>How to write a novel: part 1

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The greatest novels in the world didn’t happen overnight. They were born through months and often years of committed work. Learning the craft of fiction writing is very different from learning the craft of nonfiction writing and people seem to have their natural strength in one or the other. When I was in college, I butted heads with my English instructors a lot because I was trained as a fiction writer and nonfiction writers tend to look down their noses at us sometimes. It doesn’t matter. The English language is a living, breathing thing that constantly changes and evolves with history. It isn’t just the language that makes a novel great, however. Jane Austen probably would not be published today just like JK Rowling would not have been published in the nineteenth century due to the differences in the evolution of the craft.

When people come to me asking about how to begin a novel, I tell them that they need to ask and answer this question first: “What is the point of this novel?” All great novels teach a central lesson to the reader through storytelling. You need to be able to decide what lesson you want to teach before you build any characters, write any outlines, or commit a word to the page. If you can’t tell yourself what the point, the lesson of your novel is, then you haven’t gotten to a place where you can write it.

After you’ve decided what point you want to make and a basic idea of how you want to make it, the next step is to become comfortable with the structure of a novel.

Despite the differences in language styles, the basic structures of novels have not changed very much in the last few hundred years. It’s not unlike the structure of a play but far more subtle. Take a look at this diagram that shows the structure of a novel from beginning to end. I believe this is the most important thing a new author can learn about writing a novel because it’s like a map that guides them toward tying up all loose ends. The biggest issue people have with poorly written novels is that they lack structure and not every loose end gets tied by the last page. A reader should be left wanting more but not bewildered. There is a big difference.

Here we clearly see the three acts of a novel and roughly how much space they require in the total length. The introduction and climax/resolution sections should only make up about 50% of the novel, while the rising action and buildup of tension should take up the other 50% on its own. In other words: Act I – 25%. Act II – 50%. Act III – 25%.

Let’s discuss each Act in detail.

Act I
Introduction and Setup 

The beginning 25% of your novel should totally set the stage and give your reader an clear picture of where things will go without giving away the twists or the ending. Describe the setting within the narrative. Give the reader a picture of the main characters’ personalities but don’t introduce too many characters at once. Give the reader a little time to get used to being inside the main character’s world.

Plot Point 1 should be introduced by the end of Act I. “Plot Point 1 is a situation that drives the main character from their ‘normal’ life toward some different conflicting situation that the story is about. Great stories often begin at Plot Point 1, thrusting the main character right into the thick of things, but they never really leave out Act 1, instead filling it in with back story along the way.”*

Act II
Rising Action and Tension
This is the longest and most significant section of the novel. It’s also the hardest to write because if it doesn’t strike a balance between pacing, action and tension, the reader will loose interest and stop reading the novel. Think of Act II as a mini novel within the novel. This is where “…the story develops through a series of complications and obstacles, each leading to a mini crisis. Though each of these crises are temporarily resolved, the story leads inevitably to an ultimate crisis—the Climax. As the story progresses, there is a rising and falling of tension with each crisis, but an overall rising tension as we approach the Climax. The resolution of the Climax is Plot Point 2.”* Most authors go by the rule of three. Three acts and three mini crises that advance the story toward the climax. The climax is the point at which everything in the novel comes to a head, all secrets come out, life is shaken to the core, and all the characters must decide where to go from there.
Act III
Climax and Resolution
The climax should straddle the end of Act II and the beginning of Act III. In the final act, you must resolve the majority, if not all of your mini crises and side plots. Leaving things unresolved gives the reader a feeling of being lost and not truly grasping the point of your novel. All of the questions you asked in the beginning should be answered by the end. Don’t drag out the resolution either. Readers quickly lose interest after the climax, so wrap things up as fast as you can, yet still maintain your pacing.
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Next we will learn how to develop characters. After that, we will learn about character arcs within this structure of a novel.

*Source: http://www.musik-therapie.at/PederHill/Structure&Plot.htm

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>I’ll be on Darkness Radio on 4/19

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Shameless self-promotion.

I’m going to be on the radio tomorrow night again (4/19) at midnight EST with my research partner, Nellie Kampmann. It’s 100.3 FM News Talk in Minnesota/St. Paul. You can also listen live online for free at www.DarknessRadio.com which is the show I did.

I was interviewed for my expertise in reincarnation research, my partnered website with Nellie Kampmann in which we collect famous reincarnation cases, and my book, Unveiled: Fanny Chamberlain Reincarnated. If you miss it and you want to listen, I’ll tell you where to download the show on iTunes later. The show is archived and you will be able to download the episode on iTunes for free.

So y’all better listen!

This is a side by side comparison of Fanny Chamberlain and myself to whet your palette.

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>What does the Civil War mean to me?

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With the 150th anniversary of the beginning of the Civil War upon us, I have been thinking quite a lot about what the war means to me personally. The anniversary has me feeling quite strange, honestly. I have been experiencing a bit of a foggy sensation, and it has me quiet, reflective, sad and apprehensive all at the same time. The bombardment of Civil War programming on television and the release if the Robert Redford film, The Conspirator, this month is starting to trigger very old feelings again. I have worked for many years to put my issues with the war to rest and I thought I had basically been successful but the bombardment of triggers often opens old wounds. I’m speaking from the perspective of being reincarnated from the nineteenth century itself, of course. I have difficulty, even now, removing myself from the war and looking at it strictly from the point of view of a contemporary historian. If you remember anything firsthand about the war, you can’t shake it off. You just can’t. It becomes part of your soul.

What does the Civil War mean to me? Quite honestly, I’m struggling to answer this question. I feel like I need to sort it out though.

A big part of me feels guilty – whether it’s my leftover feelings from that time or my present self analyzing my past self – because I was not washed over with feelings of patriotism for defending my country. I believed in the Union and I was against slavery but I was not willing to risk my family to keep the Union together. The beginning of the war was marked by a lot of struggling on my part to keep Lawrence (Joshua Lawrence Chamberlain) at home where I knew he would be safe. In present times, I watch all those documentaries with newspapers and such depicting the country being caught up in huge sweeps of patriotism and the desire to make the South pay for their rebellion and I look at it with guilt because I was not one of those people. I was perfectly okay with other people going to war. I just wanted my family left out of it.

Of course, we all know I lost the battle to keep Lawrence out of the war. He was commissioned lieutenant colonel of the 20th Maine by Governor Washburn in the summer of 1862. I was not even informed of the commission. I knew he wanted to enlist but the way I found out about the commission was as shocking as it was painful. The newspapers had gotten hold of the story before Lawrence had a chance to tell me the final plans and that was the way I found out my husband was going to war – I read it in the newspaper. Naturally, my reaction was not sunshine and roses. Our marriage had been based on a meeting of minds and intellectual partnership as much as it was a romantic love match. I enjoyed an unusual equality with my husband in everything except his career decisions, which was always a point of strain on our relationship. He had a habit of making decisions like that without including my input as much as I wanted and demanded of him. So, we fought. We fought quite a bit in his last days as a civilian. I had a terrible, sinking feeling that he was going to be killed and orphan his family. My anger toward him came from paralyzing fear.

Before he left, though, I adopted the attitude of I don’t like it but I need to support him anyway. If he was killed, I could never live with myself if his last thoughts were of causing me disappointment, anger, tears, etc. I tried to become an exemplary officer’s wife. I sewed the gold fringe on the regimental colors (a replica is pictured at right), I got to know some of the other army wives in Brunswick, and I steeled myself for raising two small children without their father. None of us knew how long the war would last. When it began, everybody thought it would be a 90 day war and by the time Lawrence got his commission, the war was already a year old. I can’t say for sure what “historical Fanny” felt, meaning I haven’t seen any documentation, but looking back on it, I felt it was going to be a long, bloody war but I never said so out loud.

During the war, it is well documented that I traveled to see Lawrence in the army camps or to care for him in military hospitals when he was ill or wounded. Apparently I saw him a lot more than other army wives did and some people in my life privately thought I was neglecting my children. Perhaps I was but it wasn’t intentional. I loved my children and I wanted to try and keep their father with them. I lived the entire war in fear that some catastrophe was going to happen and I don’t think I fully exhaled from 1862 until 1865. I think my reasoning was as long as I was near him, I could somehow protect him from being hurt, or if he was hurt, I could exert some control over his recovery. As any wife in love with her husband felt in that situation, I missed him horribly when he wasn’t home. He missed me even more. He performed his duties better and he was more focused in the times around my visits. We were always better together than apart.

I don’t have much insight into what I felt for the men he commanded. Some officer’s wives became like mothers of the regiments while others had nothing to do with the other men. I think I was somewhere in between. I feel deep empathy and compassion for other soldiers, especially those he commanded, and the feeling exists in a deep place within me that I associate with my “old” emotions. I still experience motherly instincts toward them, particularly the ones who are stuck and unaware that they were killed in action. I spent enough time in military hospitals during the war that I certainly would have helped look after the wounded in between duties of looking after Lawrence. I would have seen men with horrible wounds, limbs severed, experienced the blood and gore, and I’m certain of this because I still have periodic nightmares about it. Those images burn themselves into your soul and you carry them with you in future lives. After Lawrence was shot in 1864, we were told he was going to die and I know I was trying to frame my mind around that when I went to his bedside because of the emotional memories around that time. He lingered for months when we were expecting his death in days. He got better, he got worse, he got better, and so on. The psychological torture of having hope taken away and given back repeatedly was often more than I could bear. Eventually he did recover but he was never the same and neither was I.

Today I make a point to visit battlefields whenever possible. There is an inane sense of responsibility that I feel toward the men and woman who endured the war. I suppose the word I would use to sum up the Civil War in my experience with it is sacrifice. We all sacrificed our lives even if we didn’t physically die. The Civil War was the collective death of antiquated society and the violent birth of modern society. It set the stage for struggles to come. In the way that we all divide time now between “before 9/11” and “after 9/11”, so too did we divide time back then between “before the war” and “after the war”. I believe we were all killed in a way because we were all different people after the war ended. Many relationships of survivors didn’t survive. My own marriage hung on by a thread for years because we both were so changed by the things we endured. There were a lot of times when I felt deep resentment toward the war for forcing me to sacrifice my life and my family and those feelings still linger a bit today. On the other side of the coin, I was and am immensely proud of Lawrence, the men under his command, and all others who had the gumption to fight for their beliefs and face the very real possibility of dying for those beliefs. The mixed feelings of resentment and pride were and are confusing and the root of why I struggle to answer the question of what the Civil War means to me.

In great deeds, something abides. On great fields, something stays. Forms change and pass; bodies disappear; but spirits linger, to consecrate ground for the vision-place of souls. And reverent men and women from afar, and generations that know us not and that we know not of, heart-drawn to see where and by whom great things were suffered and done for them, shall come to this deathless field, to ponder and dream; and lo! the shadow of a mighty presence shall wrap them in its bosom, and the power of the vision pass into their souls. This is the great reward of service. To live, far out and on, in the life of others; this is the mystery of the Christ,–to give life’s best for such high sake that it shall be found again unto life eternal.

– Joshua Lawrence Chamberlain

A painting of Joshua Lawrence Chamberlain as an old man surrounded by the ghosts of Little Round Top.
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