Sylvia

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While we might know what is happening, we have no idea why it matters or what the point is. Because the point doesn’t stem from the events; rather, it stems from the struggle they trigger within the protagonist as she tries to figure out what the heck to do about the problem she’s facing. That invisible, internal struggle is the third rail we’ve been talking about—it not only connects the novel’s surface events to the protagonist’s internal progress, giving those events meaning, but it’s also what ultimately lets you know what those surface events will be (read: the plot).
Story Genius: How to Use Brain Science to Go Beyond Outlining and Write a Riveting Novel (Before You Waste Three Years Writing 327 Pages That Go Nowhere)
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