Novel Writing on Edge - Development Maxims and Master Class Narrative From Algonkian

What makes for good drama is a constant. To begin, we combine Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure joins "Act 5" in Siegal's version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story. We concur.  NOTE:  "Plot Point" is defined here as a major occurrence that emphatically changes the course of the story. In the genre novel as a whole, we see three to five major plot points depending on various factors: a first PP that begins the rising action, second PP defined by the first major reversal, a third PP defined by a possible second major reversal, a climax PP, and a theoretical PP residing in the denouement, i.e., we think the story is going to resolve a certain way after climax, but a surprise happens that resolves

HOOK OR LOG WITH CORE WOUND AND CONFLICT Your hook line (also known as logline) is your first chance to get a New York or Hollywood professional interested in your novel. It can be utilized in your query to hook the agent into requesting the project. It is especially useful for those pitch sessions at conferences, lunches, in the elevator, or anywhere else. When a prospective agent or editor asks you what your book is about, your high-concept hook line is your answer. Writing one also encourages a realization of those primary elements that will make your novel into a work of powerful fiction.  The great novel, more often than not, comprises two stories: the exterior story or plot line, and an interior story focused primarily on the protagonist, one that defines and catalyzes her or his evolutionary arc throughout the novel. For example, a protagonist with a flaw or core wound that prevents her from achieving a worthwhile goal is forced to respond to a lifechanging event instigated