Balance interiority and action
We don’t just want to read stage directions or we would read a script - better yet, watch the play/movie. The thing that makes the novel special is interiority. But also we don’t want to be caged inside a character’s interiority - unless it’s really fantastic interiority. You’re probably not that author, though, sowee, and the agent/editor probably won’t ‘love’ it. So, aim for a balance of both.
Use time
Adding a set timeframe, a ticking clock, or multiple narratives set in different time frames is a great way to add interest to your novel. Are you sure what timeframe your novel is occurring in? A woolly timeframe is often a wasted opportunity for exciting structure.
Too many cooks spoil the broth
If a character isn’t pivotal to the story or does not appear again, do we need to know their names? Names are distracting, and too many can confuse the reader. It’s better to describe an unimportant character rather than give their name.
Your 50-page marker
Something must happen by 50 pages in. I mean, ignore if you’re a Booker Prize winner or something, but otherwise, something must happen by 50 pages or the reader (agent, editor, reviewer) stops reading.
Wagyu stakes please
We need high stakes to keep reading and for the reading to feel satisfying. There are no stakes higher than death, unless perhaps the death of more people. It doesn’t have to be death. But it has to feel like death or worse than death. Hope that helps.
Multiple POVs
Shake things up by creating dual POVs. Don’t go overboard obvs, but if your book is boring, it could be that you’re spending way too much time telling us stuff that could be SHOWN through another character’s perspective.
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This is really helpful!