Literary Agent Paula Munier on PLOT PERFECT

HALLIEEPHRON: There’s a terrific new book out there, PLOT PERFECT, for writers who are as at sea as I once was when it comes to plot. Written by prolific writer and former acquiring editor for F&W Media, literary agent Paula Munier, it reveals and dissects the invisible scaffolding of plot, from theme to organizing principle to structure to scenes. 

I only wish I’d had it when I started writing. 

Today we're happy to have Paula Munier on Jungle Red! Paula, what was one of frequent plot problem you were seeing in queries and manuscripts that you address in the book?

PAULA MUNIER: There are two big problems that I see over and over again: 

1. Pacing. Typically, the beginning is too slow, the middle is too boring, and the end is too rushed.
2. The protagonist does not drive the action from beginning to end.

HALLIE: Writing this down, because as many books as one writes, these are still fundamental problems. I'd add a third one for me: Stakes. Creating a situation in which the protagonist is FORCED to drive the action.

Since I’m such a visual learner, I love all of your diagrams that offer fantastic insights. Like your dissection of “THE THREE-ACT STRUCTURE: Sixty scenes.” 

PAULA: Sure. The three-act structure can be intimidating—until you realize that it’s just the beginning, the middle, and the end, broken down into scenes.

HALLIE: I get into arguments (who me?) with writers who insist that they can write a book from an omniscient viewpoint. Do you think these days that flies?

PAULA: Omniscient POV is considered very old-fashioned these days. It’s a red flag for editors; they assume that you don’t know your craft well if you are using omniscient POV. It can mark you as an amateur. I won’t even try to sell a project written in omniscient POV—even in SF/fantasy, which is the only place you really ever see it these days.

HALLIE: Wow! Well, next time I have to defend my position, I'm going to quote you.

What about “write scenes.” Is that a rule you can slide by without these days?

PAULA: If you’re writing commercial fiction, you really need to focus on scenes. (This is especially true in crime fiction, where pacing is everything.) Write those scenes in an original voice and you’re golden—because you’re giving the reader the best of both worlds, literary and cinematic.

HALLIE: I love the examples you use throughout the book, in particular The Maltese Falcon. What can someone learn about writing a novel from reading it?

PAULA: The Maltese Falcon is a jewel of plotting. Hammett created the iconic private detective in Sam Spade, and the quintessential femme fatale in Brigid O’Shaughnessy–and he puts them through their paces in this story. The action never stops, and yet the world in which the action takes place is morally complex. The main plot and sub-plots mirror the themes and variations on theme—and these threads are all tightly woven together in a seamless tapestry.

HALLIE: What’s your favorite author who breaks all the “rules”?

PAULA: Alice Hoffman breaks a lot of rules in her books. She writes what she calls “Yankee magic realism,” stories that are modern-day fairytales. Readers love fairytales; they know the form and that form allows Hoffman to break the rules. Of course she’s a splendid writer—and that helps!

HALLIE: So, Red Readers, if you’re looking for a gift for a writer on your holiday list, think of Plot Perfect. Hot off the presses at Writers Digest Books.

Paula will be dropping by today to field your questions about writing. I’ll start with: what makes a great title?

Seascape Writing Retreat: What We've Learned from Teaching

HALLIE EPHRON: Lucy and I are in the throes of planning this year's Seascape "Escape to Write," our fifth annual weekend retreat. It's for writers who want to get together with like-minded writers, kick back, and really focus on improving their writing. Over the Seascape weekend, we meet with a small group of writers to take a good hard look at the opening pages of their works in progress from several perspectives.

We've opened registration for our fifth season (September 14-16 in Chester, CT), and this year we're adding special guest instructor, Hank Phillippi Ryan. She'll be there, talking about (among other things) how to use techniques TV journalism to pump up your novel.

This year, we had great news that three of our alums have landed book contracts. Barbara Ross, Edith Maxwell, and Liz Mugavero all have multiple book deals. We are doing the happy dance with them.

And here's the thing: there are a bunch more enormously talented alums who will most certainly be signing their own book deals soon, too.

The day after each retreat, I am exhausted and exhilarated. Here's one of my favorite morning-after emails came from KB Inglee, who was with us in 2010. She wrote: "I think I will finish killing Charles this morning. I have found it really gratifying to do it with violence."

We always feel we learn as much as the participants. So we thought we'd share a few insights. Here are a few of mine:

1. Don't judge a writer by their writing: I've been astonished, year after year, by the amazing growth that takes place for some writers, just over the course of a weekend.

2. It's easy to see the flaws in your own work in the work of others: why this is I cannot tell you, but it's very satisfying when you see that light bulb go off and the writer says, "Oh, NOW I get what you're talking about."

3. One of the most important take-aways: Put the characters in the driver's seat.

4. Viewpoint is still one of the biggest stumbling blocks for new writers.

LUCY BURDETTE (AKA ROBERTA ISLEIB): I have to second Hallie's excitement about the Seascape weekend. It's different from most of the workshops and conferences out there, because everyone does a lot of work ahead of time, and then we talk and talk and talk.

Here are a few of the things I've taken away.

1. Anything can be fixed. But you have to write it first. This probably comes directly from you Hallie, but I couldn't agree more: Just hold your nose and write!

2. Stay as close to the real experience of the characters as you can and let them lead--rather than trying to jam them into your plot and your story.

3. The mystery writing community is so generous. We've seen over and over on this weekend how the participants get excited about each others' stories and really work hard to make them better.

HANK PHILLIPPI RYAN: What I hope to bring to the party?

1. Writing a good book is difficult. When you start thinking--whoa. This is hard! Then hurray. You're a writer.

2. Anything can be fixed, I so agree. Worrying does not help. Sometimes the best secret is to let go. Give yourself a break, and let your mind bloom. The characters will tell you what will happen if you listen to them.

3. There is no writers block. Working in journalism teaches you how to banish it. I will share!

Hurray for KB! And can't wait to be part of the stories we'll all be telling next year.

HALLIE: Registration is open. More information...

Have you been to any kind of retreat, writing or otherwise, and did you come away with a nice big fat Aha! Please, share!