What if you could write your book steadily and smoothly, without always wondering whether it was good or not?
Do you want to write a great novel that engages and intrigues your readers?
A novel that feels like the kind of story you love to read?
If so, this course is for you.
"I wish I had taken a class like this sooner. I would've been a better novelist and my short story production would've been much larger."
- John Vurro
I'm an award-winning writer and teacher. I've read my work to crowds of hundreds of people, holding their attention, keeping them hooked. I've heard them laugh at the jokes in the dialogue, and watched their mouths go "ahhhh" at the plot twists.
But it wasn't easy to get there.
In this course, I'm going to guide you through what I believe is the best way to plot, plan, and write a novel. Because plot is hard.
It's possible to be a gifted, serious, dedicated writer, and spend years working on a book (or multiple books), and still have nothing to show for it.
My goal is to solve your biggest problems and frustrations about trying to write (or re-write) a novel, so you'll be able to finish it, share it with the world, and start writing your next book.
The system that this course teaches is all about making your plot "character-based," or "character-first." That's the secret: this is how we create a story that we can actually write, edit, and finish — and which our readers will love.
Instead of starting with a pre-ordained sequence of challenges and tasks — like an "inciting incident" or a "journey to the underworld" — and then trying to squeeze your characters into that sequence, we're going to start with your characters, and build the plot out of them.
The plot will arise from your main character's conflicting wants and needs — as well as their interactions with all the cool exposition, and family secrets, and painful backstory, and intriguing world-building that you're eager to share with your reader.
In other words, this approach begins with the parts of novel-writing that you probably find the easiest (creating characters, setting, and backstory), and uses them to create the part of novel-writing that is hardest for almost everyone: the plot.
I've taught this approach to sci fi writers, literary writers, romance writers, and YA writers. I've used it to coach authors who were working on lighthearted teen mysteries, dark urban fantasy, and gritty political thrillers. It's not about a particular genre.
Rather, it's about focusing the reader's attention on a protagonist, and helping the reader follow along as that protagonist encounters one plot twist and difficult choice after another.
With each shift in the plot, your readers will become more and more caught up in your story.
"Not all good writers are good teachers, but Daniel David Wallace (a talented, thoughtful writer himself) is a terrific instructor.
Daniel is attentive to plot, structure, character, and other high-level narrative elements, but you’ll appreciate his ability to zoom in closely on language and sentence-level concerns.
If you can take a class with him, do it!"
- Julia Brown, editor and literary author
For years, I read every "how-to" book on plotting I could find. And I learned a lot from them, but I still felt unsatisfied.
I felt like the kind of story they wanted me to write didn't resemble the books I loved to read.
There were lots of thoughtful, quietly dramatic books that hooked my attention, and which didn't seem to resemble the sort of "plot" these guides described.
Even with the stories that should have been easiest to map on to a "three-act structure," like the first Harry Potter novel, or the first Jack Reacher novel, I still didn't feel like JK Rowling or Lee Child were doing what the how-to books said they were doing.
The best bits of those novels seemed to have little to do with the "hero's journey."
Then I did a masters degree in creative writing. Here, we focused more on questions of narration, style, and artistic vision (rather than on plot). It was a more elevated conversation, but I wasn't sure how practical it was. Leaving plot out of the discussion meant that there was no real focus, no clear process for grabbing and keeping a reader's attention.
During that degree, I kept thinking that there had to be a better way to teach people how to write a novel. So when I began my PhD, I started looking for other options.
I wanted to find a framework for writing a novel that:
Once I had a process that seemed to work, I started teaching it online, coaching individual writers and small groups.
Slowly, based on their feedback, I refined and tested my system. Because I didn't want to just invent an idea about writing. I wanted to create a comprehensive learning experience, one that any writer, even a very busy one, could learn at home.
It's finally ready.
And now I want to share it with you.
"Daniel truly has a gift. He’s one of the most patient and encouraging teachers I’ve had. He gives the type of feedback that energizes rather than discourages, the kind that makes you feel like you can rebuild your novel—and rebuild it stronger."
- Allison Saft, YA fantasy writer
Here's why this approach makes a difference:
Grab your reader's attention
What's your favourite novel? Do you remember, the first time you were reading it, how strongly you felt about the protagonist? In a character-first novel, the reader gets to form a strong bond to your main characters — quickly.
The Staggered Ending
Deliver a satisfying ending that feels meaningful to your reader: this finale will exposes your protagonist's secret desires, force them to make real choices, and will place at risk something (a goal, a lover, a possession) you previously made the reader care deeply about.
Learn From Famous Authors
The character-first novel appears in many genres and traditions. I'll walk you through detailed examples of this style of story in literary fiction, fantasy, mystery… Through reading plot breakdowns from the first Jack Reacher novel, Killing Floor, as well as Edith Wharton's classic The Age of Innocence, you'll see exactly how to apply this approach to your own writing.
The character-first novel is all about plot twists. Turns, surprises, discoveries, shifts in emotion — and these aren't just silly, gratuitous twists. These are powerful, meaningful developments in the plot, and your reader will love them.
The Quick Win
The character-first approach gives you a clear goal for the first "section" or "movement" for your novel: the build up to the first plot twist. In other words, you'll be able to create an opening sequence that will be enjoyable to read on its own. This "quick win" will become a valuable asset for you: it can become the first fifty pages you show to agents and editors, or a teaser for your existing readers.
In my experience, most writers are gifted at creating protagonists and settings. For most of us, when we imagine a new novel, that's our the starting point: an imaginary person — in an interesting place.
For some writers, this part even comes "for free." You just see a character somewhere, or you're called to write about a place that haunts you.
And even if you're not like this, and these two aspects of a novel don't come for free (if it requires work to build up your historical setting, for instance) it's still work that many authors seem to enjoy doing.
The problem is that plot isn't like that. For most writers, it doesn't come for free — not at all. Many of us, instead, begin with a slightly hazy picture of how the story will end, and an extremely hazy picture of the story's middle. Trying to turn that into a detailed plot is stressful and unsatisfying.
We all have the nervous intuition that, as the story progresses, things will need to get more intense, more dramatic, more challenging, but it's not at all clear how to do that.
Additionally, once we start writing, there is the constant worry: is this any good or not? Often, we can sense that something isn't coming together quite right, and so we go back and revise the beginning, or spend days editing our previous paragraph.
This is not a good situation to be in!
Here's why this plotting framework offers you a much better way: it plays to your strengths.
You're already good at imagining a fictional situation: the course shows you how to turn that situation into an engaging, twisty, intriguing plot. It doesn't ask you to construct spreadsheets or inspect your dreams for clues (although you definitely can do so if you wish): instead, you will construct the plot from the things you already love about your story.
Even when I've work with a writer who is really despairing about their novel, who is convinced the whole project should be locked in a steel box and hurled into the sea, once we get talking, we usually find that they already have the building blocks of a great plot.
It's rare that we have to add that much more to their concept than a few secondary characters.
And it's never the case that I ask them to write a different type of novel to the one they were picturing. This is a wonderful, euphoric moment for a writer: to see, finally, their mental picture of their novel turn into a step-by-step, chapter-by-chapter plot.
The second reason why you should write your novel "character-first" is that it suits how your readers actually read.
What your readers want is to meet a person, and to see that person struggling and yearning, and to get wrapped up in that protagonist's hopes and challenges. They want startling plot twists and shifts in focus. And they LOVE mysteries: they love to gradually uncover the truth as the tale builds to its conclusion.
They want to care about the main character, and they want to be able to understand what is happening, scene by scene, and they want to see the story deliver on its promises. They want the ending, above all, to feel meaningful.
That's the kind of story we're going to write in this course.
You are fully protected by my 100% Satisfaction-Guarantee. If you don't find the course valuable, just let me know within 30 days, and I'll send you a prompt refund. It's a no-questions-asked guarantee: I won't even ask you why you want your money back!
"Daniel respected my work and vision on a profound level but also had a keen editorial eye and a stroke of literary genius that took everything I’d written to the next level.
Is it weird that I think of him as my literary midwife?"
- Tawni Waters, I.L.A. award-winning author of Beauty of the Broken, The Long Ride Home, Siren Song and So Speak the Stars.
Sometimes, writers have been interested in this course, but have told me words to the effect of: "It looks good, and it would probably be helpful, but it isn't urgent. I can get to a course like this later. I do need help with my plot, but maybe there's a free book on Amazon I can download, or something."
And, even though I'm the creator of the course, I used to think like that, too! In the past, at least a little part of me wondered how my approach could possibly compete with all the other ebooks and cheap online courses out there.
However, as more writers benefited from learning character-first approach (you can see some of their testimonials on this page), and as I coached more writers through difficult plotting problems, I started to change my mind.
I want to convince you that the situation is urgent. I want to explain why you do need this course now.
Because here's what I discovered. It wasn't simply that these writers — the talented, serious, gifted writers who I was working with — struggled to plot well.
They also had an additional problem, one that neither I nor they knew about at first.
Lots of writers suffer from it. And if you have read this far, it's very possible that you suffer from it, too.
Let me explain.
Plot does not come naturally to most writers. Plot is really hard.
It's just not easy to tell a compelling story where the stakes gradually rise for both protagonist and reader. But writers want to tell stories, and they know that SOMETHING is supposed to happen in those stories: something is supposed to develop, grow, change.
These writers find plot hard, but they know they have to put something on the page, or it won't be readable at all.
So what actually happens is that writers figure out ways to FAKE plot.
This is the horror of "fake plot." Even though our story doesn't have a good plot, we invent techniques to hide this omission from our imagined readers — and worse — to hide it from ourselves.
We develop extraordinary skill with "plot-like" devices, with "faux-plots," and with dramatic-seeming transitions that give the impression that a story is just about to begin…. on the next page… or the one after that...
Many aspiring writers learn to rely on these techniques in order to keep themselves writing.
Using fake plotting, you can get 70 pages (or more) into a novel and feel like you're telling a great story. But sooner or later, you get stuck, and can't make progress. You are a talented writer, but there's only so much you can do: you can't get the story to develop, escalate, resolve.
Here's one example of fake plot:
Sometimes a writer who isn't sure about her plot will invent all kinds of "interesting" secondary characters as a plot-substitute.
For example, let's imagine a writer has a great premise for a novel: an aspiring playwright discovers that her mentor has written his most famous plays with the help of an 17th century ghost.
I say: "Sounds cool! Great! What happens next?"
The writer pauses. "Well, then she has to help her brother file an insurance claim about his foot... after that, she goes back to Oklahoma to help her dad collect comic strips from the 1970s..."
In other words, the writer isn't sure where to take the ghost story, but rather than face that reality, she's used these secondary characters to keep herself writing.
Now, let me be clear: that's not necessarily a bad thing! Sometimes, when you aren't sure where next to take a writing project, you have to just write stuff down to figure out what you want to say. And I completely support that!
Sometimes you are just stuck, and you survive by writing about the protagonist's brother's foot. That's not what I'm talking about here.
After all, there's nothing wrong with interesting side-characters! The dad and the brother actually sound great, but right now they have taken over, like weeds.
The danger of fake plot is that the writer doesn't know she's writing a fake plot. The writer thinks that the visit to the foot doctor is actually advancing the story.
The whole problem is that fake plot is really good at hiding from us. It convinces us we're supposed to be writing a ghost story about feet.
To get this project back on track, we need to figure out the ghost / theatre plot first, then weave back in the brother's foot and the dad's comic books.
Here are a few more "fake plot techniques."
See if any sound familiar.
The writer isn't sure how to develop the story, so he starts the first chapter in one character's perspective, and then writes the next chapter in another's, and the next from a third. After all, each character is interesting… But rather that using each protagonist to tell the story, these jumps are only making it feel like the story is developing. He can write eight chapters (two for each protagonist) before the lack of a plot becomes unbearable.
I love a good "Obi-wan" character. It's great to introduce expert figures who can explain what's really going on. However, here's the bad news: this character can help to "fake" a plot: writers conceal just how passive and uninvolved their protagonist is, and how little the protagonist has to do with the actual story, by having mysterious old men give them one mission after another.
Great novels frequently contain mysterious and powerful backstories, character histories, and secrets buried in the landscape. However, many writers find it difficult to deliver those mysteries correctly: piece by piece, little by little, as the story progresses. As a result, these authors tend to fill their early chapters with something they find easier to write: huge sections of backstory, flashbacks, or world information. But as a result, these writers can spend months writing their books, and yet have no idea what the plot is supposed to be.
Fake plot may well be stopping you improving as a writer.
It may be the thing that is holding your novel back.
Therefore this course will guide you through the process of taming the fake plot devices in your story: trimming them down so they become the interesting side-elements they are actually supposed to be. After all, it's good to have entertaining secondary characters and old men giving missions.
We just need to make sure they are elements in a great plot: not the plot itself.
But it's really hard to make these changes on your own.
That's is why I don't agree when someone tells me that "writing courses are unnecessary." I'm sure you've heard this argument before: some writers dislike the idea of a writing course — on principle. They feel like "real writers" don't need lessons.
These writers tell me that if they just keep going, keep writing, things will get better.
They've heard the saying that every writer has to get a million words out before they write anything good; they remember Malcolm Gladwell saying that great skill, in any field, takes ten years to acquire.
After all, didn't Ernest Hemingway just drink wine, eat baguettes, and write whatever he wanted?
The extreme case of this belief looks like this:
Me + more time = J.K. Rowling
Now, in theory, maybe, this belief makes sense. The more you write, the better you'll become.
But there are some problems.
Firstly, this popular belief, this claim that the best writers learned their craft alone, turns out to be largely a myth. In Paris, Hemingway took copious advice from Fitzgerald and Joyce; the great short story writer, Guy de Maupassant, undertook years of literary training and advising from the novelist Gustav Flaubert.
Additionally, while Malcolm Gladwell makes it sound that, if you want to become a successful writer, you should spend "10,000 hours" in isolation, grinding away, this is not what the research he cited actually says.
If you read the studies by K. Anders Ericsson and fellow researchers, the research that Malcolm Gladwell based his famous "10,000 hour rule" upon, you'll discover that a crucial element in those 10,000 hours is a teacher.
Those hours only count as meaningful practice when you have someone else to give feedback, correct mistakes, suggest new challenges.
"... studies show that providing a motivated individual with repeated exposure to a task does not ensure that the highest levels of performance will be attained. Assessment of subjects' methods shows that inadequate strategies often account for the lack of improvement..." (Ericsson)
[translated into non-academic English: "in reality, most of us stop improving, even when we work hard and want to get better, because we have terrible and poorly chosen learning strategies. We end up just repeating stuff we already know, year after year..."]
"... To assure effective learning, subjects ideally should be given explicit instructions about the best method and be supervised by a teacher... The instructor has to organize the sequence of appropriate training tasks..."
[in non-academic English: "getting better at something usually requires a teacher of some kind. This is because it's hard to really know which learning strategies work and what don't. And most of us need a teacher to figure out what we should learn first, and what second, and when we should move on to the next challenge. Otherwise we can just grind away for years with nothing to show for it."]
Ericcson, Krampe, and Tesch-Romer: "The Role of Deliberate Practice in the Acquisition of Expert Performance."
In other words, the popular and serious-sounding belief that you should "just keep writing" is, frankly, an example of what Ericcson calls "an inadequate strategy."
The problem is that, without outside advice, most of us will just keep repeating what we know, and what we know is fake plot.
To put it simply, the biggest problem with "just keep writing" is that many writers are not actually headed in the right direction. These writers already have skills, and these are skills that they are relying on, and slowly improving: the skills of fake plot.
The problem? These skills feel useful. They are soothing and (seemingly) productive: they help these writers make initial progress.
But fake plot doesn't actually help you get your book finished.
It's a writing trap, and it's one reason that even talented authors stop improving.
"Daniel was as good an editor as one could ever wish for. In fact, he went way over what I expected, suggesting small revisions and cuts, helping me organize my book... Daniel has a good eye and a very good ear."
- Bill Buege, author of Stumble into a Lighted Room
The character-first approach has helped so many writers because it gives your plot an engine, a straightforward principle for guiding the story forward.
We start the story with a protagonist who has certain longings, regrets, and ambitions. As the reader starts following this character on her journey, the reader begins to bond with the protagonist. The reader starts to care. At the same time, we gradually introduce the secrets of the world around our protagonist: its magic, its hidden histories, its politics and customs.
When the story begins, the protagonist assumes that her longings, regrets, and ambitions are compatible with each other: the plot starts to quicken and build as she discovers this may not be the case.
In fact, the major components of the plot are tied, in a deep and significant way, to the building blocks of this protagonist's character, and the more she tries to make progress, the more these building blocks conflict with each other.
(In the course, I will break down, scene by scene, how this plotting process works in a crime thriller, Lee Child's Killing Floor, and in Edith Wharton's literary love story, The Age of Innocence. And I'll give copious examples from Brandon Sanderson, Haruki Murakami, Virginia Woolf, Charles Dickens, and others.)
This process ensures that we can tell a story that is forward-moving (we don't need to throw in fake-plot stuff to make it seem like things are developing) and meaningful (when big shifts and twists happen, they actually mean something, both to the reader and the protagonist).
"You didn’t just teach me to write better sentences. You boosted my confidence and gave me the courage to call myself a writer.
I love both “The ABC Plot” and “The Perfect First Stage.” It fits perfectly with my way of outlining and planning. It’s subtle enough to allow for spontaneous and natural occurring changes along the way, but gets down the essential and critical parts of the plot where you need it, and especially helps you tackle the beginning in great depth."
- Yuan Sigel, fantasy writer
This course is designed to help you build a great plot for your novel. You'll be guided step by step.
It's designed for busy people. If you want, you can binge all the training videos in one long night, but if you don't have that sort of time, I will coach you through the course in a sequence of bite-sized lessons.
You won't need a much time each day: during the course, I'll be in touch with regular emails teaching the day's technique or concept. I'll tell you when it's time to watch each video in the course.
And we're going to learn some fantastic writing skills.
Build a plot out of your character's rawest emotions, deepest fears, and their most conflicted desires. This plotting sequence takes your protagonist on an emotional journey of increasing tension and significance. They begin by feeling distant and disinterested, yet by the end they are willing to sacrifice everything to complete their quest.
Few books or classes teach this, but writing a novel is inherently different to writing a screenplay or a myth. For novel-writers, "care" is a crucial concept: this lesson will teach you how to guide your reader's attention through each twist and revelation.
In order to write a good "character-first" novel, we need at least one worthy and substantial protagonist. But what makes a character an effective protagonist for your novel? This unit will walk you through the process of inventing, or raising to the surface, the three key qualities your protagonist will need.
Many writers feel unsure how to present exposition, backstory, character histories, or complex world-building. As a result, they tend to drop too much, too soon, leading to the dreaded "info-dump," a big chunk of exposition that stops the reader cold. But it doesn't have to be like this. The "big toe" method shows you how to turn your exposition into engaging and exciting mysteries, so that your reader will be eager to read more about it.
How is it that famous novels contain amazing plot twists that always seem to land right? While the rest of us try to include twists, but they either really confuse our readers or aren't that surprising? The secret is repetition: repetition and attention. You'll harness the power of your reader's attention to prepare them, subconsciously, for the next big surprise.
Learn to streamline and focus your story. Spot the parts of your current vision for your novel will trip you up and cause you grief, and get them back under control.
"This was the course I needed to get me writing again and I am well on my way to finishing my manuscript. Worth it completely."
- Holly Pickett, novelist
Creator of Plotting and Planning Your Novel
Hi, I'm Daniel. I'm a writer, teacher, PhD researcher, and book editor. I create easy-to-implement techniques that help you master the craft of fiction.
I've given lectures on plot at the AWP conference and other writing festivals around the US, and my work has been read at the Iowa Writers Workshop. My fiction has won the Hodges prize, the Toni Brown scholarship, and I've published short stories and essays in many journals. In my regular life, I teach advanced writing skills at a great university.
Since I started teaching online, I've worked with hundreds of writers as a coach and teacher. Over two-thousand writers subscriber to my newsletter, "Writing Related."
I'm currently working with a publisher on a novel set in Taiwan: it involves unhappy English teachers and a ghost.
"I loved how deeply you love your material... Thanks, again, for a course worth every penny!"
- Lynn Epnett, novelist and consultant
Prompts in your inbox
People learn best when they are active participants in the process. That's why I'll be guiding you through the course with quick every-other-day emails, sharing cues and prompts, advising you what short challenge or exercise to try out next.
Once we've talked through the big ideas of the character first plot, and you've seen how those plots work in some of your favourite novels, it's time to actually plan and plot your own novel. Use the "pre-writing" manual to assemble all the building blocks of your plot. Then you can move on to the plotting manual, where you can plot out the entire novel in as much detail as you wish, scene by scene.
video training sessions
Follow along with handouts and notes as I walk you through: how to introduce exposition, how to structure the long middle section of story, how to play off multiple protagonists, how to start the story quickly and easily, and how to build up to a great ending. Plus I'll offer advanced variations and alternate approaches to the course's techniques.
You can reach me through email, monthly support live sessions (delivered via Zoom), and live chat during my office hours. Sometimes it takes a few questions to figure something out: I'm happy to help!
writing myths explained
Sometimes even the most talented writers start to believe confusing, or limiting, or just plain wrong writing advice. There's so much advice out there! And some of it is inappropriate for your story, your style, your situation. You may experience this part of the course as merely a refresher of craft topics, as a powerful new look at your writing, or as a "omg-mind-is-blown-I'm-finally-free-of-their-lies!!" epiphany.
I like podcasts! They let me do stuff while listening to something interesting. The main lectures in this course are available as downloadable audio files: you can listen while walking your highly intelligent dog, cleaning your kitchen, or polishing your collection of gigantic swords.
"Daniel’s courses have all the hallmarks of college level coursework: solid foundations, good habit-building, and practical study aids."
- D. Pease, adventure writer
After enrolling, you have unlimited access to this course for as long as you like.
The course starts as soon as you sign up. You can either follow along with the emailed prompts and activities, or you can go through the course materials at your own pace.
I know the feeling! The introductory course guide gives you a "quick start summary," showing busy people how to get started on their novel after only an hour of training sessions. You can then watch the rest of the short, focused videos whenever you have a moment.
I have tested these techniques with authors working in YA fantasy, literary fiction, supernatural mysteries, crime, and light-hearted adventure. However, I'm not an expert on children's literature. This course may also not be ideal for truly experimental novels: the course assumes that you are attempting to grab your reader's attention, and earn their loyalty, with a character and a forward-moving plot (even if that plot is low-key and subtle).
This course is designed to help novel writers. I'm sure you would get a huge amount out of the techniques, especially the ones teaching narrative structure, exposition, and scene design, but it might feel frustrating to constantly hear me talk about "novels" in the videos. However, the course comes with a money-back guarantee, so it might well be worth joining us and seeing if it's worth it! Memoirists have taken my courses in the past and have gained a lot from them.
This course includes a process of inventing / discovering a great premise for your novel, so you don't need an idea before you begin. Now, I wouldn't recommend, if you are feeling rusty, that you try the "quick start" approach. But over the course of a month, you will create a fantastic plan and scene map.
Yes. I've studied with award-winning, remarkable novelists and editors, and I've read extensively in narrative form and theory. Plus I'm simply a good teacher. Some people are naturally good at jumping or running. Some people are naturally good looking. I don't have any of those skills, sadly -- but I am very good at teaching, coaching, and editing fiction. It's odd talent, maybe, but I'm glad to have it.
Ask for a refund: I have a no-questions-asked 30-day refund policy.
This is not specifically intended to be a course on sci fi or fantasy world-building. However, if you have a world in mind, but are struggling turning it into a good story, this is the perfect process to go through. You'll be able to infuse your invented setting with a dynamic and sympathetic cast of characters; you'll figure out how to deliver your world-building in an exciting, engaging way. For many fantasy writers, these techniques become the missing link that turns their setting into a real story.
Buy it and start when your schedule looks better! Once you join the course, you'll have access to it forever. Email me and I'll hold off the daily prompts until you're ready to get started.
This course can really help you. Please give it a try! The character-based plot works really well with "quieter" storylines: the significance comes from the events' impact on the characters, not whether you have car chases or giant swords.
After you have completed the course, and created a fantastic plot for your novel, I'll begin prompting and guiding you to start writing.
But I won't just tell you to "sit in your chair" and type, or "write everyday until it's done." That's nice advice to hear but it's not very useful. Instead, I'll be helping you write (or re-write) a particular part of your novel: a compelling, engaging, and intriguing opening section (of between 5,000 to 15,000 words).
This opening section will build up to one or more plot twists / surprising revelations, hooking your reader's attention: the goal is to write something that an agent, editor, or friendly reader will read all the way through, and then demand to see the rest of.
This opening section "quick win" will become a valuable asset for your writing career. Plus it will make you feel GREAT about your project and want to keep going and finish the book.
"He’s legitimately an expert who has unique and helpful information to share. His content is original and genuine and worth paying for."
- Eva Langston, literary blogger and YA author
Can I share a personal story?
A few months ago, I was feeling a little low. Nothing that serious. It was simply a busy time for me and my family. You know how some months (and some seasons) opportunities and responsibilities just mount up?
Unexpectedly, however, an editor contacted me and asked if a past book project of mine was still available. This was great news!
But I hadn't looked at the book in years, not since my agent and I had sent it out and got no bites. And when I examined it, I could tell it wasn't ready.
Back when I had been writing it, I loved it. But now the story just seemed too spread out, too confusing, and hard to relate to.
Plus I was using a special fake plot technique all of my own, one I'll explain more in the course: the "three plots in one." This made the beginning and end of the novel very unsatisfying.
It was uncomfortable: I understood then why the editors at the big New York publishers had rejected the manuscript all those years before.
I decided to rewrite the book. And as I mulled on it, I suddenly saw how I could streamline the story, remove all the fake plot stuff, and actually have a compelling, engaging, and (maybe even) significant novel.
But I also knew how publishing worked: I couldn't just disappear for a year to rewrite my novel and then see if that editor was still interested.
So I put to work the techniques I teach in this course. I outlined in rough form the same type of ABC plot that you'll learn in this course. I sketched out a "quick win" opening section, one that blended forward motion with the slow release of clues, secrets, and setting information, and which led up to a big plot twist.
And then, in early mornings before the rest of the family woke up, I spent two weeks writing that opening section.
When I sent that opening section to the editor, he loved it. There was no need, he said, to check in for more feedback. Send the rest, he told me, when it's done.
This was an incredible feeling. It was one of the best moments in my writing life.
I want to give the same experience to you.
It's time for you to create a great plot for your novel.
Copyright - Daniel David Wallace 2019