Victoria Mixon, Author & Editor Editing     Testimonials     Books     Advice     About     Contact       Copyright


MILLLICENT G. DILLON, represented by Harold Ober Associates, is the world’s expert on authors Jane and Paul Bowles. She has won five O. Henry Awards and been nominated for the PEN/Faulkner. I worked with Dillon on her memoir, The Absolute Elsewhere, in which she describes in luminous prose her private meeting with Albert Einstein to discuss the ethics of the atomic bomb. Read more. . .

SASHA TROYAN is a Professor of English at Montclair University and author of the critically-acclaimed novels Angels in the Morning and The Forgotten Island, both Booksense Selections, beautiful stories based upon her childhood in France. I worked with Troyan to develop her new novels, Marriage A Trois and Semester. Read more. . .

LUCIA ORTH is the author of the debut novel, Baby Jesus Pawn Shop, which received critical acclaim from Publisher’s Weekly, NPR, Booklist, Library Journal and Small Press Reviews. I have edited a number of essays and articles for Orth. Read more. . .

BHAICHAND PATEL, retired after an illustrious career with the United Nations, is now a journalist based out of New Dehli and Bombay, an expert on Bollywood, and author of three non-fiction books published by Penguin. I edited Patel’s best-selling debut novel, Mothers, Lovers, and Other Strangers, published by Pan Macmillan. Read more. . .

SCOTT WILBANKS, represented by Barbara Poelle of the Irene Goodman Literary Agency, is the author of the debut novel, The Lemoncholy Life of Annie Aster, published by Sourcebooks in August, 2015. I’m working with Wilbanks on his sophomore novel, Easy Pickens, the story of the world’s only medically-diagnosed case of chronic naiveté. Read more. . .

SCOTT WARRENDER is a professional musician and Annie Award-nominated lyricist specializing in musical theater. I work with Warrender regularly on his short stories and debut novel, Putaway. Read more. . .

M. TERRY GREEN enjoys a successful self-publishing career with multiple sci-fi/fantasy series set in the Multiverse, based upon her expertise in anthropology and technology. I worked with Green to develop a new speculative fiction series. Read more. . .

ANIA VESENNY, represented by Beverly Slopen Literary Agency, is a recipient of the Evelyn Sullivan Gilbertson Award for Emerging Artist in Literature and has been nominated for the Pushcart Prize. I edited Vesenny’s debut novel, Swearing in Russian at the Northern Lights, and her second novel, Sandara. Read more. . .

STUART WAKEFIELD is the #1 Kindle Best Selling author of Body of Water, the first novel in his Orcadian Trilogy. Body of Water was 1 of 10 books long-listed for the Polari First Book Prize. I edited Wakefield’s second novel, Memory of Water, and look forward to editing the final novel of his Orcadian Trilogy, Spirit of Water. Read more. . .

GERALDINE EVANS is a best-selling British author. Her historical novel, Reluctant Queen, is a Category No 1 Best Seller on Amazon UK. I edited Death Dues, #11 in Evans’ fifteen popular Rafferty and Llewellyn cozy police procedurals, which received a glowing review from the Midwest Book Review. Read more. . .

JUDY LEE DUNN is an award-winning marketing blogger. I am working with Dunn to develop and line edit her memoir of reconciling liberal activism with her emotional difficulty accepting the lesbianism of her beloved daughter, Tonight Show comedienne Kellye Rowland. Read more. . .

JEFF RUSSELL is the author of the debut novel, The Rules of Love and Law, based upon Jeff’s abiding passions for legal history and justice. Read more. . .

LEN JOY is the author of the debut novel, American Past Time. I worked with Len to develop his novel from its core: a short story about the self-destructive ambitions of a Minor League baseball star. Read more. . .

ALEX KENDZIORSKI is an American physician working in South Africa on community health education and wildlife conservation. I edited Kendziorski’s debut novel Wait a Season for Their Names about the endangered African painted wolf, for which he is donating the profits to wildlife conservation. Read more. . .

ALEXANDRA GODFREY blogs for the New England Journal of Medicine. I work with Godfrey on her short fiction and narrative nonfiction, including a profile of the doctor who helped save her son’s life, “Mending Broken Hearts.” Read more. . .

In addition, I work with scores of aspiring writers in their apprenticeship to this wonderful literary art and craft.

  • By Victoria Mixon

    Only the invisible bears us up; we speak together in the shocking darkness, each carrying the other somehow, unseen.—Derek Raymond

    Here’s the thing about storytelling, folks: it has to have a purpose. Why are you telling this story? I mean, what’s your point?

    If your point is that writing fiction is one heck of a fun and entertaining way to spend your leisure time, then I say, “Good for you.” Have yourself a field day. You’re enjoying your life! That’s what it’s there for.

    However, if your point is that you expect to sell this story and make money off other people reading it, then I say, “Know thy audience.” Thy audience is not entertained by watching you hang out at your desk laughing hysterically at your own in-jokes. They are not moved to weep when you get all blue inside. They are not cast off the rainbow into epiphany by you leaping to your feet yelling, “Eureka!” They’re still sitting there stolidly waiting for it to matter to them.

    And if you can’t give them that. . .well, don’t be holding your hand out waiting for the cash registers to start ringing.

    There is only one purpose to storytelling, and that is to get to the CLIMAX. So if your novel’s CLIMAX is boring, redundant, more trouble than it’s worth—forgettable—then you have a problem that no amount of marketing hype can overcome.

    1. Resonance

    2. This is the simplest technique ever, but aspiring writers rarely know about it. Resonance is that wonderful reverberating feeling inside the reader that makes their whole body feel like it’s been gong’d. Gonging a reader is putting them between two large brass gongs and giving it a hearty whangngngng. Great novels always have resonance. The reader reels back in their chair at the end shrieking, “That was toooooooo fabulous!” Then they’re desperate to read it again. Or, better yet, to read the very next thing this author writes.

      You create resonance by putting a subtle but clear clue to your CLIMAX somewhere near the very beginning, then spending the rest of the novel drawing the reader’s attention away from it. This is why mystery writers have to put the culprit in the first 1/4-1/3 of the novel.

      The simplest technique ever.

    3. Fuses

    4. This is the part pantsers love doing but rarely know they have to follow up on. You know what we call fuses that aren’t followed up on? Loose threads.

      When you pants loose threads without knowing they’re supposed to be fuses, you get to the end of your novel. . .and it doesn’t end in all the fuses coming together to make an almighty explosion, but in you, personally, getting bored. Sadly, the writer is the last person who ever gets bored. Guess what that means? That’s right. All your readers have already died of boredom and turned up their toes long, long before you finally meandered into your ad-hoc, how-can-I-get-out-of-this? WTF-ever ending.

      That’s not a CLIMAX. That’s just a fizzle.

      Go ahead and amuse yourself to the eyeballs with the fruitful, verdant abundance of your random imagination. Lots of fuses! Boy, howdy!

      Then spend some lengthy, intense, brain-breaking hours figuring out exactly how all those wild ideas can come together in the most thrilling, wonderful CLIMAX ever, the reason your legions of future fans are going to love this novel and read it again and again and again.

    5. Logic

    6. You all know about cause-&-effect, right? Because you’ve been listening to me rant about it for ages, on this blog, on my advice column, and in my books?

      Readers do not read for the honor of watching you sit around all your days scratching and drinking coffee (as fascinating as that might be). No. They read for logic. Their minds are steel traps. IF a character were to have this personality, AND they were to find themself in that impossible predicament, THEN how would they cope?

      Every single event you put into your story must be tied inextricably to the other scenes. What’s your CLIMAX? And what caused that? And what caused that? And what caused that? And what caused that? And what caused that?

      You know the old E.L. Doctorow saw about writing a novel being like driving a car at night where all you can see is whatever’s within reach of your headlights? That’s actually backward. Writing a novel is like backing a car up at night where all you can see is whatever’s within reach of your taillights.

    7. Surprise

    8. Readers stop reading when they stop being addicted to your story. When it stops surprising them. When their curiosity dies.

      “What’s that? Something just fell out of me onto the floor. Oh. My curiosity. DEAD.”

      Not only must every single page inspire your reader’s curiosity anew, keep it fat & healthy, thrill it with unending surprises, keep your reader helplessly addicted to you and your story. . .your whole reason for telling this story had darn well better be the most surprising, curiosity-inspiring, addictive part of the whole thing.

      “How’d that author DO that?” You want them desperate to keep reading your novels to find out, “What kind of magic are you WORKING here?”

    9. Inevitability

    10. At the same time that your CLIMAX must be surprising it must also be inevitable. Deus ex machina is cheating. And readers with minds like steel traps hate cheaters. Do you want your readers to hate you? No, you do not. Not if you want their money you sure don’t. But how do you make your novel’s CLIMAX both surprising and inevitable? Both unexpected and familiar? Both shocking and ringing impossibly true?


      All three parts of the braid working together: Resonance. Fuses. Impeccable, inescapable cause-&-effect Logic.

      Lock it in.

    And when you’ve got all three aspects of the novel locked in (HOOK, DEVELOPMENT, and CLIMAX), remember to stick those 4 Essential Post-Its up over your writing desk.


    I might have this tattooed on my forearm. The entire post.Jessica



    “The freshest and most relevant
    advice you’ll find.”

    —Helen Gallagher, Seattle Post-Intelligencer

    The Art & Craft of Writing Fiction

    The Art & Craft of Writing Stories




39 Responses to “5 Ways to Make Your Novel Unforgettable”

  1. This was such a great post. Its important for me to make sure I’m hitting all the hot buttons for the reader. Thanks for hitting the important points with such clear descriptions. My WIP thanks you!

    Edge of Your Seat Romance

  2. Oh, Raquel, I hope your WIP feels itself bursting into fully-realized life. There is so much buried in these stories that live inside us.

  3. Great post! I think these hot buttons are so often neglected by authors. As a book blogger, I run into so many books I LOVED LOVED LOVED right up until the author dropped the ball on one of these! As a writer, when someone reminds me of these things (as you have so eloquently done) it’s more of a *headdesk* reaction, but that’s a different issue! =) Thanks for this!

  4. So many times I”ve read posts about testing story arcs, tracing the threads, checking all those little balls have slots to fall into. Usually there will be comments afterwards from people who are appalled that anyone would do something so calculating to an art form. But unless, as you say, you’re writing only to please yourself (and nothing wrong if that’s what you truly want), structure is part of the art.

    Lustily expressed, as ever, Victoria.

  5. This is so great!!! Love it. 🙂 You always make everything sound so clear and simple!

  6. GREAT article! Couldn’t agree more with, “Here’s the thing about storytelling, folks: it has to have a purpose. Why are you telling this story? I mean, what’s your point?” So many stories tend to fit into the “So What?” bucket, meaning when you’re done reading one of them you’re left not sure of not only what you have gained from having read the story but what you were *meant* to take away from that story.

    Wonderful tips to help ensure that not only does the “So What” not happen, but that the journey to discovering it is thoroughly enjoyed by the reader!

  7. What fantastic advice! It sounds so simple when you write it out like this – if only it was something we writers could master that easily. I particularly like your advice about inspiring the reader’s curiosity anew on every single page. Will definitely be concentrating these points as I revise my manuscript.

  8. Great post! The Resonance one really “resonated” with me (yes, haha, not funny). Seriously, though — I understand the concept of resonance and I can point at the books on my shelves that achieve it. All the same, I never knew how I could achieve it, but you’re right! It’s simple, and something I will apply to my novels from now on. Thanks for sharing this info!

  9. Doh!!!

    Why didn’t I read this before I sent you my manuscript?


  10. In my WIP I am almost to the point of the climax. Your points will help me crank up the heat to write what I’ve been wrestling with and wanting to take the chicken’s easy way out. In an effort to stay clear of the “So What” bucket, I will bookmark this post keeping it close at hand to guide me as the words spill out on the page. Thanks!

  11. Maggie, isn’t it awful to follow all those fuses on the edge of your seat only to discover. . .they’re just loose threads, after all? This is why using them properly sets your novel apart from the rest. And it seems so simple when you realize what’s really going on.

  12. Absolutely, Roz—“checking all those little balls have slots to fall into.” That’s such a great way to put it. It can be so hard for soapbox pantsers to understand it’s not an either/or question. You need both pantsing and plotting, both creativity and logic, both flesh and skeleton. Otherwise all you wind up with a Ray Bradburyish puddle on the floor.

    And if you’re only in it for one half of the game. . .well, have fun, people, but don’t think only playing one half of the game is going to make you money. Readers are simply more demanding than that.

  13. Thank you, Michelle! It’s such a wonderful, profound, complex art. Anything that can show writers how it all fits together makes it just that much more valuable to everyone. And it DOES all fit together. That’s what’s so addictive about it.

  14. Yes, Chick Lit Stories—it’s the “So What” bucket. That’s a wonderful term! That bucket’s like a compost bucket these days, so full of contemporary published fiction and yet so important to avoid.

    And it’s true: the whole point is the reader’s journey. That’s what they pay for because that’s what they love.

  15. Rachael, that idea about “curiosity” is a direct result of Donald Maass’s idea of “tension on every page.” It makes so much sense when you realize he means, “Your reader had damn well better have a good reason to turn the page. . .or they won’t.”

    It does sound kind of self-explanatory when you think about it, doesn’t it?

  16. Actually, Susan, that is funny! And one of the best exercises a writer can do is look in every one of those great resonant novels on their shelves and find the clue hidden in the HOOK.

  17. Oh, Kathryn. You have until Monday to send it again.

  18. D. Jordan—how fun! Yes, now is the time to spend some long, luxurious hours with your WIP going though the whole thing looking for burning fuses, subterranean threads, significant details before you design that CLIMAX. It’s one of my favorite parts of the whole process!

  19. I might have this tattooed on my forearm. The entire post.

    It will be a long and painful process… but well worth it.

    Thank you for this.

  20. […] A. Victoria Mixon, Editor » Blog Archive » 5 Ways to Make Your Novel Unforgettable "Here’s the thing about storytelling, folks: it has to have a purpose." (tags: authors writing novels) […]

  21. […] was over at Victoria Mixon’s blog this morning reading her post about making your novel unforgettable. The entire post is well done, but the thing that struck me most was this: […]

  22. Wow, coming from a pantser, that second part about fuses makes so much sense to me. I have a bad bad habit of doing so, and couldn’t figure out why my manuscript seemed so choppy. Great article Victoria.

  23. Love this. Totally posting it on my links so I can keep reminding myself of these things.

    PS: I’m reading a book right now, er, NOT reading a book that totally lacks #4. Bored out of my freaking mind. But I just keeping telling myself, this is how NOT to write a book. So…I’m learning something.

  24. It’s great to see this all laid out so clearly. How come so many writers don’t seem to get it? Maybe because even if you know it, it’s not to easy to do. Resonance is so vital but I think it comes from more than just planting a clue early on. I think it has a lot to do with what the main point of the novel is. Is it relevant to people, inspiring , moving, poignant etc? Is it worth saying?

    For me it has to be, either to write it ,or if its someone elses, to have it resonate with me.

  25. John Franklin said on

    “When you pants loose threads without knowing they’re supposed to be fuses, you get to the end of your novel.”

    You mean “When YOUR pants LOSE threads”. Hard to take writing advice seriously when I read typos like this. A little more proofreading please.

  26. Um, that’s “pants” as a verb, John. And “loose” as an adjective. I’m not even sure where pants losing their threads would fit into this piece. But, hey, thanks for the careful reading!

  27. Tahlia, writers don’t know about this stuff because it takes years and years and years of studying scores of novels to figure it all out. That’s why I bring it to you guys. It’s my gift to you!

    And, you’re right. None of it is easy to do. That’s why writers have a reputation for drink. 🙂

  28. Yes, Kerrie, the lack of surprise is a problem with a lot of contemporary novels, as the craft of shaping plot for epiphany continues to fall by the side of the road.

    I just spent the last three weeks explicating The Time Traveler’s Wife on the magazine around this issue because of the heavy-handed foreshadowing. Not only was it no surprise how the guy died, by the time he got around to it I was ready to kill himself.

  29. Isn’t it wonderful, Nevea, the thrill of coming up with fuses to lay! Then when you reach the point of writing your Climax, you realize just how rich the material is that you’ve created for yourself.

  30. […] Editing Your Novel? A Round-Up of Some Good Advice Also, 5 Ways to Make Your Novel Unforgettable. […]

  31. […] 5 Ways to Make Your Novel Unforgettable […]

  32. […] If you’re working on a novel, here’s an article that really popped out of the reading pile at me: “5 Ways to Make Your Novel Unforgettable.” It’s really five different elements of a single, very critical point. Hope you find the information of use: […]

  33. This is absolutely the most knowledgeable, sensible novel-writing advice I’ve ever read. I agree with Jessica – I believe I’ll have it tatooed on my arm too. 🙂

    Thanks so much for this Victoria!

  34. This post = life-changing. “What’s your CLIMAX? And what caused that? And what caused that? And what caused that?”

    I think you just taught me how to plot or something. Thank you!

  35. […] was over at Victoria Mixon’s blog this morning reading her post about making your novel unforgettable. The entire post is well done, but the thing that struck me most was this: […]

  36. […] It’s October again, which means we’re ramping up once again for NaNoWriMo with our first post on what you need to know as you design your new novel: 5 Ways to Make Your Novel Unforgettable […]

  37. […] 5 Ways to Make Your Novel Unforgettable — A. Victoria Mixon […]

  38. […] Struggling to create a novel that’s unputdownable? Check out Victoria Mixon’s blog post 5 Ways To Make Your Novel Unforgettable. […]

  39. […] given your novel an unforgettable CLIMAX. You’ve made every single page helplessly addictive. Now it’s time to learn 5 Ways to […]