TECH: Is There An Agent In Your Future?
Mar. 23rd, 2009 01:24 pm![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png)
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Original posting 11 February 2009
Keeping the Reader on the Edge of the Page
Writer's Digest, January 2006, pages 30 to 33, has an article by Susan DeLay with the title "I Couldn't Put It Down!" Here four literary agents suggest how to make your story a page turner. "Transforming characters into real people can make the difference between a so-so novel and a page turner."
So what are the marks of a page turner?
Six ways to raise the stakes:
Exercise? Take your work in progress, and look at the various checkpoints listed. How about it? Do you need to raise the stakes? Make the characters a little more memorable? And . . . is that dip in the tracks ready for the emotional crash?
Write!
Keeping the Reader on the Edge of the Page
Writer's Digest, January 2006, pages 30 to 33, has an article by Susan DeLay with the title "I Couldn't Put It Down!" Here four literary agents suggest how to make your story a page turner. "Transforming characters into real people can make the difference between a so-so novel and a page turner."
So what are the marks of a page turner?
- employs conflict, tension, and high drama
- has memorable characters
- generates an emotional response in readers
- tells a great story
- "a book that keeps the reader 'hooked'... the writer must create an exciting world where readers can easily lose themselves."
- "a page turner is a book I'll talk about to anyone who'll listen."
- "page turners have inwardly conflicted characters and layered, woven plots that build novels with memorable depth and power."
- "it's an interesting story told at a brisk pace with great dialogue and action, unresolved conflict, plot twists and fascinating characters placed in tense situations."
Six ways to raise the stakes:
- Give your protagonist insurmountable odds. Let him face a problem at every turn.
- Add a time deadline. The protagonist has to solve a problem but in a very specific period of time, or else.
- End chapters with a cliffhanger that will pull readers into the next chapter.
- Crank up the tension in small ways. Is your character driving? Make it at night -- on a lonely, isolated highway -- in a blinding rainstorm.
- Keep track of what's going on with the antagonist. If the readers know the hero's in danger, they'll hold their breath.
- Keep things moving. If nothing is happening, your reader may nod off, or worse -- stop turning the pages and put down the book.
- Know your character inside and out. Forget the adage, "know thyself." Instead, "Know thy character."
- Make your characters interesting, larger-than-life. Let your readers live vicariously through your characters.
- Make the reader care about your character. Make the reader wonder if the character will ever overcome his impossible circumstances.
- Make sure the character cares passionately about what's happening. Give her emotions. If she doesn't care, why should the reader?
- Give your protagonist a weakness -- a fatal flaw. Everyone has one, including your reader. It will help the reader identify, and as a result they'll care more about what happens.
- Base your character on a real person, not just a mystery individual you invented.
- "When the readers are wrapped up in the lives of the characters, it creates an emotional bond and they'll care more about what happens."
- "If you have something compelling to say and work hard to hone your craft, then I believe readers will be able to fuel your passion and power. Once the reader is passionate about what you've written, you're more than halfway there."
- "The best way to entangle the reader in your story and get her emotionally involved is to raise the stakes of your character on a personal level. The main problem for your protagonist should be relatively obvious. What can make the problem matter more? That's where you get to the guts of your hero or heroine. Getting inside the point-of-view character's head gives readers a chance to connect emotionally."
- "I love to pick up a novel and feel changed by it. For that matter I like to pick up a novel and feel anything. Too many novels don't move me toward knowledge, emotion or growth. I think every agent is on the lookout for the 'wow' moment, when your work smacks them as fresh, fun, well crafted and moving."
Exercise? Take your work in progress, and look at the various checkpoints listed. How about it? Do you need to raise the stakes? Make the characters a little more memorable? And . . . is that dip in the tracks ready for the emotional crash?
Write!