Writing the Breakout Novel

Read this review on my blog: http://cathykeatonwrites.blogspot.com/2012/09/book-review-writing-breakout-novel...

When I finally got around to reading this book after buying it, I was at a point in my writing self-education where I wanted to become a better storyteller, not just a better writer. I had already smoothed out my technical writing skills well enough and found my fiction still lacking quite a bit. What did I need to do to write a compelling narrative? There was something still missing because when I wrote fiction, it continued to fall flat on the page. It was my story that was failing, or so I had discovered when I cracked open this gem of a book.

The first thing Maass teaches is the foundation of a story—the premise. Don't show more pursue just any old premise right out of the gate. It needs to be developed into a premise that is strong enough to withhold the structure build on top of it that is your actual written story. For that, it should have one of four elements: plausibility, inherent conflict, originality and gut emotional appeal. Once my premises could pass this litmus test, I found I could fix any flaws in my manuscripts without having to rewrite them.

Second, raise the stakes of the story, meaning make the characters lose things that are valuable to them, or threaten to. In order to do that, Maass has you ask, “How could things get worse?” Make the danger immediate and put your characters on the chopping block. Otherwise, your reader won't care enough. He also talks about time and place, which could be considered less important in writing breakout fiction. But, if you can capture the psychology of time and place by describing how setting makes characters feel, it can have deeper impact and won't be used solely for visual imagery.

The chapter on 'Characters' could be the most illuminating. Engrossing characters are larger-than-life and they say what we can't say and change in ways we can't. They have inner conflicts of conscience and are celebrated by readers because of their strengths. Your main character should be the one who changes the most by the events of the story. After all, a story is about events that cause a character to transform, at least internally.

Maass delves into plot and different contemporary uses for plot, how to handle multiple viewpoints, subplots, pace, voice and endings. He also devotes a chapter to advanced plot structures showing how authors of various genres, like science fiction and category romance, can enhance their plotting to catch the eye of the gatekeepers in the biz.

Lastly, is the chapter on theme. Maass believes all novels are moral and shows you how to build a theme for a novel step by step. Thankfully, he shows how to avoid becoming preachy and how to let the characters do all the talking, or acting for that matter. Their job is to convey theme through their words and deeds, a powerful combination that drives the story's message home to your readers much more effectively than an author on a soapbox.

As much as I'm interested in writing a breakout novel, I didn't read this book strictly for that reason. I read it because I wanted help taking my fiction to “the next level.” I don't want anymore false starts on my manuscripts that have to be shelved because the premise is too weak, or I don't have a well-developed enough character goal. I'm not saying this book is the final word on story craft. But, it could open your eyes to concepts you simply never knew before and lay the groundwork for more advanced story-writing education. show less

God, this book was irritating. Every time I read a "this is how you write" book by a non-writer I swear I'll never do it again. Then I end up doing it again because someone will swear "oh this one is different." Nope. Not different. Exactly the same, actually. 260 pages of selling (in this case he's selling the phrase "breakout novel") and about 1 or 2 useful ideas. Nothing new, mind you, just useful to be reminded of them. I suppose actually reading a good novel could have reminded me of those ideas too. In fact, you know what? The time I spent reading this really annoying guy would have been much better spent reading a good novel.

Don't buy this book. If you really want to learn something about story crafting and you really, really show more think you can gain something more than you would from just reading and writing and sharing your work, at least read a "this is how you write" book written by a writer who's work you respect. show less

God, this book was irritating. Every time I read a "this is how you write" book by a non-writer I swear I'll never do it again. Then I end up doing it again because someone will swear "oh this one is different." Nope. Not different. Exactly the same, actually. 260 pages of selling (in this case he's selling the phrase "breakout novel") and about 1 or 2 useful ideas. Nothing new, mind you, just useful to be reminded of them. I suppose actually reading a good novel could have reminded me of those ideas too. In fact, you know what? The time I spent reading this really annoying guy would have been much better spent reading a good novel.

Don't buy this book. If you really want to learn something about story crafting and you really, really show more think you can gain something more than you would from just reading and writing and sharing your work, at least read a "this is how you write" book written by a writer who's work you respect. show less

Where I got the book: purchased at a conference.

There's a lot of solid advice in Maass's book, so as books aimed at encouraging/guiding writers go, it's not all that bad. BUT hoo boy, it's looking a bit dated. When you start by telling your audience that e-readers will never take off and that the way to success is still going to look pretty much the same in ten years' time, a new edition is definitely in order.

And most of his examples seem to date from the 80s and 90s. He REALLY likes Anne Perry, who writes the foreword to the book (I guess she really likes him back) and examples of her genius abound.

My advice to any writer wondering whether to get this book is to check it out from the library. Next time I'm tempted into buying a craft show more book at a conference, remind me to check the publication date. show less

I read based on Marissa Meyer's review, but was skeptical, as I am with most Books About Writing. But this is, without a doubt, one of the only writing books that gives actual *information* on writing a novel that is not obvious ("Novels are made of Scenes!"), condescending ("My advice to new writers? Don't do it.") or just so you-are-a-special-and-unique-snowflake that it turns me off. Donald Maass, a Publishing Veteran, does not think you are a special and unique snowflake. But your book needs to be. He uses concrete advice and examples (verbs in his sentences, as Dr. Phil would say) that are applicable to writing across all genres. And yet he doesn't seem to be putting across a "tried and true" formula that you can just plug in and show more have a bestseller. And I can't argue with his main point: "Want to be a bestselling writer? Write a better a book."

I don't recommend this for shiny, new beginners, as his tone my put you into a panic and you may feel overwhelmed. If you still need some hand holding, if you still need to be told "believe in yourself", you're not there yet. Neither would this be of much use to those writing experimental novels (but I'm not sure experimental novelists are trying to "break out"). But for those of you who are serious about writing commercial fiction, and taking your career as a writer seriously, this is a good point of reference show less

I found Maass's book not only helpful, but also a genuine pleasure to read. He clearly has lots of experience and knows what he's talking about, and the straightforward, warm, and even funny way that he shares his expertise is such a gift! The only chapter I felt wasn't particularly helpful or interesting was the third to last, on advanced plot structures and mostly applying previously taught information to genres I don't plan on ever writing, or reading much of, but even then, I enjoyed reading what Maass had to say.

Another thing I loved was Maass's emphasis on the power of forgiveness, redemption, sacrifice, and little miracles. It's what I've always suspected myself. All the best (read: most satisfying) stories are the Gospel show more retold.

I can easily imagine myself coming back to this book for reference, and even just for fun. :) show less

I approached this book as someone who has written several novels and has an agent. As I prepare to work on more novels, I wanted more insight into the process so I can do a better, more efficient job. I am familiar with Donald Maass and the fame of his agency, and I had this book recommended to me by other writers I respect.

Did I get what I wanted out of this book? Yes, I think so.

Many writing books out there are for beginners--something I know well, as I bought many of them as I started out! This book's strongest point is that it's approachable by writers at various stages; it can be used by someone who is committing to write their first novel, or someone with an established midlist career who wants to "breakout" in the way the title show more implies. I'm at a weird point somewhere between those extremes. Selling a book is a good goal--selling an excellent book that will continue to sell for years to come? Even better.

Maass uses many examples from bestsellers and his own clients to illustrate this "breakout" phenomenon; it should be noted that these references are dated since the book came out in 2001, but the majority of the titles are still quite recognizable, which says a lot about how breakout books linger. He shows how to dig deeper and complicate plots and characters, and each chapter ends with a checklist. I can see why Writer's Digest Books has created a workbook to go along with the volume, as there were many points where I stopped reading to ponder how Maass's observations applied to my own writing.

In all, a very thought-provoking book, and one with staying power for my reference shelf. show less