5 Great Tips for Starting a Novel Right

1. When planning your story's structure, start with this no-fail method: Create a
Doorway of No Return for your protagonist before the 1/5 mark of your book.
Everything leading up to that doorway should, well, lead up to that doorway. Look at your
own novel-in-progress:

 Have you given us a character with following?

 Have you created a disturbance for that character in the opening pages?
 Have you established the stakes (the higher the better) for the story?
 Have you created a scene that will force the character into the conflict/confrontation
central to the plot?
 Is that scene strong enough-to the point that your character cannot resist walking
through that doorway (or has no choice but to do so)?

(Just one of many solid story structure tips from James Scott Bell's article "The Two Pillars
of Novel Structure" featured in the January 2013 Writer's Digest.)

2. At the beginning of your story, include minimal backstory. In her article "Weaving a
Seamless Backstory," novelist Karen Dionne offers this light bulb moment of insight:
Including backstory in the opening pages is the same as saying to the reader, 'Wait a minute-
hold on. Before I tell you the story, first there's something about these characters and this
situation that you need to know.'

In actuality, there's very little readers need to know about our characters' history and
motivations that they won't learn over the course of the book. Interrupting our story to tell the
reader about something that happened *before* it began works against the very thing we're
trying so hard to accomplish: engaging the readers and sweeping them up into the world of
our novel.

I love showing authors how they're unwittingly sabotaging their stories up front and then
watching their light bulbs go off, because the problem has such an easy fix: All they have to
do is isolate the instances of unnecessary backstory, and take them out.
3. To deepen your descriptions, add character-defining sensory details. For example:
No: She was wearing Chanel No. 5. Yes: She was wearing Chanel No. 5 like in the old days,
he noticed-that sophisticated, mind-coat-and-diamonds fragrance that always quickened his
pulse.
(You'll learn ways to call upon all five senses in your work in novelist Elizabeth Sims' article
"Master Description Through Sensory Detail.")

4. Make secondary characters significant. In her excellent feature article in the latest
Writer's Digest, longtime fiction editor Lisa Rector suggests brainstorming what meaningful
thing a minor character might do or say that could impact the outcome of your story. Then,
make sure at least one such significant moment between that character and your protagonist
occurs early in your story (ideally with others following throughout the narrative).
"Characters that are inactive in the opening scenes tend to remain so," she explains. "In
general it's far more effective to have fewer characters do more."

5. Instead of "write what you know," try writing what you feel. In an exclusive interview
with WD, bestselling Jack Reacher creator Lee Child explains:
The worse [writing advice] is probably Write what you know. Especially in this market. In the
thriller genre, for instance, nobody knows anything that's worth putting in. There are three
people in the world who have actually lived this stuff. And so it's not about what you know.
[Write] what you feel is really excellent advice. Because if you substitute Write what you feel
, then you can expand that into-if you're a parent, for instance, especially if you're a mother, I
bet you've had an episode where for five seconds you lost your kid at the mall. You turn
around, your kid is suddenly not there, and for five seconds your heart is in your mouth and
you turn the other way, and there he is. So you've gotta remember the feel of those five
seconds-that utter panic and disorientation. And then you blow that up: It's not five seconds,
it's five days-your kid has been kidnapped, your kid is being held by a monster. You use what
you feel and expand it, right up as far as you can, and that way you get a sort of authenticity.
(The full interview is filled with helpful, inspiring insights like this one-and especially if
you're writing suspense, I highly recommend it.)