Novel Story - Five easy ways to leave your novel Fiction improve

There is no recipe for a good novel to write. Anyone can get the possession, simply by following the rules. Here are five of the most important. Follow is your fiction to improve writing immediately.
1st Seek and Destroy "Ace"
In writing fiction, the events are almost always presented in succession. In other words, even if in real life things happen often written in the same time to the more orderly world, a novel, and nearly always one at a time. This principle applies to all aspects of the plot of your novel, macro to micro.
Many early writers (and some more advanced) instinctively with the "how" construction:
She smiled as she took his hand.
Jerry was a knock on the door that someone started on him.
These two examples are poor fiction written for two different reasons. The first example is bad because it does not sequentially. Readers prefer sequentially. It is better to write: She took his hand and smiled and smiled at her and took her hand.
This may be minor, but it is not. Trust me. The example on Jerry is bad because it violates the letter of cause and effect, others need the fiction too. In real life, things do not always happen for a reason. In the fiction that they do. For example, Jerry should run to the door because he heard someone knocking at her.
First, we need to hear the pounding, then he must run to the door. So, you should write:
Someone knocked on the door. Jerry rushes to open it.
Maybe he would have been enough for me to tell you that with "that" for whatever reason, is considered by agents and publishers in a amateurish Classic. Get rid of it is a simple way to write your novel a notch or two to blow up.
2nd Background from Chapter One Hold
Almost all manuscripts that I reject is guilty of the same sin: presentation of the substantive law of characters at the beginning of the story. Top novelist Many people think that the reader not be able to track a story, or might be interested to follow if they do not know as much as possible about the history of a character or the events that up to this moment. These authors are wrong.
What a lot of films that we start with a thrilling action sequence? We have before us, but we do not know much about the character, is the subject of this scene. There is no time for us! The same principle applies to novels: Give your readers to action. Writing for the stage as if the reader already knew BACKGROUND character and the events leading up to that moment. Then when you are addicted to your readers, you tell them as possible as concise and to the smallest pieces, that they know when to know her to understand what is happening need.
Here is an example. At the beginning of your novel, your head, a young woman named Beth, returns home from college for Christmas break. Without any context to come to the house and a feeling of discomfort in the stomach. Uh oh, we do not know why he has this feeling. (You know, because she never had with his mother, and in fact left school in the center of a heated argument.)
You should better go in. But do you really Index have to be to do it with the background exposure is not true in general? It is better if you find another way. How to show the mother, with hostility to Beth she enters the house to respond, perhaps his mother comes to the head of the stairs to see who entered, her face freezes, there is a cold morning Beth then returns to his room. Beth, meanwhile, did not respond. So, why is she here? You ask. For his father, who we see now that your U.S. POSTER he has cancer in the family room has room for him down the stairs in the former haunt.
Note that we say is still not the right, the explanation may come later, if necessary, receive. But you began your story with the right action, and you have also told your readers skillfully some important, but do not tell "them.
3rd Remember that emotion and plot
Why are some books leave us cold? Usually it is because we have not really about the characters. Why do not we care about them? Because we do not really know how they feel.
On this great big complicated world, is the only thing we know, we have in common with all other people feel! The feelings are universal, as we all are in contact with each other. So the way to the vital link to your reader, the link that makes them keep reading that makes your story remember long after they are finished, they will feel the emotions of the characters.
How do you do? It is a two-step process.
(1) Make sure that the feelings are, first and foremost. Believe it or do not bother to do not many novelists say nothing of the fact that their characters react to events in the history what happen to the characters feel like a number of things. These novelists believe that should be heard, or it's "alt" or "uncool" to include feelings on things. Nothing could be further from the truth.
The first thing you should do, but it seems obvious to point out to your characters have feelings, in the first place. Remember how the characters feel is legitimate "action" in a novel.
(2) express how the character feels this feeling by his or her reaction to it. For example, not just say, a character is evil. See the character to do what would make it likely, if she is angry. Do not just say a person is depressed. This character tell another character how he feels. Remember, the emotion is like the emotion.
4th Limit the single most common tags
Gesture Tags are movements of the characters made during the dialogue. The most common among the manuscripts of newcomers, he shook his head, "She shook her head," he shrugged his shoulders, "she smiles," He frowned. "These Tags are OK time to time to label but excessive use you as an amateur.
Whatever you do, do not use a beacon, then repeat his message through dialogue, another hobby. For example:
He shrugged his shoulders. "I do not know."
or
"No," she said, shaking his head.
5th Complete your sections of crunchy, and end where they should A section should end when the action was created to show, was played. Do not forget on the grounds of conservation!
For example, when Jonathan came to Marilyn's house to try to convince her to accompany him on his business trip to Rome, and Marilyn does not tell not only him but also informed him that they decided to break with him, had Jonathan leave the apartment, perhaps showing his emotions by KURZ action (see No. 3 above), and lower the curtain.
Do not show him through the streets to ask where their relationship went wrong, stop at a bar to drown his sorrows. Everything is right in a reaction section, along a unit totally separate story. It is important to know where the section of the action (Marilyn, said Jonathan Never Ends) and surprised the reaction section (Jonathan, walking, drinking) begins. (The concept of action and reaction sections detail presented in my book The Marshall Plan ® for Novel Writing and The Marshall Plan ® workbook, and the Marshall Plan ® Novel-writing software, which I co-authored with Martha Jewett .)
Go through written a manuscript you have and see if you can implement some or all of these techniques. Remember, if you write new material.
I guarantee your writing is better for them.