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
We’re looking at how to create the regular, rhythmic beat that The Bestseller Code says exists in the top two bestselling adult books of all time, Fifty Shades of Gray and The Da Vinci Code.
When we left off last week, we were wondering how, specifically, to create this rhythm. 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
We’ve been looking at how to select character details and introduce characters. Today, we’re going to select some concrete details for the main character of one of the stories we’ve been working on Continue reading
I read Red Dragon again recently. Let’s look at the details Thomas Harris chose for his antagonist’s introduction, Continue reading
As Nancy Kress says, “Characters have to be called something. And since they do, you may as well . . . make your names contribute to world building, characterization, and plot development.” To that end, here’s what the craft masters have to say about choosing character names. Continue reading
Whether you know everything about your characters before you start writing or nothing about them, you can’t include every single detail in your manuscript. (Well, you can, but you probably shouldn’t.)
As Nancy Kress says, you’ll want to “choose artfully.” You’ll want to home in on the particular details your readers are looking for. Which details are those, you ask? Read on . . .