In the preface to their recently published writing guide, Writer's Companion, Carlos J Cortés and Renée Miller state, “we set out to compile everything a creative writer needs to write well into a single reference volume.” Over the next two months, Open Book will be posting the first chapter of the guide, “The Nuts & Bolts.”
Check out Carlos and Renée's online writing community, On Fiction Writing, a website that is “dedicated to writers who are serious about improving their craft and helping other writers to do the same.”
CONTEST: To enter our contest to win an e-copy of Writer's Companion, send an email to clelia@openbookontario.com with the subject line “Writer's Companion.” A winner's name will be selected in a draw each month.
Read Part One, Part Two, Part Three and Part Four, Part Five and Part Six of "The Nuts and Bolts."
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STRUCTURE / PARTS
Writing consists of words. In turn, words can be arranged into phrases, sentences, and paragraphs. The basic unit of writing is the word, not unlike the dollar in the US currency system. We have the humble one-dollar bill and larger denominations.
Dry-stone-walling is an art form, as one can appreciate after examining a well-built one. In some parts of the world, dry walls have withstood the passage of centuries. For those frowning, a dry wall is made from stones without mortar or any other binding agent. The craftsman piles rocks, one on top of the other, until he reaches the desired height. He then starts another section, seamlessly stitching it to the previous one.
Those who dream to build a wonderful wall often set about it with a pile of stones, enthusiasm, and little thought. After all, nothing but stones goes into a wall, and to a careless observer, every stone is the same. Of course, if we try to build a wall by merrily piling up stones, chances are the arrangement will soon crash down. The mason’s art is in the structure. He positions each stone with great care to perform a different function. Stones can be ties, supports, fillers, anchors, cappers, etc. The elements of fiction share the structural diversity of stones when we create the walls some uninitiated refer to as manuscripts.
In this section, we will explore the definition and inner structure of each component of a novel, the shape of individual stones with which to build our wall.
A preface, prologue, introduction, or foreword may be used as foundation, although if the ground is firm, these won’t be necessary.
In the different sections of this Companion we will dedicate much space to the scene, because the basic unit of fiction writing is not the word, sentence, or paragraph — it’s the scene. These are the stones to build our wall. Their shape and arrangement will determine if our efforts produce a beautiful wall built to last, or a crumbling heap of rock.
Later we will explore the larger units, such as chapters, parts, and books — all constructed from scenes — to finish with capping stones, if necessary, and shaped as epilogues.
1.5.1 Prologue
Contrary to popular belief, agents and/or editors don’t hate necessary prologues. Here, as in every other aspect of fiction writing, the keyword is necessary.
A prologue is not a device to buttress weak opening chapters or to set a more global picture than can be accomplished in the first pages. It should not be a mere segue into the story itself, nor needs to be directly connected to the present story. If it is, it’s a chapter. Likewise, the prologue is not about mood-setting: The place to set the mood is in the story.
Inexperienced writers use a prologue to provide factual background of how a given civilization, war, or event came into being, thus confusing the prologue with a foreword or a preface. Check the relevant sections for details.
There’s a sure-fire test to determine if a prologue is necessary
If “Prologue” can be replaced with “Chapter 1,” or the prologue’s contents can be dosed our within the opening chapters — and entire plot still makes sense — chances are it’s not necessary.
A prologue is an introduction to a story. Its role is to establish setting, provide background details and other miscellaneous essential information impossible to convey any other way, and which the reader must have before reaching chapter one. Often, a prologue narrates events that happened before the story begins.
Set in the POV of a major character — though “major” is not a rule — the prologue’s voice should fit in with the genre and storyline of the main text. In some instances, the prologue could be in the voice of a non-physical entity or comprise the reminiscences of an old man, to give a couple of examples. If the POV character doesn’t appear later in the story, his or her presence must be justified on the timeline.
Clive Cussler exploited the prologue’s role with a classic formula, which other writers have successfully copied:
Prologue: 814 BCE Carthage, the Mediterranean Sea
Chapter 1: Present Day
In this setup, chances are the prologue will explain the origins of an artifact, necessary to understand the main text of the story.
There are other instances where a prologue may be unavoidable, such as in a sequel that has been a long time coming out and where the reader needs to be acquainted with the story so far. In historical fiction, the writer may need to orient the reader in an unfamiliar period. Likewise, in fantasy or sci-fi, a prologue may equip the reader with the otherwise bizarre assumptions held by the inhabitants of the world they’re about to enter. One more reason to have a prologue may be to show the perspective of the antagonist. If the story has been written in first person, the reader may not see what the bad guy plans until the end of the book. A prologue showing how evil the antagonist is can heighten the intensity of the book. Danger lurks around the corner. The reader knows it and the POV does not.
1.5.1.1 Prologue Development
Experts concur that the prologue should be written last, when the writer determines that the reader needs critical background before tackling the story. This should be done only if it is necessary, and executed with a flair matching the content of the novel.
The usual format is that of short story, with a beginning middle and end. The only difference would be that the conflicts are left unresolved.
Good prologues have a strong hook at the beginning to intrigue the reader. Their contents should stand out from the rest of the novel, perhaps set in a different period or setting from the novel itself.
1.5.2 Foreword
The foreword consists of a piece of writing set at the beginning of a book or other piece of literature and before the main text.
Most forewords are devices for non-fiction works and are often written by someone other than the author, such as an expert in the field or the writer of a similar book. Many a times, it introduces the reader to the author, as well as the book itself. On the other hand, in the foreword the writer may explain how he came to write the book.
As marketing tools, forewords help authors by putting a stamp of approval on their work. They are an opening statement by a published writer or an authority that gives the book added credibility.
A foreword does not provide the reader with any extra information about the book’s subject. Also, a foreword to later editions of a work often explains what has been changed.
1.5.2.1 Foreword Development
Forewords are also often written after the book is complete, copyedited and ready for publication. The format is a short piece, one to two pages in length, split into three sections: opening, middle, and closing.
The opening contains personal touches explaining how the author of the foreword knows the author of the book.
The middle is the place for real — world examples to illustrate the theme — and show the reader that the author of the book is credible on the subject matter. This is also the place to highlight that the book solves a problem or offers a unique point of view.
In the closing, the author reminds readers why he has written the foreword, why it matters. This also coaxes the reader to buy the book because the expert — the foreword writer — is telling them that the book is a worthy read. A common technique is to echo an idea from the first paragraph in the final one.
Unlike prefaces or prologues, forewords are always signed with name and title.
"The Nuts & Bolts" is an excerpt from Writer's Companion (2011) by Carlos J Cortés and Renée Miller. Reprinted with permission.
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