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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.
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.
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
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1 2 3 Next »When I first talked with Stuart, writing was a hobby of mine. I had an idea - what I thought was a pretty well planned out idea - in my head for my memoir, a title, roughly 12,000 words written, and a good amount of self-doubt and skepticism. Stuart explained his book architecture method and I was hooked. Doctor or no doctor, Stuart was just what my doctor had ordered for me. Stuart’s method is simple to understand and follow (of course, you still have to do the hard work!). His method is sensible, logical, and proven to produce great – bestselling – books.
I had my first short story published in the Chicken Soup series with Stuart’s method and guidance. As for my memoir, the book architecture method helped me find the one thing my book is about. I’m writing the third draft (getting in and getting out) along with the book proposal to pitch to agents in April, looking forward to letting my memoir go, and getting started on my next book!
It's important to let any book you're working on go, Linda, and start the next one. I'm having to follow my own advice right now! The creative process (as I refer to in #7 above) can dry out if we try to force new energy into old receptacles. Revise, yes, definitely--then move on!
I immediately resonated with Stuart's method. And by method I mean his way around and through the terrain of my novel, RETURN OF THE HEROINE. It wasn't about creating a better sentence or cutting out superfluous adverbs. It was about seeing the whole and the parts and culling out a new relationship between them. Stuart was my book whisperer. He helped me to see the sculpture inside the stone so to speak. As I write the first paragraphs of my next book, I remember the importance of series, the repetitive elements that give a story it's magic, and I'm grateful for what I learned. Thanks Stu!
When I was finally ready to tackle my memoir, I knew Stuart was the right guy for the job. He described the writing process as a journey up the mountain and I hired him as my Sherpa without hesitation.
Before I embraced the book architecture method, I just wrote. I didn't give weight to my theme, or series, or scenes. I just wrote. It wasn't pretty.
The "method" gave me the direction I needed to transform my messy memoir into a polished manuscript. It was hard work, but I'm ecstatic with the results. I'm in good company with Linda as I'm also completing my third draft.
I'd like to say I'm getting in and getting out but I take frequent time outs for these little people who call me mama, a husband, and a profession that pays my mortgage.
None of this matters to Stuart, who keeps reminding me to just "make the time".
Keeping the excuses to a minimum.
That's great, Kaye! Keeping series in mind while you write your *first* draft is really the advanced class! And Jenn I'm glad to hear the journey up (and down!) the mountain of organization and revision didn't leave you with too many broken bones but rathe a feeling of accomplishment.
Stuart, great rules to keep in mind after that first draft is done. That first one is so important- know what draft your working on. I'm going to show my writers group these steps.
That's great, Lara! In the book there are actually six ways to generate material... I call it Action Step #0 because before you can organize material you have to have some *disorganized* material, right?!
Stuart, I think I'm going to use your #3 when editing my manuscript.
Good luck, Heather! The book has some great pictures to inspire your bravery--I always recommend doing it physically, with scissors and stapler, not electronically where it's just too easy to go back to an earlier draft, you know?
Inspiring and helpful. Thank you!