FFB Review: Many Genres, One Craft: Lessons in Writing Popular Fiction Editors Michael A. Arnzen and Heidi Ruby Miller

From the massive archive…

 

For many writers, attending graduate school or a writing conference to work on their craft is simply not possible. The point of Many Genres, One Craft: Lessons in Writing Popular Fiction is that one can get much of that knowledge from this book. Editors Michael A. Arnzen and Heidi Ruby Miller assembled over sixty expert contributors, many of them connected to Seton Hill University’s MFA program in Writing Popular Fiction for this over 350 page textbook. A book full of wisdom that you can work through at your own pace.

 

Published in 2011 by Headline Books, Inc., the book is broken into roughly three sections titled “Craft “and “Genre,” and “The Writer’s Life.” Each section has several sub-sections related to the main topic of the section. This design allows readers to move back and forth through each section or the book as a whole to find the information they need at the time they need it.

 

The “Craft” section opens the book with a sub-section on “Style Ad Process.”  Information on opening lines, how to handle point of view and how not to information dump is here among other items of interest. Each article is of several pages and features a brief author bio at the end. This same format is used throughout the book.

 

“Character And Dialogue” is the next sub-section starting on page 64. This section is all about making your characters realistic, making them suffer, and in the end, making them as well as your writing and the story stronger.

 

“Plot And Structure” follows next with interesting pieces such as “Demystifying What Editor’s Want” by Venessa Giunta.  Now that you have strong characters and know what the editors want in them, it is time to put your characters into a good story. A good story is made up of a lot of elements such as pacing, characters that can save themselves, find romance when warranted, as well as the setting they are placed into for the story.

 

In the novels by James Lee Burke, the setting is as important as the characters. The sub-section on “Setting” comes next starting on page 111. While Susan Crandall does not reference Burke in her piece “Setting as a Character:  It’s More than a Backdrop” she uses plenty of other references to make the same point while also explaining how to do it. She isn’t the only author to discuss setting as there is a lot more information here on this key part of your tale.

 

Starting on page 129 with “Genre” it is on to specifies. After a general sub section on “Genre and Originality” which makes the point there are certain expectations for each genre, their limitations, and how to deal with those while pursuing originality, it is on to the various genres with each section getting their own detailed sub section.

 

“Romance And Women’s Fiction” begins on page 150.  While some are arguing for a clear distinction between the two, in this book they are grouped together. In a poignant and inspirational essay by Crystal B. Bright titled “Write from the Heart” she explains how she pursued her dream and the novel she wanted to write despite the “no’s.” Her inspirational story does not apply just to romance novelists, but to all writers in all genres. That fact ties into a key point noted in the introduction of the book and constantly reinforced though many examples throughout Many Genres, One Craft: Lessons in Writing Popular Fiction. Regardless of the genre you write in, you can learn from those in other genres because there are universal principals that link all types of writing together.

 

Following the essays on many types of romance is the subsection titled “Science Fiction And Fantasy.”  Pieces on world building, cyberpunk, using myths, realism and more are here and provide a lot of interesting reading.

 

Then it is on to those of us who want to kill people for fun and profit, have no underworld connections, and don‘t want to be arrested.  “Horror, Mystery and Suspense Thrillers” begin on page 196 with essays on plotting, getting the dialogue correct, surprising readers and lots of other good information. Along with an excellent piece on plotting by Victoria Thompson there is an excellent advice piece by David Morrell about thrillers.

 

“Children’s And Young Adult Fiction” are their own deal and have a section starting on page 227. Getting those readers into your work and how not to lose them is the point of this section. It is not just about those teen readers either.  How to properly do picture book illustrations based on the text and other information is present here.

 

While the book is primarily about novels it also explores other approaches in the sub-section “Alternative Approaches.”  Prolific author Michael Bracken leads off this section with his essay, “I Write Short Stories” that begins on page 264. He makes the point that short stories can be more lucrative than novels while also making you a stronger writer. He also helpfully explains how to find those short story markets, how to write for them, and how to be productive. As he points out on page 249 – “Writing short fiction requires the same skills as writing novels: the ability to create coherent plots, to develop believable characters, to write realistic dialogue, and to mesmerize readers into suspending disbelief for the length of a story.”

 

Also included in this section are essays on topics such as magical realism, how magna is gaining in popularity and how to write for that market, and movie tie in books.

 

Having moved through the genres and then some it is back to advice that will definitely help all with “The Writer’s Life.” Starting on page 269 this nearly 90 page section is devoted to sub sections on. “Learning” and “Working” and “Promoting.”

 

“Learning” as a writer never ends and can come in many forms. This can be from graduate school, brutal critique, workshops, or just about anything. Even TV shows that are hated in the beginning as Catherine Mulvany explains in “Lessons from the Vampire Slayer.”

 

“Working” starting on page 289 is all about productivity. Writing more, pleasing readers in multiple genres, and time management among other topics are covered here. As Lee McClain points out in her essay “Time Management: Creative Paths to Productivity.” . . . unlike literary fiction, genre fiction requires you to be prolific. Stephanie Meyer wouldn’t have had the same success if she’d waited two years before bringing the second Twilight novel to completion.” (Page 297) As a genre writer, you simply have to be productive and get a lot of work out because readers expect and demand it. Her informative essay is about how to be productive in terms of novels, but this piece also ties in nicely to Michael Bracken’s essay referenced above about why he chose to pursue short stories over novels and editing anthologies.

 

Also in this section are excellent essays by Shelly Bates titled “The Seven Habits That Got Me Published” and “How to Get an Agent” by Ginger Clark among other very informative pieces. Professionalism in how you act and your work is a key part of both pieces and the others. That includes adjusting to the rise of e-books as well as being dumped by your publishing house. A very informative section and one that will help you no matter where you are as a writer.

 

Marketing your own work is a job many of us dread and hate. After all, the book should sell itself, right?  These days, if it ever did, things don’t work that way which is why a section titled “Promoting” is necessary. With essays on the basics of author bios, contact information, press releases, book reviews and more, this section gives you the framework to tell the world about your book. Getting information on your book out there so readers/buyers know about it is key here with lots of basic yet very good information.

 

The book closes with a detailed “Resources And References” section that covers where to go for more information imprint and online.

 

An extensive and inspirational book filled with lots of practical advice for any writer at any stage in his or her career, Many Genres, One Craft: Lesson in Writing Popular Fiction is one of those books that writers just have to have on their shelves. Unlike many of the courses and books bandied about online, this book features practical and realistic advice and tips from writers who have managed to build prolific and solid careers stretching back decades. No matter your particular writing interest, the information in this book will not only be specific to that interest, but to the craft of writing as a whole. Simply put --this is an excellent book that you must have and use.

 

 

 

Material supplied by the publisher quite some time ago in exchange for my objective review.

 

Kevin R. Tipple ©2012, 2023

SleuthSayers: Plotters and Pantsers

SleuthSayers: Plotters and Pantsers: by Steve Liskow Several years ago, I sat on a panel with three other writers and one of the patrons asked if we outlined or not. I said &q...

Smart Girls Read Romance: Wandering Body Parts and Other Pet Peeves

Smart Girls Read Romance: Wandering Body Parts and Other Pet Peeves: By Sandra Nachlinger I’ve been critiquing a few manuscripts recently and have enjoyed reading the opening pages of a variety of sto...

Mystery Fanfare: The Art and Craft of Writing Crime Fiction

Mystery Fanfare: The Art and Craft of Writing Crime Fiction: Peggy Lucke asked our Sisters in Crime Northern California chapter for their favorite books on the art and craft of writing crime fictio...

From Author Dave Zeltserman: On Writing Noir

From Author Dave Zeltserman: On Writing Noir

Last Editor Standing: Multiple Paragraphs in a Single Instance of Dialog...

Last Editor Standing: Multiple Paragraphs in a Single Instance of Dialog...:     I was reading a short story at an online literary magazine,  here , a couple days ago. The author had elected to write the story in pr...

“Writing a New Series” (by Dave Zeltserman) at Something Is Going To Happen Blog

“Writing a New Series” (by Dave Zeltserman) at Something Is Going To Happen Blog

How to Write a Thriller: Authors Megan Abbott, Blake Crouch and James Patterson discuss their writing methods (Wall Street Journal)

How to Write a Thriller: Authors Megan Abbott, Blake Crouch and James Patterson discuss their writing methods

Everything That's Wrong With Your Story -- Sight Unseen (Flogging Babel)

Everything That's Wrong With Your Story -- Sight Unseen (Flogging Babel)

Writing 4.5 – Editing vs Revising (Brainsnorts Blog)

Writing 4.5 – Editing vs Revising (Brainsnorts Blog)

Denise Weeks, Mystery Author: For writers and readers: thoughts on structure

Denise Weeks, Mystery Author: For writers and readers: thoughts on structure: The beginning of a novel--ideally, the first few lines, unless we are in a prologue, about which more next time--should open a window and se...

Linda Rodriguez Writes: Casual Guidelines for Mystery Writing

Linda Rodriguez Writes: Casual Guidelines for Mystery Writing: I’ve read a lot of lists of rules for mystery writers. Everyone wants to tell us what to do, but I’ve discovered by reading through these...

Guest Post: Romantic Suspense Author Kris Bock In Defense of “Too Stupid to Live”

What is a pet peeve to some readers regarding characters that do really stupid things can be seen from another perspective as Kris Bock points out today. Make sure you check out her earlier guest posts here on the blog after you read her thoughts below….

  

Romantic Suspense Author Kris Bock In Defense of “Too Stupid to Live”

Readers complain about characters – almost always female – who are TSTL: “too stupid to live.” Writers dread the accusation but also want to tell an exciting story, and excitement doesn’t come from a character who stays inside with the doors locked and calls the police at the slightest hint of danger. But how do you define stupidity in character behavior? When is a bit of carelessness, inattention, or reckless courage all right, and when is it going to cause people to roll their eyes or throw the book across the room?

I think this is actually a much more complex question than many people realize. A lot depends on personal history, personality, and even region. In my small New Mexico town, I don’t hesitate to go walking or jogging alone after dark. I have never once been harassed in this community. I’m not saying it’s perfect, but I’d worry more about drunk drivers and aggressive dogs on the loose than muggers or rapists. Yet I have lived in other communities where it would be considered “stupid” for a woman to go out alone after dark. (I’m not claiming I’ve never done it though.)

The issue has real-life relevance as well, in victim blaming – the tendency to assume that a crime victim has some responsibility for being foolish enough to get into a situation that led to the crime. That is usually untrue and always unfair, but it can make others feel safer because they wouldn’t be that foolish.

Heroic Stupidity

I also think it’s unfair that behavior standards are so different for men and women. A man who hears a noise outside his house and goes out alone to investigate would often be called brave for protecting his family. A woman who does the same thing is called stupid.

Granted a man might be stronger or a better fighter than a woman, but it’s not a given. For either one, the behavior could be rational or stupid depending on whether they have a legitimate reason to suppose that the noise is coming from a stray cat or from a killer. In real life, many of us would assume the former, and we’d be embarrassed to call the cops to chase away a stray cat. But in books readers know to suspect the worst, which means characters look stupider when they don’t expect horrible things. (Personally, I’m more likely to roll my eyes at a CIA agent who misses an obvious plot twist than an average person who doesn’t expect danger.)

In my romantic suspense Whispers in the Dark, my heroine recently suffered from an attack. She is not by nature fearful, but this has left her struggling to recognize when panic is legitimate and when it’s something to control. A couple of readers accused her of the dreaded TSTL behavior, though I’m not sure if they’re referring to the times when she controls her panic and keeps going, or when it overcomes her and she flees. In some cases, running away is more dangerous, if you’re in a blind panic.

Ironically, other readers have said that character rings true, because, in essence “she thinks just like I do.” She’s not a kick-ass action heroine. She’s an ordinary woman who finds herself in an unexpected adventure. She has a hard time believing she’s really in danger, or figuring out which direction it’s coming from.

How People Really Behave

In my romantic mystery What We Found, the heroine is walking in the woods with a man – someone she knew slightly in high school but doesn’t know well now – when they stumble upon a dead body. She assumes they’ll call the police, but he insists they don’t. He takes her phone away and threatens to get her boss (his father) to fire her if she reports this. His behavior throws her so much after the shock of finding a body that she doesn’t know what to do. She delays doing anything, and then a few hours later fakes finding the body for the first time on her own.

Many readers sympathized and even identified with this character. But one reader (a man, perhaps not coincidentally) left a review railing against her choices, because in his mind, if something like this happened, you call the police. You just do, no question. (Curiously, he blamed her, not the man who insisted she didn’t call.)

However, this book was actually inspired by a real experience where friends and I found the body of a murder victim. Of course we reported it, but someone high up in law enforcement mentioned that often people do not report crimes like this. That got me wondering why … all the reasons people might think it’s safer to ignore a crime than report it … and What We Found came out of that. So whether the character’s behavior was “stupid,” it was not unrealistic – it was more real than that one reader wanted to believe.

In real life, are we always smart? How many times have you regretted a choice? How many times do you see your friends making the same stupid choices over and over, even though you, as an outsider, are convinced they should do something different? Is it fair to have higher standards for fictional characters? Perhaps it is, if we expect books to be better than real life. Besides, experienced readers can see things coming in books in a way they can’t in real life, so authors have to work harder to surprise readers. But it seems that not everyone agrees on what behavior is TSTL.

Chances are most of us do “stupid” things frequently and get away with it. Fortunately, we don’t always get what we deserve!

Kris Bock ©2016

Kris Bock writes novels of suspense and romance involving outdoor adventures and Southwestern landscapes. In Counterfeits, stolen Rembrandt paintings bring danger to a small New Mexico town. Whispers in the Dark features archaeology and intrigue among ancient Southwest ruins. What We Found is a mystery with strong romantic elements about a young woman who finds a murder victim in the woods. The Mad Monk’s Treasure follows the hunt for a long-lost treasure in the New Mexico desert. In The Dead Man’s Treasure, estranged relatives compete to reach a buried treasure by following a series of complex clues. Read excerpts at www.krisbock.com or visit her Amazon page. Sign up for Kris Bock newsletter for announcements of new books, sales, and more.

Guest Post: "Pet Peeves in Mysteries" by Denise Weeks (alias Shalanna Collins)

Things that annoy readers is a topic that comes up here from time to time. Back in late January Jeanne of the Bristol Public Library offered a guest post on the subject. Of course, there are comments in regards to reviews here and other places. Please welcome today author Denise Weeks (who also goes by Shalanna Collins) as she offers a few thoughts of her own on the subject….

Pet Peeves in Mysteries

Do you have pet peeves?  What are some of yours?  I wince when game show contestants can't add two one-digit numbers, I hate to see street signs that have misplaced apostrophes, and I go crazy when I see some of these tricks in mysteries.

First off, that ever-popular TSTL (too stupid to live) heroine.  PLEASE stop meeting strangers in dark alleys at midnight, alone, with no backup.  PLEASE don't go down into the basement at 2 AM during a power outage armed with nothing but a flashlight because you "heard something."  Especially when the neighbors have been knocked off one by one over the past week!  I like heroines who think like I do, and most readers are too clever to do these things.

OH WHOA IT'S A CLUE--BUT LOOK, SOMETHING SHINY!  Our Heroine finds a Real Live Clue, but we can't let her immediately grasp what it means and how important it is, because then the book would be over. So for a hundred pages or more, the reader is carefully distracted from whatever it was, even though someone else might mention it just to keep that "fair play" ball in the court. About three-quarters of the way in, someone says something innocent that reminds the sleuth about this clue.  AHA! Now we know what that meant!

But even worse is when the sleuth realizes the importance of that dull paper clip--and doesn't announce what it is. The sleuth jumps up from breakfast yelling, "I know! I know how Bogdorp offed Manimal!" And then proceeds to make phone calls that we don't overhear and go running around to set up police officers to be lurking in the background when the perp is confronted. The perp is cornered and either pulls a gun or does a full confession. Sigh.

If you are going to do this, TELL US what it is that she/he realizes. Don't be COY. I hate coy.

Ahem.

And you constantly see people (including the detective) getting conked over the head hard enough to knock them out (to unconsciousness, for up to several hours) and then leaping up to pursue the perp.  NO.  This requires a trip to the emergency room.  Heard of a concussion?  And if your heroine has a large goose egg and stitches, she can't shinny up the telephone pole right after she's wheeled out of the clinic.  Closed head injuries leave lasting effects.

And what about the ending of every "Murder, She Wrote" episode?  Presented with some flimsy guess or inconsequential bit of evidence, the hard-boiled perp hangs his head and proceeds to confess in detail.  A clever murderer who knows that physical evidence and wild conjectures may or may not convince a jury would never blab all.  And they shouldn't even say, "I was in Luxembourg at the AccordionFest when this happened. That's my story, and I'm sticking to it." Especially when the only evidence Mrs. Fletcher has is that he plugged the wrong electric guitar into the amp. Even ONE fingerprint can be explained away if someone often visited that victim's house (why couldn't I have stumbled two weeks ago over the victim's cat and caught myself on that framed needlework on the wall, and that's why my blurred print is on the glass, not because I touched it by accident while beating Aireheadina over the head with a tire iron that you still have not found?)  What SHOULD these perps say?  "I assert my right to remain silent.  I want to call my lawyer."  And then clam up!

I do love "Murder, She Wrote," because it's always entertaining and it features bit players and character actors you never see anywhere else.  But there's a formula they follow, and perhaps it's not the best.

Then there's the stunt that is endemic to category romance. "If You Don't Know, I'm Certainly Not Gonna Tell You." So many plots hinge on something that a character doesn't tell another character, even when it would be perfectly natural and usually obvious to say. If they'd just TALK to each other or ask for clarification, there'd be no plot, so we get to suffer as we flip pages and moan, "Why doesn't somebody just ASK why the sweatshirt was inside-out?" And don't talk to me about when a person sees someone with an attractive companion and jumps to the conclusion that s/he is cheating, and then it turns out to be a long-lost sister or cousin or mom, or a talent scout from MGM. JUST ASK, WHY DONCHA.

If your detective doesn't ask questions that a five-year-old would think of, readers assume you intend us to think the detective is stupid. We hate that. If he can't bring himself to ask, get a five-year-old. There is very little that a five-year-old will restrain herself from asking. "Mommy, is Tayllorr a lady or a man?"

And then there's the ubiquitous sleuth or cop who has "demons," whether it's alcoholism or a murdered loved one.  Zzzzzzz...*pop*  That is a real snooze.  The depressingly "heartbroken" dark hero or heroine is obsessed with recurring thoughts of the wife/husband or fiance or spouse-and-children who were violently or suddenly taken from them. This tragedy may have happened a while ago, but the sleuth has been scarred. Not scarred enough, I might note, to avoid immediately taking up with whoever is the detective assigned to the current case. Pages are filled with how wonderful the ex was and how stunning the new one is. This romance is typically begun in the first book in the series and thus has to be featured in the next book. Sometimes that hampers the plot.

I avoid this last situation in my books because I find it so ubiquitous in all the other series. In the NICE WORK series, Jacquidon broke up with college beau Colin almost a year ago. They'd been cohabiting when she discovered him cheating casually. With a man. He had been dismissive of her and was ruining her self-esteem anyway ("You're not really good enough for me," "I wish I could find someone better.") So she bought her own house, knowing her job was secure over at CSD where she had a very encouraging boss. Ha! Anyhow . . . we don't dwell at all on this, and there's exactly one reference to the past romance.

In the MARFA LIGHTS series, Ariadne had pretty much gotten over Aaron's desertion, although she kept thinking she'd surely hear from him soon, when she hears he has crossed the Veil and has left her all his worldly goods (probably because he took so much from her and used her credit cards to buy the stuff he used to travel and relocate with, promising he'd bring her to be with him once he was set up in "the wilderness.") We don't dwell on that romance. She has enough trouble discouraging Gil, the creepy preacher who was Aaron's best friend, and a few others out in Marfa.  And it's amusing.

I think these authors feel they have to compete with all the other dark, pathetic, twisted, bereaved/deserted protagonists who can NEVER be HAPPY.

There's something to be said for a cheerful protagonist. Jacquidon Carroll is basically happy and cheerful, despite her situation (being a suspect in the murder of her boss--whom she does mourn!! That's another of my pet peeves, when NO ONE cries or mourns or feels sad or even tries CPR when the victim is offed), and her sister Chantal is the "happy moral compass" of the stories. True, Jacquidon does get kind of messed up emotionally while she is targeted as a suspect, and the visits to the BDSM clubs really unnerve her (they're checking out leads, not just having adventures). But she's not always thinking about some awful thing in her past.  Ari French (my other sleuth) is introspective and low-key, and she *does* think about her

losses, which can get heavily philosophical.  But she never falls into the abyss and then leaps into a cop's arms.  In my techie ghost story romantic suspense, LOVE IS THE BRIDGE, everyone is generally upbeat.  I get enough downbeat super-serious sadness from real life.  I read for escape and adventure, not crying catharsis. Thus I do not read "torture porn," kidnap fantasies, or books in which any animal is harmed. Your mileage may, of course, differ.

Let's spare an eyeroll for those hot-and-heavy romances with the cop on the case.  So unlikely in real life.  I also think that the "keep out of the investigation" dicta coming from those cops would make more of an impression on me, were I the sleuth. And I disbelieve the leaking of info they always do when on the phone with the sleuth.  "Yeah, he had a Swiss bank account.  Me, too.  I have a dotted Swiss account!"

AND . . . your heroine must save herself. You cannot have someone else accidentally open the door and rescue her. She must summon help or do the butt-kicking herself.  Let's say she manages to send smoke signals to the cops, or flashes the miniblinds in an SOS pattern, or gets a cell phone to connect while the bad guys are discussing how to dispose of her body. She must do whatever it is that spurs the rescuers on. Or she has to kick the guy in the groin herself and run to the street or to the nearest police station. Make her be the HEROINE! Make her be the one who figures it all out, if you can.

So what? Who cares about my pet peeves? Do you have pet peeves? Let's hear 'em so I don't do 'em in the next book!



Denise Weeks (alias Shalanna Collins) ©2016

Denise Weeks is the author of the Jacquidon Carroll "Snoop Sisters" series as well as the Ariadne French traditional mysteries, along with several standalones like LOVE IS THE BRIDGE.  She writes YA fantasy as Shalanna Collins.  Like many homegrown Texas humorists, she isn't funny.  Her favorite foods are curried yak, chocolate, and French fries. She knows (but is not telling) a plethora of alchemical and occult secrets. Homeland Security has identified her as a person of interest.  (Okay, just kidding.  She doesn't really eat curried yak.)  She is currently at work on yet another novel.  Visit her at
http://shalanna.wix.com/aprilmaybejune
http://deniseweeks.blogspot.com
http://shalannacollins.blogspot.com

Terry Shames: Making it Real

Terry Shames: Making it Real: When I think back on some of the plots of books I’ve really liked, some of them seem utterly preposterous. And yet at the time, I was t...

Mr. Cizak's Writing Tips #4 -- The War on Adverbs! (No Moral Center Blog)

I came across Mr. Cizak's blog while working on a review of his recent book, BETWEEN JUAREZ AND EL PASO (The Drifter Detective Series Book 6). The review will run Tuesday, but I thought I would draw your attention to this today.

Mr. Cizak's Writing Tips #4 -- The War on Adverbs! (No Moral Center Blog)

A Writer’s Guide to Fighting: Footwork 2 (Righting Crime Fiction)

A Writer’s Guide to Fighting: Footwork 2 (Righting Crime Fiction)

"Character, Setting, Problem" by Mark Troy (Blog: The First Two Pages)

"Character, Setting, Problem" by   Mark Troy (Blog: The First Two Pages)

Writing 4.4 – Grow Up (Brainsnorts Blog)

Writing 4.4 – Grow Up (Brainsnorts Blog)

Guest Post: "Three Act Structure for Novelists" by Chris Eboch/Kris Bock

Back in April Chris Eboch did a guest post about “Suspense Versus Surprise.” This Sunday morning she is back and offering her thoughts on the “Three Act Structure for Novelists.”

Three Act Structure for Novelists

by Chris Eboch

To celebrate the release of my new book, You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, I’m sharing an excerpt from a chapter on Three Act Structure.

There’s no magic formula for writing a fabulous book. But there are formulas that offer guidelines for constructing a satisfying plot. Scriptwriters have long used the three act structure handed down from theater, with additional “turning points” as guidelines for when high and low moments and surprises should hit. Various resources identify and name turning points differently, but here’s a basic list of the most important ones:

• Act 1 (the first 25%): Introduction of the character and situation.
• The Inciting Incident/Catalyst (in the opening pages): Something that introduces a problem or goal for the main character.
• Plot Point One/Act 1 Break (about 25% of the way in): The point of no return, when the character embarks on the journey (physical, mental, or emotional).
• Act 2 (the middle, from the 25% point to the 75% mark): The character tries to solve the problem but faces escalating obstacles and rising stakes.
• Midpoint (in the middle of Act 2, at about the 50% mark): A moment of seeming success, but it may twist the story in a new direction or raise the stakes.
• Plot Point Two/Act 2 Break (at the 75% mark): The moment when failure seems inevitable.
• Act 3 (the final 25%): Wrapping up the story. Things may continue going downhill, and/or the hero(es) may develop a new plan, leading to the ...
• Climax/Resolution: The big final scene where the character ultimately succeeds or fails.

My brother Doug Eboch, writer of the movie Sweet Home Alabama and a scriptwriting teacher, says, “These ideas date back to Aristotle; they’re not some new Hollywood formula. Three Act Structure is really just a way to talk about literary concepts. So, for example, the first act is the section where we set up the character, their dilemma and the stakes; the second act is where the character faces increasing obstacles to that dilemma; and the third act is where we get the resolution.”

Following this format doesn’t mean the result will be perfect, but, “If you understand the concepts, they can help identify and solve problems in your story, or even prevent problems from occurring in the first place,” Doug says. “Think about acts and turning points as a way to organize your story and make sure you stay on track.”

Many authors find three act structure helpful when writing books, although they may not focus on structure at the beginning of a new project. Some wait until the revision stage and use three act structure to make sure they have a solid, well-paced plot. Personally, I like to thoroughly brainstorm and outline before starting a novel. Matching scenes on the outline to traditional turning points is a way to identify weak spots or to discover when important plot points are happening too late in the story. This allows me to add complications or shift scenes around before I start writing.

Tools, Not Rules

Whether you start with plot structure or consider it only after a couple of drafts, checking your work for turning points can help ensure the story feels well-plotted and satisfying. But that doesn’t mean you have to force a story to fit the “rules” precisely.

“It’s more important to understand the concepts behind the structure than to take a fill-in-the-blank type of approach,” Doug says. “Sometimes people focus on the idea that the act one turning point should happen on page 28 [in a screenplay, which is typically 110 pages]. But the reason we bother identifying an act one turning point at all is that it’s the place where the hero takes on the problem and gets locked into the story. Without that, there’s no tension because the hero could just walk away at any time. It’s far more important that the act one turning point fulfill those requirements than that it fall on a certain page.

As a scriptwriting teacher, Doug has many chances to see what works and what doesn’t. “Many beginning writers get into their story too late. Often, they don’t introduce the problem until the act one turning point and don’t trap their character in the story until the midpoint. Again, this comes from not understanding the purpose of the beats.” Those students are satisfied to find a big event at the appropriate place – even if it’s not the right kind of event.

It’s not enough to have something happen, just because you need a turning point. “Many beginning writers have major events happen at the turning points that are unrelated to each other or even the main character,” Doug notes. “[Turning points] are not simply twists for the sake of having a twist; they serve a bigger structural purpose. All the turning points should be related to your main character and main story line and to each other. And each should be the result of the main character’s actions and choices. So even if the second act turning point involves the villain getting the best of the hero, the villain should be taking that action in response to what the hero’s done before. The turning points should grow out of what the character wants in the story and what obstacles stand in the way of that goal, including internal obstacles.”

This article was adapted from a chapter in my new book You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers. Check out the book for more advice, much of which works for authors writing for an adult audience as well!

Let’s Schmooze is Doug Eboch’s blog on Screenwriting.

Chris Eboch/Kris Bock ©2015

Chris Eboch writes fiction and nonfiction for all ages. Her writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers and Advanced Plotting. Learn more at www.chriseboch.com or her Amazon page, or check out her writing tips at her Write Like a Pro! blog. Sign up for her workshop newsletter for classes and critique offers.

As Kris Bock, Chris writes novels of suspense and romance involving outdoor adventures and Southwestern landscapes. In Counterfeits, stolen Rembrandt paintings bring danger to a small New Mexico town. Whispers in the Dark features archaeology and intrigue among ancient Southwest ruins. The Mad Monk’s Treasure follows the hunt for a long-lost treasure in the New Mexico desert. Read excerpts at www.krisbock.com, sign up for the Kris Bock newsletter, or visit her Amazon page.