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CHARTING A NOVEL
by
Carol J. Stephenson
copyright 1999 Carol J. Stephenson
During the Renaissance period in Italy, art in all its forms was at its height.
Apprentices spent years learning the fundamentals from the masters. Today
in galleries like the Uffizi in Florence, you can see the work of the masters
alongside that of their students. At first the apprentice's art simulates
that of the master; then there will be the piece where the student's own vision
took flight, and he himself became a master.
As an English literature major, I was taught to analyze the masterpieces and
developed a system for doing so--a system I have kept with me and employ now.
One day on a listserve, I discussed how I had charted books and was rather
stunned when the concept touched a sensitive nerve with a few participants.
The sentiment was by 'charting' a book, I may be reducing an author's work
to formula. Discussing how any author 'hits' her mark on stage in a novel
could be viewed as offensive.
I respectfully disagree. The literature section is filled with
dissertations by scholars analyzing everyone from Jane Austin to Ernest
Hemingway. Moreover, I would point to the art of screenplay writing.
A producer/director expects to find the turning points at certain pages in
the script. There is a basic structure expected and demanded of the
writer. It is the vision hitting those marks which will transport a play
into an Academy award winning movie. The same is true for the art of the
romance novel.
So here's how I chart books. I won't disclose specific conclusions about
anyone's works. As in lit class, anyone can read the same scene, bring to
bear his/her own perceptions and read something entirely different. Whether
you call it an outline, a chart, or notes, it is simply a methodology to study
at the 'hands' of the writing masters. If you're one of those fortunate
souls who can read and absorb all the points of light in a novel, more power to
you.
I take notebook paper and draw a line down the middle. At the top, I list
the title, the author, the publishing line, and page count. As I read a
chapter, I take abbreviated notes as to point of view, setting, internal and
external conflict, and anything else which strikes me, such as a great hook.
Then I draw a line and begin notes on the next chapter. Depending on
the length of book, my notes can span from one to four pages. When I'm
finished, I highlight turning points, the black moment, and other critical
items. As I do so, the structure of the book unfolds for me.
If you're aiming for category, study countless books in the particular line as
each line has its own image. This may change or blur as the editors
switch, but the houses do perceive distinctions in their lines beyond word
count. Do you see a trend toward alpha heroes? What occupations,
topics, themes, settings, etc. seem to be acceptable or preferred? What is
the level of sensuality? How many love scenes? Where do the turning
points occur? The first kiss? The first intimacy? If you study
and outline, you'll get a sense of the structure of the category.
Charting can also be used for single title. I've outlined countless
suspense and romantic suspense novels by masters such as Mary Higgins Clark,
Barbara Michaels, Nora Roberts, and Tami Hoag to study pacing, secondary
characters, and subplots.
If taking notes as to all aspects of a novel seems overwhelming, try charting an
area of difficulty for you, such as point of view switches or hooks and
closures.
As you study and teach yourself about the romance, absorb the knowledge, then
build your own novel. Understand its structure, you'll free yourself to
express your vision. Infuse the foundation with the magic of your talent
and voice, you'll create your unique, memorable work.
As an epilogue, the great Raphael replaced the work of his teacher, Perugino, in
the Vatican, only to have his paintings completed by his own students upon his
untimely death.
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