By Victoria Mixon
Books break the shackles of time.—Carl Sagan
Last week I did a post on 5 Ways to Make Your Novel Unforgettable. That was basically all about the CLIMAX, which many people astutely figured out.
But before your reader gets to the part that’s unforgettable, you have to make them turn all 250 other pages. All of them. And guess what? Two hundred and fifty are a whole lot of pages to turn. You don’t want your reader to do it half-heartedly, either. You don’t want to write a “pity-page-turner.” You want full-contact addiction.
You know what’s the best kind of book to write? The kind that gets little rips in the bottoms of the pages from readers turning the pages too fast.
On every single page:
- Make something exciting happen.
Not just anything—no tooth-brushing, people—but something really unexpected but fascinating. Plot twists!
You know what nobody wants to read? A novel about people being boring. Maybe a big figure in New York publishing can write a novel in which the entire first chapter is taken up by a boring character failing to do anything about being boring. And maybe they will even be awarded a Pulitzer Prize for it. But you are not best friends with the New York City cocktail crowd, so you’re not going to win any Tavern-on-the-Green popularity contests.
You’re going to have to write a novel that’s actually thrilling and entertaining in order to get attention. A novel your reader is not going to have to force themself to read just so they can form an opinion on it because, I don’t know, it’s their job or something. A novel your reader reads because they can’t help themself. And because they can’t help calling up everyone they know and bending the ear of everyone they don’t know about how those guys simply won’t be able to help themselves either.
A novel that’s helplessly addictive.
- Give one of your main characters something brilliant, insightful, hilarious, heart-breaking, or completely baffling to say or do or see happening.
Does it take you five pages to get through a transition scene, just characters sitting around the kitchen table drinking coffee and trading meaningless banter until Jeb comes back from the barn? Do your characters have a tendency to say, “Hi! How was it?” “Fine. How was yours?” and exchange lots of information about their kids that has nothing to do with your plot? Do their arguments about side issues tend to go on for-freaking-ever?
Something needs to happen on every page to make your reader’s eyes open wider. She said what? He did what? There was a what? What came through the door?
Weave in a new subplot thread (this is what subplots are for—to give you material to keep surprising your reader), mention a significant detail, write a fabulous line of dialog, give someone an exciting action, or introduce a fascinating technical subject. John D. MacDonald teaches the reader how to live on a boat off the Florida coast. Dorothy Gilman teaches random retirement-age New Jersey housewife expertise adapted for espionage. John Gardner teaches cocktail party shenanigans of ancient Greece.
Then subtly shape the page around that eye-opener.
- Give your other main character a completely unexpected response.
And just when your reader thinks they know what you’re driving at, throw them off-balance by linking it back to the interaction of the characters.
He said what in response? She took it how? The what caused what to happen?
It’s not just that Travis McGee knows how to fix a broken sump-pump and gets himself heck of filthy doing it for a friend. It’s that his friend’s face is grey with fear when he comes in to check on McGee’s progress. It’s not just that Mrs. Pollifax knows what can be accomplished with a bobby pin and a seriously rebellious attitude. It’s that, even though she succeeds, the people she needs to escape come back early. It’s not just that Agathon gets drunk and plays hanky-panky with the wrong political opponent’s wife. It’s that when he does he discovers she’s got a secret agenda.
Every choice, on every single page, turns out differently from what you’ve lead your reader to believe. Surprise!
- Give your reader an experience they don’t want to forget.
This is why exotic thrillers are so popular, so some really incredibly lame authors continue to make huge money with impossibly limp stories. Experiences.
If you happen to know a lot about living someplace other than where your target audience lives, that’s wonderful. Do your research and organize your notes. Meet lots of interesting people and watch them carefully to learn what makes them tick. Then on every page, make it detailed. Make it authentic. Make it real.
But if you happen to live pretty much exactly the same life as your reader, that’s still wonderful. Think long and hard about what it’s like to live that way. Go around taking lots of notes about it. Interview your friends about what it’s like for them. Stay up late at night drawing unexpected links between your experience of it and your friends’ experiences, links you’ve never seen before, links nobody but you could ever notice.
Then on every page, make it detailed. Make it unexpected. Make it authentic. Make it different from what your reader thinks it is.
Every single page: make it real.
- End the page with something to make your reader curious.
Now, you ought to notice something about these ways to make your novel addictive: it’s a whole lot to pack into a single page. Why, if you did all this on every single page, you’d never have room for anything else! None of the other stuff you’ve written, none of the extra description, the unimportant actions, the insignificant dialog, the explanatory exposition, the filler. . .
Yep, there it is. The lightbulb.
And you ought to notice something else about all this, too: each one of these ways either pushes the reader away (what just happened? why would that character react like that?), or pulls the reader in (that’s amazing that character did that! I love this experience!).
However, at the bottom of the page you don’t want your reader satiated, satisfied, sighing with fulfillment. No, you certainly do not. That all goes on the very last page. After satiation, you know. . .you’re done.
For every single page leading up to that last one, you need your reader desperate to satisfy their curiosity.
Where is all this heading? What are these characters all about? Why does the weaving in-&-out of the subplot threads feel so threatening, so promising, so intriguing, so inevitable? Push-pull. Push-pull. What’s your POINT?
That curiosity is why they simply can’t stop themself turning the page.
A. VICTORIA MIXON, FREELANCE INDEPENDENT EDITOR
VICTORIA’S ADVICE COLUMN
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, tragic and 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 her three sci-fi/fantasy series based on her dual careers in anthropology and technology. I worked with Green to develop a new speculative fiction series. Read more. . .
DARREN D. BEYER is an ex-NASA experiment engineer who worked on every Space Shuttle orbiter but Challenger. In Casimir Bridge, the first novel of his debut sci-fi series, Beyer uses every bit of his scientific expertise to create a galaxy in which "space bridges" allow interstellar travel based upon the latest in real theoretical physics. 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. . .
LISA MERCADO-FERNANDEZ writes literary novels of love, loss, and friendship set in the small coastal towns of New England. I edited Mercado-Fernandez' debut novel The Shoebox and second novel The Eighth Summer. 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, which agents had told him to throw away. Read more. . .
In addition, I work with scores of aspiring writers in their apprenticeship to this wonderful literary art and craft.
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