Story and voice are essential in novels. Start by thinking of the most compelling story you know or can imagine, and then tell it in your own voice, as if you don’t expect anyone else to ever read it. A common mistake beginning writers make is trying to impose style on their work. Attempting to impress readers has the opposite effect; they can smell a contrived or self-admiring tone.
To win readers over and give your novel that all-important element of voice, tell your story in a simple, straightforward way, with your own personality or attitude. Your voice becomes your style. Most professional writers do their share of hackwork to pay the bills, but when you write a novel, never censor your fiction or try to please others.
What makes a good story? Something changes in the lives of the characters, setting the narrative in motion. In The Godfather by Mario Puzo, the sudden, ominous appearance of a heroin dealer who wants financial backing and political protection from the Corleone family—and then tries to assassinate its patriarch when that support is denied—is the story’s catalyst. All the Pretty Horses by Cormac McCarthy begins with the funeral of the protagonist’s grandfather, an event that leads to the impending sale of the family ranch in Texas and the young man’s decision to embark on an adventure to Mexico with his best friend. Early in my novel Shadows the Sizes of Cities, an American tourist kills a drug dealer in Morocco—an action that may or may not have been taken in self-defense, and from which the rest of the story flows into the past, present and future.
The change that sparks a story might be as big and dramatic as the outbreak of war or a natural disaster, or just someone new who enters the main character’s life. Stories that capture our attention involve a problem or barrier that the protagonist must face, a dilemma or an elusive goal. Something is at stake. In one way or another, there should be constant conflict—whether it’s a physical fight, an argument, or just a haunting memory. That pressure keeps the story moving and holds the reader’s interest.
Important as the story catalyst is, equally significant is how the characters react to the situations they’re in, according to their own personalities, desires, and fears. Tell your story, but show your characters. Always have empathy for them, even the villains. As the author, you should be able to sum up your novel’s story—how drug trafficking changed the Mafia in the 1940s, for example—but you also need to know what it’s about emotionally. In the case of The Godfather, the answer might be, “In taking over his father’s organized-crime empire, a son betrays his family and himself.”
Using the raw materials of your story, characters, emotional theme and naturally occurring authorial voice, write scenes in your novel similar to those in a movie. And just as filmmakers do, propel the narrative and hold the audience’s attention by getting into your scenes late and leaving them early.
A finished novel should be about 70,000–90,000 words long (established authors sometimes write them twice that length). But once you reach the end, plan on revising at least five or six drafts—and maybe many more. Much of the beauty in well-written novels occurs through the author’s self-editing. When you eliminate extra words, slow or dull passages, repetitions, clichés and errors, your story and voice are honed and the real book starts to emerge.
Guest poster Gregory W. Beaubien is a longtime journalist and feature writer, who published his debut novel Shadows the Sizes of Cities in 2014 (Moresby Press). He is revising a new novel called Air Rights, about struggling fathers who try to blackmail a real estate tycoon, not realizing that the businessman also has a family and is facing serious legal and financial problems of his own.
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