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How to Raise a Reader: Tips to Help Your Children Love Books

December 4, 2021 by Michael Santos

A different topic today, but an important one. If you’re an avid reader, you may worry if your child or children seem uninterested in books. Of course, you want to ensure that they can read and write at a high level, because there are numerous advantages in life to having those skills, whether or not they become involved in a literary profession.

As a self-proclaimed book nerd going back to my school days, I thought I’d offer my advice to parents who face this conundrum.

Do schools ruin reading? How to raise a reader in the education system.

Education professionals debate this question, and there are many opinions about how to improve the methods of teaching literature so that students love reading.

Ask many adults who do not read, and they’ll tell you that school turned them off of books. Some often cited reasons:

  • Homework, tests and essays on books made reading drudgery and misery
  • Classic literary styles are less accessible and therefore less appreciated by young, busy students
  • Characters and situations of classic literature are from bygone eras and are not relatable to modern adult readers, let alone young students

Even I, who took every English and Drama class I could, found it challenging to be engaged with most of the assigned books. Sure, there were my favorites even back then (Frankenstein, The Great Gatsby, To Kill a Mockingbird, Lord of the Flies, Jekyll & Hyde, Scarlett Letter, etc.).

But it was difficult to view school reading as pleasurable even when I enjoyed and appreciated a specific work, because the homework and testing ruined the reading experience.

It was still preferable to math, however.

Rather, I came to love the reading I did every night before bed. That was the reading experience that came to define my understanding of what books could give me.

I read David Baldacci novels like a football fan eats buffalo wings during the Super Bowl. I read the James Bond novels, Le Carre, and anything in the spy, espionage, and political thriller genres I could, then got into crime fiction.

Independent reading on my own time, with books I chose and genres that came to be part of my identity, then gave me a greater appreciation for the books we read in class. Not the other way around.

So yes, schools ruin reading. But a student who discovers a love of books on their own will also likely find books they love at school.

Create a reading culture in your home: how to raise a reader outside the education system.

How then do we foster independent reading at home?

A key factor for me was that my parents were not prescriptive or demanding in their approach to my reading ability. For instance, there was never a time when they sat me in a chair, handed me a book, and said something like, “You must read for an hour before you can go outside and play.”

Had they taken such an angle, they would have reinforced all of the negative effects of the education system’s handling of books.

It would have been one more assignment standing between me and the things I wanted to do as a kid. Namely, playing…a creative act with value that should not be underestimated in a growing human being’s potential to eventually love stories.

Instead, they fostered a culture of reading by doing the following:

  • Filling the house with books. There was a bookshelf in practically every room. Books were therefore a part of life, and when one day I decided to give it a shot, I had my pick and it was the most natural choice in the world.
  • Reading in front of me. Kids have a special talent for sniffing out hypocrisy, such as when their parents make them drink milk at dinner every night when the parents never have milk, but instead choose more fun drinks like wine, soda, coffee, etc. Well, it works the same with reading.
    • My parents read a lot, and let me see them reading a lot. Thus, when they said positive things about books and reading, I believed them. And eventually followed their example.
    • Again, this created an opportunity for me to willingly and independently come to books, rather than forcing me to do so.
  • Emphasizing the importance of books at a macro level. My mother, especially, would always tell me, “Books are the backbone of civilization.” Of course, this holds true when you study the progression of societies and human history. Writing was fundamental to the advancement of the human race. That argument had a lot of mileage with me.

That culture of reading in the home led me to pick up a book one day, and I have never looked back.

How to raise a reader: it’s not as hard as you think.

So my message to parents is this: don’t stress. You don’t have to force your child to read or devise a complex regimen of activities to help them along. Instead, make books a part of their home life. Surround them with reading, and let them come to love books naturally.

Take it from a book nerd who took it to the extreme and became a writer.

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

Check out my Queen City Crime Series, available on Amazon in Kindle Ebook and print paperback.

No Hard Feelings

No Hard Feelings

Mr. Moneybags

Mean Bones

Filed Under: On Writing Tagged With: how to raise a reader, how to write, parenting, reading, reading education, writing

How to Find an Idea for Your Novel or Story

August 14, 2019 by Michael Santos

How to find an idea for a book or a story is a question posed to virtually every author, both by interested readers and by aspiring writers.

In this post, I’ll tell you how I work, and pass on the advice that has helped me the most.

Write what you want to know.

Conventional wisdom is to write about what you know. You’ve probably seen this catchy phrase on other writing sites, or heard authors and teachers utter it. Many would have you search for story ideas in your experiences, in the knowledge that you currently possess.

In my opinion, that advice isn’t wrong . . . but it’s not right, either.

Starting out, when I deliberately tried to write about what I knew, I was too bored by my ideas to continue beyond a few chapters. Nothing held my attention, because I hadn’t let my curiosity lead the way.

Instead, ask yourself, “What if?”

Creative writing is not like journalism, historical writing, technical writing, or any other fact-based content. Even as I write this post, I approach the task from a different angle than I would a piece of fiction.

That’s because ideas in fiction do not come from asking, “What is?”

As fiction writers, we ask, “What if?”

We’re always asking that question, including in our daily lives. We take in information and find connections between seemingly unrelated things. Taking a couple of facts and turning them upside-down or spinning them in a new way is a source of amusement to the creative writer.

More than that, it’s fulfilling, satisfying.

How to get an idea from “What if?”

What are you curious or passionate about? Which subject interests you enough to research it and then explore its possibilities through the experiences of fictional characters?

What if a priest and a rabbi really did walk into a bar, and it wasn’t a joke? What if the sky did fall?

What if someone pays a hitman a substantial amount of money to commit a different kind of crime? And what if, outside of his comfort zone, he makes a mistake and angers his vengeful client? This became my first novel, No Hard Feelings.

What if two armed-robbers plan to steal from a powerful crime boss, and go so far as to kidnap him? What if, instead of coming to his rescue, the crime boss’s underlings decide they want the money for themselves? There you have my second novel, Mr. Moneybags.

What if a teenage boy, seemingly destined for a career as a stock car driver, gave up his dream of racing to become a U.S. Marshal, after his father was murdered? What if, as a marshal, he now learns the identity of the killers and has the means (and the bullets) to chase them down? Those questions became my third novel, Mean Bones.

I always begin with a character and a situation. The situation has to be something I’m interested in, not something I already know. I must be motivated to spend 300-plus pages exploring an idea.

It is the What If’s in life that nourish a writer. So, dig into those questions and be nourished.

Let the characters do the work.

Once you have a situation, create and flesh out characters. When I say “flesh out” I mean really get to know them. Their hopes and their dreams. Their fears, habits, priorities, goals, weaknesses, strengths, routines, etc. When the story opens, what is their status quo?

A story is worth telling if a character’s life is irrevocably changed by what happens. The events and relationships that your characters experience in the novel should push them to their emotional and/or physical limits.

If they make it out alive (I write crime fiction, remember), they will never be the same, either for better or for worse.

Often, you’ll find that the best protagonist is one who personifies the major themes of the story. Keep that in mind as you develop them.

When the characters are well-sketched, drop them into their starting positions and turn them loose. If you know who they are, they’ll direct the story through their interactions. Of course, writers who prefer to outline will start with more concrete plans, where as “pantsers” (myself included) like to sit back and watch the story unfold.

You will always write about what you know.

So, what about that popular phrase I mentioned at the beginning? After all, it’s popular for a reason.

I believe that, because our characters come from us, it is impossible not to write about what we know. Our experiences, thoughts, questions, understanding, empathy, etc. will always come through in the people we create. We don’t have to force it.

I try to never manage my characters. I set them in motion, often in pursuit of the same, mutually exclusive goal, and record what they do. If I know Characters A and B, then I’ll be able to write Character A’s reaction when Character B does or says something dramatic. My stories build one reaction at a time.

The key to getting this far, though, is to write from a standpoint of curiosity. Never stop asking, “What if?”

I think writers are more interested in asking questions than providing answers. Questions are dramatic, answers are not. Questions are dangerous conflicts, answers are safe resolutions. The question is fire, the answer a bucket of cold water that extinguishes the excitement.

The question, not the answer, is the story.

Read in order to write.

It’s also important to maintain your creative health. I have never heard of, read, or met a successful author who was not also a prolific reader. Often, they even have other creative hobbies, outside of the world of books.

It’s crucial for us to recharge our artistic batteries with the work of others.

I enjoy drinking coffee and reading on weekend mornings (or at night before bed, or when I’m waiting somewhere, or at any other waking moment). I also play the bass guitar in a band and write song lyrics. When I need inspiration for my fiction writing, or simply a break and a step back, I grab a book or my bass.

Writers are not assembly lines.

In today’s world of rapid release publishing, that is sometimes difficult to see. Self-care is as important for our creative lives as it is for any other aspect of our existence.

Take a break and recharge. You might be surprised by the ideas that will come.

Use real places for idea inspiration.

Ever visit a city, town, or famous building and think about using it as a story setting?

That is another form of “What if?” question. What if a character encountered an interesting situation at this location?

When I was developing the idea for Mean Bones, I was inspired by the North Carolina mountains and the town of North Wilkesboro. For all my Queen City crime novels, I spend time in Charlotte, where the books are set, and come back to the page, ready to work on the next story.

What are some places of interest to you? The idea you’ve been looking for might be there.

Look at society for an idea.

I would never advocate turning a work of fiction into a preachy manifesto. Your novel shouldn’t be a political brochure or a soap box disguised as a book.

That said, often a story can be derived from an issue or aspect of society that you feel needs to be discussed.

The trick is to make sure the characters represent and personify the social commentary you want to include. Don’t write a treatise. Write a story that proves your point through the events and people involved.

“My idea has to be original!” and other dumb things we tell ourselves.

I’ve seen many aspiring writers become paralyzed by the fact that their idea is not 100 percent original. They feel it’s been done before. They’re convinced they won’t be a real artist unless they redefine what it is to tell a story.

Rookie authors worry about originality. Veteran writers have, somewhere along the way, learned the truth: there is no such thing as an original idea.

Every idea has been done before. You can boil any story you’ve ever encountered down to one of a handful of plot types.

What will be original is your specific execution of an idea. Nobody else on this planet is you, so nobody else can approach a story the same way that you would.

Don’t let the myth of originality stop you from charging ahead. Start your story. Create your characters. Allow your experiences and perspectives to come through in the writing and make an old idea new.

For some reason, this seems to be a trade secret. They ought to teach this in more writing classes.

We are not bigger than the story, the story is bigger than us. Don’t lose sight of that by thinking that you’re an artist. You very well might be one, but the moment you call yourself that, you may as well hang up your pen.

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

 

Check out my Queen City Crime Series, available on Amazon in Kindle Ebook and print paperback.

No Hard Feelings

No Hard Feelings

Mr. Moneybags

Mean Bones

Get more writing and crime fiction content!

A FREE ebook copy of No Hard Feelings and even more great content is yours, when you join my email newsletter. Subscribe below!

Filed Under: On Writing Tagged With: creative writing, crime fiction, how to write a book, how to write a story, novels, stories, writing, writing tips

Point of View in Stories

December 30, 2018 by Michael Santos

In this article we’ll discuss the different point of view (POV) options available to writers, how to execute them, and the benefits/drawbacks of each.

What is point of view?

Point of view is the technical term for the vantage point the writer uses to tell the story.

The reader experiences scenes through the perspective of that person, who is either the author or the viewpoint character. This means that you, the writer, can use your own narrative voice or you can tell the story through your characters.

Choosing the right POV for your project is one of the most crucial decisions that will make or break a work. The choice will ultimately depend on the effect you want to create for the reader.

Common types of point of view.

In this section, I’ll give you brief descriptions of the major types of point of view, and we’ll explore some of them in greater detail later on.

First person.

Dark AlleyIn this point of view, the story is told by the narrator, a character who is deeply involved in the story and relays their perspective with “I”.

I took a shortcut down a dark alley, felt a gun against my spine. A voice said to me, “Take out your wallet.”

One crucial element to remember is that first person point of view is limited to the knowledge, experience, and perception of the narrator. We can only tell the reader information that the character already has. The thoughts of other characters are off-limits.

We can, however, tell the reader what the narrator believes other characters are thinking. But we must stay in the mind and voice of our narrator, alone.

This is perhaps the most natural and intuitive POV to use, and will often be the best choice for beginning writers. Why? When we tell stories in day to day life, we almost always use first person, going all the way back to when we were children.

“How was your day, honey?”

“Great. I got an A in Spanish.”

Keep in mind that first person narration is not in the author’s voice. There is a character narrating the story, so it must be the character’s voice on the page.

This means that we have to pay attention to that person’s sentence structure, vocabulary, and rhythms of speech when writing the narration in the book.

First person remains a popular point of view in all styles of fiction, both commercial and literary.

Advantages and disadvantages of first person POV.

The main advantages are:

  1. First person is an intuitive voice for writers to produce and for readers to consume.
  2. It creates intimacy and immediacy. First person narration is the absolute closest in narrative distance that we, as readers, can get to a fictional character. We share the narrator’s thoughts, feelings, and views of the world. And, the events in the story are presented in real time—we are right there with the character in every scene.
  3. Closeness builds trust. If your story focuses on the trials and tribulations of a main protagonist, especially if that character undergoes immense internal change, the close narrative distance of first-person will heighten the impact of the story on the reader. In short, it helps connect the reader to the character. Other forms of POV can do this too, of course, but first person is excellent in this regard.

Some disadvantages:

  1. Limiting yourself to one character’s perspective can restrict your options as a storyteller. You won’t be able to enter the perspective of any other characters with first person. In some stories, there isn’t a need to. However, some forms of fiction, like thrillers, can benefit from switching between characters. Your choice of POV should factor that in.

Second person.

In this point of view, the narrator refers to the reader as “you”.

You take a shortcut down a dark alley, feel a gun against your spine. A voice says to you, “Take out your wallet.”

I won’t go into too much detail on this POV, because it is very rare for novelists to use it. My opinion is that second person can be more effective in short-form writing, but in long-form it is difficult to execute effectively.

As a reader, second person annoys me after awhile. I can’t help thinking, “No, narrator, you’re not talking about me…it’s the character.”

Third person.

This point of view means that the story is told from a narrative distance. There are several types of third person, so let’s break down each one.

Types of third person POV.

Third person is the most versatile point of view, especially in contemporary fiction. You can choose from the following:

Limited third person.

For limited third, the viewpoint character is “he” or “she,” and is directly involved in the events of the story. As with first person, we are limited to the perspective of that character and can’t divulge anything to the reader that our viewpoint character does not think, feel, or perceive.

This creates the same intimacy and immediacy that we get with first person point of view, resulting in a strong connection between the reader and the character.

However, limited third person comes with an advantage over first person…we can easily switch viewpoint characters with a scene or chapter break.

He took a shortcut down the dark alley, felt a gun against his spine. A voice said to him, “Take out your wallet.”

***

She pressed the .38 into his flesh, her finger over the trigger.

In this short example, we return to the same situation we’ve seen before. This time, we see the differences between the two viewpoint characters’ perspectives in the scene.

The man feels a gun (he doesn’t know what kind) against his back and hears a voice. We then have a scene break and enter his assailant’s viewpoint. She knows exactly what kind of gun it is (a .38 revolver) because it’s her weapon. She also feels her own finger over the trigger, so her viewpoint gives us that detail as well.

By using limited third, we’re able to seamlessly switch viewpoint characters to give the reader multiple angles of the situation, with high levels of immediacy. Now, we’re connected to both characters.

Limited third person or first person?

By contrast, having multiple first person narrators is awkward and clumsy.

I took a shortcut down a dark alley, felt a gun against my spine. A voice said to me, “Take out your wallet.”

***

I pressed the .38 into his flesh, my finger over the trigger.

Having two first person viewpoints here creates confusion for the reader, because we can’t distinguish between them. In third person, we can use different pronouns or give the characters’ names. But in first person, we must stick with “I”.

Limited third person delivers the intimacy of first person with the flexibility of a more distant narrative style, allowing us to shift viewpoints. For this reason, it is the most popular point of view in fiction today, especially commercial fiction.

Think about thriller novels, which often have large casts and will shift between the protagonist, the villain, and multiple supporting characters. All of those different perspectives make the storytelling more interesting and exciting for the reader. Third limited makes that possible.

Third person omniscient.

In this point of view, the narrator is the all-knowing author, who sees the story from a greater narrative distance and has access to the thoughts, feelings, and perception of every character.

We can switch between viewpoints easily with third omniscient. Additionally, we can give the reader information that only the storyteller would know. For instance:

John thought this would be the last time he’d see the bloody knife. Ten years later, he’d learn otherwise.

In the moment, John can’t possibly know what will happen ten years from the time he uses that knife to kill someone. But the all-knowing narrator does, and can include that little teaser for the reader without breaking the rules of third omniscient.

It is a very natural storytelling voice to read, since we’ve seen it over and over again since we were young. Children’s stories, folktales, and fables commonly use this POV.

Stephen King is the contemporary author I recommend studying to learn this technique—especially his novel, It. King himself is the narrator, and most of the book employs a close narrative distance to the characters. He even switches to first person and limited third in various sections.

However, he’ll also include some ominous lines that only the omniscient narrator could know. When the Losers’ Club are still children, for instance, he’ll tease the horrific events they’ll encounter as adults.

The resulting effect is a mood of impending doom and mystery that is perfect for horror fiction.

Advantages and disadvantages.

The advantages are many:

  1. This is the most flexible point of view, giving us the most liberty in our storytelling. We can follow any character at any time, discuss anyone’s thoughts, and even introduce events that are yet to occur.
  2. Once again, it is a very natural voice for the reader to hear. We’re all familiar with stories told by an all-knowing narrator, and it is easy to become immersed in this point of view when it is done correctly.
  3. Like third limited, we have the opportunity to deeply connect with multiple characters, because we can see inside their psyches. The difference is that third limited requires a scene or chapter break to signal a change in viewpoint, whereas third omniscient does not.

There are a couple of key disadvantages:

  1. It is the hardest point of view to use. This makes sense, because with greater freedom comes greater labor. Yes, we can follow any character at any time, discuss anyone’s thoughts, and even introduce events that are yet to occur. But that involves managing a tremendous amount of moving pieces.
  2. The narrative distance is greater than in both first person and limited third. While we can still close that distance by telling the reader the most intimate thoughts of the characters, third omniscient can’t accomplish the same level of immediacy as those other two POVs. This can be a benefit, depending on the desired effect you want to create.

Summary.

To review:

  1. The most common POVs in fiction today are: first person, limited third person, and third person omniscient.
  2. In first person, the viewpoint character is “I” and narrates the story from their perspective. It has the highest levels of immediacy and intimacy.
  3. In limited third, the viewpoint character is “he” or “she” and narrates the story from their perspective. It combines the immediacy of first person with a slightly greater narrative distance, making it easy to switch viewpoints with scene and chapter breaks.
  4. In omniscient third, the narrator is all-knowing, and can give the reader any information about the characters and events. It has the lowest immediacy but the highest level of flexibility for the writer.
  5. Second person is worth knowing, but is rarely used in long-form storytelling.

There are even more variations of these points of view, which we will cover in future posts.

  • My article on How to Write in Free Indirect Style

For now, if you liked this article and found it helpful, please share it!

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

 

Filed Under: On Writing Tagged With: crime fiction, how to write a book, writing, writing tips

Story Writing: The Ultimate Guide to Great Scenes

December 28, 2018 by Michael Santos

There is nothing more critical to the success of a story, especially a long-form story like a novel, than the writer’s ability to create compelling scenes.

In this article, we’ll discuss scene structure, execution, and how to tell if you’ve written an effective scene or a dud.

Scenes either work or they don’t.

The truth is that the mechanics of scenes are specific and essential. If the writer ignores these mechanics or fails to learn them, their stories will fail to work at their most basic level.

This is because long-form stories are built on collections of scenes. Sometimes each chapter is a single scene, while other authors group multiple scenes together in one chapter.

Either way, the reader’s satisfaction with the story depends on how well these scenes advance the external and internal narratives.

For a scene to work, it needs the following…

Scene structure mirrors story structure.

Scene Structure

Remember the essential components of plot structure from my article on that topic? Here’s a brief refresher, but I recommend reading that post before continuing with this one.

The story opens with the inciting incident, which changes the status quo to the extent that the protagonist must take action. Complications arise in the middle build, giving us twists and turns and driving the story forward with continuous change and progressively rising stakes.

The crisis occurs when the stakes are so high that the protagonist faces a choice between two bad options. When they act on their decision, we have the climax, in which we see how their choice plays out. Finally, the resolution concludes the narrative and shows us how the character and/or circumstances have evolved.

Scenes are just mini-stories.

Every scene follows the same structure that your story does.

Each one should open with an action or a coincidence (as you’ll recall from the section on inciting incidents in the plot structure post). That incident should prompt the character(s) to do something, which will begin the events of the scene.

Complications in the middle should act as small turning points that gradually raise the stakes and the pressure on the characters.

The pressure builds until a character (your protagonist or point of view character) must make a choice at the end of the scene. This is the crisis.

We then see the climax, as they take action based on their choice.

For the vast majority of scenes, you’ll want the resolution to end on a cliffhanger that motivates the reader to continue to the next scene. This is most commonly associated with commercial page-turners, but it applies to all genres and styles of fiction.

Scenes must follow this structure in order to work. Without an inciting incident, middle complications, a crisis, a climax, and a resolution, your scenes won’t resonate with readers.

A question of polarity.

Scenes must also turn. That is, there must be a shift in your protagonist’s quest to get what they consciously want (the external narrative) or what they subconsciously need (the internal narrative).

This is also called a shift in polarity. If the overall state of your character’s journey is positive at the beginning of a scene, the polarity must shift to a negative or a double positive. If it is negative, it means the scene introduces a new setback that prevents the character from achieving their goals. A double positive does the opposite.

Likewise, if the scene opens on a negative polarity, it must shift to a positive or to a double negative. The state of the conflict must improve or get even worse.

If a scene does not include a change in polarity—a turn—it is not a scene. There is no advancement of the story in a passage that does not turn, making it ineffective.

To write an engaging scene, the external and/or internal narratives must progress in some way, either positively or negatively, from where they were at the beginning of the scene.

For more information on external and internal narratives, read my article on them.

Editing your scenes.

When I edit a manuscript (and before I send a manuscript to my editor) I spend most of my time analyzing every scene in the novel.

I ensure that they follow the structure that will make them engaging for the reader. I check that there is a polarity shift by writing a sign (+, -, ++, or –) at the beginning of the scene and a different sign at the end. Finally, I evaluate how the external and internal narratives develop in each one.

Once in awhile, I’ll come across a passage I’ve written that I can’t seem to fix. It won’t turn, I can’t find a polarity shift that leaves an impact on the story, and the scene is ultimately boring.

What do you do when that happens?

You cut the scene.

You wouldn’t build a castle out of stones that have massive cracks in them. The place would come crumbling down. Scenes are the building blocks of stories. They must be solid as well.

Summary.

Okay, let’s review:

  1. The success of a story depends on the writer’s ability to write great scenes.
  2. Scenes either work or they don’t, with little wiggle room. Writers MUST understand the mechanics of scenes.
  3. Scenes are mini-stories that follow the same structure as the overall plot.
  4. Scenes must turn, meaning that there must be a polarity shift from positive to negative, positive to double positive, negative to positive, or negative to double negative.
  5. When editing, cut any scene that you can’t fix. It likely isn’t important to the story if you can’t make it turn.

If you liked this article and found it helpful, please share it!

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

 

Check out my Queen City Crime Series, available on Amazon in Kindle Ebook and print paperback.

No Hard Feelings

No Hard Feelings

Mr. Moneybags

Mean Bones

Get more writing and crime fiction content!

A FREE ebook copy of No Hard Feelings and even more great content is yours, when you join my email newsletter. Subscribe below!

Filed Under: On Writing Tagged With: books, creative writing, how to write, how to write a book, writing

Story Writing: The Five Essentials of Plot Structure

December 27, 2018 by Michael Santos

In this article, we begin a look at story structure by exploring the five essential building blocks of any plot. Every story, no matter its genre, must have these five components.

Writing that is missing even one of these simply does not work as a story and won’t resonate with readers.

The Inciting Incident

This scene begins the story and hooks the reader. Without a compelling inciting incident, there is no motivation for anyone to continue beyond the opening of your story. If this scene is lackluster, they’ll just put the book down.

The inciting incident changes the protagonist’s life. It upsets the status quo and presents them with a situation, challenge, or problem so great that they must take action to face it. That action is the launching point for the rest of the story.

Action or Coincidence?

The scene may be the result of an active choice by the character, such as a cop who chooses to quit the force to become a PI and must begin a new career.

The other option is to have the inciting incident be a coincidence or random happening that impacts the character, such as a homicide detective who gets called to the scene of a new murder.

No matter what you write, the inciting incident must prompt your character to take action.

The promise of genre.

Inherent in your choice will be the promise that your genre makes to the reader. For instance, when a homicide detective is called out to a crime scene, the reader understands that the story ahead is a murder mystery.

The opening promises them the experience that will follow, and so the beginning must correspond to the experience that the middle and end of the book deliver.

The ending has to pay off the inciting incident in a surprising way. It must tie back to the event that began the story.

In a murder mystery that opens with the arrival of a new case on the detective’s desk, the middle of the story will contain the progression of that case, and the ending must resolve it for the story to be satisfying.

In that way, inciting incidents define the whole concept for your story.

For example, when I defined the concept for my second novel, Mr. Moneybags, I boiled the premise down to this short pitch, which also describes what happens in the book’s inciting incident scene:

A retired armed-robber gets back into the game when his old partner shares her idea to kidnap the boss of a car-theft ring and steal millions from him.

Complications

The middle build portion of the story (the middle 50% of the content) must be full of complications that fuel the story’s external and internal conflicts.

These complications create the twists and turns that keep the story moving forward. They ensure that the reader never gets bored or loses interest.

To do this, you must present your characters (especially your protagonist) with problems of increasing size and importance. The stakes must always be raised, as your characters pursue their conscious wants in the external conflicts and learn the lessons that their subconscious needs to learn in the internal conflicts.

Don’t miss my article on writing compelling external and internal conflicts!

These complications should build in scale until we reach the story’s climax, when the characters face a problem that pushes them to the limits of their humanity.

In most mysteries and thrillers, this will be the life and death conflict when the protagonist and villain finally confront one another.

The Crisis

At this point in the story, the complications have raised the stakes to the point that the character now faces a difficult choice between two bad options. This creates a crisis situation.

Their decision one way or the other will tell the reader a lot about them, making this kind of scene an excellent opportunity to showcase the character’s development.

The two options must both threaten the character with negative consequences. There can be no obvious victory in sight.

An example.

I’ll use my first novel, No Hard Feelings, as an example. My protagonist, a hit man called The Apostle, is on the run from the police and from a pair of criminals who want to kill him after he crossed them. One of those criminals catches him and makes a deal…if The Apostle will murder a detective who is causing trouble for the crooks, his previous sins will be forgiven.

If The Apostle says no, he’ll be shot on the spot. If he says yes, however, he’ll have to go through with the hit, meaning that the entire police force will be out for vengeance. He might be able to run, but his life will likely be over anyway.

Which is the better of the two bad choices? His decision tells the reader who he is, what he values, and demonstrates how he has developed to that point.

What does he choose? Nice try, but you’ll have to read the book to find out!

Remember, the best of two bad choices.

The key to writing a compelling crisis is to make it a truly difficult decision. Neither option can be good. The character must be trapped.

The choice will change their life in such a way that there will never be a way for them to undo the consequences of their actions.

The Climax

Let’s get back to the climax of the story. It follows the largest crisis your character faces.

The climactic scene is the one in which your character acts on the choice they make in the crisis.

After an inciting incident that hooks the reader, complications in the middle build that keep the reader engaged, and a harrowing choice between two bad options in the crisis, the climax is the emotional peak of the story.

It must also pay off your characters’ arcs. If your characters change throughout the story (as they should, if you have internal conflicts in place), then the decision they would have made at the beginning of the story should be different from the decision they do make at the end.

This difference in choice shows the reader how much the characters have developed during their arcs. This is especially crucial for your protagonist. Many contemporary thrillers have multiple prominent characters, however, so you may need to consider the arcs of multiple people.

Climaxes in crime fiction.

In a mystery, the writer must also deliver the answer to the puzzle, keeping in mind that the reader should have all of the clues that they need to solve it BEFORE this scene.

In a thriller, the sensations of dread and impending doom must be at their highest levels in this scene, in order to maximize the suspense.

For more information on writing mysteries and thrillers, read my posts on those subjects.

Resolution

This last component of the story allows the reader to understand the effects of the climax on the external and internal narratives.

There are two crucial factors to consider in your resolution…

  1. Don’t make it corny or cliche. Your first idea for the resolution has been done before…trust me. So spend time thinking about how to conclude your story, because the first thing that pops into your head won’t be original enough.
  2. Don’t review content the reader has already seen. For instance, don’t make the resolution a conversation rehashing the events of the climax. The reader will lose interest, and the ending won’t be satisfying.

Resolutions in commercial and literary fiction.

Here’s a trick to help you. If you’re a commercial fiction author writing in a popular genre, chances are your climax will focus on the external narrative. In a murder mystery, it will be the epic conclusion of the investigation, as the detective confronts the perpetrator in a life and death struggle.

If you are a literary fiction writer, the climax will likely focus on the internal narrative, in which the character will undergo their most dramatic change after their entire internal identity, worldview, and/or sense of morality have been called into question.

In either case, your resolution should center around the narrative that the climax did NOT handle.

The commercial novel’s resolution should explore the character’s internal change in the aftermath of the story. The literary novel’s resolution should show the reader how the external circumstances have changed as a result of the character’s development.

By handling it this way, you avoid reviewing story content that you’ve already delivered. Instead, you fulfill the cathartic reading experience by completing both narratives with satisfying pay offs.

In my crime novels, the climaxes resolve the major external conflicts between the characters. There are often outbreaks of gun play, quick-witted verbal slings and arrows, and the question of who will walk away with the money (and their lives).

My resolutions, then, resolve the internal narratives. Do the characters get what they subconsciously needed all along?

The power of ironic resolutions.

One way to make your endings memorable is to make them ironic. That is, the characters may see a positive outcome in the external narrative but not in the internal, or vice versa.

For instance, what if the detective has to do something that brings their sense of morality into question in order to catch the killer? So, in the end, the external conflict resolves in their favor (they get what they consciously want), but now they must deal with the aftermath of their choice to sacrifice their values.

They can’t undo the consequences of their choice (a crisis of conscience), so they must live with those consequences long after the killer is behind bars.

External victory, internal turmoil–this contradiction makes ironic endings interesting. These are the resolutions that are most likely to stick with a reader after they finish the book.

Summary

  1. The five essentials of plot structure are the inciting incident, middle complications, crisis, climax, and resolution.
  2. The inciting incident must change the protagonist’s status quo, prompt the character to take action, and hook the reader. It can also be used to define the concept of your story.
  3. Middle complications are the twists and turns that keep the reader engaged and that raise the stakes for the characters. They cause the external plot to move forward and the internal arcs to develop.
  4. The crisis presents the protagonist with a choice between two bad options. There is no easy way out, no happy ending in sight.
  5. The climax occurs when the character acts on their choice, when the stakes are at their highest.
  6. Finally, the resolution lets the reader digest the story. If the climax focused on the external narrative, the resolution will conclude the internal narrative, and vice versa. Ironic resolutions are the most memorable.

If you enjoyed this article and found it helpful, please share it!

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

 

Check out my Queen City Crime Series, available on Amazon in Kindle Ebook and print paperback.

No Hard Feelings

No Hard Feelings

Mr. Moneybags

Mean Bones

Get more writing and crime fiction content!

A FREE ebook copy of No Hard Feelings and even more great content is yours, when you join my email newsletter. Subscribe below!

Filed Under: On Writing Tagged With: how to write a book, how to write crime fiction, writing

Story Writing: External and Internal Conflicts

December 24, 2018 by Michael Santos

In this article, we talk about external and internal conflicts. Conflict drives story. Learn how to use your characters’ conscious wants and subconscious needs to write a killer story that both entertains readers and resonates with them on a deeper level.

Be sure to watch my YouTube video on this subject as well.

A tale of two conflicts.

In every story, you’ll find two main types of conflict that drive the two main types of narratives.

The external conflict drives the external narrative, which is the plot of the book. The internal conflict drives the internal narrative, the arc of a character from the beginning of their journey to the end.

The external conflict occurs when a character consciously wants something. They know that this is their objective, and their actions in the story are fueled by this desire. Conflict occurs when some external obstacle prevents them from reaching that objective.

In short, this conflict creates the situation, or plot, of the novel.

The internal conflict occurs when a character subconsciously needs something. This implies that the character may not know what their internal objective is. Often, they must endure the trials and tribulations of the external conflict in order to learn that what they needed all along was different from what they wanted.

In short, this conflict creates a character’s arc and development as they experience internal change.

The internal narrative is also the element of the story that connects to the reader on a human level. We may find plot intellectually interesting and entertaining, but it is the character’s internal struggle that we relate to most. We can deeply empathize with coming of age stories, tales of redemption, and crises of identity (all viable internal conflicts) because they’re universal in real life.

These narratives make us feel more invested in the characters, which in turn, makes us more invested in the external narrative, as we watch to see what happens to these relatable fictional people next.

For my money, the best stories balance the impacts of the external and internal conflicts.

What does this mean for different writers?

How do we practically apply these principles to our writing, especially in various genres?

Conflict in commercial fiction.

In commercial fiction (such as the popular genres), the external conflict is prioritized, while the internal conflict becomes a major subplot that enhances our experience with the plot. The situation of the story is the main attraction for the reader. Meanwhile, the characters’ internal conflicts add to the stakes of the plot and make us care deeply about the resolution.

For example, a homicide detective consciously wants to catch a killer in the external conflict. This forms the plot of the book, as the investigation is the main attraction. But perhaps this case is personal, because symbolically, if the detective catches the murderer, she’ll redeem herself from a terrible mistake she made in her past.

That internal redemption story adds another layer of stakes to the case, while at the same time connecting us to the detective at a human level.

So, the external narrative is the priority, but a compelling internal narrative is crucial to the successful execution of the plot.

To put it another way, in commercial fiction, the best plot means nothing without a significant internal story to give it emotional weight.

For more information about using external and internal conflicts in crime fiction, read my post on how to write suspenseful thrillers!

Conflict in literary fiction.

Meanwhile, literary fiction prioritizes the internal narrative. The main attraction for a literary reader is the character’s change over the course of the novel. The external narrative provides the context and catalyst for that change.

For example, is To Kill a Mockingbird a legal thriller in which our focus is on Atticus and his court case? Or is it a coming of age story about Scout? Remember that a coming of age narrative is internal, because it tells us how a character develops within the context of external situations.

Is The Great Gatsby about Gatsby and whether or not he gets the girl and survives the mob? Or is it about Nick and his internal change?

Of course, there is plenty of cross-over between these two generalized explanations of external and internal narratives in literary and commercial fiction. There are commercial books that prioritize the internal and literary books with strong external plots.

The crucial point here is that a great writer will be able to use both types of conflict to achieve different effects, depending on their goals for any given project.

A note on point of view.

One interesting observation I’ll share is that you can often pinpoint which narrative is prioritized in a book by examining the point of view character.

In a commercial novel, the story is usually told by the character at the center of the external conflict. In a literary novel, your POV character is typically the person at the heart of the internal conflict.

This makes sense, because in both cases, the reader spends the most time with the character who has the most to gain or lose in the conflict that is the most interesting in that type of fiction.

Back to our examples.

Let’s go back to the To Kill a Mockingbird example and compare that novel to the legal thrillers of today. Scout is at the center of the coming of age story. The essential questions the reader asks in that conflict focus on what kind of person Scout will become after experiencing the story. It’s logical, then, that the narrative will be most engaging from Scout’s point of view, and not from another character’s.

However, if you look at John Grisham’s thriller A Time to Kill, you’ll find that the protagonist, Jake Brigance, is a defense attorney at the center of the major external conflict of the book. The central questions of the novel revolve around his court case, so Jake’s perspective is the most interesting for the reader.

The other key point I’ll emphasize here is that, in both books, the authors balance the external and internal narratives well, even as they prioritize one or the other. Both arcs are important in the story, making these works impactful on deeper levels for the reader.

Summary.

Okay, let’s review.

  1. External conflict occurs when an external obstacle prevents a character from getting what they consciously want.
  2. Internal conflict occurs when a character subconsciously needs something, but doesn’t yet know it.
  3. The external conflict drives the external narrative, the plot. The internal conflict drives the internal narrative, the character’s arc.
  4. Commercial fiction prioritizes the external narrative and uses the internal narrative to raise the stakes. Literary fiction prioritizes the internal narrative and uses the external narrative as the catalyst for the protagonist’s change.
  5. In commercial fiction, the POV character is often the person at the center of the external conflict. In literary fiction, the POV character is often the person at the center of the internal conflict.

If you enjoyed this post and found it helpful, please share it!

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

 

Check out my Queen City Crime Series, available on Amazon in Kindle Ebook and print paperback.

No Hard Feelings

No Hard Feelings

Mr. Moneybags

Mean Bones

Get more writing and crime fiction content!

A FREE ebook copy of No Hard Feelings and even more great content is yours, when you join my email newsletter. Subscribe below!

Filed Under: On Writing Tagged With: books, how to write a book, writing

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