# Episode 3 - Go Big or Go Home. ## Metadata - Author: [[Essential Guide to Writing a Novel]] - Full Title: Episode 3 - Go Big or Go Home. - Category: #source/podcasts - URL: https://share.snipd.com/episode/0b05e260-32ab-4d86-be46-45f896a7ea59 ## Highlights - The Purpose of Science Fiction in Awakening Wonder Key takeaways: - Science fiction's goal is to awaken the sense of wonder. - Readers do not want true life. - The reader of fiction seeks an experience different from everyday life. - Novels are meant to make the real world seem flimsy. - Plots are praised as ways to keep readers reading. - A novel is an amplification of real life. Transcript: Speaker 1 Romance. Science fiction's goal is to awaken the sense of wonder. Other than guidelines offered by a genre's conventions, not much is out there to help you find a plot, nothing I've found helpful anyway. But here's a critical rule. Readers do not want true life. Novelist and writing instructor Saul Stein says, the reader of fiction may welcome insight and information, yes, but is primarily seeking an experience different from and greater Than his or her everyday experience in life. Stein compares readers to sports fans. He says, the spectator seeks the excitement that does not usually occur in daily life. Ericka Jung says, a novel, quote, must make my so-called real world seem flimsy. Same sentiment is from Kurt Vonnegut. I don't praise plots as accurate representations of life, but as ways to keep readers reading. A novel is an amplification of real life. ([Time 0:01:54](https://share.snipd.com/snip/7e0dc43d-dafe-4d44-a447-8f39afd71c76)) - The Importance of Razzle-Dazzle in Fiction Writing Key takeaways: - Readers want razzle-dazzle entertainment and stories that take them somewhere new - Avoid writing about things that are already known and lived through - Provide entertainment and something new for readers - Researching different roles can help in creating realistic characters - Getting out of the comfort zone is crucial for fiction writing Transcript: Speaker 1 The opposite is true. In the movie Chicago, the lawyer named Billy, who's played by Richard Gere, reveals how to persuade a jury, give them the old razzle-dazzle. That same technique applies to fiction writing. What do readers like in their stories? They want razzle-dazzle entertainment. They want to be taken somewhere new to meet fascinating people doing exciting things. What do readers least want their own lives, which they are already and often tediously living through? Our job as writers is to provide entertainment, something new. Write what you know is the biggest canard in fiction. We'll talk about this later. When only trouble is interesting. And most of us in our real lives go to great lengths to avoid the trouble that is central to fiction. If we are even remotely successful in our real lives, avoiding the hardships that are central to storytelling, then our lives don't contain the requirements of successful fiction. Making what you learn is a different concept, though. You may not be a homicide detective or an army ranger or a vampire or a starship captain or a queen marries handmaiden, but you can research these roles and so present credible realistic Characters. Most of us are comfortable in our real lives. A key to fiction writing is get out of the comfort zone. We shouldn't write about things we just live through unless you're in the French foreign Legion. ([Time 0:03:28](https://share.snipd.com/snip/466bf5c2-206d-44a4-ac94-de4fef0e34de)) - The Importance of Big and Bold Plots in Writing Key takeaways: - Everyday occurrences are not entertaining and should be avoided in plot development. - Successful plots are big and bold, with elements such as fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love, and miracles. - The old razzle-dazzle is what hooks readers. - Not all plots need flamethrowers and aliens, but they should be more than a regurgitation of everyday life. Transcript: Speaker 1 In our plotting, red flags should go off. If we write about a long and loving conversation between mother and her daughter or uncle led down the basement, putting his lures into the fishing box, or five characters sitting around The dining room table chatting and eating, Mrs. Smith teaching penmanship to her second graders, or similar everyday occurrences. Why? Because they're everyday occurrences. They are not entertainment. In the movie, the Princess Bride, Grandpa, who's played by Peter Falk, is trying to get his grandson to let him read a book to him. The kid who's played by Fred Savage would rather watch TV. Books are way too old school. The boy asks about the book. Has it got any sports? Grandpa says, are you kidding? Fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love, miracles. The boy Relents and Grandpa begins to read. Grandpa understands what hooks readers. It's the old razzle-dazzle. I'm not suggesting that all plots need flamethrowers and aliens. But successful plots are big and bold. They're just not a regurgitation of the life we're living. Well, here's my cat, Jack, jumping onto my desk, ([Time 0:05:36](https://share.snipd.com/snip/6988a66c-8e6d-40d7-9da0-55b4e2440de4)) - The Elements of a Pitch Key takeaways: - Publishers want a plot, not just an idea. - Being able to summarize your story in one or two sentences is crucial. - A pitch should include the setting, protagonist, problem, and market position of the novel. - Even long novels can be condensed into a single sentence summary. Transcript: Speaker 1 Publishers don't want an idea. They want a plot. Novelist Gerald Petovich says, if you can't tell yourself what your story is in one or two sentences, you're already running into trouble. A story has certain elements and if your pitch doesn't have those elements, you don't yet have a story. Petovich adds, as complex as your novel might turn out to be, it's essential you be able to state clearly what your basic story is and where it's going. What are the elements of a pitch? Literary agent Donald Moss sets them out. One, where is your story set? Two, who is your hero or heroine? Three, what is the main problem they must overcome? Four, where do you think this novel fits in the marketplace? Your one or two sentence pitch should have a sense of direction and accomplishment. All novels, even large ones, can be reduced to one sentence. Here's a pitch for Exodus by Leon Erus. ([Time 0:08:52](https://share.snipd.com/snip/1aa29076-69ed-4395-96e7-d85dce9727f4)) - The Importance of Conflict in a Novel Key takeaways: - Without conflict, no plot can be interesting. - Conflict is essential for a novel to have a plot. - Conflict drives and unites the scenes in a novel. - Conflict is necessary even in comedic and romantic novels. - Every successful novel, regardless of genre, revolves around conflict. Transcript: Speaker 1 David Morel puts it bluntly, quote, without conflict, no plot can be interesting. Without conflict, you don't have a plot. This is a hard lesson for a lot of us. We try to avoid conflict in our daily lives, but a novel isn't a daily life. Conflict in a novel, novelist Albert Zuckerman says, must be, quote, the main issue that drives and unites its myriad scenes. And it doesn't matter what genre you write in, even comedy. Yes, the core of even a comedic novel is conflict. The creator of Garfield, Jim Davis, says, in order to have humor, you have to have conflict. If everybody agreed, if they all got along, there'd be no humor whatsoever. It's the same with romance. Cherise Calhoun of the Romance writer says, the conflict is the struggle to make your love work. Here's the key. Every successful novel in every genre is about ([Time 0:11:33](https://share.snipd.com/snip/83f5976a-fdae-40c3-ba05-2f6b54609dc6)) - The Importance of Conflict in Successful Novels Key takeaways: - All successful novels could be subtitled 'the record of a prolonged struggle' - The core of a proposed novel should be conflict - Telling the protagonist 'no' creates conflict in a story - Conflict should be added at various points in the plot of a novel Transcript: Speaker 1 Isn't that a sharp and true observation? All successful novels could be subtitled, quote, the record of a prolonged struggle. I made a list. Moby Dick, the record of a prolonged struggle. Gone with the wind, the record of a prolonged struggle. The godfather, the record of a prolonged struggle. Lord of the Rings, the record of a prolonged struggle. Nancy Drew and the Secret of the Old Clock, a record of a prolonged struggle. Peter Rabbit, the record of a prolonged struggle. If the core of our proposed novel isn't conflict, then we need to rework it entirely or come up with another idea. So what's an easy way to create conflict? Tell your protagonist, no. No, she can't have her freedom. No, he can't have the treasure he's searching for. When you say yes to your character, there's no conflict. A dozen times in a good novel, the writer should tell the protagonist, no. As we plot our novel, when should we add conflict? ([Time 0:15:38](https://share.snipd.com/snip/ccc32ce0-083f-46f6-bc7b-d04ef6e18e2c)) - The Importance of Conflict in Successful Novels Key takeaways: - All successful novels are the record of a prolonged struggle. - Conflict is essential in a novel, and if it is absent, the story needs revision or a new idea. - Creating conflict can be as simple as telling the protagonist 'no'. - Adding conflict early in the novel is crucial, as it is a common mistake for writers to delay the main conflict. - Failing to establish the main conflict quickly is the primary reason for rejection of manuscript submissions. Transcript: Speaker 1 All successful novels could be subtitled, quote, the record of a prolonged struggle. I made a list. Moby Dick, the record of a prolonged struggle. Gone with the wind, the record of a prolonged struggle. The godfather, the record of a prolonged struggle. Lord of the Rings, the record of a prolonged struggle. Nancy Drew and the Secret of the Old Clock, a record of a prolonged struggle. Peter Rabbit, the record of a prolonged struggle. If the core of our proposed novel isn't conflict, then we need to rework it entirely or come up with another idea. So what's an easy way to create conflict? Tell your protagonist, no. No, she can't have her freedom. No, he can't have the treasure he's searching for. When you say yes to your character, there's no conflict. A dozen times in a good novel, the writer should tell the protagonist, no. As we plot our novel, when should we add conflict? Literary agent Donald Moss has written, the number one mistake I see in manuscript submissions is a failure to put the main conflict in place quickly enough. In fact, it's the primary reason I reject over 90% of the material I receive. Why do so many writers fail on this point? It's such a simple flaw to fix. ([Time 0:15:44](https://share.snipd.com/snip/494200eb-4ead-4963-aecd-0845aadc334e)) - All successful novels could be subtitled, "the record of a prolonged struggle." Key takeaways: - All successful novels could be subtitled as the record of a prolonged struggle. - Conflict is the core of a successful novel. - Creating conflict can be achieved by telling the protagonist 'no'. - The main conflict in a novel should be introduced quickly. - Consider putting conflict in the first paragraph of the novel. Transcript: Speaker 1 All successful novels could be subtitled, quote, the record of a prolonged struggle. I made a list. Moby Dick, the record of a prolonged struggle. Gone with the wind, the record of a prolonged struggle. The godfather, the record of a prolonged struggle. Lord of the Rings, the record of a prolonged struggle. Nancy Drew and the Secret of the Old Clock, a record of a prolonged struggle. Peter Rabbit, the record of a prolonged struggle. If the core of our proposed novel isn't conflict, then we need to rework it entirely or come up with another idea. So what's an easy way to create conflict? Tell your protagonist, no. No, she can't have her freedom. No, he can't have the treasure he's searching for. When you say yes to your character, there's no conflict. A dozen times in a good novel, the writer should tell the protagonist, no. As we plot our novel, when should we add conflict? Literary agent Donald Moss has written, the number one mistake I see in manuscript submissions is a failure to put the main conflict in place quickly enough. In fact, it's the primary reason I reject over 90% of the material I receive. Why do so many writers fail on this point? It's such a simple flaw to fix. That's Donald Moss. So where should conflict first appear in your novel? Consider putting it in the first paragraph. Here's an example. Here are the first two sentences from Mario Pusil's fabulous novel, A Godfather. ([Time 0:15:44](https://share.snipd.com/snip/d0b7d890-4196-4905-97d7-52219754c483)) - Scarlett O'Hara Key takeaways: - Fiction is all about trouble and conflict. - Novelists should raise the stakes and increase the conflicts in their writing. - Good writing is about piling on the miseries and creating high stakes. - Novels should not be about the ordinary, but rather a once in a lifetime risk. - The situation in the plot should constantly get worse to maintain reader interest. Transcript: Speaker 1 Boy, that's wonderful writing. The conflict is in place straight away. It's a good rule to raise the stakes. What is fiction about novelist Richard Boush says, fiction is all about trouble the more the better. What's better than conflict? More conflict, more trouble, more roadblocks and dangers, higher cliffs and deadlier diseases, more cunning enemies. Lawrence Block says, pile on the miseries. Good teachers of writing use the catchphrase stakes. Raise the stakes, increase the stakes, high stakes. Another phrase is upping the ante. A corollary of our technique that our novel should not be about the ordinary is that it really should not be about the ordinary. It should be most often about a once in a lifetime risk. If the situation in our plot is only bad it should be worse. ([Time 0:19:19](https://share.snipd.com/snip/2c88a4b4-4bc3-4ea7-bc15-29de49aa0789)) - David Copperfield and Aunt Betsy: A Challenging Meeting Key takeaways: - David Copperfield presents himself to his only living relative and last recourse, Aunt Betsy, who immediately tells him to go away. - Aunt Betsy has hated David Copperfield since his birth. - David Copperfield's appearance is described as being covered in chalk and dust. - The characters Scarlett O'Hara and David Copperfield are compared to Lewis and Clark, as they encounter one challenge after another. Transcript: Speaker 1 My hair had known no comb or brush since I left London. From head to foot I was powdered almost as white with chalk and dust as if I'd come out of a lime kiln. This is Charles Dickens. In this condition David Copperfield presents himself to his only living relative and his last recourse, Aunt Betsy, a woman who has hated him since his birth. His Dickens done with this poor boy, Aunt Betsy's first words to him are, go away. How are Scarlett O'Hara and David Copperfield like Lewis and Clark? They climb one rugged mountain to stand on the peak only to see another higher mountain further west. ([Time 0:23:54](https://share.snipd.com/snip/9b0c0744-dbb2-4d09-b888-9856279a3bb5)) ## New highlights added October 23, 2023 at 9:02 AM - Episode AI notes 1. All successful novels are characterized by conflict and struggle. Conflict is essential in creating an engaging story, regardless of genre. 2. To create successful fiction, writers must step out of their comfort zones and provide razzle-dazzle entertainment that takes readers on an extraordinary journey. 3. Publishers prioritize plots over ideas. A pitch should clearly state the basic story, including the setting, protagonist, problem, and market position of the novel. 4. The main conflict in a novel should be established early on, preferably in the first paragraph. Delaying the conflict can lead to high rejection rates. 5. Novelists should constantly raise the stakes and increase the conflicts in their writing. The situation in the plot should get progressively worse to maintain reader interest. ([Time 0:00:00](https://share.snipd.com/episode-takeaways/033f7355-402d-4443-902b-852cde3c2096))