If you scroll through my blog long enough, you’ll find that I’ve rebloged and/or have said something about how long a chapter should be. Though I don’t entirely disagree with what I’ve posted before, I think I need to make something clear.
DISCLAIMER: I am not a professional. I don’t have any traditionally published works (one day I will, hopefully), and I don’t have the experience of a pro. I am just an eager learner online sharing what I know and have recently learned. Corrections, suggestions, and constructive criticism are welcome.
If you scroll through my blog long enough, you’ll find that I’ve rebloged and/or have said something about how long a chapter should be. Though I don’t entirely disagree with what I’ve posted before, I think I need to make something clear.
DISCLAIMER: I am not a professional. I don’t have any traditionally published works (one day I will, hopefully), and I don’t have the experience of a pro. I am just an eager learner online sharing what I know and have recently learned. Corrections, suggestions, and constructive criticism are welcome.
Your word count per chapter isn’t thatimportant.
Sure, most publishing houses in the industry have preferences on how many words you can fit in a book, but you don’t need to be strict on yourself with the numbers.
I have read books with chapters as long as 20+ pages andas short as 2 pages. In the same book, okay?
Your chapters don’t need to have a specific word count as long as you’re telling the story.
You can have one chapter with 3000 words, but so much stuff happens that you might as well cut it up into smaller parts that are easier to digest. You can also have a chapter with more than 3000 words, more than 5000 even, and it still feels like 1 solid part.
But don’t think how much you say doesn’t matter. It does. But how much you say andhow much happens are equally important.
You can say a lot about a small event. You can describe sensations, the way someone blinked then turned away, the way you caught your friend staring at you, the way your teacher stuttered and almost failed to save face, etc. Even if they’re short-lived and can only realistically happen in a second, as a writer, you can prolong that second by saying more. When you say more, the reader reads more. Thus, making the experience slower.
The opposite can be done with less description. If you want something to feel faster, explain less. Instead of writing a paragraph about a single action, limit your descriptors. That way, you’ll fit more actions in fewer words and in less time.
But slow doesn’t mean bad. Neither does fast.
It all depends on the scene.
What you say and how much you say should depend on how you want the reader to feel…how you want them to experience it. If it’s a fight scene with a lot of actions, and you want your reader to feel how quick your antagonist’s moves are, talk less. Show more.
But if you want time to slow down for them, make use of the character’s voice. Give them an opinion to share. Make your readers experience the frozen moment with your character. Describe the feeling of what is happening rather than just the initial event.
But if you’re as stubborn as I am, and you still want a specific number, google the average word count of a chapter within the genre you’re writing (also include the ideal length of the overall work: novella, novel, etc.).
According to wordcounter.net, the general guideline is 3000 to 5000 words per chapter. But really, it’s just a guideline.
“…chapter length should be defined by the story and that any chapter length targets you decide on are merely guidelines.”
What I learned online is that even chapters, the bricks you use to build the story, could have structure. In my opinion, if you can take the extra time to thoroughly build the structure of your chapters, please do. It’ll make it better in the long run.
But if you’re (still) as stubborn as I am, just make sure it has a BEGINNING, MIDDLE, & END.
You can start a chapter exactly in the middle of an action. That’s fine. For as long as that action/event is something that leadsto the main focus of the chapter. By all means, skip the idle scenes that give no meaning and serve no use to the story. But you don’t want your reader missing out on crucial details.
The chapter has to begin somewhere, lead to an important question/task/mission/whatever in the middle, and a solution (at least a half solution) - plus another question to keep your readers reading - in the end.
Remember, your word count doesn’t tell you whether you have a good story or not. It just says how long the story actually is. Just as a 15-minute Taylor Swift short film can make you cry and a 2-hour action movie can feel like it’s only been 10 minutes, stories consisting of 1k to 100k words rely on meaning, emotion, passion, and purpose to have value.
Thanks so much for reading! I hope this helped you at least a little. I’m open to suggestions, tips, submissions, corrections, and constructive criticism. Just send me an ask, submit or hit the DMs <3
If you’re feeling stuck in your writing, instead of your usual methods, try changing things up a little! Some examples include:
Try freewriting
Dumping whatever is in your brain at the moment, no punctuation, no grammar, etc. This gets your creativity to turn ON and your inner editor to turn OFF.
Try writing by hand
If you usually write on your phone or laptop, try writing by hand. You don’t have to do your whole session this way. But if you’re feeling blocked, a screen might be keeping your inner editor on high alert. Writing by hand forces you to slow down and gives your brain a chance to run wild with ideas!
Try writing in a different space
If you always write at your desk at the same time every day, but it’s feeling pretty stale, try writing in a different location!
If you CAN’T write in a different location, try rearranging your desk, doing some stretches, and make a general attempt at breaking up any feelings of monotony.
Try writing something totally different for funsies
If you’ve been working on one project for a long time, it might get tedious. For example, if you usually write epic saga length sci-fi, try writing a contemporary mystery, or a fluffy holiday romance. It doesn’t have to be a full commitment project thing. You can just write a little bit to see what happens and explore!
Read read read
You might be running on empty without realizing it. So stock up on creativity! Refill your creative gas tank! If you’ve reached a point in your project where you feel as if you’ve forgotten how to put words together, read like CRAZY. This “reminds” you how to write and gives your brain something to work with when you get back to writing! :)
Hello. We need to ask you something pretttyyy important.
So.
Right.
Ugh this sucks.
Right.
As you know the pandemic has proper knackered arts orgs and artists all over the shop and that, unfortunately, includes us. For the last 18 months, we’ve been unable to run our live events safely and, honestly? It’s left a huge hole in our beeswax. Add to the nightmare with the cowboy web developers and things at Writers’ HQ are a little on the precarious side.
Recently the Arts Council decided we weren’t allowed to apply for the Culture Recovery Fund because we asked for both too much and too little (we don’t understand either)*. We have absolutely maxed out all available credit and aren’t eligible for any of the other covid support packages and eeesh it has left us in a very bum-clenchy situation.
Since the beginning of the pandemic we have run hundreds of free online workshops and courses for writers stuck in covid hell and worked our little butts off to make sure no one missed out on the community they needed during the weird-ass timeline we forked into in early 2020.
Last year, we awarded over 20 bursaries to systemically excluded writers, ran 312 webinars and workshops and saw our writers rack up over 200 publications and 50 longlistings, shortlistings and competition wins. One longlist had TEN Writers’ HQers on it, and one anthology featured SEVEN of you writerly maniacs.
But it’s not just about the publications. It’s about DOING THE WORK and hoo boy have our writers worked their arses off. We’ve seen ‘em rack up those words, complete first drafts, fifth drafts, synopses, queries, collections, scripts, poems, a billion pieces of flash fiction, non-fiction, articles, journals, MA applications, podcasts, spoken word performances, self-published manuscripts, NaNoWriMo drafts and, most important of all, you’ve posted an endless stream of support and feedback on our forum, celebrating wins and rejections alike.
We love Writers’ HQ and we know it’s an important place for so many writers and we are determined that we won’t be scuppered at the final twist of the pandemic shitfight.
tl;dr: Writers’ HQ is really in the shits right now and if you have the resources to help us continue supporting writers across the world, we would very much appreciate it. We’re not a mega corp that can suck up the losses of the last 18 months. Writers’ HQ is a labour of love run by Sarah and Jo and Natalie (and Poppy and the rest of the amazing workshop team) from their living rooms because we believe the writing of stories should be accessible to everyone regardless of ability, class, neurodiversity or wealth, not just the rarified types normally allowed by the publishing gatekeepers.
So. If you can, there are three ways you can help us right now:
1. BECOME A MONTHLY MEMBER
Not only does your monthly sub give you access to like the best writing community and courses and workshops in the ENTIRE WORLD EVER PLUS ONE but it really is the best way to support us right now, and it helps us to continue offering plenty o’ free stuff for those who need the free stuff.
Don’t keep us to yourselves! We’re too good to be a secret! Tell everyone you know about Writers’ HQ and let them see for themselves what awesome-sauceome writerly goodies we have to offer. If you have a website, please consider putting a link on it pointing to us, or just spam your friends demanding they check us out.
Thank you thank you we love you love you love you x
Not the school subject, which I know nothing about (sorry to my chemistry teacher). I’m talking about love. But more than that, chemistry is the way two people interact, and usually it is referring to a romantic sense (though there can be friend, familial, or even antagonistic chemistry). So here are some tips on creating and maintain some of those sparks to make your readers care about the relationships in your story.
Make it Slow
It doesn’t need to be slow burn. Hell, it could even be love at first sight. It’s not about the falling in love, it’s about the relationship itself. In real life, we don’t know what a partner is like until a month, 6 months, a year, maybe even a decade after being with them. First impression you is not the real you. Let the characters develop themselves naturally and slowly, and the relationship will not become too fast-paced and unrealistic.
Give them Differences
We’ve all heard the saying “opposites attract.” And since everyone is different in some way, that is true. Now, your romantic interests don’t need to be polar opposites. In fact, something which I will talk about soon is that they should have some similarities. But a difference creates conflict—good conflict. Conflict that can mirror character’s internal conflict, that can mirror the plot, that can lead to surprising bonds. Make your characters’ differences complement each other, and that will lead to great chemistry.
Give them Similarities
Wait, what? You just said to give them differences.
Well, yes. Both can be true. In the same way that every person on Earth is bound to have something similar and something different with every other person on Earth, your characters should have some similarities to go along with their differences. What is a common trait, or situation, or part of their identity that they can bond over. What do they share that nobody else shares with them? Answering this question can also answer the key question: why do these two characters specifically work well with each other, and not with anyone else?
Focus on Each Separately
You can’t make a good relationship unless the characters that are part of that relationship are also good. So, before you jump into trying to create chemistry, make sure your characters are fully fleshed out first. They should be able to stand on their own with their roles in the story. Make them complex, with motivations, goals, and a key role in the story beforeyou pair them together.
Note: Take advice with a grain of salt. These are supposed to be educational, inspirational, and/or motivational. If you have any corrections, requests, suggestions, or anything really, shoot an ask! or a submission! or a DM!
To the people who were tagged, let me know if you’re uncomfortable having your post and/or blog mentioned here and I’ll make edits ASAP.
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so let’s dive right in :)
First off let’s just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag’s Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag’s Pyramid structure consists of:
Introduction:the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards…
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
2. The Hero’s Journey
the hero’s journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero’s journey was inspired by Joseph Campbell’s concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero’s everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they’ve learned.
Return with the Elixir: after succeeding they return to their old life.
the hero’s journey can be applied to any genre of fiction.
3. Three Act Structure:
this structure splits the story into the ‘beginning, middle and end’ but with in-depth components for each act.
Act 1: Setup:
exposition:the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint:an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax:the hero must chose between acting or failing.
climax:they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
4. Dan Harmon’s Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell’s hero’s journey.
the benefit of Harmon’s approach is that is focuses on the main character’s arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don’t know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn’t what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon’s story circle.
5. Fichtean Curve:
thefichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2.The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you’re writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Midpoint [55].Aplot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a “Call to Adventure” of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
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