So Rudolph is desperate to guide the tractor on Christmas eve, but his nose won’t glow properly. Erma makes him an enormous apple pie to make him happy and promises him a good night in bed afterwards. She wants that new TV!
How do you you get the structure of your story right?
For your first draft, don’t worry about structure. Just get the story down. It will come out chronologically, that is, with the events in the order in which they happen. They may not stay this way, but that’s fine for now. Too many writers worry about writing a blockbuster with their first draft. You won’t. All writers have to write a second draft, so don’t try and avoid it.
By now, you will have the basic story written, and hopefully, the characters will be starting to interact naturally and seem real. You will also have enough ideas to keep the reader’s interest, but the pace may be uneven and the first few pages may seem a bit bland.
All stories, including those of Tolkien, J K Rowling and plays by Shakespeare, have a beginning, a middle and an end. In plays, these are called the first, second and third act. But they can be subdivided. Your story needs to have this basic skeleton:
- Optionally, a twist
- Ending or denouement
What is a hook?
The hook is really what happens on the first page, and probably in the first paragraph or even the first sentence. It is the bit that hooks a reader into wanting to read the whole story. Research has proved again and again that when a potential reader sees your book description, likes that and then decides to read the first page (as they almost always do in a bookshop, or on Amazon), they will decide within a few seconds, thirty at the very most, whether they want to read the rest or not.
That is all the time you have to really grab them! So make your first paragraph, and if possible, your first sentence, really grab them. Make it unusual, even odd, and make sure it contains some emotive words. For instance, have a look at this first draft of the first sentence of our Rudolph and Santa story:
Santa asked Rudolph to meet with him. He then proceeded to tell Rudolph that he has lost his sleigh, so they will have to hire a van. Rudolph says okay but he has to check with Erma, because he told her he should always check any changes to his working conditions with her. ….
That is okay, but it’s not going to make somebody want to read the rest of your book. Let’s try again:
The telephone rang in Rudolph’s apartment.
“It’s for you Rudolph!” his wife, Erma, yells up the stairs. “It’s Santa. Says it’s urgent!”
Rudolph turned away from the bathroom mirror and ran to the phone.
“My nose will never glow properly again!” he told himself.
“Rudolph! Is that you?”
“Yep, it’s me Santa.”
“I’ve lost my sleigh! It’s Christmas Eve. You know what that means?
“I will have to use a van! That means I don’t need you!”
“I can’t pull the sleigh? Okay. Wait, Erma is trying to tell me something.”
Erma tells her husband. “Your union rules say you have to deliver the present. That means you have to drive the van!”
Now, this is much better. First of all, there is a lot of dialogue. Readers tend to prefer dialogue. They want the characters to show them what’s happening. They don’t want the narrator to tell them. It’s called ‘show, don’t tell,’ and is an important trick for story-telling. Basically, people want to work things out for themselves. Good writing should have at least 50% dialogue, or monologue.
You can see also that there is a sense of urgency and tension with the dialogue. And already we can see that Erma is going to be instrumental in the events that follow.
How do you write a climax? First of all, you should work out in your head what sort of climax it is. If it’s action, then you will need to use many more action words like ‘ran,’ ‘desperately lunged,’ ‘screamed,’ ‘screeched to a halt,’ etc. Try to use shorter sentences at this part of the story too; it makes for more tension. By now the reader should have had all the insight they need into the main character’s emotions and motivations, so you can spend much less time on this. Focus on the action and make the reader anticipate the moment of climax by building a scene of terror or dramatic tension or scenery.
On the other hand, your moment of climax might simply be psychological. If you are writing an emotional love story, it might be the scene when the man finally proposes to his long-lost love. Draw it out. Use lots of warm phrases like ‘heart burst with happiness’ or ‘finally, she knew she had found true love.’
In our story, it might be that Rudolph delivers all the presents on time and gets a big bonus from Santa. Not only can they get a really good wide-screen TV but he can take Erma on the honeymoon they never quite had (due to heavy work schedules at the time).
A story doesn’t need to have a twist, but a twist can leave the reader feeling, ‘Wow! That was a great book!’ so you might want to try it.
There is not much I can tell you about the twist, except that you should have planned it from the start and given readers small clues that something peculiar might happen. And then when it comes, it must be as big a surprise as possible. They will feel cheated if they either anticipated it, or if there have been no clues whatsoever that something was coming. Leave them gasping or saying “Wow!” and you have a fan for life! A really good example is the twist at the end of The Sixth Sense. In our story, it might be that Rudolph’s father was actually a farm reindeer, and so Rudolph turns out to be the best tractor driver ever!
The Ending or Denouement
It might seem a bit obvious to say a story needs an ending, but it does need to be structured. It needs to leave the reader with the message you worked into the story (see the Themes tutorial) and don’t forget the character needs to show that they are changed or have learned something. You might also need to explain the twist a bit. But if you know there will be a sequel, you might not want to explain anything, but simply put the twist in the last sentence and leave the reader desperate to read the next book (as I have done in The Synchronicity Code). This is the moment when you want all the strands to come together so that the reader says, “Ah! Ha!”. Then they will be satisfied and want to read your next book.
As I mentioned at the beginning of this tutorial, you might need to address other matters of structure during the second draft.
The second draft is really where you take the first editing step; structural editing. If you are paying a very good editor, they will suggest these changes to you. But what is structural editing?
If you have a lot of background and character building to get into the first chapter, it’s going to seem slow to some readers. Other readers won’t even buy the book, unless they get a feel for how good the climax is going to be. Fortunately, you won’t need to worry about this once the reader has read a few of your book. But how do you get around this problem with your first book?
I have found that sometimes it helps to take a preview out from just before the climax and put it in near the beginning or even before Chapter One. For instance, in Ordo Lupus and the Temple Gate, the climax is a confrontation between the main character and his arch-enemy. Fortunately for us, he has recorded what happened on a tape recorder, so his wife can set down the events. This is done in the form of a small insert, in italics, at the beginning of each chapter. In this way, I feed the reader a taste of what is to come later and make them want to read more. Judging by the reviews, this technique seems to have worked quite well.
Take a Tip From the Movies.
Lastly, I have discovered some very useful techniques used by moviemakers. You might not want to try these ideas at all, but here is the structure for Gladiator. See how it develops the tension and keeps the watcher glued to the screen? You might want to try something similar with your books, especially if they are action adventures.
- A film should start with a scene that shows the main character doing what he/she does best
- Then comes the opportunity
- And then the new situation
Find out more at: http://www.whatascript.com/screenplay-structure-11.html#sthash.nsU1CVMf.dpuf
See you next time when we discuss 5. Varying the Pace
And if you are wondering about the third draft, this will come later, in tutorial 6. Editing.
Let me know what you think of my tutorials by commenting below.