How Do You Write A Fiction Story – You’d be surprised that after writing 200 books (two-thirds of them novels) over the past 45+ years, including several New York Times bestsellers (notably the Left Behind Series), I still run into the same problems every time. Is.
I use an iterative plan for writing novels—which helps me overcome these obstacles. And that’s what I reveal to you in this definitive guide.
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How Do You Write A Fiction Story
Imagine finishing your first draft. Better yet, imagine a finished manuscript. Or, best of all, your name on the cover of a newly published book – does that excite you?
How To Write A Science Fiction Short Story
Imagine letters from readers telling you that your novel has changed their lives, given them new perspective, new hope.
This guide shows you how to write a novel (based on the process I use to write mine). I hope you enjoy it and can apply it to your writing!
I based my first novel, Margo, on this idea: a judge puts a man on trial for murdering the judge.
Take the time to prioritize your story ideas and choose the ones you want to read the most — the ones you’re most excited about and the ones that will keep you coming back to the keyboard every day.
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It has to grip you so completely that you can’t get it out of your head. Only this kind of thought will inspire you to write the novel you’ve always dreamed of.
If you’re an outliner, you prefer to map out everything before you start writing your novel. You want to know your characters and what happens to them from start to finish.
If you’re a panzer, which means you write by the seat of your pants, you start with the germ of an idea and write as a process of discovery.
But in reality, many of us are hybrids, some combination of the two—needing the safety of an outline and the freedom to let the story take us there.
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So do what makes the most sense to you and don’t worry if that means both outlining and painting.
I’m an armorer with a hint of outlining, but I never start writing a novel without an idea of where I’m going – or think I’m going.
This protagonist must experience an arc of life – in other words, must become a different, better or worse, stronger or weaker person in the end. (I use “she” to mean hero or heroine)
You will also have an antagonist (also known as a villain) who should not be as strong and compelling as your hero. Make sure the bad guy isn’t bad just because he’s a bad guy. 😊
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He needs to be able to justify – if only in his own mind – why he does what he does to make him a worthy adversary, realistic and memorable.
Use different names (even different letters) for each character — and make them look and sound different, too, so your reader doesn’t confuse them.
Limit how much skin you introduce. If your reader needs a program to keep them straight, you may not have one for long.
Naturally, your protagonist will have an external problem – a quest, a challenge, a journey, a cause… but he must also have an inner turmoil so that he is truly relatable to the reader and alive on the page. be
Writing A Fiction Story Using Chatgpt
Brave, resourceful, morally upright, and physically strong? Of course. But your protagonist must also face fear, insecurity, self-doubt.
To learn more about developing your characters, check out my blog posts The Ultimate Guide to Developing Your Character: 9 Steps to Creating Memorable Heroes, How to Create a Powerful Character Arc, and Character Motivation: How to Create Realistic Characters.
Like me, you may love being an outliner and writing as a process of discovery, but – even us non-outliners need some structure.
Discovering what best-selling novelist Dan Koontz calls classic story structure (How to Write His Best-Selling Fiction) changed my writing forever. My book sales took off when I started following his advice.
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Writing coaches call their recommended story structures by different names, but the basic structure is largely common. All of these include some variations:
Regardless of how you plot your novel, your main goal should be to grab the reader by the throat from the beginning and never let go.
For more information on developing your plot, visit my blog post The Writer’s Guide to Creating the Plot of a Story.
Although fiction is, by definition, made up, it must be believable to be successful. Even the fantasists have to make sense.
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Once a reader buys into your premise, what should happen next is logical. Effective research allows you to include the qualities you need to make this work.
When my character uses a weapon, I learn everything about it. I’ll hear about it from readers when I refer to a pistol as a revolver or when my main character fires 12 shots from a gun that only holds 8 rounds.
One caveat: Don’t overload your story with all the insider facts you’ve learned just to show off your research. Include details on how to add flavor to food. It adds to the experience, but it is not the main course.
Your point of view (POV) is more than just deciding which voice to use: first person (I, I), second person (you, you), or third person (he, she, or it).
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The rule of thumb is one point of view character per scene, but I prefer only one per chapter, and preferably one per novel.
No need to get into the heads of other characters. What your POV character sees, hears, touches, smells, tastes, and thinks is all you can tell.
Some authors believe that it is limited to first person, but it is not. Most of the novels are written in third person limited.
This means limited to one viewpoint character at a time, and that character must be the one with the highest stakes in each scene.
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Writing your novel in first-person makes it easier to limit yourself to that one point-of-view character, but third-person limited is the most common.
I’m often asked how other characters can be revealed or developed without changing as a point of view character.
(An example: the main character listens to what another character is saying, reads his tone and his expressions and his body language, and comes to a conclusion. Then he discovers that this person has told someone else said something completely different, which proves that he said it. Someone lied to him.)
For a more in-depth explanation of voice and point of view, read my post A Writer’s Guide to Point of View.
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This doesn’t necessarily mean bullets flying or high-speed chases, although that can work for a thriller. That means avoiding too much scene setting and detail and, instead, getting to the good stuff—the guts of the story.
Les Edgerton, a serious writer who writes great boys’ novels (don’t say I didn’t warn you), says that early writers were too concerned with explaining all the background to the first reader. are
The purpose of each sentence, indeed each word, is to compel the reader to read the next.
The reason is obvious: for all its high-tech computer-generated imagery, Hollywood can’t compete with the theater of the reader’s mind.
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Your job as a writer is not to present the reader with things as you see them, but to stimulate the theater of their mind.
For more, see my post What is Imagination? And show, don’t tell: what you need to know.
They give a private eye a nice car, a great weapon, a beautiful girlfriend, a high-end apartment, a fancy office, and a rich client. Rather, take out from under him everything that makes his life easier.
His car breaks down, his gun is stolen, his girlfriend leaves him, his landlord evicts him, his office burns down, and his client goes broke. Now send him to dangerous business.
Why You Should Be Writing Short Stories — E.m. Welsh
You can point out that he grows, develops, changes, becomes stronger, and increases his abilities through his trials, but his problems will become more and more terrifying until you…
Novelist Angela Hunt calls it The Blackest Moment. This is where you wonder how you’re going to write your way out of it.
A once-damaged lover who has become a changed man and a loving fiancé suddenly falls off the wagon the night before the wedding.
Caught red-handed doing drugs and alcohol with another woman, he watches his true love storm away, vowing never to speak to her again.
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Imagine the nadir, the lowest point, the darkest moment for your protagonist. Your This Me ability can make or break you as a novelist.
It’s not easy, believe me. You’ll be tempted to give your protagonist a break, invent an escape, or inject a miracle. Don’t you dare!
The Bleakest Moment forces your hero to take action, using all the new muscles and techniques you gain from facing a book full of obstacles to prove that things are just beyond repair. .
The final resolution, the emotional climax of your story, comes when your hero faces his most difficult test yet. The stakes must be terrifying and the failure devastating.
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The conflict that builds up to a final, final showdown across the globe, and all the big book-length set-ups pay off.
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