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This book includes:
- How to create a story blueprint
- How to write "unputdownable" stories
- Understanding basic novel structure
- Understanding scene-sequel structures
- Understanding the three-act structure
- Classic myth structure
- Advanced (but very easy) alternative structures
- Unusual structures
- How to avoid being too predictable
- When to use set pieces, and how to write them
- Great ways to begin your story
- All about cause and effect
- How to write symmetrical stories
- How to skip the boring bits
- Easy outlining
- Which rule you can break
- When to move the goalposts
- How to write compelling non-fiction using fiction structures
- How to work with multiple viewpoints
- The best way to organise non-fiction
- Should your novel have chapters?
- Plus a better structure than beginning-middle-end
- And lots of easy ways to create great fiction and non-fiction
structures - far too
many great ideas to list here!
Sample idea: Chinese box
The Chinese Box makes an intriguing (and fairly easy) way of
producing
"unputdownable" stories. In this structure you end up with a story
within a story within a story, nested several layers deep. As the tale progresses,
your readers are left increasingly on tenterhooks, awaiting the outcome of not
just one story but an ever-growing number of them.
[EXAMPLE] You might begin by telling what
seems to be a straightforward
story, but break off at an intriguing moment when the hero comes across an
old document. The document unfolds another intriguing story, but then breaks
off midway when it refers the reader to a separate letter. That letter refers
the reader to another document, a will perhaps, and that in turn might refer
the reader to a videotape locked in a bank vault. Once the videotape has been
viewed, the rest of the will can be revealed - the part that your readers have
been waiting for. With the reading of the will concluded, readers at last gets
to see what was in the rest of the letter, and finally we are returned to the
document that started it all off and we find out how it ends. And with all
of that over and done with, the main story resumes where it left off many pages
ago, and finally draws to a conclusion.
You can add many more layers than this if you like. The important
thing is to keep is intriguing, always breaking off just before
the big revelation and making your readers wait, in a delicious
agony of suspense.
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