Plot & Structure: Techniques and Exercises for Crafting a Plot That Grips Readers from Start to Finish (Write Great Fiction)

“Is it possible to write a novel that defies these conventions of structure? Certainly. Just understand that the more structure is ignored, the less chance the novel has to connect with readers.” (p31)

“I find more than a bit of confusion among writers over terms like plot point, inciting incident, and others commonly used by writing instructors, sometimes in contradictory ways.
I want to stay away from these terms in this book, and instead try to describe what actually should happen at crucial points in the plot. It’s all really simple if you don’t get hung up on technical jargon.”(p26)

“That’s why Saroyan’s work seems so fresh. He was not content with the old advice, write what you know. He figured out early that the key to originality was write who you are.” (p35)

“‘Know thyself,’ the sages admonished, and that’s still good advice. Especially for writers. By knowing yourself truly and honestly, by writing with passion and intensity, by caring about important issues, you’ll find your writing is not only fresh, but a joy. You’ll have you. And that’s enough to start writing.”(p37)

“Why are so many novels rejected? One reason is they seem ‘cookie cutter.’ They follow the crowd because the writer often thinks, ‘Gee, if I write something like something else that is successful, I can get published.”(p52)

“This is a major mistake. Without a passionate commitment to the plot as a story you’re burning to tell, your voice will not be original or compelling. You will just end up sounding like the maddening crowd of other wannabes pounding on the doors of opportunity.”

“Don’t copy. Just be aware that much of the potential of a published work is in the author’s original voice and vision.”

"If Shakespeare could do it, you can too. Steal your plots. Yes, the Bard of Avon rarely came up with an original story." (p42)

“These two doorways hold your three acts together, like pins in adjoining railroad cars. If they are weak or nonexistent, your train won’t run.” (p29)

“The market wants gripping fiction without cliches, standard characters, or tired plots. And the key to satisfying this market, to making your fiction sing with originalist, is to write who you are.” (p36)

Finally, think hard about the sinker. This is the negative angle, what might possibly sink your idea as a venture. That doesn’t mean you get rid of the idea (though you may); you can also strengthen it considerably. (p50)

“Like cookies and love, story ideas need to be fresh to be truly satisfying.” (p50)

“in contrast to mere empathy, sympathy intensifies the reader’s emotional investment in the lead.” (p66)

“Jerry Jenkins is the author of the best-selling fiction series of all time, Left Behind.” (p154)

“Torn between his personal and professional obligations, Sam almost gives up his job. But then he discovers that the chief of staff is having an affair with the mayor’s window. The clues fall into place.” (p169)

“You also might consider doing a 180. That means going in the very opposite direction.” (p201)