Category Archives: fiction writing

5 steps to nail a two-sentence fiction summary

Is it possible to summarize a novel in two sentences?  Yes, and here’s how.

Identify the five elements below to create a two sentence synopsis. They elements are

  1. A Hero/protagonist—Who is the main character?  Don’t confuse narrator with main character.  Dr. Watson is the narrator, but Sherlock Holmes is the main character.
  2. A Situation the protagonist faces—What problem does the protagonist need to overcome?
  3. A Goal the protagonist needs to achieve—What would mean victory for the protagonist? Usually it means returning life to the way it was before the inciting incident of the story.
  4. A Villain opposing the protagonist’s goal—Who or what is blocking the hero?  If the villain is personified, all the better.
  5. A Disaster happening if the villain succeeds—What disaster will follow if the protagonist does not succeed and the villain thwarts the protagonist’s goal?

The first three elements are written as a one-sentence statement, and the second two are written as a one-sentence question.

Here are two examples from To Kill a Mockingbird accompanied by an explanation of how the five elements apply to that fictional story.  (I use Mockingbird as an example in my blog often because most American middle school students are required to read this novel.)

Example one: In a small town in Alabama in the 1930s (part of the situation), a girl (the protagonist) and her brother try to lure their reclusive neighbor into the open (another part of the situation and the goal).  But can they overcome his extreme shyness and his brother’s violent control (villains) or will he remain a prisoner of his brother forever (disaster)?

Example two: A small town attorney (protagonist) must convince (goal) an all-white jury in 1934 Alabama that a black man did not attack a white woman (situation).  Can the attorney overcome the racial prejudice of his neighbors and the testimony of the woman and her father (villains) to paccused (disaster)?

Some tips on how to write this kind of summary:

Follow the story arc during the first third of the novel to find the information to include.

Write concisely.  Rarely use names, dates, locations or other details.  They will muddle the summary and confuse the reader.

Focus on action.  Skip themes.

For more on this kind of writing, see Techniques of the Selling Writer by Dwight V. Swain.

How to summarize a work of fiction

First, read the short story, novel, play, poem or other form completely, from beginning to end.  If you don’t understand parts, get help.

Longer works of fiction are usually divided into chapters or acts.  To Kill a Mockingbird, for example, is divided into 31 chapters.  To summarize the whole book, summarize important actions in each chapter.  For example, in chapter 1 of Mockingbird, the narrator, Scout Finch, introduces readers to the setting:  her hometown, Macomb, Alabama, during the early 1930s.  She introduces her father, Atticus, an attorney; her older brother, Jem; and their friend, Dill.  She also introduces the children’s obsession with teasing their reclusive neighbor, Boo Radley.

Some chapters are more important than others, and those chapters should take up more space in a summary.  Less important chapter contents can be either omitted or lumped together with other chapters.  For example, many chapters in Mockingbird concern various ways the children tease Boo.  You don’t need to write a chapter summary of each prank.

A summary should be written in the same order as the book is written (usually in chronological order).  If the book is not strictly chronological, you can say that in a flashback, a particular action happens.  A summary should use words like exposition, inciting event, rising action, climax, falling action, and resolution to label parts of the story.  A summary should name the important characters and identify the way the main character changes.  If certain themes or moods are important (for example, racism or suspense), those should be identified as they appear.

A summary is not a conclusion.  You want to identify what happens to whom, and who grows or changes throughout the novel.  If the ending is a cliffhanger, you can say that, telling what the reader is left wondering.  Or if the ending leaves the reader wondering about a moral decision a character has made, you can say that.  But you can’t say that the ending is good or bad.

How long should a summary be?  For a book of 300 pages, it is possible to write a terse, two or three-sentence summary.  Take, for example, Romeo and Juliet.  “After Romeo and Juliet fall in love and secretly marry, violence breaks out in Verona, and Romeo is forced to flee; distraught, Juliet takes a potion leading to a deep sleep.  Romeo thinks she is dead, and kills himself.  Juliet awakens, finds Romeo dead, and kills herself.”  Most summaries are not this short, but summary means a short version with unimportant details and characters left out.  If you are writing for a school assignment, your teacher will tell you how long your summary should be.

A play can be summarized by summarizing each act or each scene.  For example, Act One of Romeo and Juliet can be summarized as “Romeo and Juliet meet and immediately fall in love.” If each of the five acts were summarized this way, the whole play could be summarized in one paragraph.  Or each scene can be summarized, leading to a more complete summary.  The first of the five scenes in Act One could be summarized as “In Verona, Italy, in the 1500s, two wealthy families and their servants continue an age-old feud.  They are threatened with death by the authorities if they continue.  Romeo, the son of one family, has just broken up with his girlfriend, and he is depressed.  His cousin, Benvolio, encourages him to date other girls.”  With 24 scenes, a summary of each scene might lead to a two-page summary.

A short story summary summarizes each scene, or if the story is really short, each paragraph.  In fiction, something happens to someone causing that someone to change.  What happens to whom and how that person changes should be the heart of any summary.

 

Tips about Writing from Stephen King

Stephen King, the King of Horror, has written dozens of fictional bestsellers, many of which have become blockbuster movies.  He also wrote a book, On Writing, telling how he writes.  Here are some of his ideas.

From his own experience, King believes a writer’s job is to recognize two previously unrelated ideas and to make something new from them.

Writers write their first drafts for themselves, to tell themselves a story.  When they rewrite, they take out everything that is not part of the story.

Writers shouldn’t “dress up” their natural short-word vocabulary with long words.  They should use the first words that come into their heads.

You don’t need to write in complete sentences all the time.

Avoid passive verbs.  Timid writers use passive verbs because they seem safe.

Forget using adverbs.

Fear leads to bad writing.

Use “said.”

To make possessive nouns, add apostrophe S every time.

Easy-to-read books contain lots of white space and dialog.

To be a good writer, do two things:  read a lot and write a lot.

If you don’t have time to read a lot, you don’t have the time or the know-how to write well.

To learn what not to do, read bad writing.

How to begin a novel

Q:  How should a good novel begin, according to writing experts today?

  1. With backstory
  2. With an inciting event

A:  b.  With an inciting event, with action of some kind to grab the reader into the story.  Two hundred, one hundred, even fifty years ago this wasn’t the way writers started novels.  But times have changed, and so have readers who expect writers to grab them into their stories in the opening paragraphs.

Q:  If that’s true, then how should a novel introduce backstory?

  1.  By getting the story underway, pausing to fill in background details, and then resuming the forward action of the story.
  2. By weaving background details into a story as needed without ever pausing.

A:  b.  By weaving background details into a story as they are needed, without stopping or even slowing down the forward action, is the recommended way to include backstory today.

And yet,

This past week I read a novel which received high praise from a news source I respect.  As I turned from page 3 to page 4 to page 13 to page 24, I thought, C’mon, c’mon. When is this story going to take off?  It did around page 35, or so I thought for a couple of pages.  But I was wrong.  The scene described there turned out to be more backstory.  It wasn’t until about page 70 that the action really started.

70 unnecessary pages.  Or at least 70 pages which could have been reduced to two or three pages and tucked into the forward action part of the novel.  If not for the four-star review, I would have stopped reading by page 10. 

Q:  So how did this novel get published with such a laborious beginning?

A:  The author is an established writer with several best sellers, some of which have been turned into TV miniseries.  Editors are reluctant to ask such a writer to cut 35 pages, no matter how slowly they move the novel along.

Q:  What can we learn from this?

  1.  If you are a best-selling author, anything goes.
  2. Even if you are a best-selling author, some reviewers will pan your book if it has a slow, wordy start.
  3. Listen to writing experts and start with an inciting event until you become a best-selling author.

A:  a.  Yes.  b.  Yes.  I went online and found reviewers who liked the book and others who said it could have been improved by eliminating several dozen pages at the beginning.  c.  Yes.  Jump right in if you want to hook your readers.

When is biography nonfiction? When is it fiction?

When is biography nonfiction?  When is it fiction?

Consider these lines from a recent biography of Cleopatra: 

  • “We can picture the queen on her bed, her curves rising with every breath, as she gazes at Antony confidently, intensely, invitingly, her full lips half open.”)

Or consider this description of Cleopatra about to bathe:

  • “First her calves disappear, then her harmonious thighs.”

These descriptions are taken from a just published English version of a biography of the Egyptian queen entitled Cleopatra: The Queen Who Challenged Rome and Conquered Eternity.

 

But is this book biography?  Do biographers have the right to imagine scenes which might have happened to historical figures when there is no written record of such scenes?  Is it okay for them to write of intimate details of lives when those intimate details—even if true—are lost to history?  Can we call such writing “biography?”

Like Angela, other contemporary writers are forsaking strict factual evidence when they write biographies, instead favoring imagined scenes, facial expressions, and dialog.  This is true especially for biographies of women about whom so little was written in the past.

Television is influencing this trend.  Consider The Crown, the Netflix series about Queen Elizabeth II.  So much of the conversation in this series is imagined by the show’s writers.  They admit that some of the scenes never happened.  Yet the producers refuse to add a disclaimer to say that the series is fiction.  The series deals with real people and with significant historical events.  But with so much of its contents imagined, is it nonfiction or fiction?

When is biography nonfiction?  When is it fiction?  We live in a time when we have become accustomed to governments and politicians lying to us.  Perhaps we now expect license with the truth.  Perhaps it is the new normal.