{"product_id":"writing-fiction-for-dummies-paperback-softback-9780470530702","title":"Writing Fiction For Dummies (Paperback \/ softback) 9780470530702","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eWriting Fiction For Dummies\u003c\/font\u003e\u003cbr\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003c\/p\u003e\n\u003cp\u003e\u003cfont size=\"4\"\u003eRandy Ingermanson (Author), Peter Economy (Author)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780470530702, Wiley\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 20 November 2009\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e384 pages\u003cbr\u003e22.9 x 18.3 x 2.3 cm, 0.499 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\"... an easy-to-follow guide providing step-by-step instructions....\" (\u003cem\u003eWriters Forum,\u003c\/em\u003e December 2009)\u003c\/p\u003e\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cb\u003eA complete guide to writing and selling your novel\u003c\/b\u003e  \u003cp\u003e\u003cb\u003eSo you want to write a novel?\u003c\/b\u003e Great! That’s a worthy goal, no matter what your reason. But don’t settle for just writing a novel. Aim high. Write a novel that you intend to sell to a publisher. \u003ci\u003eWriting Fiction for Dummies\u003c\/i\u003e is a complete guide designed to coach you every step along the path from beginning writer to royalty-earning author. Here are some things you’ll learn in \u003ci\u003eWriting Fiction for Dummies\u003c\/i\u003e:\u003c\/p\u003e \u003cul\u003e \u003cli\u003e\n\u003cb\u003eStrategic Planning\u003c\/b\u003e: Pinpoint where you are on the roadmap to publication; discover what every reader desperately wants from a story; home in on a marketable category; choose from among the four most common creative styles; and learn the self-management methods of professional writers.\u003c\/li\u003e \u003cli dir=\"ltr\"\u003e\n\u003cb\u003eWriting Powerful Fiction\u003c\/b\u003e: Construct a story world that rings true; create believable, unpredictable characters; build a strong plot with all six layers of complexity of a modern novel; and infuse it all with a strong theme.\u003c\/li\u003e \u003cli dir=\"ltr\"\u003e\n\u003cb\u003eSelf-Editing Your Novel\u003c\/b\u003e: Psychoanalyze your characters to bring them fully to life; edit your story structure from the top down; fix broken scenes; and polish your action and dialogue.\u003c\/li\u003e \u003cli dir=\"ltr\"\u003e\n\u003cb\u003eFinding An Agent and Getting Published\u003c\/b\u003e: Write a query letter, a synopsis, and a proposal; pitch your work to agents and editors without fear.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003ci\u003e\u003cb\u003eWriting Fiction For Dummies\u003c\/b\u003e\u003c\/i\u003e takes you from being a \u003ci\u003ewriter\u003c\/i\u003e to being an \u003ci\u003eauthor.\u003c\/i\u003e It can happen—if you have the talent and persistence to do what you need to do.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003cb\u003eIntroduction 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAbout This Book 1\u003c\/p\u003e \u003cp\u003eConventions Used In This Book 2\u003c\/p\u003e \u003cp\u003eWhat You’re Not to Read 2\u003c\/p\u003e \u003cp\u003eFoolish Assumptions 3\u003c\/p\u003e \u003cp\u003eHow This Book is Organized 3\u003c\/p\u003e \u003cp\u003ePart I: Getting Ready to Write Fiction 4\u003c\/p\u003e \u003cp\u003ePart II: Creating Compelling Fiction 4\u003c\/p\u003e \u003cp\u003ePart III: Editing and Polishing Your Story and Characters 4\u003c\/p\u003e \u003cp\u003ePart IV: Getting Published 4\u003c\/p\u003e \u003cp\u003ePart V: The Part of Tens 5\u003c\/p\u003e \u003cp\u003eIcons Used in This Book 5\u003c\/p\u003e \u003cp\u003eWhere to Go from Here 5\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Getting Ready to Write Fiction 7\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 1: Fiction Writing Basics 9\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSetting Your Ultimate Goal as a Writer 11\u003c\/p\u003e \u003cp\u003ePinpointing Where You are as a Writer 13\u003c\/p\u003e \u003cp\u003eFreshmen: Concentrating on craft 13\u003c\/p\u003e \u003cp\u003eSophomores: Tackling the proposal 14\u003c\/p\u003e \u003cp\u003eJuniors: Perfecting their pitches 15\u003c\/p\u003e \u003cp\u003eSeniors: Preparing to become authors 16\u003c\/p\u003e \u003cp\u003eGetting Yourself Organized 17\u003c\/p\u003e \u003cp\u003eMastering Characterization, Plotting, and Other Skills 18\u003c\/p\u003e \u003cp\u003eEditing Your Fiction 18\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 2: What Makes a Great Story? 21\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eChoosing What to Give Your Readers 22\u003c\/p\u003e \u003cp\u003eCreating a powerful emotional experience: What your readers desperately want 22\u003c\/p\u003e \u003cp\u003eEducating your reader 23\u003c\/p\u003e \u003cp\u003ePracticing the gentle art of persuasion 24\u003c\/p\u003e \u003cp\u003eMaking Life Hard on Your Characters: Conflict Plus Change Equals Story 25\u003c\/p\u003e \u003cp\u003eThe Five Pillars of Fiction 26\u003c\/p\u003e \u003cp\u003eSetting the stage: Your story world 27\u003c\/p\u003e \u003cp\u003eCreating characters 28\u003c\/p\u003e \u003cp\u003eConstructing the plot 28\u003c\/p\u003e \u003cp\u003eFormulating a theme 30\u003c\/p\u003e \u003cp\u003eExpressing your style 31\u003c\/p\u003e \u003cp\u003eSeven Ways to Deliver the Goods 31\u003c\/p\u003e \u003cp\u003eThe here and now: Action 32\u003c\/p\u003e \u003cp\u003eGiving your characters a voice: Dialogue 33\u003c\/p\u003e \u003cp\u003eRevealing thoughts: Interior monologue 33\u003c\/p\u003e \u003cp\u003eFeeling with your character: Interior emotion 34\u003c\/p\u003e \u003cp\u003eSeeing what your character sees: Description 34\u003c\/p\u003e \u003cp\u003eTaking a trip to the past: Flashback 35\u003c\/p\u003e \u003cp\u003eSupplying narrative summary 35\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 3: Finding Your Audience and Category 37\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIdentifying Your Ideal Novel 38\u003c\/p\u003e \u003cp\u003eLooking at what you love to read 38\u003c\/p\u003e \u003cp\u003eThinking about what you love to write 39\u003c\/p\u003e \u003cp\u003eDefining Your Ideal Reader 40\u003c\/p\u003e \u003cp\u003eConsidering worldview and interests 41\u003c\/p\u003e \u003cp\u003eLooking at gender 42\u003c\/p\u003e \u003cp\u003eWriting for readers of a certain age 43\u003c\/p\u003e \u003cp\u003eDefining your niche 43\u003c\/p\u003e \u003cp\u003eUnderstanding Your Category 43\u003c\/p\u003e \u003cp\u003eGenres: Surveying categories based on content 45\u003c\/p\u003e \u003cp\u003eUnderstanding audience-based categories 50\u003c\/p\u003e \u003cp\u003ePicking your category and subcategory 52\u003c\/p\u003e \u003cp\u003eFinding Your Category’s Requirements 53\u003c\/p\u003e \u003cp\u003eTargeting your word count 54\u003c\/p\u003e \u003cp\u003eAccounting for major characters 54\u003c\/p\u003e \u003cp\u003eDetermining levels of action, romance, and all that 55\u003c\/p\u003e \u003cp\u003eIdentifying your story’s emotional driver 58\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 4: Four Ways to Write a Great Novel 59\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGiving Yourself Permission to Write Badly 59\u003c\/p\u003e \u003cp\u003eCreative Paradigms: Investigating Various Writing Methods 61\u003c\/p\u003e \u003cp\u003eWriting without planning or editing 61\u003c\/p\u003e \u003cp\u003eEditing as you go 62\u003c\/p\u003e \u003cp\u003ePlanning a little, writing a little 63\u003c\/p\u003e \u003cp\u003eOutlining before you write 64\u003c\/p\u003e \u003cp\u003eFinding a Creative Paradigm that Works for You 65\u003c\/p\u003e \u003cp\u003eUnderstanding why method matters 66\u003c\/p\u003e \u003cp\u003eDeveloping your creative paradigm 67\u003c\/p\u003e \u003cp\u003eUsing Your Creative Paradigm to Find Your Story Structure 69\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 5: Managing Your Time and Yourself 71\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFinding Time to Write 71\u003c\/p\u003e \u003cp\u003eEstablishing and sticking to a writing goal — for this week and this year 72\u003c\/p\u003e \u003cp\u003eOrganizing your time 74\u003c\/p\u003e \u003cp\u003eSetting Up Your Ideal Writing Space 75\u003c\/p\u003e \u003cp\u003eSecuring the best writing surface 76\u003c\/p\u003e \u003cp\u003eFinding the right chair 76\u003c\/p\u003e \u003cp\u003eChoosing a computer (if you want to use one) 77\u003c\/p\u003e \u003cp\u003ePutting everything in place 78\u003c\/p\u003e \u003cp\u003eDealing with Distractions 79\u003c\/p\u003e \u003cp\u003eLooking at Money Matters 80\u003c\/p\u003e \u003cp\u003eBudgeting money for writing 81\u003c\/p\u003e \u003cp\u003eMaking your living as a writer: Don’t expect this to be your day job (yet) 82\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: Creating Compelling Fiction 85\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 6: Building Your Story World: The Setting for Your Story 87\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIdentifying the Parts of a Story World 88\u003c\/p\u003e \u003cp\u003eCreating a Sense of Place 89\u003c\/p\u003e \u003cp\u003eMaking description do double duty 90\u003c\/p\u003e \u003cp\u003eFitting description in the story 91\u003c\/p\u003e \u003cp\u003eWeaving emotive force into your descriptions 92\u003c\/p\u003e \u003cp\u003eDeciding What Drives Your Cultural Groups 93\u003c\/p\u003e \u003cp\u003eRevealing cultural drivers with immediate scene 93\u003c\/p\u003e \u003cp\u003eExposition: Explaining cultural drivers through narrative summary 94\u003c\/p\u003e \u003cp\u003eCombining various elements to show cultural drivers 95\u003c\/p\u003e \u003cp\u003eChoosing the Backdrop for Conflict 95\u003c\/p\u003e \u003cp\u003eDefining your backdrop 95\u003c\/p\u003e \u003cp\u003eDefining your story question 98\u003c\/p\u003e \u003cp\u003eStory World Examples from Four Well-Known Novels 98\u003c\/p\u003e \u003cp\u003ePride and Prejudice 98\u003c\/p\u003e \u003cp\u003eThe Pillars of the Earth 99\u003c\/p\u003e \u003cp\u003ePatriot Games 100\u003c\/p\u003e \u003cp\u003eEnder’s Game101\u003c\/p\u003e \u003cp\u003eResearching Your Story World 102\u003c\/p\u003e \u003cp\u003eIdentifying what you need to know about your story world 102\u003c\/p\u003e \u003cp\u003eKnowing how much research is enough 104\u003c\/p\u003e \u003cp\u003eBeing Able to Explain Your Story World to Sell Your Book 106\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 7: Creating Compelling Characters 107\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDefining Roles: Deciding Who Goes in Your Novel 107\u003c\/p\u003e \u003cp\u003eBackstory: Giving Each Character a Past 109\u003c\/p\u003e \u003cp\u003eUnderstanding why backstory matters 109\u003c\/p\u003e \u003cp\u003eCreating your character’s backstory 110\u003c\/p\u003e \u003cp\u003eAvoiding stereotypes 111\u003c\/p\u003e \u003cp\u003eMotivation: Looking to Your Character’s Future 112\u003c\/p\u003e \u003cp\u003eValues: Core truths for your character 113\u003c\/p\u003e \u003cp\u003eAmbitions: Getting abstract, or why Miss America wants “world peace” 115\u003c\/p\u003e \u003cp\u003eStory goals: Your story’s ultimate driver 115\u003c\/p\u003e \u003cp\u003eEstablishing your character’s motivation 117\u003c\/p\u003e \u003cp\u003ePoint of View (POV): Getting Some Perspective on Character 121\u003c\/p\u003e \u003cp\u003eFirst-person POV 122\u003c\/p\u003e \u003cp\u003eThird-person POV 124\u003c\/p\u003e \u003cp\u003eObjective third-person POV 125\u003c\/p\u003e \u003cp\u003eHead-hopping POV.126\u003c\/p\u003e \u003cp\u003eOmniscient POV 127\u003c\/p\u003e \u003cp\u003eSecond-person POV 128\u003c\/p\u003e \u003cp\u003eChoosing between Past and Present Tense 129\u003c\/p\u003e \u003cp\u003eRevealing Your Characters to the Reader 131\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 8: Storyline and Three-Act Structure: The Top Layers of Your Plot 135\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGiving the Big Picture of Story Structure: Your Storyline 135\u003c\/p\u003e \u003cp\u003eUnderstanding the value of a storyline 136\u003c\/p\u003e \u003cp\u003eWriting a great storyline 137\u003c\/p\u003e \u003cp\u003eExamples: Looking at storylines for 20 best-selling novels 140\u003c\/p\u003e \u003cp\u003eThree-Act Structure: Setting Up Three Disasters 145\u003c\/p\u003e \u003cp\u003eLooking at the value of a three-act structure 145\u003c\/p\u003e \u003cp\u003eTiming the acts and disasters 147\u003c\/p\u003e \u003cp\u003eIntroducing a great beginning 148\u003c\/p\u003e \u003cp\u003eThe end of the beginning: Getting commitment with the first disaster 148\u003c\/p\u003e \u003cp\u003eSupporting the middle with a second major disaster 149\u003c\/p\u003e \u003cp\u003eLeading to the end: Tackling the third disaster 150\u003c\/p\u003e \u003cp\u003eWrapping up: Why endings work — or don’t 151\u003c\/p\u003e \u003cp\u003eSummarizing Your Three-Act Structure for Interested Parties 153\u003c\/p\u003e \u003cp\u003eExamples: Summarizing the Matarese Circle and Pride and Prejudice 153\u003c\/p\u003e \u003cp\u003eDescribing your own three-act structure 155\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 9: Synopsis, Scene List, and Scene: Your Middle Layers of Plot 157\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDeciding Which Order to Work In 157\u003c\/p\u003e \u003cp\u003eWriting the Synopsis 158\u003c\/p\u003e \u003cp\u003eTaking it from the top: Fleshing out your three-act structure 159\u003c\/p\u003e \u003cp\u003eBottoms up! Building around sequences of scenes 160\u003c\/p\u003e \u003cp\u003eKnowing how much detail you need 161\u003c\/p\u003e \u003cp\u003eExample: A synopsis of Ender’s Game 161\u003c\/p\u003e \u003cp\u003eDeveloping Your Scene List 163\u003c\/p\u003e \u003cp\u003eTop-down: Fleshing out your synopsis 163\u003c\/p\u003e \u003cp\u003eBottom-up: Summarizing your manuscript 164\u003c\/p\u003e \u003cp\u003eExample: A scene list of Ender’s Game 165\u003c\/p\u003e \u003cp\u003eExtending your scene list 167\u003c\/p\u003e \u003cp\u003eSetting Up the Structure of Individual Scenes 167\u003c\/p\u003e \u003cp\u003eSetting the proactive scene 168\u003c\/p\u003e \u003cp\u003eFollowing up with the reactive scene 170\u003c\/p\u003e \u003cp\u003eComing full circle with your scenes 173\u003c\/p\u003e \u003cp\u003eScene structure in Gone with the Wind 173\u003c\/p\u003e \u003cp\u003eScene structure in Patriot Games 174\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 10: Action, Dialogue, and More: The Lowest Layer of Your Plot 177\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUsing Seven Core Tools for Showing and Telling 178\u003c\/p\u003e \u003cp\u003eAction 179\u003c\/p\u003e \u003cp\u003eDialogue 180\u003c\/p\u003e \u003cp\u003eInterior emotion 183\u003c\/p\u003e \u003cp\u003eInterior monologue 184\u003c\/p\u003e \u003cp\u003eDescription 186\u003c\/p\u003e \u003cp\u003eFlashback 189\u003c\/p\u003e \u003cp\u003eNarrative summary and other forms of telling 192\u003c\/p\u003e \u003cp\u003eThe Secret of Showing 194\u003c\/p\u003e \u003cp\u003eSorting it all out 194\u003c\/p\u003e \u003cp\u003eUnderstanding the two kinds of clips 196\u003c\/p\u003e \u003cp\u003eWriting public clips 197\u003c\/p\u003e \u003cp\u003eWriting private clips 197\u003c\/p\u003e \u003cp\u003ePutting cause and effect together 199\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 11: Thinking Through Your Theme 203\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding Why Your Theme Matters 203\u003c\/p\u003e \u003cp\u003eLooking at why writers include themes in their novels 204\u003c\/p\u003e \u003cp\u003eExamining the features of a theme 205\u003c\/p\u003e \u003cp\u003eExample themes for 20 novels 205\u003c\/p\u003e \u003cp\u003eDeciding When to Identify Your Theme 209\u003c\/p\u003e \u003cp\u003eFinding Your Theme 210\u003c\/p\u003e \u003cp\u003eFaking it till you make it 210\u003c\/p\u003e \u003cp\u003eReading your own novel for the first time 211\u003c\/p\u003e \u003cp\u003eListening to your characters 212\u003c\/p\u003e \u003cp\u003eUsing test readers 212\u003c\/p\u003e \u003cp\u003eMust you have a theme? 212\u003c\/p\u003e \u003cp\u003eRefining Your Theme 213\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Editing and Polishing Your Story and Characters 215\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 12: Analyzing Your Characters 217\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe High-Level Read-Through: Preparing Yourself to Edit 218\u003c\/p\u003e \u003cp\u003eDeveloping a Bible for Each Character 219\u003c\/p\u003e \u003cp\u003ePhysical traits 221\u003c\/p\u003e \u003cp\u003eEmotional and family life 221\u003c\/p\u003e \u003cp\u003eIntellectual and work life.222\u003c\/p\u003e \u003cp\u003eBackstory and motivation.222\u003c\/p\u003e \u003cp\u003ePsychoanalyzing Your Characters 223\u003c\/p\u003e \u003cp\u003eAre values in conflict? 223\u003c\/p\u003e \u003cp\u003eDo the values make sense from the backstory? 224\u003c\/p\u003e \u003cp\u003eDoes ambition follow from values? 226\u003c\/p\u003e \u003cp\u003eWill the story goal satisfy the ambition? 227\u003c\/p\u003e \u003cp\u003eThe Narrator: Fine-Tuning Point-of-View and Voice 228\u003c\/p\u003e \u003cp\u003eDoes your POV strategy work? 228\u003c\/p\u003e \u003cp\u003eHave you chosen the right POV character? 232\u003c\/p\u003e \u003cp\u003eIs your POV consistent? 233\u003c\/p\u003e \u003cp\u003eDoes your character have a unique voice? 233\u003c\/p\u003e \u003cp\u003eFixing Broken Characters 234\u003c\/p\u003e \u003cp\u003eBoring characters 234\u003c\/p\u003e \u003cp\u003eShallow characters 234\u003c\/p\u003e \u003cp\u003eUnbelievable characters 235\u003c\/p\u003e \u003cp\u003eUnlikeable characters 236\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 13: Scrutinizing Your Story Structure 239\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eEditing Your Storyline 240\u003c\/p\u003e \u003cp\u003eRemoving all unnecessary weight 240\u003c\/p\u003e \u003cp\u003eKeeping your characters anonymous 241\u003c\/p\u003e \u003cp\u003eStaying focused 241\u003c\/p\u003e \u003cp\u003eCutting down some example storylines 241\u003c\/p\u003e \u003cp\u003eTesting Your Three-Act Structure 244\u003c\/p\u003e \u003cp\u003eWhat are your three disasters? 246\u003c\/p\u003e \u003cp\u003eAre your acts balanced in length? 247\u003c\/p\u003e \u003cp\u003eThe beginning: Does it accelerate the story? 248\u003c\/p\u003e \u003cp\u003eThe first disaster: Is the call to action clear? 249\u003c\/p\u003e \u003cp\u003eThe second disaster: Does it support the long middle? 250\u003c\/p\u003e \u003cp\u003eThe third disaster: Does it force the ending? 252\u003c\/p\u003e \u003cp\u003eThe ending: Does it leave your reader wanting to tell others? 253\u003c\/p\u003e \u003cp\u003eScene List: Analyzing the Flow of Scenes 255\u003c\/p\u003e \u003cp\u003eRearranging your scenes 255\u003c\/p\u003e \u003cp\u003eForeshadowing: Planting clues to prepare readers 256\u003c\/p\u003e \u003cp\u003ePutting it all together as a second draft 257\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 14: Editing Your Scenes for Structure 259\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTriage: Deciding Whether to Fix, Kill, or Leave a Scene Alone 260\u003c\/p\u003e \u003cp\u003eIdentifying ailing scenes 260\u003c\/p\u003e \u003cp\u003eEvaluating a scene’s chances of recovery 261\u003c\/p\u003e \u003cp\u003eFixing Proactive Scenes 262\u003c\/p\u003e \u003cp\u003eImagining a proactive scene: The Day of the Jackal 262\u003c\/p\u003e \u003cp\u003eChecking for change 263\u003c\/p\u003e \u003cp\u003eChoosing a powerful goal 263\u003c\/p\u003e \u003cp\u003eStretching out the conflict 264\u003c\/p\u003e \u003cp\u003eDesperately seeking setbacks 265\u003c\/p\u003e \u003cp\u003eExamining the final result 266\u003c\/p\u003e \u003cp\u003eFixing Reactive Scenes 267\u003c\/p\u003e \u003cp\u003eImagining a reactive scene: Outlander 267\u003c\/p\u003e \u003cp\u003eChecking for change (again) 268\u003c\/p\u003e \u003cp\u003eFitting the reaction to the setback 268\u003c\/p\u003e \u003cp\u003eWorking through the dilemma 269\u003c\/p\u003e \u003cp\u003eComing to a decision 270\u003c\/p\u003e \u003cp\u003eComing to the final result 270\u003c\/p\u003e \u003cp\u003eKilling an Incurable Scene 271\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 15: Editing Your Scenes for Content 273\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDeciding Whether to Show or Tell 274\u003c\/p\u003e \u003cp\u003eKnowing when clips, flashbacks, or telling techniques are most appropriate 274\u003c\/p\u003e \u003cp\u003eFollowing an example of decision-making 275\u003c\/p\u003e \u003cp\u003eA Good Show: Editing Clips 277\u003c\/p\u003e \u003cp\u003eGuidelines for editing clips 278\u003c\/p\u003e \u003cp\u003eFixing mixed clips 279\u003c\/p\u003e \u003cp\u003eFixing unintentional head-hopping 280\u003c\/p\u003e \u003cp\u003eFixing out-of-body experiences 282\u003c\/p\u003e \u003cp\u003eFixing cause-effect problems 283\u003c\/p\u003e \u003cp\u003eFixing time-scale problems 284\u003c\/p\u003e \u003cp\u003eGetting In and Out of Flashbacks 286\u003c\/p\u003e \u003cp\u003eEditing Telling 287\u003c\/p\u003e \u003cp\u003eTightening text and adding color 288\u003c\/p\u003e \u003cp\u003eKnowing when to kill a segment of telling 289\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: Getting Published 291\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 16: Getting Ready to Sell Your Book: Polishing and Submitting 293\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePolishing Your Manuscript 294\u003c\/p\u003e \u003cp\u003eTeaming with critique buddies 294\u003c\/p\u003e \u003cp\u003eJoining critique groups 295\u003c\/p\u003e \u003cp\u003eWorking with freelance editors 296\u003c\/p\u003e \u003cp\u003eHiring freelance proofreaders 297\u003c\/p\u003e \u003cp\u003eLooking at Three Common Legal Questions 298\u003c\/p\u003e \u003cp\u003eDeciding between Traditional Publishing and Self-Publishing 299\u003c\/p\u003e \u003cp\u003eUnderstanding how traditional publishers work 299\u003c\/p\u003e \u003cp\u003eUnderstanding how self-publishing works 301\u003c\/p\u003e \u003cp\u003eBeware the vanity publishers! 302\u003c\/p\u003e \u003cp\u003eOur recommendation 303\u003c\/p\u003e \u003cp\u003eFirst Contact: Writing a Query Letter 303\u003c\/p\u003e \u003cp\u003ePiecing Together a Proposal 306\u003c\/p\u003e \u003cp\u003eDeciding what to include 306\u003c\/p\u003e \u003cp\u003eYour cover letter: Reminding the agent who you are 307\u003c\/p\u003e \u003cp\u003eYour title page 307\u003c\/p\u003e \u003cp\u003eThe executive summary page 308\u003c\/p\u003e \u003cp\u003eMarket analysis: Analyzing your competition 309\u003c\/p\u003e \u003cp\u003eYour author bio 309\u003c\/p\u003e \u003cp\u003eCharacter sketches 310\u003c\/p\u003e \u003cp\u003eThe dreaded synopsis 311\u003c\/p\u003e \u003cp\u003eYour marketing plan 311\u003c\/p\u003e \u003cp\u003eYour writing, including sample chapters (or whole manuscripts!) 312\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 17: Approaching Agents and Editors 315\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDefining the Roles of Agents and Editors 315\u003c\/p\u003e \u003cp\u003eFinding the Best Agent for You 316\u003c\/p\u003e \u003cp\u003eDeciding whether you need an agent 316\u003c\/p\u003e \u003cp\u003eDoing your homework on agents first 317\u003c\/p\u003e \u003cp\u003eContacting agents to pitch your work 320\u003c\/p\u003e \u003cp\u003eEditors, the Center of Your Writing Universe 322\u003c\/p\u003e \u003cp\u003eTargeting a publishing house 323\u003c\/p\u003e \u003cp\u003eChoosing which editor to contact 324\u003c\/p\u003e \u003cp\u003eContacting editors directly 324\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: The Part of Tens 327\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 18: Ten Steps to Analyzing Your Story 329\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eStep 1: Write Your Storyline 330\u003c\/p\u003e \u003cp\u003eStep 2: Write Your Three-Act Structure 330\u003c\/p\u003e \u003cp\u003eStep 3: Define Your Characters 331\u003c\/p\u003e \u003cp\u003eStep 4: Write a Short Synopsis 332\u003c\/p\u003e \u003cp\u003eStep 5: Write Character Sketches 332\u003c\/p\u003e \u003cp\u003eStep 6: Write a Long Synopsis 332\u003c\/p\u003e \u003cp\u003eStep 7: Create Your Character Bible 333\u003c\/p\u003e \u003cp\u003eStep 8: Make Your Scene List 333\u003c\/p\u003e \u003cp\u003eStep 9: Analyze Your Scenes 334\u003c\/p\u003e \u003cp\u003eStep 10: Write and Edit Your Story 335\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 19: Ten Reasons Novels are Rejected 337\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Category is Wrong 338\u003c\/p\u003e \u003cp\u003eBad Mechanics and Lackluster Writing 339\u003c\/p\u003e \u003cp\u003eThe Target Reader Isn’t Defined 339\u003c\/p\u003e \u003cp\u003eThe Story World is Boring 340\u003c\/p\u003e \u003cp\u003eThe Storyline is Weak 340\u003c\/p\u003e \u003cp\u003eThe Characters Aren’t Unique and Interesting 341\u003c\/p\u003e \u003cp\u003eThe Author Lacks a Strong Voice 341\u003c\/p\u003e \u003cp\u003eThe Plot is Predictable 342\u003c\/p\u003e \u003cp\u003eThe Theme is Overbearing 343\u003c\/p\u003e \u003cp\u003eThe Book Fails to Deliver a Powerful Emotional Experience 343\u003c\/p\u003e \u003cp\u003eIndex 345\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eSubject Areas: Education [\u003ca title=\"See our other books on Education\" href=\"https:\/\/freshlyprintedbooks.co.uk\/search?q=%22Education%20%5BJN%5D%22\"\u003eJN\u003c\/a\u003e]\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\u003c\/font\u003e","brand":"For Dummies","offers":[{"title":"Brand New","offer_id":52449473626392,"sku":"9780470530702","price":14.78,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0730\/2037\/5320\/files\/9780470530702.jpg?v=1785201089","url":"https:\/\/freshlyprintedbooks.co.uk\/products\/writing-fiction-for-dummies-paperback-softback-9780470530702","provider":"Freshly Printed Books","version":"1.0","type":"link"}