How Can a Book Be Well Written? – TOO GOOD to be true!

What makes a book good? Is this an excellent story idea? A memorable protagonist? A unique writing style? Good books include all of these elements and more.

Every fiction writer strives to write a good novel. When writers seek assistance in writing a book, one common question is, ‘Is my idea good enough?’ Having an intriguing story idea to begin with is helpful. However, a satisfying novel is a combination of several crucial components. Here are ten elements that will improve your book.

The ‘KEY’

A Solid Opening

A story idea does not need to be the most interesting concept the world has ever seen. Mrs Dalloway, Virginia Woolf’s classic modernist novel, revolves entirely around a woman who plans and hosts a party—a simple premise. What has kept it alive (and taught in universities) is its rich, complex understanding of well-developed characters in a book, among other factors.

Readers may forgive a non-thriller plot. Few people will forgive a lousy first paragraph. Consider some openings to some of the most popular novels of all time. They build suspense. George Orwell, for example, begins 1984 (1949) with the following words:

‘It was a sunny day in April, and the clocks were striking thirteen.’

The reader instantly asks: What clocks? Why thirteen instead of the usual twelve chimes? Orwell instantly raises questions for the reader and anchors them in an essential aspect of the setting: time. (As an aside, read a few examples of how Orwell uses poetry in his fiction!)

To determine whether the opening sentence of the content is strong enough, ask yourself the following questions:

• Is there a compelling hook to pique the reader’s interest?
• Does it introduce a plot-relevant setting, character, or atmosphere?
• Is there an intriguing plot or premise?
• Does it have relatable characters? Are there any memorable and well-developed characters in the book?
• Is there conflict, either external or internal?

Satisfying, Fitting Style

What makes a good story? One element is a unique writing style. Writers should avoid adverbs (for example, instead of ‘ran hurriedly,’ use ‘sprinted’ or ‘dashed’). This is not because adverbs are generally ‘bad’; instead, because more descriptive verbs are frequently available.

Something more abstract is equally vital in style: rhythm.

Why is rhythm important? The rhythmic structure of words and how they sound to the inner ear are what distinguish some phrases as more beautiful and memorable than others. Consider poetry. Aside from vivid imagery and metaphors, poetry’s ‘poetic’ qualities stem from the rhythm created by the words.

In a tense thriller, the prose rhythm may be fast and clipped, yet in a lyrical historical epic, the writing may flow effortlessly in long, ebbing, and flowing lines.

A thorough understanding of how to use a sentence’s rhythm in unique ways will improve the readability of your writing. Reading words and paragraphs aloud can help you improve this rhythmic skill.

A Powerful Description

Once you’ve captured your reader’s attention, you must sustain their interest. Plot and character development are crucial writing techniques for well-written books. However, in order for readers to truly immerse themselves in your imaginary world, you must also capture the reader’s imagination with vivid and effective descriptions.

Forgettable books frequently have thin descriptions, with only the bare minimum indicating settings,

Remember to do the following in your writing process when including a description.

In the actual writing:

• Use adjectives and verbs with strong associations or connotations to evoke the desired mood or atmosphere.
• Use metaphors to enhance and freshen your descriptions.
• Describe what your characters might notice. It aids in characterization to filter scenes through your characters’ eyes.

Balanced Showing and Telling

The phrase ‘show, don’t tell’ is one of the most overused and misunderstood bits of writing bits of advice;

The truth is that some telling is necessary: tell your reader what your world is like.

It’s neither better to show nor tell. It depends on whether action or description is more appropriate to your story at any point in your narrative.

When you’re concerned that you’re saying too much and showing too little, ask:

• Is this information essential to the story? Does it reveal anything significant about my characters or their world? If you respond ‘no’ to both of these questions, it is not because you are showing or telling too much but because the section is irrelevant to your story. So cut it!
• Are there sufficient active verbs? Instead of utilizing adverbs, employ verbs with descriptive power. Instead of’ she looked bewilderedly,’ say ‘she gaped.’

Sometimes, you’re too close to your writing to know if you’re striking the right balance of showing and telling. This is when feedback from other writers can be helpful.

Diverse And Well-Developed Characters

Writing a good book necessitates strong characterization.

Some genres allow characters to resemble cardboard cutouts. In a typical James Bond narrative, a Bond female is always a Bond girl and suave assassins are always the same typical suave assassin. More interesting sequels in Ian Fleming’s series have been those in which the hero reveals an unexpected vulnerability or the ‘Bond girl’ is more than just a sex symbol. The story doesn’t only peddle worn-out tropes.

To make your characters diverse and well-developed, try at least some of the following:

• Give your character flaws. Nobody is perfect. Your hero might be bold in some situations but inexplicably fearful in others.
• Create brief backstories for each main character. Real individuals have histories. They have upbringings, achievements, disappointments, and aspirations.
• Create differences between the characters. Characters who all speak, look and think the same way are dull. Identify interesting differences.
• Give your characters identifying characteristics. Consider someone important in your life: do they have unusual sayings that no one else uses? A distinct way of pronouncing a specific word? How do they walk and carry themselves? Provide each character with one or two signature details.
• Grow your characters. How do your characters change as the story progresses? A momentous event, such as discovering a secret superpower or a death in the family, causes cause-and-effect ripples.

Effective Dialogue

What do many of the most popular movies have in common? The memorable dialogue.

If you pay attention, people in well-written books and movies do not speak like we do in real life. We might say ‘uh’ a lot, repeat ourselves, or make small talk that is absolutely mundane to someone listening in. When an author attempts to write a good novel, it necessitates that even incidental dialogue serves the plot. So, what does script-worthy dialogue do? It:

• Tell the reader something about your characters’ relationships.
• Contributes to tension and conflict.
• Expands the plot by allowing the reader to piece together a bigger picture.

This third element is the ‘subtext’ of dialogue—the motives, feelings, suspicions (and so on) that underpin characters’ conversations. Thinking about details like these and using them in your dialogue can give your dialogue depth and dimension. Why doesn’t a character look another in the eyes while telling them something really important? What does the combination of word, gesture, posture, and movement convey to the reader?

Strong Internal Story Logic

One of the most typical characteristics of ‘bad’ writing is that the plot has no overarching sense. Perhaps the heroine’s actions utterly contradict her psychological profile and backstory. Alternatively, there may be scenes that don’t seem to contribute cohesively to the overall picture.

To ensure that your novel has sound internal logic:

• Ensure your story focuses on answering the primary questions you set up. The narrative goal of a scene (why the author is presenting this event) should make sense when seen alongside the overall arc of the novel.
• Ensure characters’ actions make sense. The best novels have a mix of inevitable and unexpected behavior based on their goals and personal histories. If characters act utterly contrary to the personalities and backstories you construct, they might look inconsistent and perplexing.

A Sense of Originality

Many of the most influential books of the previous few centuries have implemented this writing technique of well-written books, building on their predecessors while simultaneously offering something new. Jean Rhys’ Wide Sargasso Sea (1966) draws on a secondary character from Charlotte Brontë’s Jane Eyre; Rhys uses this to tell her own story about gender and racial politics.

Rhys recombines existing characters and worlds to create something entirely new.

• To remain original, make sure that you:
• Avoid typical storytelling clichés.
• Add a personal touch to borrowed characters or plot structures. What is important to you?
• Use your own background, history, and points of reference. Nobody shares your past and perspective, so draw from both.

The Secret to Writing a Good Book: A Satisfying Conclusion

Many readers will agree that one of the most disappointing experiences is when a writer abandons a story and fails to do justice to the story’s fundamental theme. Many writers employ anti-climax to achieve a subtle effect. In Kazuo Ishiguro’s bizarre novel, The Unconsoled (1995), the reader is persuaded to believe in a momentous event that never happens.

To ensure a satisfying ending:

• Follow up on any questions raised throughout the book.

Resolve story tensions or utilize cliffhangers to build anticipation for the next book.

FAQ’s – Frequently Asked Questions