Some of my favorite things in life are talking about story, learning about story, reading story, and writing story. I have been blessed to be invited to teach and speak about kissing books all over the United States and Canada.
I loved how this book made me think about why I like stories. What engages me as a reader and excites me as a writer? Why two books with the same tropes can hit so differently. And how to add what the author refers to as “butter” to both the writing and the marketing, which is very important.
If your back cover copy is dry toast, it doesn’t matter how wonderful the writing on the inside is. The author is also very engaging and warm and my favorite, funny.
This is one of the first books I read about writing that gave me that A-HA feeling. Originally published in 1999, it’s still relevant and foundational. What does your character want? Why? And what is standing in their way? It seems like a simple concept, but it isn’t easy! And boy, oh boy, if you are missing one of those elements, it can be the difference between a page-turner and a wall-banger (when a reader throws your book against the wall because you just wasted their time.)
Without really understanding what your character wants and why, writers risk nonsensical plot progression and alienating the reader.
Do you freeze up when your characters drift into the bedroom? Are you puzzled about how much to say and how to say it? What to call the body parts that bring us so much pleasure and so much anguish?
If you’re writing a novel and there’s a sexual encounter…
I am not a plotter. I have always wished I was. But nope, sorry, Gwen. That said, this is still an amazing book. Even if you are a discovery writer (sometimes called pantster for writing by the seat of your pants), thinking about your plot in terms of pacing, story elements, backstory, characterization, and setting…and thinking about them in a logical way is beneficial.
Kudos if you can write it down in a notebook before you start drafting. That’s not in my wheelhouse.
Writers often look upon outlines with fear and trembling. But when properly understood and correctly wielded, the outline is one of the most powerful weapons in a writer’s arsenal.Outlining Your Novel: Map Your Way to Success will:
Help you choose the right type of outline for you
Guide you in brainstorming plot ideas
Aid you in discovering your characters
Show you how to structure your scenes
Explain how to format your finished outline
Instruct you in how to use your outline
Reveal the benefits
Dispel the misconceptions
The original Save the Cat by Blake Snyder was written for screenplays but captured the imagination of all kinds of writers, myself included. But often it was difficult to translate to novel format. Jessica Brody’s book is an excellent adaptation of Snyder’s foundation for book people.
The story structure methodology uses the same 15 beats (plot points) as the screenplay version. I love that Brody uses book examples as even most books about writing books tend to use movie examples. I think some authors worry about following story structure too closely, but I have always felt thinking analytically about story can only improve your writing. It’s only formulaic if you write it that way.
The houses on your block probably all have walls, roofs, foundations, floors, and plumbing…but they don’t all look the same, even on the outside. Once you get inside—all bets are off, right? But they all need to follow some basic principles of architecture in order to not fall down or blow away. Even two homes with the same original blueprint can look and feel wildly different.
The first novel-writing guide from the best-selling Save the Cat! story-structure series, which reveals the 15 essential plot points needed to make any novel a success.
Novelist Jessica Brody presents a comprehensive story-structure guide for novelists that applies the famed Save the Cat! screenwriting methodology to the world of novel writing. Revealing the 15 "beats" (plot points) that comprise a successful story--from the opening image to the finale--this book lays out the Ten Story Genres (Monster in the House; Whydunit; Dude with a Problem) alongside quirky, original insights (Save the Cat; Shard of Glass) to help novelists craft a plot…
Do you freeze up when your characters drift into the bedroom? Are you puzzled about how much to say and how to say it? What to call the body parts that bring us so much pleasure and so much anguish?
If you’re writing a novel and there’s a sexual encounter…
It’s never too early to think about how to actually sell your books, whether you indie publish or pitch to agents and editors. Writing a series is more profitable in almost every genre compared to writing standalone novels. And it will save you much heartache to have a series in mind before you start book one. Trust me. You don’t want to write yourself into a corner in book one that makes book two or three implausible. Think…Star Wars trilogy (the original 123 that became 456 in later years) as opposed to Speed and Speed 2. Which flowed better?
I’ve seen Ms.York speak at conferences, and her book voice is just as candid and engaging. This book covers many business writing/publishing topics but is never dry. From how to use comparable titles to world-building, I find myself returning to this book often.
For the first time ever in print, Zoe York breaks down how she plans a series--something she has done ten times over. Romance Your Brand is an adaptation of an intensive four-week course, now available to authors everywhere. This book covers:
- high-concept pitches
- taglines and blurbs
- world building and casts of characters
- writing the first book in a series
- finding comparable series and covers
- how to write towards future marketing
- and why ALL OF THE ABOVE should be considered before you write a single word
What makes a romance novel a romance? How do you write a kissing book? Writing a well-structured romance isn’t the same as writing any other genre—something the popular novel and screenwriting guides don’t address. The romance arc is made up of its own story beats, and the external plot and theme need to be braided to the romance arc—not the other way around.
Told in conversational (and often irreverent) prose, this book can be read like you are sitting down to coffee with romance editor and author Gwen Hayes while she explains story structure the way she does with her clients—some of whom are regular inhabitants of the New York Times and USA Today bestseller lists.
