Self Publishing Case Study: SCAVENGER SCOUT: ROCK HOUND

It’s my pleasure today to feature a picture book self publishing case study for a change of pace. Full disclosure: Shelby Wilde is an editorial client of mine from earlier this year. We worked on this picture book manuscript together and discussed her career next steps. She decided to self-publish her project, and did, in my opinion, a wonderful job with it.

I don’t often feature client work on the blog or do interviews, but I chose this project because I think it’s extremely well done and I think Shelby has some great insights that will be useful to other writers considering self publishing, especially picture book self publishing. (For any writers in this boat, I highly recommend the Self-Publishing Blueprint from Writing Bluerpints. It’s a comprehensive online class on the ins and outs of becoming an indie publisher. I watched the whole thing with great interest.)

Here, she shares her experience with deciding to “go indie,” the unexpected things she learned, and her lovely book. A long article, but a must-read. Hear about it directly from Shelby, below. I will pop in occasionally to comment with takeaways over the course of the interview!

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Scavenger Scout: Rock Hound by Shelby Wilde, today’s picture book self publishing case study!

Deciding to Self Publish

When I decided to self-publish SCAVENGER SCOUT: ROCK HOUND, I spent months researching the process. I knew I would have to pull out all the stops in order for the book to compete with the quality of traditionally published books on the market. I chose to have hard cover books printed in China, which I would then sell through Amazon. Hard cover format is the preferred format for children’s picture books.

There is another self-publishing path called Print on Demand (POD). I did not choose that option because there are very few POD options for hard cover books and the quality is not where it needs to be, in my opinion. Traditional publishers have set the bar high when it comes to the quality of children’s books and self-publishers need to meet and exceed consumers’ expectations.

Kidlit Takeaways: Picture book writers have the self-publishing options of choosing to print physical books in softcover, hardcover, or both (a big investment upfront as you have to buy a print run of expensive books), POD (no upfront investment but quality control can be an issue), or ebook (despite being easily suited to illustrated content, ebooks do not offer the same reading experience for parents/children as physical copies).

Shelby’s point about competing with traditionally published books is spot on. I tell this to my clients all the time: You can do whatever you want when you self-publish. But you are selling to customers who are used to spending money on traditionally published books, and standards are high as a result. You need to offer them something equal or better in order to convince their dollars to come over to the indie side!

Self Publishing Case Study Interview: The Decision to Go Indie

What is this book’s “origin story”?

SCAVENGER SCOUT: ROCK HOUND was inspired by my daughter, who is a rock hound—she loves hunting for rocks. One day she sat me down and started telling me stories about how she acquired each of the rocks in her collection. In her stories, she debated with dragons, haggled with mermaids and convinced aliens so she could take home her treasured rocks. The combination of fantasy and reality inspired me, and I know it is something that captivates kids.

How did you make the decision to self-publish and why?

Early on, I considered the traditional publishing path for SCAVENGER SCOUT, but soon after the manuscript was completed, I realized I felt a strong connection to the main character. I wanted to guide her story through the publishing process myself, overseeing every aspect. Another reason I decided to self-publish is that I wanted to select the illustrator. If you choose the traditional publishing path and sell your book to a publisher, they will select the illustrator. Because I was so connected to the character of Scout, I wanted to be able to choose the style of illustration that would bring her to life.

Kidlit Takeaway: Choosing to self-publish gives you ultimate control over your project. Control you would lose with traditional publishing because the publisher does have final say on issues like title, format, illustrator, etc. But with great power comes great responsibility, and it behoves you to do your due diligence and make strong, marketable decisions.

Self Publishing Logistics

Describe the process of preparing the book for publication. What was unexpected? What did you learn?

When it comes to preparing the book for publication, selecting the illustrator is only the tippy top of a very large iceberg. The most important thing I learned is something that should have been obvious to me: When you decide to self-publish, you will need to wear all of the hats that a traditional publishing house does. You will need to hire an editor (or editors—did you know there are different kinds?), an illustrator, a book designer (or your illustrator may be able to provide this service), a printer, a shipping company, storage space (if you are having your books printed and shipped to you, instead of ebook or POD). The difference is that the publisher has a team of people who are specialists in their areas and you have just … you. A writer. The learning curve is steep, but it is doable as long as you’re willing to put the time in.

One unexpected challenge was dealing with long timelines. Traditional publishing cycles are long: it typically takes two years to bring a book to market. Self-publishing is a little bit faster—mine took 11 months from start to finish, but still not quick. You have to have a lot of patience. If you have ever created something to sell, the last thing you have is patience. You can’t wait to get it out there. And even though you are a small, nimble company (yep, you need to get a business license if you want to self-publish), you are stuck with a lot of timelines that you don’t own. It takes weeks to months for the illustrator to complete their illustrations, months to print and ship the books, months to promote the book before launch.

Another unexpected challenge: Advertising budget: I didn’t think much about funds for advertising when I was in the planning stages. It’s just a fact that if you want a product to sell, you have to advertise it. Advertising is a skill and it costs money. It’s also relentless. If you stop advertising, you will see an immediate drop in sales. While it’s true that even if you sell your book to a traditional publisher you will still have to market it, at least you’ll have some support from the publisher.

Kidlit Takeaway: The leap from writer to publisher can be a rude awakening. Self-publishing isn’t just a shortcut to making your work available. You are responsible for many things you’ve thought of–and haven’t yet! Shelby also brings up a great point: budget. Do you have one? Picture books are especially expensive to self-publish (as opposed to a novel made available on Kindle, for example) because the biggest expense is the illustrator. To hire a good one, you have to pay thousands of dollars (five figures isn’t unusual). Otherwise, it will show. Unfortunately, readers do judge a book by its cover. Layout costs more money. Then, if you’re creating a physical book, you have to pay for expensive full color printing on a bigger trim size product. Shipping. Storage. Shipping to the consumer. And that’s before you even think about marketing. Picture book self publishing comes with sticker shock!

Describe the process of launching the book. Any lessons there?

This is another area where you have to understand that publishing is a business and you have to do all of the same things that traditional publishing houses are doing in order to compete. Among the activities you will want to put on your launch list: blog tour, social media ads, frequent social media posts, giveaways, partnerships, cross promotion with coordinating products, press release, media interviews, email blasts. Just like the production of the book, launching the book involves skill sets that writers don’t often have: public relations, media relations and marketing. The most important thing I learned when I launched my book is that you have to start months in advance.

Kidlit Takeaway: Marketing is a skill in and of itself. But all writers, whether indie or traditional, have to learn it at some point. The good news is, you are allowed to take small bites. That’s why I like the tip about starting months in advance–you’ll want to give yourself plenty of runway to learn.

Self Publishing Marketing and Career Path

What’s life after independent publication like? How are you currently involved in marketing the project?

I have completed my launch communication plan and have now moved into the “Keep the momentum going” phase. Frequent social media posts, cross promotion, blog tours, book reviews, giveaways, email blasts, etc. Once you self-publish a book, you are now on the hook for marketing the book forever. That sounds daunting, but you have to think of it like any other product. Products don’t sell themselves. You have to put yourself out there as the author, put the book out there through ads, all to keep the stream of people flowing to your book. I enjoy the marketing aspect so it’s fun for me, but it is also time consuming.

Kidlit Takeaway: Ah, the old “art vs. business” debate! A great reminder that any book, even a traditionally published one, becomes a product. And then you sell it forever. The good news is that every positive review, blog post, interview, etc. gives you additional traction, but you always have to be proactive about creating opportunities. Unfortunately, “if you build it, they will come” is not a realistic adage in the age when hundreds of thousands of books are being traditionally and independently published per year.

What’s on the horizon for you? Would you self-publish again? Why or why not?

When I wrote SCAVENGER SCOUT, I also wrote a sequel so I have committed myself to self-publishing that book as well. I anticipate launching in Q2 of 2019. Once SCAVENGER SCOUT Part 2 is out, I will definitely have my hands full managing the printing, shipping and inventory that will come with both books. I am just one person and I’m not interested in becoming a small publisher. I have three other completed manuscripts that I’ve decided to pitch to agents in hopes of getting a contract from a traditional publisher. Choosing the self-publishing path means you are choosing to focus on the business side more than you will focus on the creative side. I want to have more time to spend on writing so I’m happy to let a publisher handle the logistics, even if it means lower profits for me.

Kidlit Takeaway: The takeaway I hear from clients all day every day is that writers are very surprised that they have to become publishers/marketers/businesspeople when they self-publish. They are not just writers. In fact, writing often falls to the bottom of their To Do list. Shelby’s point here is a great one to remember. It’s echoed in Teresa Funke’s excellent and very in-depth online class on self-publishing via Writing Blueprints: each project has its own life and potential. For some projects, self-publishing is the way to go. For other projects, you can always try traditional. Having these options means you can learn about them and choose the ones that are right for you on a project basis, and on a career basis! The bigger message is this: Successful, tenacious writers have more than one project in the pipeline!

If you’re so inclined, support Shelby and SCOUT:
Looking to make the jump into self-publishing? My editing services are perfectly suited to writers preparing to go indie. Get professional eyes on your work so you create the strongest product possible.

NaNoWriMo 2018

Ladies and gentlemen, start your Scriveners for NaNoWriMo 2018! It’s officially that time of the year again, when thousands upon thousands of scribes spend the month of November pounding out 50,000 words of prose (or more) in the name of writing achievement, damn it!

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Love this poster image, which is available in the NaNoWriMo 2018 store!

Your NaNoWriMo 2018 Success Strategies

For all of this year’s National Novel Writing Month participants, here are three success strategies I’d like to plant in your heads on this, the heady first day of unbridled writing creation.

  1. Don’t Sweat Your Novel Beginning
  2. Edit Your Novel Later
  3. Focus on Character

Let’s unpack these tips one by one.

Don’t Sweat Your Novel Beginning

As I mention in my novel first pages webinar, first pages are so tough to write. Starting a novel can be very intimidating because there’s so much pressure on a novel beginning. That’s why I’m able to speak for over an hour about it, and many books have been written on the topic. (If you missed the webinar, I’ll give it again. See my Webinars and Events page!)

For National Novel Writing Month purposes, don’t sweat your beginning. Besides, you won’t know what your novel opening truly needs to be until you reach the end of the manuscript (on approximately the 30th of this month!). So you can–and should–always go back to the start and revise.

So do your best today and lay some groundwork. Remember to start in action, a compelling scene that introduces the character and kicks things off without immediately sliding into an info-dump of backstory. The balance of action and information is crucial in a novel beginning.

Then leave it. Seriously. Leave it be. It’s going to change. You aren’t going to nail it on the first try. Nobody does. Move on. Because otherwise, you risk getting stuck on your opening, or obsessing about it, and then you may lose your NaNoWriMo 2018 momentum right out the gate.

Which brings me to my next point…

Edit Your Novel Later

Some writers go through an entire novel without looking back at their work once. Some writers hammer and edit and refine on a scene or chapter until it’s perfect, only then do they proceed. For National Novel Writing Month, you obviously want do more of the former and less of the latter, just in the interest of finishing your project.

Writing is writing. Revision is revision. Huh? What I mean to say is, they are two completely different skills. They live in the same neighborhood, but opposites sides of the street. Revision’s for December! (And January, February, March … honestly, it could be a while once the initial rush of creation wears off.)

Some participants psych themselves up for their writing day by reading the previous day’s work. Others barrel straight through. Whatever you do, don’t fall into the trap of going back further than that, at least for the time being. The first week of this exercise is the most important in terms of creating good writing habits.

If you start to read what you’ve written, you may be tempted to revise and, again, might stall out and being nitpicking or obsessing. Most of your success with this project will be created in the revision stages, and those are going to come later, using different parts of your brain and different skills.

You have my permission to step on the gas and ignore your blind spots. For November at least, don’t look back!

Focus on Character

The biggest job in front of you (other than, you know, writing 50,000 words in a single month!) is to get your character down on paper. The first chapter will change (weren’t you listening a minute ago?), the plot will change, individual scenes and descriptions will change. But once you’re able to “birth” a character during National Novel Writing Month, this really will be the anchoring element of your manuscript going forward.

Remember, readers read primarily to bond with character. A writer’s most important job is to make readers care. This comes from character. And it’s never too early to start fleshing out a strong and compelling character. As you write, you can forget the nit-picking and first chapter, but remember to add as much emotional substance to your protagonist as possible. This is where the quick work of creation can really pay off for later drafts.

Have you heard of my concept of interiority? If not, read up on it and keep it in mind on your adventures. The more you get down about your character now, the less you’ll have to develop later. If your manuscript reads like a giant character sketch at the end of the month? I wouldn’t be too upset. You can always shape the character and focus and give them stuff to do (plot) during the revision process.

What Happens After NaNoWriMo 2018?

You might laugh, but literary agents cringe at the end of National Novel Writing Month because their inboxes swell with “novels” on December 1st, nary twelve hours after well-meaning writers have finished their masterpieces. Because a novel is done once the word count gets to 50k, right?

As you’ve heard me suggest several times, the real work, unfortunately, of crafting a novel happens in the months after this one. So whatever you do, as tempting as it is, don’t rush to submit just yet.

Over the winter, I might suggest reading some writing resources. I just dove back into The Anatomy of Story by John Truby. It’s a dense read, but I came away from it with some rewarding ideas. National Novel Writing Month is all about passion and fire and speed. It’s a rush.

Revision is a slow burn. Appreciate both for what they are. You have the rest of the year to revise before this whole crazy trip happens again!

If you want personal feedback on your project, or revision proves overwhelming, hire me as your novel editor. I work on manuscripts in all stages of creation, from WIP to if-I-have-to-look-at-it-one-more-time-I’ll-cry.

Picture Book Structure

There are quite a few ways to think about picture book structure. Here, I’m going to present a looser “Problem and Solution” structure, and a more specific

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Look at that masterful plot twist in Act II! Didn’t see it coming at all…

The Basics of Picture Book Structure

Keep in mind that you are working with 24, 32, or 40 pages for most picture books, with 32 being the hands-down favorite. Take three or four pages away because you need to accommodate front matter (like the copyright and title pages), and I’d say you have about 28 usable pages to work with.

When you are planning your picture book, imagine telling the story in individual pages (either the right or left side of the book, “profile” view) or spreads (both pages, “landscape view”).

How do you fill those pages? Spend five of them describing the character’s favorite ice cream flavor and how nice they are? NOPE. You need to dive right into story without wasting too much time. Preferably, you will jump straight into action. Here are two examples of common picture book structure that you can work with.

Picture Book Structure: Problem and Solution

When I was doing some speaking on picture books in 2012, I wrote a talk that incorporated simple Problem and Solution picture book structure. Basically, your character is introduced in terms of a problem they’re having. Then they make several attempts to solve the problem, before some kind of resolution. It looks like this, assuming that your book starts on page 4 because of front matter:

Page 4: Character introduction

Page 5 to 6: Conflict introduction

Page 7 to 8: Raise the stakes (establish why the conflict fights the character, what happens if they don’t get what they want, etc.)

Page 9 to 18: First two attempts to solve the conflict, story stakes rising

Page 19 to 26: Third and biggest attempt

Pages 27 to 29: Climax and success hanging in the balance

Pages 30 to 31 or 32: Resolution, reversal, final image (whether you go to page 32 depends on if you end the story on the right side of the page or after one more page turn)

Note: These page number prescriptions are a starting point for helping you map out your thinking, they are not a hard-and-fast rule.

Character Development in Picture Book Structure

Nobody cares what your character’s name is or what their favorite ice cream flavor is. Sorry. You do, but nobody else does. That’s not what makes them a character. Fancy Nancy was a character not because she liked poodles but because her whole driving passion in life was making ordinary things fancy. This is a characteristic that will fire up reader imaginations.

So once you’ve established a character with an objective (something they want) and motivation (why they want it), you can give them a conflict that grates against who they are. This makes the conflict more powerful, and gives them extra reason to want to solve it. Is also establishes stakes–what happens if they aren’t successful, why it matters.

Otherwise, if readers don’t understand why your specific conflict is a big deal for your specific character, your whole story won’t matter. But if you create a strong foundation that ties character to plot, their attempts to solve the conflict will be noble, and the classic Problem and Solution picture book structure will work well for you.

A Reminder About Preaching in Picture Books

But keep in mind something I mentioned above. Their attempts to solve the conflict. That means you’re writing a proactive protagonist who is going to drive the story.

Preaching in picture books is very tempting but a huge no-no. You need to empower your main character, rather than having wise old Grandma swoop in and solve everything.

Examples of Problem and Solution Picture Books

You can check out the following simple narrative books that may not hew to the page counts mentioned above, but which follow a relatively straightforward attempt/resolution structure:

CLICK, CLACK, MOO, COWS THAT TYPE by Doreen Cronin and Betsy Lewin
A GARDEN FOR PIG by Kathryn Thurman and Lindsey Ward
LITTLE BLUE TRUCK by Alice Schertle and Jill McElmurry
TOAD ON THE ROAD: MAMA AND ME by Stephen Shaskan

Picture Book Structure: Symmetrical Paradigm

This idea for picture book structure comes entirely from Eve Heidi Bine-Stock’s HOW TO WRITE A CHILDREN’S PICTURE BOOK: VOLUME I: STRUCTURE. Her writing on the topic of picture books is definitely worth investigating. I’ll summarize the structure here but won’t reveal several fine-point components, in fairness to their creator.

The Components of Symmetrical Paradigm Picture Book Structure

This is a looser wrapper and more applicable to different types of story. It has a lot in common with the Problem and Solution structure, but there are some nuances. Here’s how it goes:

Act I: the Beginning or the set-up, about 20% of the story or 5-7 pages

Plot Twist I: a plot twist that separates the Beginning from the Middle

Act II: the Middle, or the primary action, about 60% of the story

Midpoint: a moment in the middle where the story splits into a “before” and an “after”

Plot Twist II: a plot twist that separates the Middle from the Ending

Act III: this contains the resolution or the Ending, about 20% of the story, or 5-7 pages

What I really like about this Symmetrical Paradigm is that it inspires writers to carefully consider what separates the different sections of their book, the plot twists and midpoint, which provide emotional layers to the character and story.

Examples of Symmetrical Paradigm Picture Books

Bine-Stock cites many classic examples in her book, and her explanations are worth looking into. They include:

WHERE THE WILD THINGS ARE by Maurice Sendak
CHICKA CHICKA BOOM BOOM by Bill Martin, Jr., John Archambault, and Lois Ehlert
IF YOU GIVE A MOUSE A COOKIE by Laura Numeroff and Felicia Bond
GOODNIGHT MOON by Margaret Wise Brown and Clement Hurd

Other Types of Picture Books

There are exceptions to every rule. While the above are good options for narrative-style picture books, those aren’t the only ones around. Non-fiction picture books are their own animal, and need to be organized according to the narrative structure of their subject matter (for example, in a picture book biography, the subject’s life is going to provide its own flow).

Concept picture books or picture books for very young readers often have their own structure, and it tends to be very repetitive. Alphabet books are obviously organized according to … the alphabet. And concept books like DUCK RABBIT by Amy Krause Rosenthal and Tom Lichtenheld follow a Problem and Solution framework but only insofar as there’s a question asked, and then variations on an answer (or question) are given over and over. If you examine that example, there isn’t really a resolution at all.

Let’s dig into your own picture book project. Hire me as your picture book editor and get advice customized to your manuscript.

Writing a Proactive Protagonist

Writing a proactive protagonist is one of the single most important things you can do to set your novel up for success. I feel like I’ve been giving this note over and over in my freelance editorial practice lately: Your protagonist is too passive. They do not drive the plot. They are passenger, not driver. What is this problem and how can you address it? Read on!

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Your character needs a strong idea of where they’re going. They should be someone the reader will be compelled to follow.

Do You Have a Reactive or Passive Protagonist?

Novels are hampered when a “main character” takes a backseat to action. Higher concept plots are often vulnerable to this. (Because, remember, high stakes can be tricky.) If you have Ordinary Kid and you throw them into Extraordinary Circumstances, they are likely, a) not going to know what’s going on for quite a while, b) not going to know what to do, and c) going to rely on others for help.

You’ve perhaps made a plot that’s “too big” for your Everyman character. This thwarts them because they spend the entire novel either, a) learning the ropes, b) discovering their talents, and/or c) figuring out where the fit in.

Thematically, this makes sense, especially for a middle grade or YA novel. If every kid was self-assured at the beginning of their story, you wouldn’t have a relatable novel for tween and teen readers (who often feel incompetent or unsure). But it’s possible to make your character too impotent.

Take a look at your novel. Does your character spend a lot of time receiving instruction? Are there a lot of guide/mentor characters? Do events happen to your character, rather than your character making events happen?

You are in danger of having a passive protagonist. After a while, if the character doesn’t become “activated” and start acting with their own goals, desires, and agency, they are going to be the eternal backseat driver and their power to affect the story–and, more importantly, the reader–will evaporate.

Writing a Proactive Protagonist

No matter how unsure your protagonist is about their life, themselves, or their upcoming challenges, they still need to be a hero. For sure, this doesn’t have to happen immediately, or there’s no growth trajectory. But even better if there’s at least the hint of some confidence/ability at the beginning.

Everyone is good at something. And even if a character is not good at anything (or just believes they aren’t), they have a secret weapon that you shouldn’t hesitate to deploy: their desire or need.

Desires and needs are universally relatable and everyone has them. They come together to form your character’s objective and motivation. The objective is what they want, the motivation is why they want it. I define desires as things characters want, which can be external. Whether a physical object or an outcome. A need is something a character, well, needs on a deeper level, so it’s usually an internal conflict. They desire to win the championship but they need the validation such a coup would provide, for example.

The best thing about desires and needs? They make us brave and they make us active. I may not usually be outspoken (Ha! Obviously not speaking personally…), but if my desire is on the line, I’ll act.

Too many times, a character arrives on the page without strong desires or needs. “Ugh, I’m so ordinary. Ho hum. If only something good would happen.” This isn’t specific. Sure, everyone can relate to being bored, but boring characters are … boring. Sitting around and waiting for “something, anything” to happen is a prime set-up for a passive protagonist. This leaves them wide open to anything that comes along, but not really pursuing anything.

Instead, give your character strong goals and wants. Let’s see them chasing after something right away, even if it isn’t yet their central objective. And when the plot does kick in, solidify their objective, motivation, desire, and need. That way, even if the plot sweeps them along on a wild ride, they are always able to take proactive steps, they always have their eyes on the prize.

Better yet, the plot might threaten their objective. Then the stakes rise. They can’t lose X. They can’t sacrifice Y. They only have one shot at Z. Or else what? They go unfulfilled, because their deep need isn’t being met. If you have your character actively chasing, no matter what else happens, you give the impression of a hero.

Secondary characters and subplots help in this regard. A character can do things for others, or do things that dovetail with another plot thread. Ideally, all of these actions serve their core need (not every need should be 100% selfish, but you should always have strong personal reasons for selfless actions, too). If the primary plot puts your protagonist in a passive position for a moment, is there anything they can DO for anyone else?

Finally, too many writers hamstring their characters by not giving them enough information. Why? The misguided urge to save everything for a huge reveal at the 70% mark of the plot. Well, guess what? If readers aren’t compelled by a character or story right away, they won’t even get to the 70% mark. Too many writers withhold too much information, stalling until “the time is right” for a reveal. Instead, give your protagonist information earlier. Empower them. Allow them to act with some of the facts in hand. Otherwise, they’re sitting on their thumbs until you’ve decided to throw them a bone. This is a recipe for passive protagonist disaster.

Big Choices and Small Moments

Even if you can’t give your character a bunch of information or make them an ass-kicking hero from page one, you can let them be proactive from moment to moment. Study this article on writing active reactions. If they simply can’t participate just yet, at least let them be engaged. You’ll also want to take a few big risks and step outside of your comfort zone.

Keep training/explaining to a minimum, especially in the first 100 pages. It’s always better to have your protagonist act and pursue, even if they make a mistake doing so because they’re green or don’t have all the information yet. Really take a close look at all of these types of montages. I will bet that you can make some big cuts and redistribute key information elsewhere.

Perhaps the biggest choice you can make to empower your hero is to stop giving them so much help. The best friend who only exists to support them? Give that friend some nuance and conflict, or they’re just going to be boring scaffolding for your protagonist. The older, wiser mentor who gives the trainee the lay of the land? Let the character start to discover things for themselves, make assumptions, and get out there, ready or not.

Remember, fiction is life elevated. Big stories. Big characters. Big stakes. Most of us feel like we’re just along for the ride in our daily lives. When we come to get away from it all and read fiction, we want to see protagonists who take risks, make choices, chase dreams, and grow into their power. There’s definitely an aspirational component to relating to character. Make sure your hero is someone readers can be inspired by, warts and all, and put them in the driver’s seat. What are you waiting for?

Are you struggling with the intersection of plot and character? Hire me as your novel editor for actionable, hands-on manuscript advice tailored to your story.

How to Write a Novel Synopsis

The novel synopsis is a source of great consternation for many writers, and I completely understand why. To be honest, I hate writing them, I hate reading them, and I know I’m not alone. They are, usually, both crime and punishment. But they are a necessary evil for several reasons, which I’ll mention. Read on to find out how to take the sting out of this basic publishing skill.

synopsis writing, novel synopsis, how to write a synopsis
“Do I really have to read this thing? You read the synopsis! You read it and I’ll get you coffee for a week…”

What a Novel Synopsis Is and What It Does

A novel synopsis is, in very basic terms, a one-to-four-page document that explains every major plot point and character development moment. That’s it and that’s all. For such a short and simple document, it sure seems to stir up a lot of angst.

Okay, so maybe my perspective is biased. I’m sure not everyone hates the novel synopsis. I’m sure there are writers out there who write amazing synopses, and agents/editors who gobble them up. Don’t get me wrong, they serve an important purpose.

A synopsis demonstrates how you think about story, how you plot, and how you wrap everything up. These are very important skills. Wonderful pitches fall apart all the time in the execution.

Agents and publishers are curious to know:

  • that you have a lively cast of characters
  • that you are working with enough plot and subplot, or whether it’s too little or too much
  • that you’re building appropriate stakes and tension as the story progresses
  • how you plan on landing this thing once it’s going, whether everything will be resolved or you’re leaving some threads open for potential future stories
  • if you have any big red flags or fatal flaws in your story, which usually happen in the second half (see “Fair Warning”, below)

Some agents and publishers pay a lot of attention to the synopsis. Some glance at it. Others don’t even request one. No matter what, it would behoove you to have this document available in at least two lengths, to deploy when necessary.

How to Write a Strong Novel Synopsis

The best way to write a strong novel synopsis is to sit down and do it. Sorry! That’s it! There’s no secret magic dust that I can give you in this case.

Open a blank document and jot down all of the major plot events of your story. You can start in bullet points, if that helps, but eventually you’ll want to write them out in narrative format. Don’t worry about making it cute, pitchy, or voice-y. Your writing should be clear and tight. Just the facts, ma’am.  Be sure to fold in the three or four biggest character turning points, too. These are the changes your character goes through as they get where they’re going. My strong belief is that a synopsis will involve character somehow, to give a sense of how plot and protagonist play together.

For plot, at minimum, you want to hit your opening (the inciting incident that launches your story), a handful of strong points in the middle as things go wrong and obstacles arise, your climax, and your resolution.

Mention only those details that are necessary for clarity and understanding. If the mom’s job is important to the plot, include it. If the dog and cute neighbor factor into the story but not in a big way, you may want to leave them out. For the purposes of this document, you are running lean.

For all of my surprise and reveal fans: Sorry. I’m about to crush your dreams. But you have to reveal your twists and turns, and your ending. I know you want to tease, tease, tease an agent into reading the whole manuscript. You think that if you just withhold the major twist ending, they will fall over themselves to request and sink five hours of reading into your novel because the suspense will kill them otherwise. Well, catch-22, the odds that they’ll request the full and then get all the way to the end are slim if you don’t demonstrate that you know what you’re doing first and that your twist is worth it. (There are people who vehemently disagree and will fight me on this. You’re not changing my mind, but I fully expect to hear from you!)

Tips for Novel Synopsis Writing

The most common lengths for a novel synopsis are: one single-spaced page, two double-spaced pages (roughly the same as one single-spaced page), two single-spaced pages, and four double-spaced pages. The reason for this wishy-washiness is that different agents/publishers will request different things in different formats. I recommend having three synopses available to send when you start submitting: a tight one single-spaced page, two double-spaced pages, and four double-spaced pages (this one will not be requested that often).

So you can attack this beast in one of two ways:

Option 1: You sit down and write your entire novel in one single-spaced page (you still need normal 1″ margins and paragraph spacing, so you can’t just use every available centimeter of space). This is the more difficult approach, because I’m guessing your novel probably has more than one page of material. So whittling it down so drastically is daunting. But doing it all at once is also very helpful, because once you’ve shrunk it, you can much more easily add some substance to make a longer synopsis for a two-page and four-page option.

Option 2: You sit down and you do the painful shave. Start with four double-spaced pages. Put down more detail than necessary. Introduce the bulk of your secondary and tertiary characters. Mention events that don’t have a lot of bearing on character change or plot stakes. Save this version. Open another document. Now you’re aiming for two double-spaced pages. Shave, shave, shave. Delete everything possible that doesn’t impact the reader’s understanding of your story. Save this version. Then single-space it and realize that you’re over one page. Now the real agony begins as you distill further. Save the one-page version. And voila! This is perhaps the more scenic route, but the destination is the same.

There is one great test of a synopsis that I recommend to everyone: Show it to someone who doesn’t know your story, and then have them explain your book to you. If they kinda sorta get it and are able to hit the major points, you’ve written a successful synopsis. If they start to squirm, you’re not being clear enough. Your synopsis is either too thin or too detailed.

The only way out is through, my friends. So sit down, embrace our love/hate relationship with this document, and let’s get started.

Fair Warning: Part of the synopsis’ job is to reveal story problems. If you write a synopsis and have trouble filling it with actual plot points, it might mean that your plot is too thin. If you can’t possibly omit any plot points and your synopsis is five pages, that might mean that the scope of your novel is too broad. Be prepared to learn that you might have bigger issues as you write this summary document. It definitely happens.

I had a client recently come to me for a 30-minute discussion of his query and opening pages. My big piece of feedback was, “I don’t know if this is a query problem or a novel problem, but I’m not seeing any plot here. Something should be kicking into gear in these opening pages, and the query should be covering more development than I’m seeing.” We moved on to a complete manuscript service and, guess what? There is very little plot, and that is a big issue. Keep your eyes and ears open as you prepare your synopsis documents, you might learn more than just how to write a novel synopsis.

I include synopsis comments with every service as a manuscript editor. If you’re really struggling with yours, let’s work on it together.

Forcing Yourself to Write What You Don’t Want To

This is a very different post from one of my favorite “advice” posts: Write What You Can’t. There, I talk about pushing yourself (in a good way) to write what you don’t want to (in a good way) because that’s a strong signal that a breakthrough is coming (in a good way).

This post is not that post. This post is for those writers who are currently trying very hard to write what they think they have to, but deep down, they really don’t wanna.

Stop doing what you think you should. The sad sweat of your efforts will be obvious in your writing.

Let That Knee-Jerk Reaction Be Your Guide

Over the weekend, I had a lovely client phone call with a person who was trying to decide between categories. Is the idea a chapter book? A picture book? An article? Someone had told this client that it would make a great novel, but the problem was…she just didn’t wanna write a novel. Her manuscript is too short to be a novel and she didn’t want to flesh it out. Full stop. That’s it and that’s all.

Could it have worked as a novel? Sure. I thought so. Other people thought so. It could’ve been a strong contender for a novel.

But there was a problem.

The writer didn’t wanna!

And sometimes that is the best reason not to write something the way you’re being told to write something (unless, of course, you are a contracted writer employed by someone to write something a certain way, then you should probably avoid “freestyling”).

Why?

It’s easy to tell when the passion isn’t there. If you are just writing YA because you think that’s where the market is and you’re writing a kissing scene because you have to (even though it makes you cringe) and you are putting swear words in because that’s what all the kids want these days, etc. etc. etc. Are you being true to you?

Another phone call last week. A woman had been told by several people (not in the industry, so with questionable experience, see below) to abandon her ambitious multiple-POV narrative and make the story more streamlined. That’s sometimes good advice–people can get in over their heads when they experiment with advanced narrative techniques.

But the multiple-POV idea had been with her since the very beginning, since the first dream she had for her novel. Could she get rid of it? Sure. Would she still have the prospect of a novel without it? Yes.

But…

(say it with me here)

she didn’t wanna!

And sometimes, that “don’t wanna” instinct is a good guide. (Sometimes it’s not. Like, I don’t really wanna pay my mortgage every month, but I probably should…)

Whose Writing Feedback Are You Following?

The issue with writing feedback is that, sometimes, it can be wrong. Sometimes the problem is that the advice-giver doesn’t know what they’re talking about. (I often see this problem with people who have asked family members or children for feedback.) Sometimes the issue is that the advice they’re giving is the wrong advice for you and your project.

I work with writers all the time who have received conflicting feedback. They are stuck. They don’t know what to do.

The more feedback you receive, the more different people you work with, the more you will develop your own compass. This will help you parse through feedback and know whether or not to act. Does this feedback feel right? Does it make sense? Does it stir up your inner “don’t wanna”?

Not all feedback is created equal, and not all feedback is going to be useful.

I just responded to an email from another client. This client had some rebuttals to my notes, and we probably have some disagreements about the project. My advice to him? “Take the wisdom and leave the rest.” I stand by my feedback, even though I understand his points. But if my advice isn’t working for him on certain things, then he can move forward, having at least considered it. I count that as a win, because the advice–even if he didn’t end up taking it–helped this client make more conscious choices about his story.

Sometimes realizing you don’t wanna do something is a great way to point yourself toward what you do want!

So following unqualified feedback can be dangerous, because, simply put, people love to give uninformed opinions. But even more seriously, following your own advice can sometimes be even more dangerous. Because, as humans, we are prone to having a very skewed sense of what “should” be. A lot of human misery sprouts from these ideas we get about what everyone else thinks we should or shouldn’t be doing.

Examine your motives. Are you only writing something a certain way because you think you “should”? Are you acting on advice you received but didn’t like?

We Can Tell When You’re Faking It

The real issue is that writing that comes from a “should” place is not likely to sell. I talk about this in my “Should I write according to trends?” post. Because if you’re not having fun, and if you don’t have the passion for the project, that will eventually show on the page, no matter how good you are.

If you’re slogging through it, imagine how un-fun it’ll be to read. (This, by the way, is the issue with most synopses. Writers hate writing them, and it shows.)

Sure. There are some projects that are just a bad idea, no matter how much energy and love you pour into them. My favorite example is the 200-page picture book. It’s most likely never gonna happen. So if your heart’s desire is a 200-page picture book, then, yes, you may want to take some advice about basic feasibility.

But if your project is do-able, market-wise, but you just don’t wanna do it, listen up.

Step away from the word processor and do some freewriting, or daydreaming. Try to reconnect with what inspired you about the story in the first place. Did you start with an idea and then lose it during the writing process? Were you forced to make cuts or changes that you didn’t agree with, deep down, in order to please someone else?

This rut often happens when we get away from our vision and away from ourselves. The lesson? Just because you feel like you should be good at something or you want to be good at something, try to develop your authentic writer self. What do they want to do? What excites them? Start–or very likely, get back to–there.

Get some feedback you can trust. I even help writers synthesize conflicting critiques they’ve already gotten. I am also great at giving you permission to try the thing you deep-down-want-to-try, if that’s what’s been holding you back. Hire me as your book editor today.

How to Write Big Character Life Changes

Many writers wonder how to write big character life changes, massive events that rock your characters to their core. But this is a necessary discussion to have, since, ideally, your novel will be grappling with huge life stuff. So how do you render these events in a believable and relatable way? Read on.

life changes, writing character, character life changes, how to write compelling character
Rendering character life changes on the page takes a light and thoughtful touch.

Coping With Big Life Changes

Two recent editorial projects come to mind where a novel’s protagonist has been thrown into an absolutely new life. In both cases, these were thrillers, so it was a life of sudden crime, badass skills, high stakes. Two perfectly nice small-town young women suddenly became Lara Croft in the span of one life-changing event each.

In both cases, the writers just ran with this new “badass persona”, without paying a lot of attention to the idea that big, identity-shifting life changes often come with a lot of angst. I can’t be walking my neighbor’s dog one day, then breaking into a bank vault with a Glock the next, without some kind of psychological upheaval.

The thing is, big stakes are hard because they’re so big, so unbelievable. When your character inevitably goes through a huge life event, your job is to follow them through the transition in a way that takes many steps.

One leap from Girl Next Door to Action Hero is not believable. Any huge shift to identity demands several steps. When the unthinkable happens to your protagonist, what are the layers they feel?

Let’s take our Lara Croft example. When she wakes up the next day, suddenly charged with stopping a money laundering ring, and she finds a gun in her hand, how many different ways does she feel?

Scared of the potential outcome? Guilty for what she has to do? Worried about the people she’s leaving behind? Empowered that she has the chance to do something big? Like she wants to crawl back into bed? All of these are different.

Of course, in the interest of your plot, you want your character to embrace their story, to run with it. To buy in, as I call it. But too many times, I see a character going from Mode A to Mode B so seamlessly, that it’s like Girl Next Door never existed. She did, and she’s instrumental to keeping your reader attached to the plot that happens next.

Life Before and After

Speaking of which, be sure to give your character enough of a life “before” the big event. Something that can act as a touch point. Do they think about a childhood pet (a symbol of comfort) when things get intense? Do they remember previous moments of triumph when they need motivation in their new circumstances?

In both of the manuscripts I worked on recently with this issue, one of my big notes was that there wasn’t enough of a “before”. But if the character is too thin when they launch on their big adventure, there’s something too glossy about their new personality. It’s hard to relate to. I’ve never held a Glock. I’ve never woken up as an international jewel thief. (All of the examples I mention are made up, they don’t have anything to do with client manuscripts.) I can’t relate as well to our protagonist now that she is these things.

So that “before” life is going to come into play to not only help her weather the storms of her new predicament, but to help me connect, as a reader. Character life changes are incredibly powerful tools in your plot. They keep your action moving forward, and they are very necessary to creating good fiction.

But remember who your characters were before their lives changed, too. That’s years of rich material you can draw on, especially if present circumstances are rocky or larger than life.

The Bigger the Event, the More Nuanced the Reaction

There’s a note I often give about melodramatic writing. You know, when the boy’s girlfriend dies and he all of a sudden becomes a poet and weeps about “the darkened chambers of my heart”. A big reaction to a big event is not always the best choice.

The problem is, we don’t often know how to write nuanced and compelling reactions to big events. Matching big event to big tone often results in purple prose. Souls shattering. Angels weeping. That sort of thing. These have become cliches.

As you consider your character’s reaction to big life events, think instead of the small thoughts he or she could have. Everything is falling apart around them. With a pang, they suddenly remember the treehouse where they used to hide out when their parents argued. What they wouldn’t give for that childlike sense of safety and security, to hide away until everything blows over.

Or when their best friend falls into a coma. They could drop to their knees and rend their hair, sure. Or they can remember that time they filmed an N*Sync music video in their backyard*. They even went to Ross and got matching costumes. How they laughed when they played it back.

Look for contrasts. Big events/quiet thoughts. High action/small realizations. I’m always on my editorial clients to aim for complexity, to add layers to their work, to connect in unexpected ways.

When your novel serves up big life events for your characters, the first reaction that comes to mind may be a familiar one that readers will expect. Take a step back. What else is available to your imagination? There, you might find the fresh, nuanced choice to really reel your reader in.

*Absolutely, positively not something I did in the seventh grade. Okay. Okay. But it was my best friend’s idea…

Are your characters coming across as you’ve always envisioned? If not, hire me as your novel editor and learn how to make them a reality.

Writing Emotional Meaning

Writing emotional meaning can be very difficult because most writers are so focused on getting information down on the page. What it all means, how it makes the reader feel, how to get the most out of it…these are higher order concerns that sometimes don’t enter into a first draft.

And they don’t necessarily have to. Sometimes we don’t know what our books are really about until we’ve written them. But that’s what revision is for! If you have no idea what “emotional meaning” even, well, means, read on.

writing emotional meaning, making meaning when writing, characterization, character detail, character backstory
Sometimes writing emotional meaning feels like juicing truth out of a rock. A very meaningful rock.

Writing Emotional Meaning for Character

Writers often get caught up in putting character details down on the page. Your character’s eye color, favorite food, quirky hobby. For some, this is the stuff of spreadsheets. The contents of the character’s room or locker or backpack are meant to tell the reader who they are.

I do not understand this, nor have I ever. Sure, if they like mumble rap instead of country, this tells me something about them. Some vague, mass market, cookie cutter thing. But it doesn’t give me their soul.

Instead, I am looking for how things matter to a character, instead of what matters to them. This is a pretty subtle difference. Keep in mind that your character has had a past, they have a present, and they are hoping for a future. Instead of just the facts about each of these, I want to know how your character is letting these things affect them.

For example, your character grew up in an abusive home. Instead of just detailing the abuse in flashback, surprise the reader. Maybe your character thinks of the treehouse where they escaped from everything. Or maybe they felt empowered in the midst of tragedy by making pancakes for their siblings before the mom got up and the day started on a bad note.

An Example of Emotional Meaning

If the character relates to this fact from their past with some nostalgia, or even fondness, there is richness there. How do they think about the past? Compare this example:

I was abused ever since I could remember. Mom would come home late from one of her benders, then it’d be up to us to stay quiet all morning while she slept it off.

This is very factual. We get just the straight truth here. Now compare it to this one:

Th smell of maple syrup always sets me off. I remember cooking as quietly as possible. Huddling everyone around the table. But instead of the fear, I remember watching everyone eat and smiling. For just a moment, we are all safe in the kitchen and it’s because of me.

This character has a tough backstory. Sure. Everyone knows that child abuse = bad. But don’t just make that preconceived notion in your reader’s mind do all the work.

Finding an emotion that’s more than “just the facts”, and maybe a surprising emotion, adds some interest and intrigue to the character attributes you’re creating. You can have the character react with the same level of complexity about their present and future. For example, they are about to receive a full-ride scholarship to an elite prep school. Amazing. All their dreams are coming true.

But how else might they feel about it? Resentment because they’ll have to actually work hard, unlike some of their fancy new classmates? Pressure?

Don’t stop at “what”. Move past it to “how” and “why”.

 

Layer Emotional Meaning In Before You Need It

The other day, I was reading a client manuscript about two best friends who really miss one another, because the main character moved away. The friend is mentioned briefly in the first chapter (by name, with the attribution “best friend”), then it’s not until a dozen chapters later that they are able to talk on the phone.

Now, the writer has done a few things wrong here. First of all, if it really is a best-friendship, why does it take ten chapters for them to get on the phone after a traumatic separation? Second of all, it’s not enough to just say “Oh, she’s my best friend and I miss her” and then count on the reader’s idea of a best friend to do all the heavy lifting.

What this writer should’ve been doing is writing emotional meaning into the friendship in every chapter. Does the character think to text their BFF, only to sadly remember that it’s past midnight on the East Coast? Does someone at their new school remind them of their friendship? Does mint chocolate chip ice cream not taste as sweet without their amiga?

Have Your Characters Think About the Important Stuff

I read a lot of manuscripts where the character says something like, “I haven’t been able to stop thinking about my BFF. I miss her so much.” And yet in 50 pages, the protagonist hasn’t thought of the friend once, except to name them and tag them “best friend”. I have access to their thoughts! I’ve been looking! Not one thought on the actual page. So “I haven’t been able to stop thinking about XYZ” rings incredibly false.

All this is to say, if something is meaningful, put it on the page early and often. Try to find surprising emotional meaning behind it. Add depth and richness. By the time we get on the phone with BFF in chapter ten, we should know something about their friendship. We should have feelings about it that are inspired by the character’s feelings. We should know much more than, “Oh yeah, that’s the best friend character she mentioned.”

Plant seeds. Add layers. Writing emotional meaning is a job to undertake from the very beginning for those elements of your story that are truly important.

All of your details are on the page, but the emotions are falling flat. Work on your character’s interiority and your emotional writing with me as your novel editor.

Writing Tension Instead of Teasing

There is a big distinction between writing tension and merely teasing the reader along. Unfortunately, a tease is not enough and doesn’t respect your audience. Here’s how to recognize if your scenes have enough tension, and how to fix it if you have a teasing issue.

writing tension, tension in novel writing, creating tension
Tick tick tick, keep that tension high without teasing…

Have you ever written a sentence like:

If only she knew then what she knew now, she would’ve done everything differently…

They enjoyed their ice cream, not knowing what was about to hit.

These are examples of a classic tease. Writers usually use this kind of language when nothing is going on in the present moment, but they want readers to tag along until something more exciting happens. This is a fine instinct–you know you need more tension than you have, so you are trying to create it. However, it’s not the best approach. Read on to find out why, and how to create genuine reader interest without gimmicks.

Why Teasing Doesn’t Work

Teasing is especially problematic for middle grade and young adult fiction, because those novels tend to be very immediate. The character is in the moment, and there’s none of this, “I’m telling the story from the future, looking through the hazy sands of time.” When you resort to the “If I only knew then” ploy, that puts your actual character’s storytelling in some undetermined future and pulls your reader out of the present moment of the story.

Sure, the reader may wonder what’s about to happen, but this is a short term fix to a moment that lacks other tension. It may not be enough. One or two sentences of teasing might give you a very temporary tension boost, but if you are working with a global lack of tension in that scene or chapter, it’s not going to be enough.

Even more problematic is the idea of teasing repeatedly. Every time you mention a tension-building event, it loses a bit of power. This may seem counter-intuitive, but it’s a simple application of the Law of Diminishing Returns. If you keep teasing without actually putting the climactic event on the page (and soon!), readers will lose interest as the tease becomes more and more transparent. If you simply must build tension this way, try to add new information with each tease to keep readers engaged.

Writing Tension In the Present Moment

Teasing is especially problematic for middle grade and young adult fiction, because those novels tend to be very immediate. The character is in the moment, and there’s none of this, “I’m telling the story from the future, looking through the hazy sands of time.” When you resort to the “If I only knew then” ploy, that puts your actual character’s storytelling in some undetermined future and pulls your reader out of the present moment of the story.

Ideally, you will be capitalizing on tension that is present in the moment that you’re writing. This is hard to do, because sometimes your moment doesn’t have a lot of tension. You know it needs more. You just don’t know how to create it. So you tease about the future. This often happens in chapters where there has been a lot of telling and the writer is eager to pick up their pacing.

This isn’t the answer you want, but it’s the real answer: You need more tension. If you don’t have it, create it. Or maybe the moment you’re putting on the page isn’t working because there’s not a lot going on. Really analyze the moments where you’ve been using teases. Do they work? Is there more that can happen there? Can you create conflict via character? Maybe loop in other characters or bring in a secondary plot thread? Have a bigger world event happen to shake the characters up?

If the moment isn’t doing heavy lifting, you need to inject some. Ideally, you wouldn’t have a scene or chapter without capitalizing on tension that’s currently happening.

Conflict is the engine that drives plot forward. You should be creating tension on the page at all times, no matter what else is going on. That’s why big globs of world-building, information, or backstory tend to fizzle out quickly. Action is the easiest way to create tension, whether it comes from something happening in your world or character conflict.

Teases are a cheap fix. If you really want to hook readers and keep them engaged, really invest in writing present moment tension.

Are you orchestrating the right amount of tension? Bring me on as your developmental novel editor and we can dig into your plot together.

Writing Compelling Novel First Pages

Oceans of ink and blog posts have been spilled talking about novel opening pages. And with good reason. Your novel first pages are the only thing an agent gets to see before they make their decision about you. Well, that and your query letter and synopsis, which is why those are such hot topics. But how do you nail your novel’s opening pages? The advice may be simpler than you think.

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Don’t underestimate the importance of your novel opening pages. But don’t try to do too much, either. It’s a tight balancing act.

Great Novel First Pages Start With Conflict and Action

I cannot overstate this point: Conflict and action hook a reader and transport them into your story. This is exactly the goal of your novel’s opening. So start in action, start with conflict. You may want to use a smaller, scene-specific conflict (or “bridging conflict“) to get readers on the bus initially. That also puts less pressure on you to start with mind-blowing high-stakes conflict, which can be difficult to pull off before the reader knows your character.

Basically, you want to give them just enough of your character so that they care, without over-indulging in information (see next section). And you want to put the character in motion. They want something, they’re experiencing an obstacle, they are frustrated or full of longing. This is a good state for your character to be in.

And, very importantly, they are starting in action, where they’re either being frustrated by an obstacle or striving toward something. You need that balance of internal conflict and external conflict.

If you start with too much external action right away, readers may not care because they don’t know the character, their objectives, or motivations.

If you start with no external action, then it’s easy to get bored. For example, a character sitting in their room, philosophizing about life and all the ways in which it has gone wrong. Maybe you start with generalities, for example:

Life can be funny sometimes. I spent 13 years thinking I was normal. Totally lame. And then one day, everything changed.

But the character is just sitting and thinking. There’s no action. This is 100% internal conflict, and you want to avoid it because nothing is actually happening.

Avoid Too Much Information in Your Novel Opening

In the same vein, information overload can sabotage your novel opening pages in other ways. You might start with action, like the character getting bullied, but then you stop and go into great detail about the school, everyone in it, and the character’s history with the bully since kindergarten.

“Context is important!” you say. But you can absolutely have too much of a good thing. If you start off your novel with a ton of information about everyone we’re meeting and all of the details of a character’s life, the plan will not get off the ground, so to speak.

There has to be a balance of action and information, and if in doubt, action should win out. For every piece of information that you introduce in the first few pages of your novel, ask yourself: Does this really, really, really have to be here? Otherwise, you may insert it later, or not at all.

Pick a Moment You Can Sustain

Finally, to tie your novel opening together, you need to pick a moment you can sustain for two or three pages without either stopping the action to give tons of information, and without leaving the moment to go into backstory (more information).

You want your readers to get a foothold in the story. The way they do that is to sink into a moment they can lose themselves in. If you open with a bullying scene, let’s get that scene from beginning to end. Let’s get dialogue. Let’s get action. Let’s get a sense of our character as he or she experiences this, otherwise called interiority. Put the reader in the moment.

If you currently start with general philosophizing (per the example above), a ton of information, a lot of jumping around in time to gather various details, or without a sense of balanced internal and external conflict, it’s time to take another look. Your beginning really is your make-or-break. So it’s your job to make it good.

Struggling with your first pages? My Submission Package Edit revamps your first ten manuscript pages, query, and synopsis, so you can make an amazing first impression in the slush. Hire me today!