A while back, I mentioned that I’d been avoiding my manuscript like the proverbial plague, and I was. Definitely was.
I have a love/hate relationship with my work, as most authors do, I think – we want to see it thrive and grow and succeed, and yet, sometimes, the damn things insist on doing the exact opposite. You say ‘Characters! Do this and this!’ and they say, ‘Eh. Go away.” You say, ‘Plot! Sit up and roll over and fetch!’ and the plot says, ‘Yeah? Make me, wuss.’ After a while, you get tired of carrying a rolled-up newspaper in one hand and treats in the other, and you give up and go away.
That’s where I was pretty much all spring. For years, I’ve bee thinking I’ve found The Thing That Will Make It All Work. Every time there’s an issue, I go out, I read books, I find The Magical Solution (which, of course, never turns out to be quite as magical as I hope it to be).
But this time, I might actually have done it.
At Barnes & Noble a couple of months ago, I picked up a book called Save the Cat! Writes a Novel by Jessica Brody. Based on the popular screenwriting guide Save the Cat!, this book applies those techniques to novel writing, utilizing the ‘beat sheets’ that make movies so compelling to make novels just as compelling.
The subtitle of this book is a bit egotistical: The Last Book on Novel Writing You’ll Ever Need. I can’t say that’s true – but this book saved my life and my novel and that IS true!
I always knew there was something wrong with the novel that had to do with the plot and structure. I had betas read it. They declared it to be fine. The characters were fine; the dialogue was great. But something was always off about the plot, and no matter how I tried to fix it, it never worked. My characters had problems! They wanted to solve them, and they tried hard to solve them! Why wasn’t that enough?
Well, with one paragraph, Brody made it all clear to me. I don’t know why – it’s just how she phrased it:
“Now, the question is, what does your hero think will fix those problems, or what does your hero think will better their life? Whatever the answer is . . . that is your hero’s goal. That is what they will be actively striving to achieve throughout the novel (or at least in the beginning). . . . And most important, what will really fix your hero’s life? What does your hero actually need? This is the crux of your story.”
Suddenly, in the space of two pages, I was scribbling in the margins. I never scribble in margins. But here I was, writing down sudden plot points and holes and how to fix them. And I did that through the entire book.
For example: my MC, Erin, states on page 10 that she is done seeing ghosts. They have screwed up her life for the last time. So her want, or what she thinks she wants, is to be normal and ghost-free. That has to drive the novel, in part, and I realized that it actually never does. She’s even given hints on how to do it, and never follows through! Boom! Instantly, I sat down and within an hour had two great scenes drafted in which she does just that. Plus, I highlighted that want through the rest of the novel. What she needs, of course, is to give in to her gift and learn to live with it. And by the end of the novel, she learns that lesson. (Great. Now I just gave away the ending!)
Does that mean the wants can’t change, or that your characters can’t have more wants? Of course not, and Brody provides several examples of novels in which the hero’s wants change during the book.
Chapter 2 of this great book is the Beat Sheet – where Brody walks us through the three acts that all stories should have. If you’re like me, that idea has never quite gelled, never quite made sense. Well, Brody fixes that! All three Acts are placed in the context of the 15-Beat Story Arc. Each Act has set ‘beats’ that should be included (as much as possible), in order to ground your novel, ensure the characters are doing their part, and make sure you have all the components of a successful, suspenseful novel. She discusses the purpose of each act, and then explains each Beat contained therein, along with its purpose.
The clouds parted. The skies opened. The sun shone. The angels sang a chorus. Seriously. It was THAT much of a revelation! I suddenly saw where the holes were. Where the plot and structure had gone awry. What scenes were missing. What scenes needed to be deleted. Where the tension needed to be punched up. Where the secondary storylines needed beefed up or changed. I was getting ideas AS I WAS READING. I finally understand the importance of the Midpoint! Once Brody characterized it as ‘the shit just got real! beat,’ I GOT IT. Raise the stakes. Make it impossible to back out. Fast-forward the deadline. Throw in a major plot twist. All of these belong to the Midpoint, and I finally get it!
In the rest of the book, Brody explores how the Fifteen Beats apply to various genres. She chooses a book in that genre and walks you through it, beat by beat, so you can see the underlying structure. She also provides you with a list of other novels in that genre you can read and study as well.
This is quite possibly the best $14.95 I’ve ever spent on a book. EVER. I have rewritten this novel so many times, but this is the first time I can truly say I feel at peace with the rewrites, that I truly see why I’m doing them. Most of all, this is the first time I feel that the rewrites are worth the effort. That I feel I may actually get somewhere with them, that this time, it’s the real deal. I have a bit of research left to do – again, structure holes! – but I feel closer than I’ve ever been.
And it’s all thanks to Save the Cat!