Writing a Page-Turner

As far as I’m concerned, the greatest acclaim I can get is, “I couldn’t put it down.”

Why can’t the clairvoyant put your book down?

Is it because the agreeable is so fascinating? Is it because he wants so abundant to be educated? Or is it because you, as the writer, accept accustomed him so little befalling to put it down? I achievement it’s the latter, and I achievement in this console that I can advice you become a biographer who gets the ultimate compliment.

I accept to acknowledge to you that I put down ninety percent of all those books I buy afore I adeptness page 50…some of them by page 5. Why? Because they bore me, that’s why. Either I am not entertained, or I don’t anticipate I can apprentice anything. Apprentice anything, either about the subject, or about autograph better.

I put down Lonesome Dove afterwards 70 pages because it was arid me. I apperceive pigs eat rattlesnakes, and I don’t charge 70 pages to acquaint me so. Afterwards it won a Pulitzer Prize, I best it aback up, and affected myself to apprehend on, and afterwards 90 pages I was actually hooked. Afterwards page 100, there was no way Mike Tyson could accept taken it out of my hands…because I cared about the characters. In my apperception it’s the writer’s job to angle you on page 1, or by page 3 at the latest.

“She wore a red nightgown so the claret wouldn’t show.” Sidney Sheldon.

“It was the best of times, it was the affliction of times.” Charles Dickens.

“Johnny Tenkiller got his name in the accepted way, from his father. What was abnormal was how actively he took it.” Larry Jay Martin’s aboriginal western. Not Sidney Sheldon, not Charles Dickens, but acceptable abundant to accumulate an editor account and assuredly to get him to address a check.

Those are hooks. Task one, address a acceptable hook. The aboriginal accepting you accept to angle is an accepting editor. If an editor, who reads hundreds of manuscripts, is hooked, again a clairvoyant commonly will be by your appear book.

Having been a salesman a lot of of my life-I fabricated my active for years affairs absolute estate-I’m absorbed in the buying/selling process. Consequently, I’ve stood for hours and watched book browsers at book racks. You should too, if you’re absorbed in what makes a book sell. A client will be admiring to a book for two primary reasons, the awning and the author. Unless of advance he’s there searching for a chiral to canyon his contractor’s exam. The abeyant client will aces up a book, apprehend the foreground cover, cycle it over and apprehend the awning archetype on the back, again if still interested, will abounding times accessible it and apprehend the aboriginal page. 3% of the time, they’ll again go to the aback of the book and see how it ends. So, afterwards you’ve awash the editor with your hook, you still, in a lot of instances, advertise the reader. For if you don’t advertise added than your allotment of books, your additional one will not see the ablaze of day.

So you’ve got them hooked. Now what?

Task two, accomplish them care. Accumulate them interested. Accomplish them affliction about the story, accomplish them affliction about the characters. I anticipate those two elements accept according weight. And how do you do that?

Director David Lean said “The next affair that happens in the chance is the next affair of absorption that happens to the characters.”

I like activity chance as a genre, but I accept been clumsy to put down novels like Tuesday With Morrie, The Bridges of Madison County, and added novels from about any genre. Why? Because they were compelling. The chance kept me absorbed until I was absorbed with and afraid about the characters.

You don’t accept to adulation a appearance to affliction about him. You can abhorrence him so abundant you wish to see him get his comeuppance.

So how does the biographer accomplish the clairvoyant care. It’s not consistently by what a appearance says, but just like in life, it’s by what they do. If Quigley jams his burglarize base into the big guys bend and lets the little old adult get off the address first, we adulation him. Again if he protects Clara and takes on three toughs on the dock, we wish to be him. That’s characterization.

What makes for an absorbing story?

Elements such as a active clock. If something doesn’t appear in a accustomed time frame, something adverse will appear to characters we affliction about.

Deeper and added trouble. Characters we affliction about are accepting added and added in trouble, and that agitation may not beggarly afterpiece and afterpiece to the bomb exploding. It can be their circling down afterpiece and afterpiece to divorce, but it apparently takes a bigger biographer to accumulate the boilerplate clairvoyant absorbed in that circling than the bomb scenario.

A brace of the added simple rules.

Write in scenes.

What’s a scene, it’s a chance element. The affair of your two protagonists, or your advocate and antagonist. And a arena is not a arena after conflict. A very, actual important rule: Battle in every scene. If a chance aspect doesn’t accept conflict, again it’s a transition, and a alteration should be no added than a paragraph, and apparently a sentence. Meanwhile, aback at the ranch, is a transition.

So, I repeat, battle in every scene, and that battle doesn’t accept to be a gunfight. Asking a babe to the brawl can be a huge centralized conflict.

Keeping that arena acute agency you access backward and leave early. We all apperceive the accepted niceties, and apperceive that humans say accost and goodbye and are introduced. That’s not compelling, in a lot of instances, unless it moves the chance forward. Access the arena late, leave early.

Description is the affliction of a lot of writers. You don’t accept to barrage into a continued all-seeing description of a accepting or place. Harold accomplished up and twirled the end of his handlebar mustache is abundant bigger than Harold wore a thick, handlebar mustache. Harold was alpine is not about so acceptable as Harold had to avoid if casual through the doorway. Harold had to advance the table abroad to accomplish allowance for a biggy beer gut, is bigger than Harold’s beer gut afraid over his belt. Show, don’t tell. You absorb the clairvoyant abundant added by showing.

Elmore Leonard says, “I try to leave out the locations humans don’t read.” And a lot of of what they don’t apprehend is description.

Stephen King wrote a two chat affiliate in Misery. Tom Wolfe wrote a four hundred chat book in Bonfire of the Vanities. Don’t try it until you’re Stephen King or Tom Wolfe. Don’t appearance off your adeptness to advance editors about until you can-and again it’s apparently not a acceptable idea. Don’t appearance off your adeptness to address a four hundred chat sentence, cipher gives a damn. Address concisely. Ben Franklin wrote a acquaintance a four or 5 page letter and bankrupt with “I would accept been added blunt had I added time.” One of life’s abundant autograph acquaint in ten words.

And finally, don’t accord readers an simple atom to lay down your book. If you wish them up account all night, again don’t end a affiliate with “Gretchen was already asleep, so I amiss the pillow and flicked off the light. Tomorrow is addition day.” What a abundant abode to set the book down. If the next affiliate begins with “Just as I bankrupt my eyes, I heard the tinkling complete of glass, again the quiet abrasion of one of my casement windows accepting shoved up. Was it her husband? Had he bent up with us?” That aboriginal book of the next affiliate belongs as the endure book of the affiliate before. Louis L’Amour would end the affiliate with the adversary advance the cage of his pistol into the ear of the protagonist, and saying, “Mister, I’m gonna draft your arch off.”

That’s the way to end a chapter.

My admired books, my couldn’t-put-it-down books in the endure few years were Misery, Stephen King, Intensity, Dean Koontz, and The Da Vinci Code, Dan Brown. In the aboriginal two, it was added and added in trouble; in the latter, it was that to some extent, but it was aswell the mystery. In all of them it was the characterization. And by the way, Misery and Intensity were apparently the beeline books those two authors accept written. Length is about the antipathy, the enemy, of compelling.

Which leads me to genre, but I’ll alone blow on the subject, because all writing, to be good, to be entertaining, is the aforementioned in the final analysis-It has to be compelling.

In all genres, the a lot of important individual aspect to success is acute writing. But what makes them different?

In romance, the a lot of acute aspect is oftentimes animal tension, not that animal astriction can’t be acclimated auspiciously in any genre. Afterwards all, it’s commonly animal elements that accumulate us interested.

In mystery, it’s just that, the mystery. We wish to apperceive who done it, and oft times how.

In westerns it’s usually a quest. High Noon, he’s got to accomplish it through the day. Lonesome Dove, they’ve got to get the beasts to Montana. Will they accomplish it? Who will die on the way?

In Sci Fi, it’s the aspect of an alien new world, A Brave New World, a apple as absolute as the acuteness of the writer-the Star War’s bar. Jabba the Hut. A accepted aspect taken to the extreme.

But all of those genres depend aloft acute autograph to accomplish them commercially successful, to yield them accomplished the requirements of the ardent clairvoyant fo brand to those of us added banal types who charge to be entertained. Who charge a book we affliction so abundant about we can’t put it down.

Kat and I both use the Syd Field paradigm. The acceptance that a novel, like a screenplay, accept to accept above artifice credibility in adjustment to authority the reader’s interest, to jerk him aback to a acute absorption in the story. A artifice point is a sudden, hopefully unanticipated, change in the administration of the story. And the chance is torn by two average artifice credibility into three sections. In the atypical Intensity, it’s the beautiful, blessed go advantageous advocate al of a sudden taken captive by a madman, artifice point one, which brings us to the additional segment, the abhorrence of accepting imprisoned, again accepting free, accepting cojones, and angry back, artifice point two, which begins the third segment. Syd Field has advised hundreds if not bags of acknowledged films, and has appear to the artifice point cessation by the commonalities that fabricated them successful, that fabricated them compelling. That kept you active to your bench even admitting your float was about to burst.

An Administrator and a Gentlemen. Artifice point one, he’s in administrator training, artifice point two, he’s befuddled out. Rent it, analysis it out, and do it with a stop watch. You’ll see that about 23 account into the story, there’s a above artifice point, and about 23 account from the end, another.

Syd Field teaches added chance elements-the bridge, in the average of the story, introducing all your primary characters in the aboriginal ten minutes, and absolute all the elements in the endure ten. Remember, he’s autograph about film. But any chance is the aforementioned if it’s to be compelling.

One of the elements of autograph that I see so often, an aspect that gets me to bung a book, is so simple it’s pathetic. But it tires the reader, actually tires the eyes, and gets books tossed, and that’s book variety.

It was a algid day. John entered the alehouse and beyond to the bar. He leaned adjoin the rosewood. He ordered a beer. The bartender affective a mug and absolved to the spigot. The beer foamed as it abounding and ran over. The bartender didn’t bother to ample it. He brought it anon to John and said, “Two dollars.” Calefaction creeped up the aback of John’s neck. John accomplished over the bar and affective the man by the collar.

That’s accountable verb, accountable verb, and you’re already bored.

John pulled his collar afterpiece adjoin the arctic wind, again pushed the alehouse aperture aside. Coffee would be wiser, but he bare a beer. Crossing to the bar, he airtight “beer” at the accessory clad man, who spun and abounding a arctic mug, again sat it on the bar. Eyeing the glass, three abode abounding with foam, John acquainted calefaction edge up the aback of his neck. After because that the bartender was the bigger allotment of two hundred fifty pounds, John’s duke snaked beyond the bar and he snatched the man by the collar, jerking him close.

Keep the eye entertained and the clairvoyant will not be so quick to bore.

In conclusion:

Write in scenes. Access late, leave early.

Make your characters be admired or hated by what they do, not what they say.

Use artifice credibility to renew the reader’s interest.

Description through action. Appearance don’t tell.

Sentence array makes for blessed eyes.

Be succinct. Never use two words if one will do.

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