What do you think?
Rate this book
Write Your Novel From The Middle: A New Approach for Plotters, Pantsers and Everyone in Between
A powerful secret and a fresh approach to writing bestselling fiction! What's the best way to write a "next level" novel? Some writers start at the beginning and let the story unfold without a plan. They are called "pantsers," because they write by the "seat of the pants." Other writers plan and outline and know the ending before they start. These are the "plotters." The two sides never seem to agree with each other on the best approach. But what if it's not the beginning or the end that is the key to a successful book? What if, amazing as it may seem, the place to begin writing your novel is in the very middle of the story? According to #1 bestselling writing teacher James Scott Bell, that's exactly where you'll find your story's heart and heat. Bell's "Mirror Moment" is the secret, and its power is available to any writer, at any stage of the writing process. Bringing together years of craft study and personal discovery, Bell presents a truly unique approach to writing a novel, one that will stand the test of time and serve you all your writing life. "I need three things before I tackle a new novel: Diet Coke, a laptop, and my dog-eared copies of James Scott Bell's books on writing craft!"- Kami Garcia, #1 NYT Times & International Bestselling author"
Unknown Binding
First published February 23, 2014
604 people are currently reading
3031 people want to read
About the author
James Scott Bell
132 books1,035 followersJim is a former trial lawyer who now writes and speaks full time. He is the bestselling author of Try Dying, No Legal Grounds, Presumed Guilty, Glimpses of Paradise, Breach of Promise and several other thrillers. He is a winner of the Christy Award for Excellence in Inspirational Fiction, and was a fiction columnist for Writers Digest magazine. He has written two books in the Writers' Digest series, Write Great Fiction: Plot & Structure and Revision & Self-Editing.
Jim has taught writing at Pepperdine University and numerous writers conferences. He attended the University of California, Santa Barbara where he studied writing with Raymond Carver.
Series:
* Shannon Saga (with Tracie Peterson)
* The Trials of Kit Shannon
* Ty Buchanan
Jim has taught writing at Pepperdine University and numerous writers conferences. He attended the University of California, Santa Barbara where he studied writing with Raymond Carver.
Series:
* Shannon Saga (with Tracie Peterson)
* The Trials of Kit Shannon
* Ty Buchanan
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 442 reviews
August 14, 2017
Click here to watch a video review of this book on my channel, From Beginning to Bookend.
March 11, 2014
James Scott Bell has long been one of the most insightful and practical teachers of the writing craft. So it's no surprise this little book is packed full of uncommon wisdom. The approach Bell presents here is that of identifying the "mirror moment" (or what Stanley Williams called the "moment of truth") at the Midpoint in your story.
Doing so allows you to find the heart of your character's arc - and thus your story - before you even start writing. This is a concept that's discussed far too seldom in proportion to its value, and Bell cuts right to the chase. He offers a solid overview of structure, great examples of the mirror moment in popular stories, and some bonus advice in the back.
A must-read for any author passionate about story structure.
Doing so allows you to find the heart of your character's arc - and thus your story - before you even start writing. This is a concept that's discussed far too seldom in proportion to its value, and Bell cuts right to the chase. He offers a solid overview of structure, great examples of the mirror moment in popular stories, and some bonus advice in the back.
A must-read for any author passionate about story structure.
March 23, 2014
Wow! For the first time, as a result of reading this short but precise writing craft book I am able to imagine my entire novel in my mind's eye, the full picture, the main arc from beginning to end and everything in-between, and how it all ties together. And that's before I've even written one word. I can see how this insightful instruction could also potentially cure writer's block, as well. Novels will be all the more richer, multi-layered without being complicated, if written with these helpful insights in mind.
I have never been so enlightened by a writing craft book as I have by James Scott Bell's "Write Your Novel from the Middle". EVERYONE who writes fiction should have this book! It's not long, but then it doesn't need to be. Jim has hit the nail on the head as to the enigma of what intuitively makes a great read, and not only put it into words, but instructs on HOW to implement this elusive factor into your own novel. If you don't already have a copy, I would say run, don't walk, to get yours!
I have never been so enlightened by a writing craft book as I have by James Scott Bell's "Write Your Novel from the Middle". EVERYONE who writes fiction should have this book! It's not long, but then it doesn't need to be. Jim has hit the nail on the head as to the enigma of what intuitively makes a great read, and not only put it into words, but instructs on HOW to implement this elusive factor into your own novel. If you don't already have a copy, I would say run, don't walk, to get yours!
December 17, 2024
Short and concise, no filler, just the tools to help you write your story from the mid point out. As a visual learner, I appreciate his methods of using visual metaphors to highlight his points. They really helped stick in my mind afterwards. In fact, this book was so helpful I got a bunch of ideas for my story and had to quickly set my book aside at several points to feverishly jot them all down. I had 75% of my outline done before picking this book up and after reading it front to back in a couple of hours (it’s only 70 pages), I was able to better understand my plot and identify my character’s arc. Now I’m confident in knowing my story from beginning to end upon finishing the book. It was like putting on glasses for the first time and seeing everything so clearly. Worth it! I highly recommend!
March 3, 2014
Hands down the best book on writing craft I have ever read. I understand things about structure that never made sense to me before. I understand things I never WANTED to understand. Bell has a method here that will end the war between planners and pansters--something we all need. Every other book on writing skirts around the most important element of a novel; trying to tell you how to write it without telling you want it is. Bell captures that; the mirror moment that occurs in the exact center of a story and is crucial to the entire thing. It sounds like a magic trick, and maybe it is, but it explains so many things about my writing process that I never understood myself, blaming it on intuition. It's a short book, which makes it all the better.Reading this will change the way you view your craft, and I guarantee it will make you a better writer. Required reading for everyone.
July 12, 2015
I read this a while ago because I'd bought it off Amazon, but I never wrote a review for it. >.< I've actually played around with this concept of writing a story before, so it wasn't new to me, but I really liked Bell's approach to it and the way he frames it in a systematic way for writers of different walks and minds. Full review to come.
February 1, 2021
Half the book is an ad for another book, it's still an OK read...
I'm a disorganized mess at times, many times, and when I create a story, I start somewhere in the middle. James Scot Bell's short e-book "Write Your Novel from the Middle: A New Approach for Plotters, Pantsers and Everyone in Between" explains how this is a perfectly utile method for writing a book, even if you're the plan-every-detail-ahead, organized type. Fiction can be distilled into a 3 part structure (I always thought it was 5 part, but whatever). The 2nd part is the point of no return, the defining moment of the plot, ergo the most interesting. You can build on how your character came to be in that position or how they'll get out of it. Write scenes out of order, use paper & index cards if you have to (he recommends Scrivener). Then there's some other writing advice that's fairly generic. That's the first half.
The second half of this book seems to be a thinly-veiled ad for a pulp-noir,
Big Red's Daughter, using that book as a guide on how to hook readers into your story right away. Excerpts from BRD are shown, demonstrating writing techniques that work to keep the reader turning the pages in excitement. BRD actually looks pretty interesting & is only 99¢ on Kindle, a better deal than the $3.99 I paid for this 93-page book.
As for this book? Informative, but nothing revolutionary. It simply affirms that you don't need to write in a rigid manner to finish a book. Just find what makes you comfortable and brings you joy and FINISH IT!
I'm a disorganized mess at times, many times, and when I create a story, I start somewhere in the middle. James Scot Bell's short e-book "Write Your Novel from the Middle: A New Approach for Plotters, Pantsers and Everyone in Between" explains how this is a perfectly utile method for writing a book, even if you're the plan-every-detail-ahead, organized type. Fiction can be distilled into a 3 part structure (I always thought it was 5 part, but whatever). The 2nd part is the point of no return, the defining moment of the plot, ergo the most interesting. You can build on how your character came to be in that position or how they'll get out of it. Write scenes out of order, use paper & index cards if you have to (he recommends Scrivener). Then there's some other writing advice that's fairly generic. That's the first half.
The second half of this book seems to be a thinly-veiled ad for a pulp-noir,
Big Red's Daughter, using that book as a guide on how to hook readers into your story right away. Excerpts from BRD are shown, demonstrating writing techniques that work to keep the reader turning the pages in excitement. BRD actually looks pretty interesting & is only 99¢ on Kindle, a better deal than the $3.99 I paid for this 93-page book.As for this book? Informative, but nothing revolutionary. It simply affirms that you don't need to write in a rigid manner to finish a book. Just find what makes you comfortable and brings you joy and FINISH IT!
September 7, 2014
At the center of this book, literally and figuratively, is a compelling idea: a rethinking of the midpoint of a book or film.
In many writing guides, the midpoint is where "something happens." The midpoint, in these guides, never quite reaches the vaunted level of Plot Point 1 or Plot Point 2. Still, something happens at the midpoint. Bell says he's analyzed books and films and has realized that the midpoint is this: a "mirror moment" (not even a whole scene but a moment in a scene) in which the protagonist has to look at herself and decide what kind of person she is (in character-driven stories), or to consider the odds against her.
But more than this, Bell says this is what the story is actually about, its true center. Thus, writing from the middle means that you might wish to first identify this moment, and then you'll know how to get your character there, and will understand your character better, and (in case you missed this) what the story is actually about.
I'm simplifying, but then again, it's a simple--if compelling--concept. As a writer, I think I will find this useful, perhaps even four-stars useful. The book gets three stars, however, because it has the feel of an article stretched to book length (and only barely; it's 92 pages). It's a perfect ebook; three bucks worth of learning. I think I'd feel cheated, however, if I paid ten bucks for the paperback.
In many writing guides, the midpoint is where "something happens." The midpoint, in these guides, never quite reaches the vaunted level of Plot Point 1 or Plot Point 2. Still, something happens at the midpoint. Bell says he's analyzed books and films and has realized that the midpoint is this: a "mirror moment" (not even a whole scene but a moment in a scene) in which the protagonist has to look at herself and decide what kind of person she is (in character-driven stories), or to consider the odds against her.
But more than this, Bell says this is what the story is actually about, its true center. Thus, writing from the middle means that you might wish to first identify this moment, and then you'll know how to get your character there, and will understand your character better, and (in case you missed this) what the story is actually about.
I'm simplifying, but then again, it's a simple--if compelling--concept. As a writer, I think I will find this useful, perhaps even four-stars useful. The book gets three stars, however, because it has the feel of an article stretched to book length (and only barely; it's 92 pages). It's a perfect ebook; three bucks worth of learning. I think I'd feel cheated, however, if I paid ten bucks for the paperback.
April 4, 2020
The weird aversion to sex scenes with "body parts" is somehow juvenile and puritanical at the same time. No, Mr. Bell, two lines of a mediocre metaphor doesn't work better than actual descriptions. Way to marginalize entire genres by suggesting there's something wrong with real sex scenes written by grownups who aren't afraid of body part words.
This is a short book, and it could have been a lot shorter while still imparting the same information. There's literally one idea in the whole thing, and it could be explained in a thousand words or less. All the padding is useful to justify selling it for $4, I guess.
This is a short book, and it could have been a lot shorter while still imparting the same information. There's literally one idea in the whole thing, and it could be explained in a thousand words or less. All the padding is useful to justify selling it for $4, I guess.
June 30, 2017
this was shorter than I expected, but in a good way. I'm so used to a bunch of filler that the fact Bell cuts straight to the chase was both unexpected and delightful. Good stuff in here, I like it, I can use it, it will make my stories better. 4.5 stars
March 29, 2015
Where I got the book: purchased on Kindle.
This short (85 pages) craft book turned out to be worth buying despite its brevity, because (apart from some cutesy stuff at the beginning about Pam Pantser, Paul Plotter and so on—why do people DO that?—James Scott Bell does a pretty good job of getting across his instruction points without the ego-boosting and meandering that so many writing gurus employ. He focuses on the realization that the mid-point of a story contains a moment where the main character has to face himself or herself, and provides a simple structure for incorporating that mid-point moment into your novel. He uses several familiar examples, including Gone With The Wind (which has an extremely memorable mid-point right before the intermission in the movie), and explains how to incorporate the mid-point into an outline (I rather liked his outline, which was a bit different from most).
In the last thirty or so pages, Bell shows you how to apply his simplified structure to story ideas and then leads into some general remarks on craft which are kind of filler but he didn’t over-elaborate so I was OK with them. I wouldn’t call this book earth-shattering or particularly memorable, but the notion that a great story has a mid-point is worth considering and if the price of the Kindle version continues low I’d recommend this as a no-brainer buy for writers looking for solid craft ideas.
This short (85 pages) craft book turned out to be worth buying despite its brevity, because (apart from some cutesy stuff at the beginning about Pam Pantser, Paul Plotter and so on—why do people DO that?—James Scott Bell does a pretty good job of getting across his instruction points without the ego-boosting and meandering that so many writing gurus employ. He focuses on the realization that the mid-point of a story contains a moment where the main character has to face himself or herself, and provides a simple structure for incorporating that mid-point moment into your novel. He uses several familiar examples, including Gone With The Wind (which has an extremely memorable mid-point right before the intermission in the movie), and explains how to incorporate the mid-point into an outline (I rather liked his outline, which was a bit different from most).
In the last thirty or so pages, Bell shows you how to apply his simplified structure to story ideas and then leads into some general remarks on craft which are kind of filler but he didn’t over-elaborate so I was OK with them. I wouldn’t call this book earth-shattering or particularly memorable, but the notion that a great story has a mid-point is worth considering and if the price of the Kindle version continues low I’d recommend this as a no-brainer buy for writers looking for solid craft ideas.
September 17, 2014
I rarely rate any book that I feel will earn less than 3 stars from me, but books about writing are apparently going to be one of my exceptions. I guess I just expect a lot more from authors who are implying a level of expertise, one which puts them in the realm of "teacher".
For me, this book was largely anecdotal. It seems logical-- that "mirror moment" that purportedly comes in the exact middle of every film/novel, where the protagonist makes a decision--even if it is to do nothing--and it makes the outcome certain. Just for kicks, I grabbed several books off of my shelves from popular authors as well as some of the old classics...I did the math and found the middle. Even reading several pages on either side, I found no "mirror moment". Yes, it sounds simplistic, but that's the basic gist of this entire guide: "look at the middle! That's where all the really important bits happen!"
Maybe I'm just reading the wrong books?
I bought the Kindle version (thankfully) so I'm not out too much, but I agree with a few of the other reviewers: this book could have been(and pretty much was) summed up in a page or two, and indeed, it was rife with mistakes that any decent editor would have face-palmed for missing.
For me, this book was largely anecdotal. It seems logical-- that "mirror moment" that purportedly comes in the exact middle of every film/novel, where the protagonist makes a decision--even if it is to do nothing--and it makes the outcome certain. Just for kicks, I grabbed several books off of my shelves from popular authors as well as some of the old classics...I did the math and found the middle. Even reading several pages on either side, I found no "mirror moment". Yes, it sounds simplistic, but that's the basic gist of this entire guide: "look at the middle! That's where all the really important bits happen!"
Maybe I'm just reading the wrong books?
I bought the Kindle version (thankfully) so I'm not out too much, but I agree with a few of the other reviewers: this book could have been(and pretty much was) summed up in a page or two, and indeed, it was rife with mistakes that any decent editor would have face-palmed for missing.
May 1, 2020
Clickety click click. Ping.
That’s the music that played as I consumed this book, while scribbling notes on 4 by 6 index cards.
It was thrilling to map Bell’s first and second pillars to my own book. Clickety click.
And illuminating to realize I had failed to seed my early pages with information that would make my mirror moment resonate. Ping.
The ping was about far more than just a task I needed to complete to improve craft. It was a ping of insight into who I was when.
Bell’s help in knowing my mirror moment, that pause of introspection when the narrator sugars down into her truth and understands how she must act, was a beam of light on the early days of my struggle. It showed me something new and immediately valid about what had been motivating my attachment to the antagonist.
That’s a pretty remarkable gift for a slim 85-page volume to deliver. Worth five stars, that’s for sure.
Thanks for the music, James Scott Bell.
That’s the music that played as I consumed this book, while scribbling notes on 4 by 6 index cards.
It was thrilling to map Bell’s first and second pillars to my own book. Clickety click.
And illuminating to realize I had failed to seed my early pages with information that would make my mirror moment resonate. Ping.
The ping was about far more than just a task I needed to complete to improve craft. It was a ping of insight into who I was when.
Bell’s help in knowing my mirror moment, that pause of introspection when the narrator sugars down into her truth and understands how she must act, was a beam of light on the early days of my struggle. It showed me something new and immediately valid about what had been motivating my attachment to the antagonist.
That’s a pretty remarkable gift for a slim 85-page volume to deliver. Worth five stars, that’s for sure.
Thanks for the music, James Scott Bell.
April 28, 2023
Some good tips in here, and I definitely feel like the middle out approach is worth trying, but would have liked to see a little wider variety of examples to better picture how it can be applied to some of the more niche genres. You can still figure it out with what's given, but being autistic I like a variety of examples to make sure I definitely understand the concepts.
October 16, 2014
Write Your Novel From the Middle earns 3-stars for the premise: the idea of building your novel around a key center point is a great one, especially if you're stuck when trying to work from the beginning. It's a simple concept, one that seems like it will work, and it certainly made me view my own stories in a different way. I like this plan of attack and will be trying it myself; if nothing else, this will help keep the middle of a novel from sagging.
However...
I have this silly idea that books on writing should well-written. Instead the whole book felt half-assed, like James Scott Bell wrote it just to pass time on a long flight or while waiting in a doctor's office, and then he never bothered to hand it over to his editor before putting it into print. Other reviewers have mentioned the same: there are many typos, missing words, and sentences that flat out just don't make sense. My hand itched for a red pen. Furthermore, the book is bloated with constant repetition and so many "examples" that I just started skipping most, because while one example is fine, a half-dozen for the same minor point is not. Scenes from movies--where he's reeeeeeeally stretching to twist something otherwise unrelated to fit his point--and "example" paragraphs lifted verbatim from other novels. Write Your Novel From the Middle shows no effort at all on the writer's part, so he's lucky he has a decent idea because otherwise I'd be handing out 1-star. As it is I've already tossed it in the bin destined to be sold to Half-Price Books.
If you're really interested, I suggest just reading through the reviews here, as they'll explain everything you need to know about the concept. Skip the book itself.
However...
I have this silly idea that books on writing should well-written. Instead the whole book felt half-assed, like James Scott Bell wrote it just to pass time on a long flight or while waiting in a doctor's office, and then he never bothered to hand it over to his editor before putting it into print. Other reviewers have mentioned the same: there are many typos, missing words, and sentences that flat out just don't make sense. My hand itched for a red pen. Furthermore, the book is bloated with constant repetition and so many "examples" that I just started skipping most, because while one example is fine, a half-dozen for the same minor point is not. Scenes from movies--where he's reeeeeeeally stretching to twist something otherwise unrelated to fit his point--and "example" paragraphs lifted verbatim from other novels. Write Your Novel From the Middle shows no effort at all on the writer's part, so he's lucky he has a decent idea because otherwise I'd be handing out 1-star. As it is I've already tossed it in the bin destined to be sold to Half-Price Books.
If you're really interested, I suggest just reading through the reviews here, as they'll explain everything you need to know about the concept. Skip the book itself.
January 15, 2019
I'd recommend this author's other book, Super Structure: The Key to Unleashing the Power of Story, to get a comprehensive overview of structuring a work of fiction. While this book provides an interesting perspective and lists some handy tips at the end, it felt more like an addendum to the aforementioned Super Structure, rather than a standalone book.
September 8, 2021
This was a clear explanation of why structure is important in fiction, and how the different key plot points fit together. I like the way Bell applied the information for writers who use different processes, which makes it an approachable book for beginning writers.
October 1, 2019
Practical and inspiring. The perfect book to read as I begin writing my first novel.
April 9, 2014
I pretty much love anything James Scott Bell has to say about writing. For some reason, his advice resonates with me more than other writing craft teachers. Perhaps it's because he breaks things down into very understandable components and gives practical questions to use to tease out the information you need in your story. This was a small book that focused on one main concept (though there were tips at the end that were more broad), but that concept was something fresh for me to think about. I'm a "tweener" or "plantser" style writer. So I do some loose upfront planning before I jump in (mainly character work and finding the hook) and then "pants" the rest of the book. I'm definitely not an outliner/plotter. However, this concept of looking for that moment in the middle doesn't freak out my non-outlining brain. I will definitely try this when I approach my next book. :)
December 25, 2014
Middles are the bane of a writer's existence. At first the new blush and excitement of a story carries you along, but eventually you hit this point where you look at your plot outline and realize that everything you wrote is utter crap. Sure, maybe you've got some big reveal at the end (maybe even wrote it), but you read the middle and it's boring boring boring and, no matter how much you stare at it, it's always hard to figure out exactly what went wrong.
Writing from the Middle helps you examine the 'turning point' that will get you from that first blush of a new story to your epic ending and re-invigorate that sorry, sagging middle of your bridge. While a short book with a few extraneous tutorials at the end to make it worth the $2.99, if you've ever gotten bogged down in a dumpy middle, this book is what you need.
Writing from the Middle helps you examine the 'turning point' that will get you from that first blush of a new story to your epic ending and re-invigorate that sorry, sagging middle of your bridge. While a short book with a few extraneous tutorials at the end to make it worth the $2.99, if you've ever gotten bogged down in a dumpy middle, this book is what you need.
March 25, 2014
For me, this offering from James Scott Bell ranks up there with 2k to 10k on my list of short writing books that give you the most bang for your buck. It's very short, but the idea here is fresh. I think it will indeed work for both outliners and discovery writers, which is unusual for a plotting strategy. Highly recommended!
May 29, 2014
I've found this book to be invaluable in working through my current manuscript. Bell outlines the significance of identifying the magical midpoint moment or "Mirror Moment" when structuring one's story. In providing practical examples from both famous novels and movies Bell effectively demonstrates the power this gives the author in both setting up the story and taking it through to its end.
In addition, this short book provides a quick overview of story structure, the impact of genre and some extra bonuses at the end.
Highly recommended for all story tellers.
In addition, this short book provides a quick overview of story structure, the impact of genre and some extra bonuses at the end.
Highly recommended for all story tellers.
June 21, 2014
A quick read, containing some very good advice in easy to understand and easy to apply format. My style is to write without planning and plot as I go along, and I found his ideas very easy to apply to my writing. He contains suggestions on how to apply his advice to writers who outline everything, writers who don't outline at all and writers who are somewhere between those extremes, so I think I can safely recommend this book to anyone wanting to improve their writing!
January 5, 2018
Think about it. Every story has to begin, and every story has to end. And in the middle it has to hold the reader’s attention.
Bell gives writers a different way to think structurally: offering that a story has two pillars holding it up, and a magical moment in the middle, Bell instructs how to see a story from some of its key points.
Another excellent book to keep on the shelf.
Bell gives writers a different way to think structurally: offering that a story has two pillars holding it up, and a magical moment in the middle, Bell instructs how to see a story from some of its key points.
Another excellent book to keep on the shelf.
July 22, 2021
This book describes a simple but powerful concept. Everyone wanting to learn the art and craft of story structure should read this one. The book concludes with some general writing advice. While this section may seem a bit off-topic it is useful nonetheless.
March 16, 2024
James Scott Bell writes my favorite books on the craft of writing. I'm eager to put the Golden Triangle to work in my WIP.
January 12, 2015
This quick read help me clarify the arch of my existing book and expand my understanding for future books.
October 10, 2022
Write your novel from the middle, come suggerisce il titolo stesso, è un manuale di scrittura dall’approccio alternativo, che fornisce uno schema di costruzione del romanzo partendo dal centro della storia.
L’autore, James Scott Bell, propone lo schema del ponte sospeso nel quale la prima parte del ponte rappresenta la psicologia e la quotidianità del protagonista del romanzo; il primo pilone è il momento di rottura in cui il protagonista imbocca la porta “del non ritorno”; la parte centrale rappresenta invece l’evoluzione del personaggio e il momento culminante (the middle) nel quale finalmente lei/lui si guarderà allo specchio riuscendo a porsi la domanda cruciale, che determinerà l’intera e autentica natura del romanzo. Il secondo pilone rappresenta la prova finale, mentre l’ultimo tratto del ponte è la conclusione del romanzo.
Altro concetto interessante è la lotta contro la morte: ogni personaggio letterario combatte con la sua morte, che può essere fisica, psicologica o professionale. Ogni personaggio ha una sua morte “prevalente”, ma può dover affrontarle anche tutte e tre. Si pensi a un poliziotto che vuole vendicare la moglie assassinata. La sua lotta contro la morte è rappresentata dal voler pareggiare i conti e fare giustizia (morte psicologica), ma magari nel perseguire l’obiettivo primario, qualcuno cercherà di ucciderlo (morte fisica) e poiché agisce fuori dalle regole rischierà di essere cacciato dalla polizia (morte professionale).
Il centro del romanzo è dunque l’incontro/confronto del personaggio con la sua specifica morte, è quell'incontro a generare la domanda cruciala che guida tutta la trama.
Il libro propone molti esempi ed esercizi per sperimentare la costruzione del romanzo a partire dal suo centro. L’approccio “centralista” è innovativo quanto straniante, ma vale la pena di essere indagato e preso in considerazione.
L’autore, James Scott Bell, propone lo schema del ponte sospeso nel quale la prima parte del ponte rappresenta la psicologia e la quotidianità del protagonista del romanzo; il primo pilone è il momento di rottura in cui il protagonista imbocca la porta “del non ritorno”; la parte centrale rappresenta invece l’evoluzione del personaggio e il momento culminante (the middle) nel quale finalmente lei/lui si guarderà allo specchio riuscendo a porsi la domanda cruciale, che determinerà l’intera e autentica natura del romanzo. Il secondo pilone rappresenta la prova finale, mentre l’ultimo tratto del ponte è la conclusione del romanzo.
Altro concetto interessante è la lotta contro la morte: ogni personaggio letterario combatte con la sua morte, che può essere fisica, psicologica o professionale. Ogni personaggio ha una sua morte “prevalente”, ma può dover affrontarle anche tutte e tre. Si pensi a un poliziotto che vuole vendicare la moglie assassinata. La sua lotta contro la morte è rappresentata dal voler pareggiare i conti e fare giustizia (morte psicologica), ma magari nel perseguire l’obiettivo primario, qualcuno cercherà di ucciderlo (morte fisica) e poiché agisce fuori dalle regole rischierà di essere cacciato dalla polizia (morte professionale).
Il centro del romanzo è dunque l’incontro/confronto del personaggio con la sua specifica morte, è quell'incontro a generare la domanda cruciala che guida tutta la trama.
Il libro propone molti esempi ed esercizi per sperimentare la costruzione del romanzo a partire dal suo centro. L’approccio “centralista” è innovativo quanto straniante, ma vale la pena di essere indagato e preso in considerazione.
May 13, 2019
“You see, the character is going to have to face a death of some kind in the story. There are three kinds of death and one or more will confront the character, in bold relief, right smack dab in the middle of your novel.”
In his book, SUPER STRUCTURE, James Scott Bell describes the fourteen signposts of a well structured novel. In this book he concentrates on three: the mirror moment and the two doorways of no return. He explains the criticality of these signposts and how they can strengthen the novel. He briefly mentions the others, but they are not the focus here.
There are plenty of great nuggets in this book, as well as references to some of JSB’s other teachings. I found, however, that I needed to read SUPER STRUCTURE to fill in the gaps to get the whole picture. Still, I agree that understanding these key points is an important part of using his plotting system well. The two books work in tandem, but note, many of the same examples are used.
In his book, SUPER STRUCTURE, James Scott Bell describes the fourteen signposts of a well structured novel. In this book he concentrates on three: the mirror moment and the two doorways of no return. He explains the criticality of these signposts and how they can strengthen the novel. He briefly mentions the others, but they are not the focus here.
There are plenty of great nuggets in this book, as well as references to some of JSB’s other teachings. I found, however, that I needed to read SUPER STRUCTURE to fill in the gaps to get the whole picture. Still, I agree that understanding these key points is an important part of using his plotting system well. The two books work in tandem, but note, many of the same examples are used.
April 18, 2017
They say there's no secret to writing, at least not a proper one, and yet, in the books I read, I keep finding small secrets that add to the big mystery of writing. This one helped a lot, and boy was it useful. I normally have a tendency to start writing my stories from the middle, never knew why was that, but more times than not, it usually works. And now, not only do I have a reason of why it works well, I also discovered how to keep working from there and make my writing process easier, fuller, nicer, and seamlessly for me... and the reader eventually.
So, I'm in love with the book and the tips, because it basically told me that my approach is good, that I don't have to have crazy outlined and 100 pages worth of character background to start a story. That I just need a few key scenes and I can construct from there, as I always have.
So, I'm in love with the book and the tips, because it basically told me that my approach is good, that I don't have to have crazy outlined and 100 pages worth of character background to start a story. That I just need a few key scenes and I can construct from there, as I always have.
Displaying 1 - 30 of 442 reviews