling of MC. The novel must show what they are thinking and feeling. The decisions they make and actions they take. The consequences of their actions and that means not only the external consequences but the internal ones; their subsequent feels, thoughts, and decisions. If the reader only sees the external actions of the MC it won’t work. If the author withholds the thoughts and feelings of the MC (perhaps in the name of suspense) the reader will feel cheated. We, the readers, want to see inside of the MC and follow intimately their journey. How did they feel? What did their feelings make them want to do. What decisions did they make and how did they then act on those decisions. How did they feel after taking action; not just what happened but how did they then think and feel. Most of Hamlet (perhaps the worlds greatest play)  is about what is going on inside his head and heart. If you took that away from the play what would be left?

 

words to cut from your manuscript

 

 

 

Words to cut from your manuscript:

 

·        very, great, really, so,  like,  (as in “it was like so fabulous”), began (as in “I began to cry”)

·        any word that ends in “ly” – be careful with these – like: lovely, beautifully, totally, tragically, basically, actually, latterly, slowly, etc. - use sparingly

·        suddenly – this is used so often and so I am going to say NEVER use it.

·        Some people will say do not use any adverbs or adjectives - ever.

o   Better than an adverb is a better verb, instead of she ran fast – she sprinted or she raced. Always try to use better (meaning more specific) verbs. But I would not say never use an adverb. Banning adverbs and adjectives completely is dictatorial and absurd.

o   I am not opposed to adjectives and even multiple adjectives. I would simply try to make them specific (as with adverbs) and not generic. If it fits the style you are writing in, the voice, it works.

·        Any word that you use over and over again. Many of us don’t even realize that we are doing this. Look at your writing. Notice if you are doing this. Stop.

·        That – often not necessary. Only use when necessary. As in: I knew that he was wrong – instead try – I knew he was wrong. This kind of thing is all over the place.

·        Then – often not necessary – “Then he picked up the knife.”  - The “then” is not necessary here.

·        just – use with discretion. For some people this is a word they use over and over again.

·        rather, quite, somewhat, kind of - too weak and thus not necessary. Just say it unequivocally.

·        there is, this is, in order to – all unnecessary and wordy

o   instead of “There is a tadpole on my chair” – “A tadpole is on my chair.”

·        Not every line of dialogue needs a tag

·        Started – as in “He started to drink his beer.” – soooo unnecessary.

·        Over used words: awesome, wonderful, fabulous, terrible, horrible, stuff, a lot, etc.

·        The verb “to be” try to use something less generic and more specific. Sometimes, some people use this verb to excess. If it’s you start using better verbs.

·        You may use some of these words in dialogue because the character would use them – that is fine.

·        Do a search for these word and word types in your manuscript and might get a surprise. Didn't realize how much you used some of them? Didn't  appreciate how unprofessional they presented.