When we think of creating our fictional worlds, we tend to think in terms of landscapes, maps, these two-dimensional planes of existence. However, whilst this can be useful for creating scope – lots of characters and a wide, wide world to explore, a feeling of breadth – it is less useful for creating depth.
Function follows form, and so when we create literally “deep” worlds, we also create symbolically deep ones. The best example of this in classical literature is, of course, Dante Alighieri’s Divine Comedy, which sees a perilous descent through the Nine Circles of Hell, then an upward ascent of the mountain of Purgatory, and finally a flight into the Spheres of Heaven.
… understanding that stories should not only move along but also upward and downward along a vertical axis is pivotal to creating psychological and symbolic depth.
There are many reasons why this structure – vertical rather than horizontal – works at such a profound level. An obvious one is that our own consciousness seems to function this way. We sit at a conscious level most of the time, but when we dream or enter trances, we enter a subconscious state, a lower level, where intuition and creativity and more primordial forces hold sway. Beneath even that is the pure chaos of the unconscious, the maelstrom of desires and shared human memory.
One can easily map Dante’s tripartite tiers to the levels of consciousness. Hell is unconscious, roiling in its own filth and destruction, without any self-awareness. Purgatory is sub-conscious. There is a level of awareness, of self-insight, and the desires and energies of the unconscious have been filtered and harnessed towards progress here. Lastly, in Heaven, we are fully conscious – aware of ourselves and self-actualised.
This is only a cursory overview, but already we can see how deeply this system appeals to our natural psychology and spirituality. Most authors focus on lateral, horizontal movement – going from A to B. But in reality, stories should not only move from A to B, but also from the ground floor to the basement, and from the basement all the way upwards to the first storey.
To give contemporary examples of what I mean, we can look at two masterclasses in vertical storytelling. The first is The City by S. C. Mendes, published by the amazing folks at Blood Bound Books. This incredible novel is set in the 1910s, and revolves around a detective, Max Elliot; he wants to quit the force, but a gruesome murder reminiscent of one that went unsolved long years ago – a personal tragedy that broke Max, but which he now has a shot at gaining closure on with this new case – pulls him back in. In trying to solve this murder, Max discovers an occult secret at the heart of San Francisco, which leads him down a path of profane knowledge, and to a city deep underground.
Without giving too much away, not only is there a literal element of verticality in this storytelling (we must descend to reach The City), but there is also a figurative element, in that Max discovers the realities of what is lying beneath what we think we know – which includes traditional notions of morality. His descent into the eponymous City ultimately leads him to confront unimaginable degradations, horrors, and ritualistic “sins”.
There is more than a little sense of plummeting down Dante’s Nine Circles of Hell here, as each successive horror becomes more extreme, disturbing, and perverse. This gives the sense that we are not simply exploring a physical landscape, but the psyche of our own hero Max Elliot (who has seen horror in his time on the force, too), or, indeed, of the human race. What I loved about Mendes’ work is that it did not feel like I was being titillated with violence (the gore-porn that so often substitutes actual horror), but rather that there was coded symbolism in the violence that represented something deeper for our character, the wider plot, and indeed the human condition.
Most authors focus on lateral, horizontal movement – going from A to B. But in reality, stories should not only move from A to B, but also from the ground floor to the basement, and from the basement all the way upwards to the first storey.
This secret underground city is populated by mysterious lizard-people who predate humankind by quite some way; these symbolically seem to represent the cold, unfeeling reptilian part of the human brain – where there is only desire, fulfilment of those desires, and repetition.This reptilian part of the brain lies buried deep within us, but it is still there, regulating our unconscious breathing and prompting our need to eat, have sex, and sleep. This part of us knows nothing of societal norms – or perhaps obeys its own norms which we have become unfamiliar with – and so it is with the lizards of The City. In some sense, the lizard-people may represent a regression into an older – and perhaps more potent – form of being.
Certainly it seems that the ancient peoples, and even the early moderns, had far more of an affinity with sex and violence than we do. Our tastes seem ultimately voyeuristic and sterile by comparison with the blood-sacrifices of the Aztecs, the Bacchanalia of the Greeks, the gladiatorial games of Rome, or even the gruesome executions of the Elizabethans. This leads me nicely onto another aspect of “verticality” in fiction: our relationship with time.
In Will Shakespeare Die? by Gordon James, a title released by The Writing Collective in 2020, the verticality is almost entirely metaphorical. It is the past which is the murky basement, the lower level of hell, into which we must descend to learn the truth. In Will Shakespeare Die? the story unfolds over two timelines: the 1980s and Elizabethan England. In the ‘80s, Kit Morton and Thom Davenant are desperately trying to salvage the disastrous development of The Play, a theatrical production about Shakespeare’s life; to do this, Morton resorts to occult means.
In Elizabethan England, William Shakespeare also calls on occult magic to see how his story ends, whilst trying to thwart hidden forces closing in on him. Whilst the scenes in the relative “modern day” of the ‘80s are grim, it is the past which proves the true lower level of hell only accessible by means of magical incantation:
“Now with speed he poured more incense in, extinguished the altar lights, sat kneeling toward the triangle of manifestation upon the floor, crossing his arms upon his breast in a crossbones symbol. In the complete darkness he closes his eyes and repeated and repeated: ‘Allay Fortission, Fortissio, Allynsen Roa!’ Then nothing, except he alone in the profound quiet, waiting. ‘I greet you,’ he said, eyes still closed. ‘I greet you.’ The incense seemed to swirl around him, thick currents, sticky as treacle, but charred beyond sweetness. He felt like a man drowning…”
If we construe our consciousness as layers, built up over time, not only through our own experiences, but through the genetic memory passed down through DNA, then the past is a perfect cipher for the unconscious, the deep dreamworld we occasionally are granted access to via moments of clarity, insight, or illumination.
Clive Barker once wrote in his The Great and Secret Show that we access the dream-sea (which he calls “Quiddity”) three times during our life: when we’re born, when we fall in love with our soulmate, and when we die. I do not know if Gordon James has read much Clive Barker, but his story weirdly imitates this structure, as we enter the past only at moments of magical rebirth, intense love, or at the moment before death.
The strangeness of Will Shakespeare Die? is that this portal is double-sided, and whilst our modern characters are going down into the lower depths of “the past” and hell – Shakespeare’s secret England – our Shakespearean cast are visiting, or rather visioning, the 1980s. To them, the future is the dream-sea, an ineffable realm they are trying to ascend towards, but lack the means to fully do so.
I think there is a profound truth in this. When we get lost in looking backwards, trapped in the past, regressing, we are in a form of hell, and interestingly the redemptive notes only begin to creep into the novel when our ‘80s cast realise that they still have time to create a future for themselves, to look forward (or upwards, to extend the metaphor).
As you can see, understanding that stories should not only move along but also upward and downward along a vertical axis is pivotal to creating psychological and symbolic depth. Many writers neglect this aspect of storytelling to their detriment. There are many lessons to be learned from reading S. C. Mendes and Gordon James, and from exploring what the concept of “verticality” means in our own writing.
Who said a writer’s job is easy-peasy? Well, it’s far from being a stress-free task, especially if we want to entertain our readers in the best way possible.
To craft engaging stories, writers must dive into a variety of techniques to make this process effective and useful.
Before we learn about the plot structure formula, we must understand what plot is.
Talking about plot isn’t the same as talking about story. While a story tells what happens in a mechanical way, a plot explains the connection between two or more events. Let’s take a look at the differences in the compound of events.
Story
X happens, then Y happens.
Plot
X happens, then Y happens because of X. Therefore, C happens.
3 Act Plot Structure
The structure most used throughout history was Aristotle’s structure. In this type, a plot is divided into three parts, known as the 3 Act Structure.
Act I: In this part, characters are introduced, along with their relationships, desires, dreams, and obstacles. This is also where the setting is established and the inciting incident takes place.
Act II: Here is where the rising action leads readers to the climax. Then the falling action brings us closure to the conclusion.
Act III: Finally, the plot’s resolution is exposed, wrapping everything up.
Horace came up with a more dynamic structure divided into five acts. American novelist and professor, Alice Adams, explains the 5 Act Structure, where the plot follows this formula:
5 Act Plot Structure
A, B, D, C, E
1. Action: Setting and characters are introduced through a specific event that draws the reader into the story. It isn’t only an exposition but is the promise of a great story. Starting the story with a compelling action—it doesn’t have to be a violent one, but where the character is doing something that will hook readers in—is the best way to set a story’s gears on, rather than beginning with a reminisce, a dream, the main character waking up or even looking at a mirror. Always choose the more dynamic way over a passive one.
2. Background: Here, we present the vital information about the character, what brought him to where he/she is, and what motivates him/her to be and act in a certain way. It provides the context to understand the characters’ current situation and the building of conflicts. This is why the characters’ background must be emotionally strong because emotions are what impulses people to act.
3. Development: We reach the point where the character has to face obstacle after obstacle to achieve his/her goals. This is the sequence of events that will show the reader the “whys and “how’s”, the rising actions which will lead to the climax. However, I must state there are contradicting opinions on this part of a plot. Some writers say the development encompasses the events toward the peak, while others are sure it refers to the events that follow the climax. For me, the development takes more than 50% of the story. It’s all about rising and falling actions, some of the resolution, the character’s decision after the initial or inciting event, and the whole process the character goes through to reach his/her aim.
To understand how the rising action can make a story more exciting engaging, create obstacles every time the character has overcome one, and let each obstacle be larger.
4. Climax: Everyone agrees climax is the major conflict and the peak of a story. It is also the twist that challenges the character’s full potential, leading him/her to the final struggle.
5. Ending: This is the last act, obviously, where we see the character as someone else thanks to the journey he/she had to travel. After the final struggle, the characters might return to their everyday lives, but there’s always a reflection, except if they haven’t reached their goals. Then, their lives would be utterly different from what they used to be.
Which Plot Structure is Best?
Good stories are like circles or spirals that lead us to the same starting point, but we return to this starting point with a solution, a question, or a transformation in the character.
Whatever decision we make and whichever structure we choose, we must keep in mind that action will always be the best option to kick off our stories, while drama will build tension. Gather these elements in a harmonious waltz to lead your stories to the desired ending.
Plot structure formula is easy. Just remember your ABCs and 123s.
Cristia HJ
I write what I write to bring hope to the brokenhearted and ignite the passion for life in the sleeping soul. I want my readers to connect with my characters and free their imagination while the world is still spinning. Because no matter what we do or from where we come, we are all made of dreams and stardust.
Not only is intermittent fasting an effective way to burn fat, but the latest science also says it turns on latent genes, reverses aging, detoxes the body, and most importantly for writers, improves cognitive function.
So does intermittent fasting really work, or is it all just hype? I will tell you my personal experience so far.
My Intermittent Fasting Routine
3-4 times a week, I fast for 18-hour periods.
I drink black coffee and water until 2pm.
Tip: I combined the fasting routine with a goal to drink 1 gallon of water a day. It keeps the hunger at bay, so I highly recommend keeping water with you at all times. Herbal teas also help greatly when the stomach is growling.
I break my fast with a late lunch and eat a normal dinner.
Tip: the word “fasting” makes it sound extreme. In reality, you’re only skipping breakfast and possibly delaying your lunch. I have dinner at 8-9pm, so I must wait till 2-3pm to complete an 18-hour fast. If you eat dinner earlier, then you can break your fast earlier the next day. There are also many combinations of fasting routines that you can experiment with.
The results
I lost 5 pounds in 2 weeks–I expected to lose some weight, but not so much so effortlessly. This was a pleasant surprise.
More energy and alertness—When beginning intermittent fasting, I was a bit foggy. My brain was accustomed to having calories in the morning. But after the first week, my body knew that it would not get breakfast and learned to switch to fat-burning mode quickly. In this mode I noticed better concentration and focus.
More mental and physical endurance—I can work at the computer longer, and I recover from physical workouts more quickly too.
Better sleep and digestion—This is an unexpected bonus. I sleep more deeply, and I digest my food more quickly (no doubt because I’m so hungry by the time I eat).
Increased Productivity—The increased productivity is not only because I am more alert and energetic, but also because I do not have to prepare (or order), eat, and clean up after a meal. It saves time, removes the interruption, and is one less thing on my to do list.
Bonus–There is a food cost savings as well!
How does intermittent fasting work?
According to logic, our bodies evolved to expect long periods without food. As hunter gatherers, there could be days between our last meal and when the next food was found or caught. During this period, our senses were heightened because we needed to be alert and ingenious to locate food sources and track down animals.
During periods of fasting, the body switches to burning its fat stores. It also uses this time to perform autophagy (which actually means eating oneself), a process in which the body cleans out damaged cells and other residue that accumulates from day-to-day processes.
Once we eat, we rest and digest. Our bodies relax. They know they will live to see another day and our systems are busy metabolizing the food. This is a necessary process, but if we are constantly fed, then we are constantly in this low gear. There is no need for us to be in alert mode. We are not as mentally sharp. Fat and metabolites accumulate.
How intermittent fasting has improved my writing
I was surprised at how much of distraction meals are. Simply removing them opened up time and gave me space to focus. And I don’t get hangry because fasting trains the system to operate without the frequent ingestion of calories. Hunger and blood fluctuations can put the brain on a roller coaster. Fasting puts me in a steady hum that allows me to focus for hours.
Of course, you must get up and stretch your legs (and run to the loo if you’re doing the gallon of water challenge). But in my experience, at least, I am able to get into the flow state and stay there long enough to make major leaps in my writing.
This is why I thing fasting is especially good for novelists. We need to hold so much of the story in our heads to make sure all the moving parts work together, and getting back in the right head space after an interruption is a huge challenge.
Is intermittent fasting right for your writing life?
Fasting is definitely not for everyone, and you should consult your doctor before thinking about it, but as a writer, I will tell you it’s worth a try. I don’t think I’ll be going back to breakfast anytime soon!
With the current Pandemic ravaging the world, realizing the value of Indie Publishing, social media, and doing business online is apparent now more than ever. A lot of brick and mortar bookstores are closed, and some will not reopen. The basic system I started this post out as is good initially, but the Indie Author who goes beyond the bare minimum will set themselves apart from the pack.
I have had this post sitting in my drafts since October 2019. I didn’t want to publish it until I had tightened up my own business structure and then Corona hit and I thought, “Maybe this isn’t appropriate right now” and I put it off. I have a habit of meditating on what I have to do throughout the day before I get up from the bed. This morning I thought,“ Wait a minute, this could actually be the perfect time to present this information.”
Even though there aren’t many people working and the world is sick, this could be the perfect time for us to plan, organize, and restructure some things. The other day we cleaned out a closet that had served as the junk closet since we moved in, and Moshe (Husband) organized the garage. These days, we are paying attention to things we have neglected to give much attention to. Why not include our writing business too? Whether you will use this information now or later, this is an excellent time to give it some thought.
In the Beginning
For Self-Publishing a book, things are relatively easy in the beginning. You create a KDP account, connect your bank account (so you can get paid your royalties) and you are set. You can also create a PayPal account to collect funds from books bought through your website or blog and get a card reader to accept payments on the go, such as at book signings.
UPDATE: Card readers are becoming more outdated as apps like Cash App and Zelle become increasingly popular. I highly recommend authors to have a Cash App for book signings and festivals.
Next Level
Depending on your financial situation, it may be necessary to level up if you’ve been at this awhile.
How do you level up from this basic structure? How do you go from author to authorpreneur?
An authorpreneur is an author with entrepreneurial practices.
If publishing a book is like opening a business, you can do things to make sure you are running it like one.
It’s not 2008 and Self-Publishing is not what it used to be. The standards are higher.
Anyone can publish a book today (even if they aren’t good writers), by uploading a Word Document or PDF to Amazon’s Kindle Direct Publishing. In the past, this has brought down the quality of the prestigious process of book publishing and, specifically, Indie Book Publishing. Today, though, the stigma attached to Self-Publishing is fading, and authors who publish top-quality material are being separated from those who do not.
With the current Pandemic ravaging the world, realizing the value of Indie Publishing, social media, and doing business online is apparent now more than ever. A lot of brick and mortar bookstores are closed, and some will not reopen.
The basic system I started this post out as is good initially, but the Indie Author who goes beyond the bare minimum will set themselves apart from the pack.
Create a business name/structure that is legal and connected to a business bank account.
When your business grows, you will discover how important it is to have a legal business structure. It has done wonders for me and helps me keep up with how much is coming in and going out, which helps me have a realistic picture of my ROI or return on investment. You work hard to write these books, publish them and spend good money to get them out into the world. Don’t let all this hard work go to waste.
You can get away with using a Pseudonym or creative business name at first, but if you are serious about using that name for specific projects, you will need it to be legit. What happens if someone sends you a check in your fake business name and you have not made it legal? Without a business bank account in that name, you will not be able to cash it.
Decide if you want to be a Sole Proprietorship, LLC, Corporation, Non-Profit (if you publish books for charity) or any other structure that suits you.
* Most people do not recommend a Sole Proprietorship, but it will work just fine. I am all about keeping things simple.
Set up a business bank account – You can set up your bank account once you have your business structure in place and monitor just how much is coming in from your book sales and other author endeavors separate from other forms of income. You will get a business debit/bank card and checks to use for your business. You can even establish a line of credit.
Creating a business structure can motivate you because you get to see your writing as a real business and not just a fancy play-name. You can get logos made if you want and do transactions under this name which comes in handy when completing W-9 forms and other paperwork that may be required for you to get paid.
Stay Legally Compliant
With a business structure, you will need to keep your business compliant with state and federal business laws. The requirements will vary based on your business structure. (For instance, the conditions are more strict for corporations than LLC’s). An example is that you may have to file once a year with a filing fee of maybe $30 to stay in compliance. The process is not tedious, and you may even be able to do it online. For details on staying compliant, you can visit the small business administration website here.
If you don’t stay compliant your business will fall into an inactive status.
Publish Your Books Under Your Own Imprint
Once you have your legal business structure and business bank account in place, it is time to publish your books like you own your business.
Buy Your ISBNs – The ISBN is a unique identifier for a book issued by an ISBN registration agency. In the US, this agency is Bowker.* In some other countries, the ISBN is free, but in the US they are not. They are expensive, so it’s best to buy them in bulk if you can. You can buy a block of ten which would cover ten separate paperback or hardcopy books. KDP, Lulu, and other POD (Print on Demand) companies do provide ISBNs for free if you absolutely cannot afford to buy one
But…
Free assigned ISBNs belong to the company that issues it, such as KDP or Lulu. This means they (KDP/Lulu/Other said company) are listed as the publishers of that book, not you.
*There are tons of fake ISBN companies out there. If you are in the US, be sure you purchase your ISBN from Bowker.
Once you have your own company, you will want to have your books listed under your company name. If you are the publisher, you should be listed as the publisher. If ownership is important to you, buying your own ISBNs is something you might want to look into.
With your company name legalized, your business structure secure, your EIN in hand, your bank account set up, and books under your ISBN, you have positioned yourself as a serious business person. It is now easier than ever for high-profile people to do business with you.
It’s easy to go the free route, but free is limiting, and it does not always set you apart. Creating an actual business complete with the necessary paperwork makes it easier for you to stay organized, file taxes, rise above the crowd, and stand out as a professional author.
Extra Tips
Your work is under copyright protection the moment it is created. Don’t let scam publishing companies fool you by saying “Keep 100% of Your Copyright.” This means they are promising you something you already have. For publishing rights (different from copyright) all you have to do is buy your own ISBN. If you want to go the extra mile and register a copyright with the copyright office you can do that inexpensively at copyright.gov.
When tightening up your writing business, be sure you have both a paperback and a digital version of your book available.
I talk a lot about paperbacks because a). I have personally done better with paperbacks and b). authors can sell paperbacks through their own author website along with cool author swag and things instead of relying only on Amazon. However, that doesn’t negate the importance of having digital versions of your book available too. We are living in a digital age, and with everything being online, authors without digital books will be left out. Brick and Mortar bookstores without an online presence are struggling right now.
For those who sell paperbacks, consider lowering your print book price if you do not see sales. I love buying paperbacks from Indies, but a lot of them are also costly. I am not saying you can’t raise your price (I have a separate post about that here), that there aren’t people who will buy at that price, or that your book isn’t quality enough to sell that price.
I am only saying to be realistic.
Who is buying a $30 (plus s&h) 100-page paperback from an unknown first-time Self-Published Author?
Do what works for you, but make sure you are being practical.
When I first drafted this post, I watched a video of Tyler Perry advising entrepreneurs. I am not a big Perry fan, but when people are advising about business, I listen. Perry talked about entrepreneurs learning when to let go. Here,he meant letting go of business practices that no longer serve you once your business grows. He spoke of not being so used to how it has always been done that we are not open to change. For example, Perry’s sister used to keep receipts in a folder, but as Tyler’s business grew, that kind of accounting system no longer worked for taxes. Not when you have over 400 employees.
As professional Indie Authors, we must have the same mindset. This may not be ideal for everyone, but if you fit one of these categories a legal business name and account may be worth it:
You’ve been publishing awhile and you are making a significant income from your books and services.
You want to separate your personal funds (finances from your day job or other income) from your book business.
Yecheilyah Ysrayl
Yecheilyah (e-see-li-yah) Ysrayl is an Author, Blogger, and Poet from Chicago. She writes Black Historical Fiction, Soulful Poetry, and anything else her mind thinks up. Yecheilyah has been writing since she was twelve years old and publishing since 2010. She studied Technical and Professional Writing at Chicago State University and Psychology with a minor in child and adolescent studies from Argosy University, Atlanta. She now lives in Dallas, GA, with her husband, where she writes and publishes full-time while attending the University of West Alabama online. She is currently working on her first Urban Fantasy Novel, The Women with Blue Eyes, to be released in late 2021.
