Posts Tagged ‘novel’

Writing a Good Ending

Saturday, December 24th, 2016
Image Credit: http://jasonfischer.com.au/i-finished-my-damn-novel/

Image Credit: http://jasonfischer.com.au/i-finished-my-damn-novel/

So you’re finally at the end. All ready to wrap up these 50,000 words. Feels great, right? You just need to write the ending…which can be tricky. My ghostwriting friend once said, “I actually hate the ending to most books. A lot of them have great last lines, but I’m always underwhelmed.”

When it comes to endings, novels and short stories again can have completely different natures. It’s all right to write your ending first—some of the better stories I’ve written started with the last line. It’s just another matter of getting the characters from the climactic fallout to the last line. It’s also important to know exactly where to start or stop the resolutions. A short story can be an interlude; it can lead right up to a huge battle or a nervous confession, and then end. The momentary crisis has been resolved. Leave the character to confront bigger issues by himself. There will always be people who wish that a story would extend longer than it did—that’s fine. But in a novel, which is all about life changes, there needs to be some indication that life has changed. Resolution is key.

At the same time, “resolution” and “open-ended” aren’t necessarily mutually exclusive. Open endings are great, and often more realistic. It’s rare to find people who’ve completely closed off parts of their lives. (For example, people always complain that the “real” world is just like high school, and it’s true: people tend to get stuck on high school resentments, and, no matter what, they’ll always keep tabs on a few classmates and laugh when someone ends up getting fat.) Bret Easton Ellis never indicates whether any of the events in American Psycho or Rules of Attraction actually happened; the truth is left ambiguous, the mad characters’ fates hanging uncertainly after the fallout. Of course, that’s the entire point that Ellis is trying to make in his novels, so it works.

Whether you choose to end ambiguously or more resolutely, consider your novel’s themes again. How does your ending cap off the larger questions in your conflicts? Is total, unabated personal freedom worth the societal breakdowns that might happen? Is it right in theory, only just for certain people (and more on the nose, maybe it’s not right for the character you killed off fifty pages earlier)? Does the vapid, soul-sucking glamour of the famous and rich inevitably destroy morality and meaning in life?

On the opposite side of the spectrum, there’s also the danger of overwriting your ending. To draw on a movie, The Lord of the Rings: Return of the King essentially has three endings: Frodo waking up in Rivendell and reuniting with the Fellowship, Aragorn’s coronation and wedding in Gondor, and the elves’ (and Frodo’s and Gimli’s) final departure from Middle Earth. This isn’t to say that these resolutions aren’t necessary. It’s just that the end of Frodo’s mission, Aragorn’s reinstatement as an honorable king of Men, and the conclusion to the elves’ saga in Middle Earth are all treated separately (and all three end on those long fade-to-white shots that clearly should fade into credits). Consolidate your resolutions, but do it thoroughly.

Sidebar: The greatest advice I’ve ever gotten is from Susanna Moore, who once said of my short story ending, “It’s a little too squishy. Too much.” She uses “squishy” in her criticism, which can stand for triteness, overly sentimental passages, sentences that sound nice but don’t indicate anything…and endings are especially vulnerable to squishiness. Novel endings are not huge dramatic banners. Don’t overshadow your climax.

By Robin Yang


Robin Yang was one of the Campus Clipper’s publishing interns, who wrote an e-book on how to write a novel. If you like Robin’s writing, follow our blog for more chapters from this e-book. We have the most talented interns ever and we’re so proud of them! For over 20 years, the Campus Clipper has been offering awesome student discounts in NYC,  from the East Side to Greenwich Village. Along with inspiration, the company offers students a special coupon booklet and the Official Student Guide, which encourage them to discover new places in the city and save money on food, clothing and services.  

At the Campus Clipper, not only do we help our interns learn new skills, make money, and create wonderful e-books, we give them a platform to teach others. Check our website for more student savings and watch our YouTube video showing off some of New York City’s finest students during last year’s Welcome Week.

Become a fan on Facebook and follow us on Twitter and Instagram

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Hitting the Plateau

Saturday, December 10th, 2016
Image Credit: http://araugustyn.com/overcoming-writers-block/

Image Credit: http://araugustyn.com/overcoming-writers-block/

For the first few days or weeks, your novel will seem easy. You’ve settled into a style, you’re inspired by everything around you, you’re writing your favorite chunks of the plot. But then disaster will strike. You know that you have to link two sections of your novel, but the effort of thinking about it, much less sitting down to write it, is too much. Plus, every time you sit down to write, you can’t get into the rhythm of your style, and everything you produce feels trite and insufficient. It will not be fun.

At this point, many people give up on their novels (see myunfinishednovel.com). It just happens. And maybe most tellingly, you won’t think about your characters or your plot for days; you won’t notice small details in your everyday life and remember them for later. You will hit a writer’s block.

This is fine. It happens. If you’ve completely stopped caring about your seedling novel, then maybe it’s time to let it go. People do “outgrow” the stories that they once wanted to tell. But if you still like what you’ve written so far and you’re still (even abstractly) interested in seeing your characters through, then here are a few tips to get through the hard times:

Keep a notebook and pen/pencil with you always. You’ll have experienced by now the difference between composing paragraphs in your head and transposing them onto paper. A brilliant subway train of thought always deteriorates by the time you get to your stop. I know that you spent over half your life on a computer. You’ve been allowed to take notes on a laptop since the start of freshman year. But look: don’t underestimate the power of writing things down.

Make playlists. Follow the tradition of vampire/supernatural novelists (Stephanie Meyer and Kim Harrison do it) and several pop-y TV writers (The OC did this too): make character-specific playlists. It’s like making a playlist for finals. It’s a fun way to procrastinate, and thinking about specific songs also forces you to think about the specific character and how much certain songs fit into their lives. You can also make plot-specific playlists, or if you want to get super specific, cross reference the two and make a really comprehensive series of playlists for every character in every scene. Having a standard set of associations with your novel will also help you get into the same mood every time you prepare to really write.

Write. Write more. Joyce Carol Oates writes for about eight hours a day. Ray Bradbury tries to finish one short story a day. Ask any writer, fiction or nonfiction, contemporary or historical: the only way out is to keep writing. Whether you use any of the material you write during your dry spell is irrelevant. Take fifteen minutes at the beginning of everyday and just free write—don’t worry about the topic or spelling or punctuation. Write your bridge chapter badly, changing it every day until you can move on to the next bit. Write in the present. Write in the future. You know. Stick with it and all that.

Sidebar:

Casting your novel

A friend of mine is ghost-writing a creative non-fiction book about her boss’s grandmother. She finds it easier to work when she can look at the grandmother’s photo; she imagines the woman in the photo living her life and narrates that. I’ve celebrity cast my novel (Josh Jackson and Matthew Goode are in it), and I find that putting the thoughts and actions on a physical body helps me map a logical progression of what happens next. Also, looking up photos and making pretty montages is a great way to procrastinate.

By Robin Yang


Robin Yang was one of the Campus Clipper’s publishing interns, who wrote an e-book on how to write a novel. If you like Robin’s writing, follow our blog for more chapters from this e-book. We have the most talented interns ever and we’re so proud of them! For over 20 years, the Campus Clipper has been offering awesome student discounts in NYC,  from the East Side to Greenwich Village. Along with inspiration, the company offers students a special coupon booklet and the Official Student Guide, which encourage them to discover new places in the city and save money on food, clothing and services.  

At the Campus Clipper, not only do we help our interns learn new skills, make money, and create wonderful e-books, we give them a platform to teach others. Check our website for more student savings and watch our YouTube video showing off some of New York City’s finest students during last year’s Welcome Week.

Become a fan on Facebook and follow us on Twitter and Instagram!

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Do Your Research

Saturday, November 26th, 2016
Image Credit: https://uwioss.com/2016/01/22/efc-tip-8-do-your-research/

Image Credit: https://uwioss.com/2016/01/22/efc-tip-8-do-your-research/

Whether you’re writing a historical or modern or fantastical or futuristic scifi novel, do your research. If your character listens to the radio in World War II, what exact kind of reports are they listening to? Is there music? Which songs, what genre, what is the character’s opinion of it and does it contrast with the historically recorded attitude? (You don’t necessarily have to pump all this information at once. Or at all. But if you choose to include that detail about the radio, then it’s significant in some way and it does contribute to the character’s definition.) If you’re writing a CIA spy novel, what screening process do people actually have to go through now to enter the CIA? Would your character have to worry about it or not?

Even in completely invented settings, the details matter. You won’t have to do much concrete research, but do consider that while you don’t care about the economical structure of the futuristic dystopia that you’ve invented, or maybe the specifics of swordsmanship are irrelevant to your medieval-esque fantasy, someone will question it. The issue of how your characters make money or whether money is even extant matters. A saber is not an epee is not a foil is not a broadsword, and certain actions simply can’t be done with a broadsword. If you just wing it, your novel will lose credibility.

A common Terry Pratchett Discworld theme to keep in mind: people can accept a large, improbable event in your characters’ lives, but they more readily notice and reject wrong (or missing) details.

On researching while you write: inevitably, you will come up with extra scenes or maybe change a character’s profession to better suit your novel. It’s easy to Wikipedia whatever details you want to add, but of course that usually devolves into lost hours clicking around on Wikipedia. Sci-fi writer Cory Doctorow uses this tip: when you come to a point that needs research, just type “TK” where your facts should be. The combination of the letters “TK” is rare in the English language, so you can do a quick document search at the end of a writing session to find where you need to fact-check.

Sidebar: Excellent places in the city to research:

The National Archives (201 Varick Street)

Houses or has access to all government-related archives in American history. Excellent collection of primary sources, from genealogy to previously passed economic policies. Good for historical American novels or more general research on political intrigues. Call ahead if you want to use an archived material in person.

The New York Public Library (Main Branch on 42nd Street and Fifth Avenue)

Holds archives on several different topics in its various branches; art and architecture at the Main Branch; Performing Arts in the Lincoln Center Branch; science and business at 188 Madison Avenue branch. Great for reading in general, but especially good for nailing down the details in your settings. Protip: The Main Branch also has a huge collection of original manuscripts from interviews with common New Yorkers to the papers of writers such as Truman Capote and James Joyce. It’s worth checking out, but if you want to take notes, use the paper and pencil provided. The librarians will not hesitate to throw you out if you write in pen. Or use your own notebook.

Central Park (Central Park)

Work on your tan and eavesdrop on passing conversations. There’s no limit to the topics that people willingly discuss in public, and it’s a great way to pick up and squirrel away some idiosyncrasies of humanity.

American Museum of Natural History (200 Central Park West)

Scads of scientific information, as well as physical reproductions of animals existing and extinct, an exhibit about space, and everything in between. Iron out the scientific justifications for your aliens’ appearances (as H.G. Wells does in War of the Worlds), or visualize your nomadic protagonist trekking across the sweeping savannahs of Africa.

International Travels (Various)

Not writing your novel on Americans? Have a love affair with Western Europe (like T. S. Eliot) or perhaps East Asia (like Pearl S. Buck)? Well, sometimes, it’s nearly impossible to get a feel for your (Earth-bound) setting unless you actually physically visit. The importance of small details in daily life, like tipping in restaurants or physical proximity to country borders or a country’s layout around bodies of water, aren’t prominent until you have to deal with a different system. (Did you know that microwavable burritos are not common in England? If your British character gets the munchies, kebabs or fried chicken are more likely.)

By Robin Yang


Robin Yang was one of the Campus Clipper’s publishing interns, who wrote an e-book on how to write a novel. If you like Robin’s writing, follow our blog for more chapters from this e-book. We have the most talented interns ever and we’re so proud of them! For over 20 years, the Campus Clipper has been offering awesome student discounts in NYC,  from the East Side to Greenwich Village. Along with inspiration, the company offers students a special coupon booklet and the Official Student Guide, which encourage them to discover new places in the city and save money on food, clothing and services.  

At the Campus Clipper, not only do we help our interns learn new skills, make money, and create wonderful e-books, we give them a platform to teach others. Check our website for more student savings and watch our YouTube video showing off some of New York City’s finest students during last year’s Welcome Week.

Become a fan on Facebook and follow us on Twitter and Instagram!

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4 Things to Consider Before Writing a Novel

Saturday, November 19th, 2016
Image Credit: https://thetermaganttarleisio.files.wordpress.com/2011/11/hand_writing.jpg

Image Credit: https://thetermaganttarleisio.files.wordpress.com/2011/11/hand_writing.jpg

1) Characters

Establish your characters. It can be a quick profile to a two-page-long character history. Understand their backgrounds, how their histories shaped them and put them into your narrative, what their purposes serve. Don’t hesitate to cut one if you find that two characters are serving the same purpose (all the friends in a social circle, for example, can usually be condensed into one or two people, unless they’re specifically set as foils to each other).

2) Setting

Know exactly when and where your story takes place. You might just want to write a generic 19th century Gothic novel, but time and place matter. The dark forests of Italy give a different connotation than the swarthy heaths of England, and neither are quite as exotic (or potentially cliché-ridden) as a crumbling castle in Romania. Grounding your novel in a time and place gives it specificity, which gives the readers a concrete understanding of the world that your characters are in. It may be that the characters are used to dreary heavy clothing or terrifyingly sublime views from cliffs, but the readers are not. Familiarize them.

 3) Plot

You don’t have to know exactly how a conflict will resolve, or how it will arise, when you start writing. Often, the plot changes as you write. But you should have an idea of where the character will be at the end of the novel, so that there is some loose structure and an endgame in sight. Some people story board their entire novels; some people just start with a character in a setting and a first line.

4) Writing What You Know

It’s a general truism that writers only really succeed when they write what they know. Drawing on your life experiences in the plot and characters is inevitable. Actively pay attention to the miniscule details in your life, too. Those will help ground your settings and characters; small disappointments in everyday lives, the way some people pick up pennies on the street but not others, the fresh smell of a farmer’s market or the look and feel of a snow-heavy sky—details like these make the background feel real.

Also be careful of drawing too much from “what you know.” Pulling circumstances from your latest breakup or family tragedy is great for details. Being too emotionally invested in your personal reaction rather than the characters’ can easily devolve into rants and references that only really make sense to you. Leave some time when it comes to something that hurts.

Sidebar: For example, a character profile I wrote while I was feeling uninspired: Evelyn Mercer, the unintentional protagonist. A minor character in the fashionable set of Bright Young People in London, Evelyn works for the Special Operations Executive in Baker Street, passing and copying messages in the main office of the branch. The least political of her friends, she would prefer to pretend that there is actually no war; this is just how life is always. She lives in a flat with two roommates near Baker Street.

By Robin Yang


Robin Yang was one of the Campus Clipper’s publishing interns, who wrote an e-book on how to write a novel. If you like Robin’s writing, follow our blog for more chapters from this e-book. We have the most talented interns ever and we’re so proud of them! For over 20 years, the Campus Clipper has been offering awesome student discounts in NYC,  from the East Side to Greenwich Village. Along with inspiration, the company offers students a special coupon booklet and the Official Student Guide, which encourage them to discover new places in the city and save money on food, clothing and services.  

At the Campus Clipper, not only do we help our interns learn new skills, make money, and create wonderful e-books, we give them a platform to teach others. Check our website for more student savings and watch our YouTube video showing off some of New York City’s finest students during last year’s Welcome Week.

Become a fan on Facebook and follow us on Twitter and Instagram!

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In the Beginning Was An Idea

Saturday, November 12th, 2016
Image Credit: https://www.edx.org/course/how-write-novel-writing-draft-ubcx-cw1-2x-0

Image Credit: https://www.edx.org/course/how-write-novel-writing-draft-ubcx-cw1-2x-0

So you want to write a novel. Awesome. I’m writing a novel, too. Novels are hard to write in college; being in college tends to get in the way. But if you’re determined to finish your masterpiece, this is a general guide to help you along.

So you have a starting point for your novel, whether it’s a character you wish was real, or a conflict you want to explore on paper, or even just a fun bit of dialogue that’s stuck in your head. Excellent. Your novel will grow and sprawl from that seedling idea into a minimum 50,000 word work (about 175 pages, according to the official definition of a novel by the people at National Novel Writing Month).

Well. Wait. Maybe not 50,000 words. That’s an entire year’s worth of papers. That’s two senior theses. The question I’m asking is, are you sure your idea isn’t better off in a short story?

The difference between a short story and a novel isn’t in word count. A novel isn’t just a super-long short story, nor is it just a series of short stories with connected beginnings and endings. There’s an entire shift in mood and mindset. Short story conflicts are immediate; they’re not necessarily enormous, life-altering moments. They close and resolve their themes within a momentary peek into a character’s life. Novel conflicts are built up. There is just enough necessary room for a long exposition and rising action to create central conflict that logically arises from the characters you’ve established. Novel conflicts send ripples through almost all the aspects of a character’s life. Every line leads logically from not just previous lines, but previous chapters, and each line draws comparison between the individual character and our general expectations of average people. You can’t define a person in the moment of a short story. You can define a person in the chronicle of a novel.

Maybe your idea is large enough to sustain a novel. It could be political, or romantic, or fantastic. But in case you’re having trouble fleshing out your idea, it might help to think of your skeleton novel in terms of its larger themes (yes, I am suggesting that you close-read your own novel before you’ve written it). From there, you can imagine specific scenes or monologues that will further shape your novel. A theme is not a moral. You don’t have to have a moral. You do need to have a purpose.

A note about style: It’s your novel. Write it however you want. Read. Read a lot, and steal any stylistic devices you like.

Sidebar: For example, the seedling to my novel actually started as a short story; in short, it was about a woman who falls in love during World War II and the bittersweet knowledge that when the war ends, her relationship must end. It was a single (somewhat substantial but still rather isolated) period of her life. Now that I’m fleshing it out, I want to raise it from a static personal investment to something broader: a young person’s confrontation with life’s disappointment and mortality on the largest human scale, and, politically, whether her love for her country is worth her own selfish emotions.

By Robin Yang


Robin Yang was one of the Campus Clipper’s publishing interns, who wrote an e-book on how to write a novel. If you like Robin’s writing, follow our blog for more chapters from this e-book. We have the most talented interns ever and we’re so proud of them! For over 20 years, the Campus Clipper has been offering awesome student discounts in NYC,  from the East Side to Greenwich Village. Along with inspiration, the company offers students a special coupon booklet and the Official Student Guide, which encourage them to discover new places in the city and save money on food, clothing and services.  

At the Campus Clipper, not only do we help our interns learn new skills, make money, and create wonderful e-books, we give them a platform to teach others. Check our website for more student savings and watch our YouTube video showing off some of New York City’s finest students during last year’s Welcome Week.

Become a fan on Facebook and follow us on Twitter and Instagram!

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