Chapter Blocks that Keep Readers Reading by Ronda Hinrichsen

Most writers know the protagonists of their novels must have an overall goal that propels the length of the novel. Without it, their story falls flat and readers stop reading. But what we authors sometimes forget is that the protagonist in each chapter/scene also needs to have a specific goal he wants to accomplish in that scene or chapter. Furthermore, that goal needs to be related to the character's main story goal, and the scene/chapter must have an obstacle to that goal. 

CHARACTER GOAL + OBSTACLE = CONFLICT and CONFLICT ENCOURAGES ACTION. Action is the cornerstone of great stories. 

Keep this formula in mind as you begin your chapter, Better yet, figure out each element before you write your chapter. A quick outline of the main points of the struggle between your protagonist and his opposition (it's often another person) can not only help you organize your story and keep your characters moving toward their goals, but it can also help you hasten your writing process. I've always found it much easier to write quickly when I know beforehand what I want to accomplish and/or write. Figuring it out as I go always leads to more rewrites.

Finally, according to Evan Marshall's The Marshall Plan for Novel Writing (and I've found it to be true), when you reach the end of your scene or chapter, make sure your character does one of these three things as it relates to his current goal:

1. He fails to accomplish his goal,

2. He fails to accomplish his goal and learns of a new, even larger obstacle.

3. He succeeds in accomplishing his goal, but he also learns of a new, even larger obstacle. 

Each of these endings will keep your reader wanting to know what will happen next. On the other hand, if your character only succeeds, your story ends, and your reader closes your book.

(This article was originally posted on September 10, 2015 on the Author's Think Tank blog.)

Scheduling My First Book Signing

Today I did something I've never done before: I "scheduled" my first book signing for Missing in a book store. I was nervous, but I prepared ahead of time by searching the Internet for information about book signings, creating a temporary business card (I don't want to have an official one printed 'til I get my book cover), and by talking to a good friend of mine, Josi Kilpack, who had previously held effective book signings there.

As luck would have it, however, about an hour or so before I'd planned on stopping in at the store, my nerves started building. I wish I wouldn't get so nervous all the time. You'd think that with as many times as I've sung solos and spoken in public I wouldn't be so suseptible to nerves, but I am. Pitifully enough.

Anyway, before I walked into the store, I told myself the owner would want me to do a signing, that everything would go well; and I was right. In truth, I was pleasantly surprised with how accommodating and informative he was. He was the first person I saw when I walked in (I've shopped there several times before and knew who he was), and he was very responsive to my questions and requests. He also offered a promotional opportunity I hadn't expected. The name of the store is Reflections of Utah, and it is located on main street in Brigham City, UT. I hope to see you there when I know more about the exact release date!

As if my first signing wasn't enough to smile about! When I returned home, I sent an e-mail to my editor, Linda Prince, at Leatherwood Press/Walnut Springs Press, telling her about the signing, and she replied with more good news: she's currently editing my book--It had very few flaws, she said--and she should have the edits to me in a few days. Yay!

As a final note, I've also created a new blog. It will deal exclusively with Missing.

Scene Chart

This won't be a very big post, but when I was recently reading Michelle Jefferies blog I came across this link. It looks like it would be very helpful for writers who are struggling to make sure their scenes actually "peform" as they should. Check it out. http://edittorrent.blogspot.com/2008/08/scene-charts.html

Exception to the Rule: a List

I found another good list for writers. It was published in an old (March 2003) issue of Writer's Digest's magazine's "Novel Writer," and it came from an article by James Scott Bell, titled "Exception to the Rule. " In summary, this is what it said:

As most of us know, "show don't tell," is the rule. However, there are important exceptions--reasons--we should sometimes tell instead of show. For instance, "telling" might be the quickest way to delineate a character's emotions or set up for a forthcoming, intense scene; but the best way to know if a scene should be told or shown is to rank it from 0-10 on a scene intensity scale.

And now the list, or in this case, the scale:

10= Extreme emotion, handle with care. Very few scenes per book should hit this level. Show.

8-9=Big scenes and turning points. Show.

6-7=Conflict, important emotions and personal turmoil, sharp dialogue. Show.

5= The middle point. Lean toward telling on any scene at this level or below. This is a good place to start scenes that are about to build to a greater intensity.

3-4=Transitions and set up scenes. Another good place to start "about to build" scenes.

1-2=Danger! Get out as soon as you can.

0=DO NOT ENTER. Includes lengthy setting descriptions, especially in the first chapter.

There you have it! So now all you have to do is figure out what level each of your scenes are at and plot them on a graph (just a suggestion) to see if their linear progression makes sense to your novel. Right?

Or is it write?

Scenes

What is a scene? It is a section of drama, like a brick is a section of a wall or a step is a section of a staircase, without which the entire structure, or story, would fall. And just like any brick or step, it has a beginning, a middle, and an end.

Generally, it begins with action, and it begins at a point that 1)makes sense to your story, and 2)takes place sometime after the prior scene it most relates to. For instance, if you have two Point of View Characters (POV) and scenes A, B, & C are from POV #1, followed by scene D which is POV #2, your next POV #1 scene would come after and relate to scene C.

This leads me to two other elements each scene must have. First, it must have a purpose; i.e., a reason for taking up your story's precious time and space. If it doesn't, you will at the least, lose your reader's attention, and at the most, fail to convey your story's message. One important way to create this focus is to make sure your POV has a goal to accomplish in that scene. Another is to make sure the scene, itself, has a goal. For example, is the scene's purpose to introduce the opposition? To hide a clue? Show that your POV is falling in love? If you can't answer these questions, chances are, you need to eliminate the scene.

Second, scenes must be "causal." In other words, scenes must build upon each other in a cause and effect manner until they create the complete whole. Another author described it this way: scene A leads to scene B, and then to scene C. And later scenes F and G cannot happen if scene B was not thoroughly developed.

Another vital characterisitic of a scene (the majority of the middle section) is that it must contain dramatic conflict. Sometimes those conflicts are great battles between nations or even two people, but other times, that conflict--the sought after "tension" of your story--is created simply by showing someone or something standing in the way of your POV's scene goal or story goal.

Finally, a scene ends when your POV either reaches (or more likely, fails) to accomplish his goal and creates a new goal, thereby propelling your story (and reader) forward.

So that, in a nutshell (or a toolbox, in this case), is what a scene is. Much of my understanding of this structure comes not only from my own experience, but also from Rachel Friedman Ballon's book, "Blueprint for Writing." I have also found good points in Randy Ingermanson's article, "Writing the Perfect Scene."

You might want to give them a try.