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When I decided to move from non-fiction into fiction, I was still under the impression that great works flowed fully formed from an author's head to a perfect story on the page.
I've learned a lot since then, but one of the first lessons was about story architecture and especially how a scene works. That moment was almost life-changing, the penny dropped and I was able to move into fiction with more confidence.
In today's guest post, Stuart Horwitz, author of “Blueprint Your Bestseller: Organize and Revise any Manuscript with the Book Architecture Method” explains more about how story architecture works.
I came up with the term “Book Architecture” when I became tired of being called a book doctor. That whole image was so sleazy, conjuring up black bags filled with likely-illegal syringes and jars of snake oil.
As an independent editor, I don’t have a magic pill for someone’s work. But I do think we can look at structure in a different way, and not be afraid of it like it is a microscope which will reveal only imperfections. I think we can meet structure halfway, as partners maybe, let form take content out on the dance floor.
Book Architecture asks us to lay the foundation for what we are writing as we go, not to try to impose a structure at the end. In order to do that, there are seven things I think it is worthwhile to bear in mind.
(1) Know what draft you’re in.
If you’re in the first draft, recognize that you won’t be able to simultaneously create and evaluate the worth of what you are creating. If you’re in the second draft, remember what you’re looking out to fix, but also what isn’t broken. If you’re in the third draft, we’re talking commando raid, get in and get out. In all cases: keep it moving.
(2) Repetition and variation form the core of narrative.
If a character, a place, or an object only appears once, we can’t track it or assign it any meaning. When these elements reappear, and change, then we can get excited and follow a chain of events up or down emotionally. I call that a series.
(3) Cut up all your scenes.
During the revision process it is important at one stage to take your manuscript and cut it up completely. Each scene needs to be able to stand on its own. This is the best way to determine what belongs to the draft moving forward and what hits the cutting room floor.
(4) Limitation is the key to revision.
If you can live without a scene, there is no way to justify bringing it through successive drafts and eventually to a reader’s attention. People don’t like to be limited in general, but limitation is the key to revision. And nothing limits your action, your cast characters, your proliferation of fabulous philosophic ideals, or your page count better than a good theme.
(5) Your book can only be about one thing.
We call that your theme. And beyond your book only being about one thing, you have to believe in the validity of that one thing. Enough to wrestle with it over many drafts until the victor is finally declared, and the victor is you.
(6) When the questions are answered, the play is over.
Not every chain of events or character arc needs to be present at the beginning. Stagger the introduction of new elements of interest, and always have an unanswered question on the table.
(7) You can’t go through life writing the same book the whole time.
This one is kind of self-explanatory; devise a suitable structure for your work, pour your heart into it and polish it up. Then let it go.
Do you have any questions about book architecture? Please do leave them in the comments below.
Stuart Horwitz is the author of “Blueprint Your Bestseller: Organize and Revise any Manuscript with the Book Architecture Method” now out from Penguin/Perigee.
He is the founder and principal of Book Architecture, http://bookarchitecture.com, a firm of independent editors based in Providence and Boston. Check out the Blueprint Your Bestseller tour in a town near you, http://bookarchitecture.com/book, to experience literary theory and action figures simultaneously!
Top image: Flickr Creative Commons by Stuck in Customs
Thanks, this is some really helpful stuff. Great advice, simple and sweet.
I really enjoyed this post. First drafts just pour out for me then editing comes, but its hard to know when you have taken it to the limit of how good it can be. This book seems to have the answer to that. In fact this little post puts things in a way that gives me at least some new insights into that issue.
Thanks Joanna. I shall order Stewart’s book.
Great news, Alyne! Do you want to know a secret? I actually left something (very small) wrong in my book on purpose. It’s true! I did it to actively fight the illusion that it would ever be perfect–when instead I would just have to settle for it being really, really good… Want to know what it was? 🙂
Stuart (& Joanna):
Thank you for this article. So spot-on. You’ve articulated some things that I’ve wrestled with articulating for myself and for the authors & entrepreneurs with whom I work.
* Book Architect. I want to steal that, but I won’t. It’s precisely what I do and love to do. To extend the metaphor, sometimes the difference between true rewriting and re-visioning vs tinkering is the willingness to tear down walls and build rooms again from the foundation.
* Experience Architect is what I have been calling a key role for authors (and entrepreneurs) to learn to finesse. Draft to discover. Craft to design. Your tips build on this. Thank you! (Just produced a video on this.)
* #s 4 and 5 seem crucial. I work with something I call a Singular Elegant Idea. “Your book can only be about one thing.” This is it. (My agent: “You seem to be wanting to write the encyclopedia of wonder. Uh, could you focus on one thing?” Me: “Uh, yeah. Give me a few years.” 🙂
Excited to find your work.
Just ordered your book.
Cheers,
Jeffrey