00:01 Waiting to start 03:05 Intro 06:20 Anna's self intro 07:05 Pacing How to write a page-turner in 4 steps: conflict, stakes, solid scenes, build to a climax What is pacing? The Hunger Games 08:00 1. Conflict Drives the story forward Character wants something and can't have it Set it up early Need to be invested in some characters, show us their vulnerable side, underdog, grateful Doesn't have to be big - stolen yoghurt 12:10 2. Stakes What will the characters lose if they don't get what they want, what is on the line Doesn't have to be big Needs to raise throughout the story, or they get what they want and situation worsens Ticking clock escalates tension, not just for thrillers 16:45 3. Create solid scenes Storytelling is about the release of information, what the reader knows and when Every scene should do 2 to 3 things Every scene needs to move the story forward, no padding Delete unnecessary scenes during revision, kill your darlings, move them to a maybe document for use in later books Chekov's gun, foreshadowing, needs to have payoff later (exception: red herrings) Enter scenes late, leave early, remove padding 23:40 4. Build to a climax Not just for thrillers Feeling of escalation Escalate stakes for both external and internal problems - crescendo together If there is a problem with the climax, it is likely caused by an earlier structural problem Test the character's flaw in the climax with higher stakes, a flaw they have been struggling with throughout Calm before the storm to contrast, lull the reader Change pacing by changing sentence length, scene length, chapter length Dialog increases speed because sentences are shorter, more white space Improve your dialog - read, switch on closed captions on vidoes 31:40 Q&A
I think flashbacks can be used to create intrigue when they reveal only a partial detail of a character's history that will impact on the story and raise the stakes. It boils down to the question: what purpose is the flashback serving? I think it shouldn't be used to qualify or explain anything, but target to create more suspense and questions in the reader.
She basically said everything Larry Brooks says in his book, Story Engineering. A lot of books on writing also cover this material but the best, most complete one of the dozens I've read, is Larry Brooks' book. I'm not associated with Brooks, I'm just sharing a good resource.
How do you deal with dialogue when the 1st language of the protagonist is not English and the writer has to balance between short dialogue and an authentic manner of speaking?
I'm reading Personal by Lee Child and there's a Russian guy speaking English. I think he does a good job of showing he's fluent but English is his second language
The stuff around 14:00 is just plain wrong. These things do not raise stakes. These are setbacks. The stakes were raised in The Hunger Games when Katniss realized she had feelings for Peeta. Stakes are bad things that CAN happen, not bad things that have ALREADY happened. Katniss originally feared losing the game and dying, but now she fears having to kill someone she has feelings for.
I'm a military sci-fi writer so usually, my "ticking clocks" are the kind that results in explosions or some other consequence but I feel like a single woman who really wants a baby could be an interesting premise for literary fiction (ticking biological clock).
Literature is not about the story alone: it is about the structure of ideas. Proust has some interesting sections about paintings and music. Ultimately these are the decorations upon a very long story. I did not find any original insights or ideas here.
![How to Come Up with ORIGINAL Story Ideas [Brainstorming Method]](http://i.ytimg.com/vi/tCCQaPv5AmE/mqdefault.jpg)
00:01 Waiting to start
03:05 Intro
06:20 Anna's self intro
07:05 Pacing
How to write a page-turner in 4 steps: conflict, stakes, solid scenes, build to a climax
What is pacing?
The Hunger Games
08:00 1. Conflict
Drives the story forward
Character wants something and can't have it
Set it up early
Need to be invested in some characters, show us their vulnerable side, underdog, grateful
Doesn't have to be big - stolen yoghurt
12:10 2. Stakes
What will the characters lose if they don't get what they want, what is on the line
Doesn't have to be big
Needs to raise throughout the story, or they get what they want and situation worsens
Ticking clock escalates tension, not just for thrillers
16:45 3. Create solid scenes
Storytelling is about the release of information, what the reader knows and when
Every scene should do 2 to 3 things
Every scene needs to move the story forward, no padding
Delete unnecessary scenes during revision, kill your darlings, move them to a maybe document for use in later books
Chekov's gun, foreshadowing, needs to have payoff later (exception: red herrings)
Enter scenes late, leave early, remove padding
23:40 4. Build to a climax
Not just for thrillers
Feeling of escalation
Escalate stakes for both external and internal problems - crescendo together
If there is a problem with the climax, it is likely caused by an earlier structural problem
Test the character's flaw in the climax with higher stakes, a flaw they have been struggling with throughout
Calm before the storm to contrast, lull the reader
Change pacing by changing sentence length, scene length, chapter length
Dialog increases speed because sentences are shorter, more white space
Improve your dialog - read, switch on closed captions on vidoes
31:40 Q&A
Thanks for this!😀
Informative and practical advice... better than reading any book. Kudos and God speed! ❤️
sorry guys missed the live (couldn't wait up until 12- I'm in Oman) very grateful for the replay. Thanks so much.
I think flashbacks can be used to create intrigue when they reveal only a partial detail of a character's history that will impact on the story and raise the stakes. It boils down to the question: what purpose is the flashback serving? I think it shouldn't be used to qualify or explain anything, but target to create more suspense and questions in the reader.
She basically said everything Larry Brooks says in his book, Story Engineering. A lot of books on writing also cover this material but the best, most complete one of the dozens I've read, is Larry Brooks' book. I'm not associated with Brooks, I'm just sharing a good resource.
Thank you for much for this tip. I have been looking for a writing source that both teaches writing AND has a best selling book.
Great webinar Anna! Really informative and helpful...thank you. 🤗 Vittoria - Australia
Anna, you are amazing. This was well presented and informative. And the pacing was perfect. :-)
My first Reedsy webinar. Looking forward to it
Reedsy content is always great but this is SO helpful 🙏
Thank you so much. I couldn't join live. Love that you allowed us to watch now. Greetings from Savannah, GA!
Loved the direct, to-the-point information. Very helpful.
She's awesome☕. Lots of good gems dropped here.
It's such an impressive webinar, sadly I lived in Indonesia so I couldnt join. But thank you for the information and advice about pacing!!
I really enjoyed and benefited from this. Thank you!
Fantastic foundational insight. Thank you Anna! (PS Surfing is the best!)
Thank you, Anna. Very informative!
This is fantastic info! I love the stolen yogurt conflict idea. LOL.
Very useful advice that applies equally as well to novels, screenplays & plays.
Anna is awesome. Super helpful.
Thank you Anna. Really honest and useful delivery
Greetings from the Philippines! Couldn't watch the live.
Deidre Brock. Hello from Cape Town, South Africa.
Quite helpful. Thank you!
Great information. Thank you Anna.
Cannot find the book Hulu's Run..? Who is the author?
Hi from Dublin Ireland
How do you deal with dialogue when the 1st language of the protagonist is not English and the writer has to balance between short dialogue and an authentic manner of speaking?
break it up with narration between the dialogues. so you don't feel trapped to tell the story by how they speak.
I'm reading Personal by Lee Child and there's a Russian guy speaking English. I think he does a good job of showing he's fluent but English is his second language
Enter a scene late and leave early - great advice.
Hi! I'm from India, and our time doesn't match yours, so couldn't join live... Watching the replay
The stuff around 14:00 is just plain wrong. These things do not raise stakes. These are setbacks. The stakes were raised in The Hunger Games when Katniss realized she had feelings for Peeta. Stakes are bad things that CAN happen, not bad things that have ALREADY happened. Katniss originally feared losing the game and dying, but now she fears having to kill someone she has feelings for.
greetings from Danka O. from Manitoba, Canada
Thank you⚘
Good, basic information. I learned something about videos though--DO NOT WEAR A NECKLACE THAT FLASHES WITH EVERY MOVEMENT. Distracting.
Sorry joining you late - had to go shopping. Apologies.
very helpful, thank you
Greetings, Saint Anthony Idaho, -17 Celsius
EXCELLENT
I'm a military sci-fi writer so usually, my "ticking clocks" are the kind that results in explosions or some other consequence but I feel like a single woman who really wants a baby could be an interesting premise for literary fiction (ticking biological clock).
There are a lot of ticking clocks in Star Trek
Dang it i missed it
Same
There should be a ticking clock in every chapter.
Literature is not about the story alone: it is about the structure of ideas. Proust has some interesting sections about paintings and music. Ultimately these are the decorations upon a very long story. I did not find any original insights or ideas here.
Can I have 10 cents off my editors fees for every time this lady says 'like' and 'kind of'?
Hunger Games again... do Reedsy editors read anything else?
I can't listen to this. Upspeak, vocal fry and the endless "like".
Lol
Great tips, thanks so much.