abridged version
Want to write a novel and still can't muster the strength? This happens quite often. Writing books is easy; it's hard to write good books. If it wasn't, we'd all be creating bestsellers.
Good fiction is not something accidental - it is the result of carefully planned action, the design of a novel. You can do design work both before and after writing a book. I tried to do both and, in the end, I was convinced that before - both faster and better.
How to design an artwork? In my main job, I am engaged in the architecture of complex software projects. And I write books the same way I write programs - using the snowflake method. What it is? Before we go any further, take a look at this drawing. The snowflake scheme is one of the most important mathematical objects, which has been studied by many scientists.
Here we see a step by step strategy for creating a snowflake. At first, she is not very similar to herself, but gradually everything falls into place.
You can write novels on the same principles - start small, and then build on more and more details until you have a full story. Part of design work in literature is creativity, and part is managing your own creativity: turning disparate material into a well-structured novel. This is exactly what I want to teach you.
Most writers spend a lot of time thinking about a novel. Perhaps you are doing some research. You calculate how the story will develop. You are brainstorming. You hear the voices of various characters. This is the most important part of creating a book, which I call "throw information." I'm assuming you know how it's done: you've already got the idea for a book in your head, and now you're ready to sit down and start writing.
But before you get down to business, you should take care of organizational issues. You need to write down all the ideas on paper in a form that you can use later. For what? Because our memory is not reliable, and because there are many holes in your history (as in any other at the same stage) that need to be patched up before you can begin to work. You need to create an outline for the novel, and in a way that doesn't discourage you from writing. Below is a step-by-step diagram of how I create my book design documents, which I hope will help you.
Step one
Take an hour and write a one-sentence summary of your novel. Something like this: "An evil physicist travels back in time to kill the apostle Paul" (abstract for my first novel Sin). This is a close-up of your novel, analogous to the big triangle in the snowflake scheme. When you offer your book to publishers, the abstract should appear at the very beginning of the work. It is also called a hook (hook) that allows you to sell a novel to a publisher, distributors, shops and readers. So try to make it sound as good as possible.
A few tips on how to do this:
* The shorter the better. The proposal should not exceed 15 words.
* No names! Better to say Disabled Acrobat than Jane Doe.
* Link the overall concept of the work with the characters. Which character suffered the most as the story unfolded? Now indicate what he wants to receive in the form of a reward.
* Read brief summaries of books on the New York Times bestseller list to understand how it's done. The ability to describe a book in one sentence is an art and should be mastered.
step two
Take another hour and expand the sentence into a paragraph describing the opening, conflict, and denouement of the novel. As a result, you will get an analogue of the second step in the snowflake scheme. Personally, I like stories written in three conflicts plus an end. Each conflict takes up a quarter of the book to develop, and another quarter ends at the end. You can also use this paragraph in your application for publication. Ideally, it should consist of five sentences. One sentence for the beginning, one for each of the conflicts, and one more for the end.
Step Three
All of the above will give you a general view of the story. Now you need to write something similar for each of the heroes. Characters are the most important part of any novel, so the time you invest in creating them will pay off tenfold when you start writing the book. Spend an hour on each of the main characters and write a short one-page essay: - The name of the hero.
— A sentence that describes the story of his life.
— The motivation of the hero (what does he want to achieve ideally?)
- The goal of the hero (what does he want to achieve specifically?)
- Conflict (what prevents him from achieving his goal?)
- Epiphany (what does he know, how does he change as a result of the events that happened?)
- A paragraph that describes the events in which the hero takes part.
Important note: You may need to go back and rewrite the annotations after this. This is a good sign - your characters are teaching you something useful for your story. At every stage of writing a novel, you can go back and rewrite what you've done before. This is a very useful thing: it is better to correct all the shortcomings now than when you have already written a 400-page manuscript.
Step Four
At this stage, you should have a complete picture of your novel in your head - and it will take you only a day or two. Now we need to write the story. Take a few hours and turn each sentence of your annotation into a separate paragraph. All of them, except the last one, must end with a conflict (the last one is the finale of the work). As a result, you will get a synopsis of the novel, which can also be used later to send it to the publisher.
Step five
Spend a day or two writing a one-page description of each main character. Half a page will go to secondary characters. These character synopses should tell your story from the point of view of each of them. Go back and make corrections as needed. This is the step I enjoy the most, and later I insert character synopses into the main synopsis. Editors like this because they are always drawn to fiction based on human characters.
Step Six
Now you have a solid story and several stories based on it, one for each character. Take a week and expand your one-page synopsis into a four-page synopsis. Essentially, you need to stretch each paragraph from Step Four to a whole page. Along the way, you discover the inner logic of the piece and make strategic decisions.
step seven
Turn the description of the characters into a detailed story about each of them, indicating all the essential details: date of birth, appearance, life story, motivation, goals, etc. And most importantly, how will the hero be transformed by the end of the novel? As a result, your characters will turn into real people and will sometimes present their claims to the development of the plot.
Step eight
Before you start working on a manuscript, there are a couple of things you can do to help you along the way. First, you need to take a four-page synopsis and make a list of all the scenes that need to be written. The easiest way to do this is in Excel. For some reason, many writers don't want to mess with unfamiliar programs. Deal with it. You have already mastered how to type in Word. Excel is even easier. You need to create a list of scenes, and this program is just designed to make lists. If you lack knowledge, buy a book and learn. Spend less than a day - it's worth it.
There should be one line in the table for each scene. In the first column, list the characters in whose name the story is being told, or through whose eyes you look at what is happening in the novel. In another, wider column, write down what is happening in this scene. If desired, in the third column, you can indicate how many pages you plan to stretch this scene, and in the fourth, the numbering of chapters. The Excel spreadsheet is the perfect tool for this, as you can see the whole story and you can easily move scenes from place to place.
I usually get about 100+ lines and it takes about a week to compile them.
Step nine
Step nine is optional. Go back to Word and break down each scene in the table into a few paragraphs. Sketch rough dialogues and sketches of the problems to be solved. If there is no problem in the scene, then you need to create it or cut the whole scene. I usually got one or two pages per chapter and I started each of the chapters on a new page. Then I printed out the text and put it in a folder with a binder so that I could swap the chapters around or completely rewrite them without confusing the rest. This process usually took me a week. The result was a 50-page document, which I then corrected with a red pen as I wrote the draft. All the ideas that came to my mind in the morning, I wrote down in the margins of this document. This, by the way, is the relatively painless way of writing a long synopsis that all writers hate so much.
Step ten
At this point, sit down and start typing a draft. You will be surprised how fast you will write. I have met authors who tripled the speed of writing a novel in this way, and at the same time their drafts looked like they had already been pre-edited. I have repeatedly heard writers complain about the difficulties of writing the first draft. All of them, without exception, sit and think: I don't know what to write about next! Life is too short to write like this! There is no reason to spend 500 hours of work time on the first draft if you can do it in 150 hours.
That, in fact, is all. The snowflake method helps me and some of my friends who also decided to try it. I hope you find it useful.
Acknowledgments: I thank my friends at Chi Libris and especially Janelle Schneider for discussing the snowflake method and everything else.
The biography of Ivan Antonovich Efremov is set out on many sites dedicated to his work and heroes. Here I want to tell about him as about the Master who created "Thais of Athens". Mikhail Bulgakov introduced a wonderful name into literature - Master. And Ivan Efremov rightfully wears it. How sad, how depressing, that such a work is ignored by the new generation, which prefers it to light entertaining reading! Or, even worse, learns about Thais and Alexander the Great from Erler's novel. But once Efremov's books were sold in millions of copies, bought up on the black market.
Continued http://www.tais-club.ru/tais_files/kak_roman.htm
Reviews
“There are readers who write with confidence that there could not have been a love affair between Thais of Athens and Alexander the Great”
This belief is based on nothing. Another thing is that it is impossible to say with certainty whether Alexander had a love affair with Thais. It can only be argued that this woman was part of the king's entourage, and it is she who, according to legend, has the dubious fame of the instigator of the burning of Persepolis. Alexander himself, according to the ancients, was not a great admirer of women.
“Efremov did not write a historical novel”
The novel, of course, is historical, and some inaccuracies (the dispute about the Venus de Milo is an obvious anachronism) and fiction are quite allowed by the genre of the historical novel, which tells, in particular, about the era of the campaigns of Alexander the Great.
“I can only assume that Ivan Efremov, like many other prominent personalities, received information from other areas ... I believe that between Thais and Alexander there could be exactly the kind of love that the writer showed us. »
It is your right, as the right of others, to be skeptical about such assumptions and beliefs.
“His life experience, his insight, fulfilled prophecies, observation and love for humanity could not create a false relationship and a false book.”
The listed qualities are irrelevant. At one time I really liked the historical novels of Gustave Flaubert's "Salambo", Jack Lindsay's "Hannibal", Gore Vidal's "Julian", Lion Feuchtwanger's "Jewish War" and "Spanish Ballad". The talent of these writers is so great that you believe everything that is said in these novels. However, in many ways, we are talking only about the “elevating deceit”, which is more expensive than the “darkness of low truths”.
For sure, we can only say that Alexander was a very complex person who suffered from megalomania. He was a military genius, moreover, overwhelmed by a paranoid passion to become the ruler of the world. He imagined himself to be the son of Zeus (and forced all of Greece to admit this - the anecdotal decision of the Athenian people's assembly is known "to consider Alexander a god if he wants to"); 300 years will pass and the first Roman emperors will establish a cult of their divinity. As for "false relationships and a false book" - you, in my opinion, absolutize the novel, it becomes for you a kind of dogma, a torch, the highest truth. The low truth, I repeat, could be completely different, but we will never know about it until we invent a way to visit the past and observe "how everything really was."
“All happy families are alike, each unhappy family is unhappy in its own way,” a famous work begins with this phrase. Leo Tolstoy "Anna Karenina". Today, this novel occupies a prominent place in the golden fund of world literature, and yet its creation was not at all easy for the author. He planned to write the book in just two weeks, which ended up taking four years. In his hearts, the writer exclaimed: “My Anna is tired of me, like a bitter radish!”
According to literary critics, the idea of creating the novel "Anna Karenina" was born by Tolstoy after reading one of the works of A. S. Pushkin. When the phrase “The guests were going to the dacha ...” flashed before Lev Nikolayevich’s eyes, the imagination immediately began to draw a plot. As the writer himself noted: “I involuntarily, inadvertently, without knowing why or what would happen, conceived faces and events, began to continue, then, of course, changed, and suddenly it began so beautifully and abruptly that a novel came out, which I now finished in rough outline, the novel is very lively, hot and finished, which I am very pleased with and which will be ready, if God grants health, in two weeks.
However, Tolstoy did not manage to write Anna Karenina so quickly. From a family-everyday romance, it grew into a socio-psychological one. Tolstoy began work in 1873. When several chapters of the work were ready, the writer took them to the publication "Russian Messenger". Now he had to keep up with the release of each issue to write a continuation of the novel.
Contemporaries recalled how hard it was for Tolstoy. Often he set to work with inspiration, and it also happened that the writer shouted: “My Anna has bothered me like a bitter radish”, “Unbearably disgusting”, “My God, if someone finished Anna Karenina for me!” Only four years later the novel was ready.
Lev Nikolaevich Tolstoy was about to breathe a sigh of relief, but the editor of Russkiy Vestnik, Mikhail Katkov, did not like the epilogue, and he did not allow it to be published. Instead of an epilogue, a note appeared in the journal:
“In the previous book, under the novel “Anna Karenina”, “The Ending Is Coming” is displayed. But with the death of the heroine, in fact, the novel ended. According to the author's plan, a small epilogue of a sheet of two would follow, from which readers could learn that Vronsky, in embarrassment and grief after Anna's death, volunteers for Serbia and that all the others are alive and well, while Levin remains in his village and is angry with the Slavic committees and volunteers. The author, perhaps, will develop these chapters for a special edition of his novel.
Leo Nikolayevich Tolstoy was repeatedly reproached for the fact that the death of the main character turned out to be too cruel. To this the writer responded quite wisely:
“Once Pushkin said to his friend: “Imagine what kind of thing my Tatyana threw out. She got married. I didn't expect that from her." I can say the same about Anna. My characters do what they should do in real life, not what I want to do."
About who became the prototype of the main character, literary critics are still guessing. Describing the appearance of Anna Karenina, Tolstoy imagined the daughter of Alexander Sergeevich Pushkin: “Her hair was invisible. They were noticeable only, decorating her, these masterful short ringlets of curly hair, always knocking out at the back of her head and temples. There was a string of pearls on a chiseled strong neck.
Tolstoy was familiar with the family drama of his close friends, in which his wife filed for divorce and remarried. It was an unheard-of resonance at the time.
About a year before the start of work on the novel, a certain Anna Stepanovna Pirogova, abandoned by her lover, threw herself under a train near Yasnaya Polyana. The mutilated corpse made a strong impression on Tolstoy.
Thousands of readers eagerly awaited each issue of Russkiy Vestnik, but contemporary critics wrote dozens of angry reviews of Anna Karenina. Nikolai Nekrasov even sent a biting epigram to Tolstoy:
Tolstoy, you proved with patience and talent
That a woman should not "walk"
Neither with the chamber junker, nor with the adjutant wing,
When she is a wife and mother.
"Anna Karenina" is considered the most screened work of Russian literature. A
IV. Principles of plot construction
What is a plot?
A plot is a "record of events".
Little Red Riding Hood goes to the forest, meets a wolf there, goes to her grandmother, sees the wolf again, takes him for her grandmother, asks: “Grandma, grandmother, why do you have such big teeth?”, then the woodcutters come, and the end comes to the wolf. The account of events is a simple enumeration or retelling of what happened either in the "real" world or in the "fictional" world. It is quite obvious that the tale of the Little Red Riding Hood is merely recounting certain events.
An old man goes to sea to catch a big fish, Michael Corleone takes revenge on the killers of his father, Leamas ends up in East Germany - all this is a presentation of certain events. Each story is a narrative of events. But that is not all.
Consider the following chain of events:
Joe jumps out of bed, gets dressed, prepares a snack, jumps into the car. He drives a few blocks, stops at his girlfriend's house. She jumps into the car. The girl's name is Sally. They go to the beach, where they lie on the hot sand all day. They have lunch on the beach, and eat ice cream on the way home.
Is this chain of events a plot?
Most readers will intuitively say no.
The thing is that these events are not worth your attention. Joe went with the girl to the beach, they ate there - well, what's next? The events in this chain are meaningless, because we do not see their consequences. If we call the plot a "retelling of events", this definition does not get far. It should be noted that the plot is a "statement successive events."
And it's all?
What if I told you about the suffering of a rubber tree, when the trunk is cut to collect the juice, or about the trials and tribulations that befell the motorboat on the road to the Congo? It would be interesting if I put on a rubber tree or a motorboat with human qualities. Jonathan Livingston is a seagull with a human heart. Jonathan Livingston and the engine, who said: "I think I can do it," are interesting not because they are, respectively, a seagull and an engine, but because they have human souls.
Thus, the plot is not just a sequence of events, but a sequence of events in which human characters are involved. And not just characters, but interesting characters. Reading just about someone is boring. I want to read about characters that can excite the imagination.
With this in mind, the plot can be defined as "the presentation of successive events involving human characters."
Not bad, but still missing something. We forgot that the characters should change as a result of the conflict. If the character throughout the story does not change under the influence of the suffering that he sees or experiences, the result is not a story, but a narrative of adventure. Therefore, the full definition of the plot sounds like this: "A plot is a narrative of successive events involving human characters who change as a result of the events that have occurred."
From the book The Structure of a Fiction Text author Lotman Yuri Mikhailovich5. Constructive Principles of the Text Above, we talked about the potential for a poetic text to translate any word from the reserve of semantic capacity (h1) into a subset that determines the flexibility of the language (h2), and vice versa. This is organically related to the construction of the text according to
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From the book Write your own book: what no one will do for you author Krotov Viktor GavrilovichPrinciples of education according to Davenport The principle of hedonism, according to which pleasure is the only good in the world, was subjected to devastating criticism by the ancient philosopher Socrates (in Plato's transmission). The English philosopher George Moore also believes that pleasure is not
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Writer and blogger K.M. Wayland (or Weeland? Wayland?.. forgive the translators and correct me) offers the following 7 steps to help you take a raw idea and turn it into candy.
It is worth approaching the creation of a work plan with the understanding that it will not only not constrain you, but, on the contrary, will help you find exciting and original solutions that would otherwise be almost impossible to think of. The plan is a map of the area. With it, you can plot the shortest route... or run around to your heart's content, looking at all the interesting places and collecting a collection of fridge magnets.
In addition, the plan will help to avoid plot dead ends, which means it will save a lot of time. Not to mention money for the treatment of depression, alcoholism and caffeine addiction (and they sooner or later overtake every creative person who neglects advance planning). It could take months to rewrite a draft of a novel, but rewriting a plan would take... a few minutes? hour? Depends on your typing speed.
1. Decide on a vision
The idea is what you want to write about, expressed in the most general way in a few sentences. "A long time ago, in a distant galaxy, a young man saved a girl" - this is promising, but as a plan it will not work. Need details. Namely:- Protagonist: who is the main character?
- Situation: Why is he interesting? What is his condition at the beginning of the story? What will he be like at the end?
- The goal of the protagonist: what does he want at the beginning, what is he ready to go for? What will change towards the end?
- Antagonist: how and why will someone interfere with the main character?
- Tragedy: what kind of trouble are you ready to send to the main character?
- Conflict: what will the protagonist do when faced with trouble? And why would he have to deal with them throughout the entire novel?
2. Sketch the scenes you want
Now that you have an idea, let's look for brilliant ideas to implement it. Write down everything you can think of up to this point. You probably have several episodes, dialogues, scenes spinning in your head - write them down. Even if you don’t know how they fit together, what happened before, what will happen after, what it is all about, etc. The main goal at this stage is to collect as much information about the story as possible. What to do with it, we will decide later.Done? Great. Put down your pen/keyboard for a minute and eagle-eye over the resulting list. What you have written probably raises a lot of questions. Write them down. Yes, yes, if you don’t know something, if some details of the episode are not clear, make a note and write down the question. It is better to count all the holes in the plot in advance and understand in what directions you have to think further.
Now let's go through each question separately. Any ideas? Even a few? We write down. It doesn't matter if the idea is crazy - an orchid of genius can still bloom on its grave. We sort through the solutions in search of the least predictable for the reader. Break patterns, turn stereotypes upside down, surprise yourself. Most of what you come up with, you may never write, so let your imagination run wild. Compose, ask new questions, look for unexpected answers - talk to yourself without fear that the orderlies will hear you.
3. Get to know your characters
It's time to take a closer look at all those funny little people (or not little people) that you mocked so much in the second paragraph. To make all their fluttering look logical and reasonable, it would be nice to know more about the heroes.Take, for example, the protagonist. What was he doing before he got into your novel? Start with tragedy. Could something in your protagonist's past be the cause? Why does he react to tragedy in this way? Perhaps some unresolved problems from the past will further complicate his life and influence the development of the conflict?
After you decide on the biography of your hero in general terms, conduct an interview with him. Ask questions and let the character answer them: in his own voice, based on his worldview and understanding of the situation. If you suddenly know English, then perhaps this questionnaire will help you: 365 questions for your character.
4. Explore the setting
It doesn't matter if the action takes place in your backyard or on Shelezyak's planet, when you start writing a novel, you should have a good understanding of its geography.Don't try to make your life too easy. Don't choose places just because you know or like them. The setting should work for the plot. If you can easily transfer the action to another location, then it may be worth looking for alternative locations. Find a place that will enrich your story and allow the characters to develop better.
Based on the list of episodes you have, make a list of required locations. Can some be thrown out or combined without losing anything? It's probably worth it to do so. But it's up to you.
By the way, the same goes for unnecessary characters.
5. Write a plan
I really hope that by this time you are ready to start writing the whole plan. In paragraph 2 you thought about what should happen, paragraph 3 gave an idea of the actors, in paragraph 4 you decided on the situation - it's time to put it all together.Go in order, episode by episode, trying to collect the available scenes into a whole. This is your main task - to give meaning and structure to the chaos. The plan can only include a brief description (Sasha and Masha met in a cafe), it can be detailed (Sasha was dumb over a cup of tea, at that time Masha decided to try Irish coffee, but got dirty in cream; Sasha noticed this, laughed, Masha was offended, Sasha suggested pay for her order, etc.) or very detailed (It was getting dark. In mid-January, in the county town of N. Alexander went to a cafe that Misha had long recommended to him ...).
Focus on key moments for each scene. Consider from whose point of view the story will be told. What are the goals of the characters involved in the episode, what do they want? What can intensify the conflict? How can you better demonstrate the main idea? How will this affect future episodes?
As a result, you should get a continuous sequence. Pay attention to possible illogicalities, sags, "pianos". If something doesn't stick and you feel stuck, try moving to the next scene you know and rewinding slowly. For example, you want the characters to be at point A, but you don't know how to do it. Start with point A. What's going on? Why exactly is this happening? Try it, suddenly it will turn out to identify the cause by the consequences.
6. Write an abbreviated plan
For convenience and quick search, try writing an abbreviated plan, an episode. Just list the main points of the plot without going into details. This can be useful for several reasons.Firstly, the episodic will help to look at the story from a new angle. Due to the abundance of details in the main plan, did you miss or forget something? It's time to fix it. Secondly, the episode makes it easier to solve global problems. Do you need to understand how much time has passed? Estimate the number of chapters and parts of the book? See how the resulting plan relates to the original idea? Is the main idea proven? The episode will help you.
7. Write a novel
The plan is ready. Now you can do the draft. Every time you start working, check the plan: pay attention to the scene that you have to write, and the one that follows it. Keep in mind all the problem areas, try to find solutions before you start writing.And when (note, not "if", but "when") you realize that there are other, better solutions, that the original plan can be improved - just do it. Without thinking. Because the plan is not the rails, and you are not the tram. The plan is just a map. And you are free to turn off the beaten path at any time and go into the jungle in search of adventure.
If, after all, you still think that you don’t need a plan, I have a wonderful
