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  1. #11
    Joe Zeff
    Guest

    Re: Devices and Advices

    If your first thirteen chapters were that bad, and only the fourteenth were worth reading, no agent would ever get far enough to find out. If nothing else, take heart in the fact that people have been willing to keep reading long enough to find that gem.



  2. #12
    Reece Barnard
    Guest

    Re: Devices and Advices

    It definitely works with film. There are a dozen films like this that I can think of off the top of my head, but only a handful of books I've read that can do the same.

    Craft-wise, I'd imagine it would be quite tricky, and you'd really have to switch your chapter around. Remember, in your original format, your reader had 13 chapters of character and plot development before they got to that point, and if you just cut and paste it to the front, you'll only succeed in confusing your reader. No doubt, you'll have your own ideas on how to get around this, but just be careful.

    I concur with Mya... find out what it is about chapter 14 that made it so good. Was it a plot point? If was a style of writing, go back and implement the same style in the previous chapters.

    I think it's achievable, but you have to be careful. To do it properly will take a lot of skill and revision.

  3. #13
    L Bea
    Guest

    Re: Devices and Advices

    I personally HATE knowing the ending first. I HATE movies like that too. I watch them and bear through it, but I like to be stimulated intellectually -- I like to figure it out as I go.

    That doesn't matter in your situation though (I don't think). There's something different about 1-13 and 14. What is it? Why is 14 so good? It can't just be the resolve. And can I just interject that worse than knowing the ending at the beginning is a slapped together ending. How many movies, how many books have you experienced where you're enjoying the journey so much and then it's so CHEAP at the end. Like they ran out of ink or money or whatever. Sheesh!

    I'd take a look at 1-13. Find someone other than your brother-in-law or best buddy -- a critique circle -- another writer/writerS -- someone who can give you an objective opinion about what the hel! is wrong with 1-13, because something is. Are you building your characters? Do people want to know about who your story is about? Are you doing too much narration and not enough action/showing/dialogue? Is it boring? Too detailed? Grammatically a mess? What is it? Why does 14 stand out? Someone knows the answer...

    Bea

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