I got a comment the other day, on the post about NYTBS one-line synopses, asking whether the significance of each logline component varies according to the sort of story it’s describing. Also requested was a list of the components ordered by most significance. These are great questions, and my answers ended up being pretty long (almost 8,000 words), so I thought I’d upgrade it from comment to post. Continue reading
We’ve been looking at the rolling, mid-level rhythm of story, and how sequences might be the way to achieve that. The Bestseller Code* gave us a list of the top ten books with good rhythms (none of which were as good/steady as TDC* and FSoG*).
The book I picked from the list to test the sequences=rhythm theory–the theory that sequences are the path to purposely developing this rhythm–was Graeme Simsion’s The Rosie Project,* and I think it was a good choice for several reasons. Continue reading
Last post, I said I’d do a master storyteller post, or three, on Rhythm. Well, I found that I needed more guidance. Continue reading
Have you read The Bestseller Code*?
The authors, Jodie Archer & Matthew L. Jockers, say that the two bestselling adult books of all time–Fifty Shades of Gray* and The Da Vinci Code*–share a “regular rhythmic beat” that no other books share, at least not as closely.
Whether coincidence or not, don’t you kind of want to know how to create that regular rhythmic beat in your WIP? Continue reading
Oh, People, have I got a treat for you! Continue reading
Almost done with Character! We’ve been looking at how to select details to best convey characterization. Last week we came up with some details for Amos Anderson, the main character of one of the stories we’ve been developing. Now let’s use those details as fodder for his introduction using the seven methods of character introduction that we outlined a few weeks ago. Continue reading