Structuring Your Novel

I was so happy to learn today that this book is still in print as I have had occasion over the years to recommend it to many, many fiction writers I have coached in the writing of their novels. I first read it more than 20 years ago, and in pulling it down from my shelf I find that it still seems to me to have exceptionally clear explanations of point of view -- a hard concept for many first-time writers to get right -- and of theme -- a nebulous but important concept. If you want to master fictional technique, study this book. One of the best investments of time and money you could make! - Marcia Yudkin, Writing Coach and Author of 11 Books,

Would be novelists most often write novels that never see the light of publishing day. The reasons for rejection are as many as the number of things the writer can do wrong. There are many books that teach How To Write a Novel (and I've read most of them), but only STRUCTURING YOUR NOVEL by Meredith and Fitzgerald discuss how to do it well. Both authors know what works and what does not work in getting a novel published. They recommend that after the novelist thinks of His Bright Idea, he ought to look at his idea in the way that an agent or publisher will. They recommend concepts as basic as the following:1) Can the intention, attitude, and purpose be written as one sentence each? 2) How can the conflict be developed?3) Who or what is the protagonist, setting, significance?4) How will the author create causally related events?5) Is there a dramatic driving device for the protagonist?6) What is the viewpoint? Omniscient? (avoid) First Person? (Maybe) Third Person (best bet)7) How will the author inform the reader about the relevant details of the novel?8)What about dialogue? (when/how much) Characterization? (how) The above points are usually omitted by rookie authors, and their ignorance of them is the most common reason for rejection.The value behind forcing a writer to think like a publisher is to anticipate pitfalls and correct them before too many hastily written words hit the paper. This book should be required reading for anyone who hopes to write and publish novels, and not have to wonder why their career is going nowhere.

I can't recommend this book enough. I've looked at a lot of books on writing, and this is one of two that has actually helped me structure my novel. It has helped me on both the major plot and scene level. Sometimes when I am at a dead end, I thumb through this book and find a principle that helps me find a solution. There is not one chapter that isn't helpful, and the principles the authors discuss are identified clearly point-by-point in bold. My other favorite guide is "Building Better Plots" by Robert Kernen, which is a good companion for plot structure.

I'm tired of new age writing books that simply tell you to write about your passion with no guidelines on how to structure, plan and plot a novel. This book is old school: it talks about what goes into a great, believable, literary novel, and uses these books as examples: Madame Bovary, To Kill a Mockingbird, From Here to Eternity, Tom Jones, The Grapes of Wrath and The Spy Who Came In From The Cold. It was written in 1972 and isn't shy about putting down a lot of helpful rules that you just don't see in much of today's "writing about writing." One example from their excellent chapter on developing plots and/or story lines: "Begin a novel with an event outside the character of the protagonist that starts a chain reaction of causally related events." They also point out that great fiction isn't really true to life; few women view suicide as the answer to boredom and bankruptcy as does Emma Bovary, yet great fiction is made from those believable and compelling departures (or exaggerations) from the norm. It is the job of the novelist to create those surprises to prove some larger point via their art. Speaking of that, they say all novelists should begin with a written, defininitive mission statement that solidifies in their minds the aim and purpose of their novel. All novels in the end seek to prove a point (absolute power corrupts absolutely, for example), and the novelist should keep his/her aim in mind while writing. This excellent book is a welcome departure from all the writing books and classes that offer no practical, concrete advice on how to make good (and bad) fiction. Their book is for commercial and literary writers: they encourage writers to just craft a good, compelling story, and note that as writers develop a unique style their work will naturally find its own niche either in the "literary fiction" camp or in the "mainstream" arena.

Two dry and rambling manuscripts buried in my bottom drawer convinced me to put together my next novel with some help. This book is a nuts and bolts, step by step analysis of succesful novels and their structure. Follow the steps and you will at least have the first five chapters of your novel. Keep going and you'll have the best novel you can write. The program outlined in this book is worth a lot more than $10.40.