The Author Dashboard is your central hub for feedback throughout the revision process. You can upload early drafts, polished manuscripts, previous works, or works in progress — each analysis uses one credit and will generate insights tailored to that specific manuscript.

As you develop your draft, you may want to upgrade to Marlowe Pro for an instant analysis and actionable feedback about your plot, story beats, characters, pacing, themes, and more.

Keep in mind that there may be occasions where Marlowe get things wrong — our AI may make recommendations regarding your characters, plot, or setting that aren’t quite right. You know your story better than anyone, so think of Marlowe as a critique partner whose suggestions you can sometimes ignore. In the vast majority of cases, however, we think you’ll find Marlowe’s suggestions spot on.

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While there are no hard-and-fast rules about minimum and maximum story lengths, there are industry traditions and reader expectations. If you want to give yourself your best chance without having to fight additional uphill battles, then writing with the word count guidelines for your genre in mind is often the wisest course. Getting your word count right will also cut down on editing costs if you decide to go that route.

Here’s a quick reference for typical word counts by genre:

• Adult contemporary fiction: 70,000-90,000 words
• Literary fiction: 80,000-120,000 words
• Romance: 50,000-90,000 words (mostly 70,000-90,000)
• Science fiction/Fantasy: 80,000-120,000 words (longer for epic fantasy)
• Historical fiction: 80,000-120,000 words
• Mystery/Crime: 60,000-90,000 words (cozy mysteries are shorter)
• Horror: 80,000-100,000 words
• Thriller: 70,000-100,000 words
• Westerns: 50,000-80,000 words
• Young adult: 50,000-90,000 words

For genre-bending works, the word count should typically align with the genre that has the higher range (e.g., romantic fantasy would follow fantasy’s 80,000-120,000 words). In some cases, indie authors choose to serialize a story — say, three fantasy novels of 40,000 words instead of one novel of 120,000 words.

If you’re not writing for adults, there is a different set of guidelines:

• Young adult: 50,000-75,000 words
• YA fantasy: 80,000-100,000 words
• Middle grade: 30,000-50,000 words
• Children’s books: 500-600 words

If you’ve decided to take the path of self-publishing as an indie author, you’ll want to check out our 10-step Quick Start Guide to Self-Publishing a Book when you have your manuscript nearly ready. It’s a good reality check of what steps still lie ahead on your author journey.

The Quick Start Guide provides a step-by-step blueprint to help you become a published author, including a list of self-editing tools, a breakdown of different groups that can help with revisions, advice on formatting and cover design, and much more. It’s available for any author — and not behind a paywall!

Whether this is your first or final draft, reflect on these questions to ensure that your story resonates:

• What kind of novel are you writing?
  Think about your audience and genre. Are you writing for adults, young adults, or children? Is it literary or genre fiction? Understanding your audience and genre will help shape your story.
• Who is your ideal reader?
  Identify the age group you’re targeting — adults, young adults (ages 12-18), middle grade (ages 8-12), or children (8 and under) — and tailor your content and tone to those audiences.
• What genre does your story fit into?
  Familiarize yourself with a favorite genre: say, thrillers, romance, fantasy, mystery, sci-fi, or historical fiction. Knowing your genre will help you connect with your audience.

Storycraft essentials

As authors, we sometimes need a reminder of the truism that discipline, consistency, and rigorous work habits are as important a part of writing success as inspiration or talent. So, as the saying goes, make sure to put your ass in the chair and write!

Writing instructor Savannah Gilbo advises that you consider establishing a target word count for your daily or weekly production. (There are a number of apps and tools such as Scrivener that will help you do this.) Let’s say you want to write an 80,000-word first draft. If you’re  comfortable writing 500 words per hour, that means you should expect to expend 160 hours on the writing of the first draft — assuming you’re disciplined and focus on the writing instead of rewriting, editing, and research. 

A target word count can also help with the outline of your story. A word count goal can help you choose a framework with a certain number of acts and scenes and where your key plot points will fall. By using the three-act structure with an 80,000-word novel, Act 1 will be about 20,000 words, Act 2 will be 40,000 words, and Act 3 will be 20,000 words. If you typically write scenes that are about 1,500 words, you’ll have about 13 scenes in Act 1.

In the following sections, we’ll cover key aspects of storytelling and the writing process.

Age levels of your target readers

Determining your target audience is crucial for understanding how to shape your content and tone. Here’s a breakdown of typical age groups:

• Adults: These novels feature mature content, complex themes, and relationships. They assume readers have life experience and often focus on adult challenges.
• New adult (ages 18-25): These stories focus on transitional life stages, featuring mature content while maintaining elements of young adult fiction, like self-discovery.
• Young adult (ages 12-18): YA novels often explore identity, friendships, and coming-of-age themes, typically with younger protagonists. They can deal with darker themes but avoid graphic content in most cases.
• Middle grade (ages 8-12): These stories are geared toward pre-teens and often focus on friendship, family, and growing up. The tone is usually light, and themes are age-appropriate.
• Children’s (ages 8 and under): Picture books, easy readers, and chapter books for the youngest audiences, focusing on simple plots and engaging illustrations.

Understanding your audience helps you craft a story that aligns with their expectations and keeps them engaged.

Don’t think of genres as a box that the publishing industry places you into. There are plenty of genre-bending bestsellers. And plenty of subgenres blend elements of more than one genre: e.g., paranormal romance, sci-fi thrillers. That said, genres help guide reader expectations. Think of it this way: Most readers have picked a lane (or several lanes) when it comes to genres and subgenres, and they want to know if your book is in their lane. While it’s possible to blend genres, knowing the conventions of your primary genre helps you connect with readers.

Here’s a brief overview of popular genres:

Thrillers

Thrillers are designed to evoke feelings of suspense, anticipation, and anxiety. They often feature unexpected plot twists, high stakes, and action-packed narratives centered around mysteries, conspiracies, or missions. Thrillers also include crime fiction, which explores the conflict between law enforcement and criminals and emphasizes the chase for justice rather than solely focusing on solving a mystery. Common subgenres include psychological suspense, legal thrillers, crime, espionage, technothrillers, political thrillers, medical thrillers, and action.

Romance

In romance novels, the central focus is on romantic relationships that drive the story forward. These works typically conclude with a “happily ever after” or a “happy for now,” leaving readers with an uplifting or satisfying ending. Subgenres include contemporary romance, historical romance, regency romance, LGBTQ+ romance, romantic comedy, paranormal romance (Romantasy), dark romance, romantic suspense, and erotica.

Fantasy

Fantasy novels incorporate magical or supernatural elements that exist outside reality. Settings can range from entirely imagined worlds to alternate realities where magic coexists with our own world. Fantasy may draw on existing mythologies or create new ones. Subgenres include epic fantasy, high fantasy, low fantasy, fantasy romance, paranormal fantasy, magical realism, quest fantasy, steampunk, and cozy fantasy.

Mystery

Mystery novels focus on solving a primary crime or series of crimes, often involving a detective or amateur sleuth. The reader is invited to piece together clues alongside the protagonist to uncover the identity of the villain. The central question is often “whodunit?” — who committed the crime? Subgenres include cozy mystery, amateur sleuth, detective/private investigator, noir, heist, organized crime, and courtroom drama.

Science fiction

Science fiction explores advanced or imagined technologies and scientific concepts as central elements of the plot. These concepts are based on real scientific or technological principles rather than magic. Sci-fi stories often examine how such technology impacts society and individuals. Subgenres include space opera, time travel, apocalyptic/post-apocalyptic tales, dystopian fiction, alternative realities, and cyberpunk.

Contemporary fiction

Contemporary fiction (aka general fiction) serves as an umbrella category that includes literary works as well as novels that don’t fit neatly into genre classifications. These stories tend to have contemporary settings and are more accessible than literary fiction, and they’re more entertainment focused. Subgenres include women’s fiction, drama, tragedy, satire, chick lit, and humor.

Historical fiction

Historical fiction immerses readers in a specific time period by blending real history with fictional narratives. Characters can be real or imagined but must navigate historically accurate settings and events. Historical fiction is a subgenre of general fiction but is so popular that it deserves its own capsule summary. Typically set at least fifty years in the past, subgenres include historical romance, historical mystery, historical thriller, historical westerns, military fiction, historical epics, bildungsromans (coming-of-age stories), and alternate history.

Horror

Horror fiction aims to evoke fear and shock through themes of death, the occult, supernatural elements, and evil. A sense of dread is crucial in creating an unsettling atmosphere. Subgenres encompass occult horror, gothic horror, paranormal horror, psychological horror, slasher fiction, cosmic horror, body horror (focused on physical trauma), zombie narratives, and monster stories.

Young adult

Young adult novels target readers ages 12 to 18 and often explore themes of self-discovery and coming-of-age experiences. While not a genre in itself — YA can encompass various genres—it typically features younger protagonists navigating friendships and first loves. YA fantasy and YA romance are among the most popular subcategories.

Literary fiction

Literary fiction prioritizes character development over plot and often delves into complex themes with lyrical prose. Unlike genre fiction—which tends to follow specific conventions—literary works focus more on mood and character traits than on pacing or plot structure.

Understanding genres is crucial for meeting reader expectations. If you’re writing genre fiction — where pacing and structure matter — be mindful of these elements throughout your novel. Conversely, if you’re writing literary fiction — where mood and character depth are paramount — focus on those aspects instead.

Create an elevator pitch

Before you begin writing, creating an elevator pitch helps clarify your plot’s main trajectory and helps you focus on the core elements of your story. By distilling your narrative into one or two sentences, you can identify the central conflict and themes that drive your characters’ journeys. This clarity guides your writing so that your story remains on course as you develop it.

Once your manuscript is complete, this succinct summary becomes a powerful tool for pitching to literary agents and publishers. In a competitive industry where attention spans are short, having a well-crafted elevator pitch allows you to convey the heart of your story quickly and effectively, making it easier for agents to understand what makes your book unique and compelling. For example:

Harry Potter and the Sorcerer’s Stone: When eleven-year-old Harry Potter discovers he is a wizard, he is whisked away to a magical boarding school. There, he learns dark secrets tied to his past, leading to a battle between good and evil.

This pitch not only highlights the protagonist and his journey but also sets the stage for the overarching conflict. If you find it challenging to summarize your story succinctly, it may be a sign that you need to refine your plot further. Take some time to identify the main through-line of your narrative — what is the primary conflict or theme that drives the story forward? By honing in on these key elements, you can create a more focused and engaging elevator pitch that captures the attention of readers and industry professionals alike.

At the heart of any great story is a compelling protagonist. Even with a well-constructed plot, without a strong character to guide the reader, the story may fall flat. To ensure that your protagonist is engaging, ask these key questions:

• Who is your protagonist?
• What does your protagonist want?
• Why do they want or need it?
• How will they achieve their goals?

The story you write is the story of how your protagonist will achieve what they must have.

The importance of character growth

At the beginning of your story, your character often has a false worldview — a misbelief. This misbelief was created by an experience in her life that shattered her previous worldview and replaced it with a new skewed worldview or by a lack of experience creating a misbelief and skewed perspective. She lives her life by that misbelief — until you change that as the author. The purpose of the story is to break down that misbelief, allowing the character to grow into a new, more enlightened worldview. Now, your job is to figure out how that happens and how your character reacts to it to grow into a new person. 

Your reader’s ability to identify with and care about your main character is more crucial than anything else to the success of your book. While your main character does not need to be wholly likable, she needs to have qualities that engage the reader at a deep level. These qualities include relatability, the potential for growth and redemption, and good intentions. An imperfect character’s moral compass is often demonstrated by a “save the cat” incident in which she goes out of her way to defend or rescue somebody weak or threatened. This tends to be enough to tip the scales in their favor for the reader. 

Be sure to imbue your characters with flaws or emotional wounds. A relatable, flawed character — whether a hero or antihero — keeps readers engaged. If a morally ambiguous character’s flaws are tempered by a desire to do better, your reader will root for her. Even if she is an assassin or thief, as long as she shows a core moral compass, readers will relate to her and want her to succeed.

One of the key components of any page-turner — perhaps the key component — is narrative drive. Make sure you’ve put lots of thought into setting up a strong narrative drive in your story by including elements that lead to constant forward momentum, keeping readers eager to turn the page. This is achieved through compelling stakes, clear goals, and escalating tension. Consider the following:

• Does each scene introduce a new problem, deepen an existing one, or propel the protagonist toward (or away from) their objective?
• Have you managed your pacing to avoid unnecessary detours, lengthy exposition, or stagnant moments where nothing changes?
• Have you imbued your character with urgent and emotionally gripping motivations so that every action and decision feels inevitable yet unpredictable?
• Does each scene raise the stakes or introduce new story questions — whether through mystery, conflict, or suspense — that piques the reader’s curiosity about what happens next?

Whether you’re embarking on your first novel or revising an existing manuscript, understanding point of view is crucial to shaping your story and connecting with readers. Here’s a brief overview of common POVs:

1. First-person POV

In first-person POV, the story is narrated by a character using “I” or “we.” This perspective provides intimacy and immediacy, allowing readers to experience events and emotions directly through the narrator’s eyes. However, it limits the narrative to what the narrator knows, sees, and experiences. This can enhance mystery and emotional depth but requires that all essential information be encountered or heard by the narrator.  

First-person POV is particularly popular in character-driven stories because it allows readers to deeply engage with the character’s arc and emotional journey. While novels in this POV often feature a single narrator, some may include two; in such cases, the narrator’s name can be introduced at the beginning of each chapter or section.

The use of first-person POV varies by genre. It is frequently found in romance novels, where it enables readers to experience love alongside the main character. In young adult fiction, first-person POV is effective for stories centered on self-discovery and identity, allowing readers to witness growth firsthand. In thrillers, this POV can build suspense by limiting reader knowledge and introducing an unreliable narrator.

Conversely, first-person POV is less common in genres like epic fantasy or multi-generational historical fiction, where vast scopes and multiple main characters make this perspective too restrictive. While there are exceptions, it’s essential to consider these trends when choosing your POV.

2. Third-person limited POV

Also known as “Deep POV,” third-person limited uses pronouns like he, she, or they while closely following the thoughts and feelings of one character at a time.* This perspective can include multiple POV characters but typically focuses on one per scene or chapter, allowing readers to experience the story through that character’s lens. Compared to first-person POV, third-person limited can feel more polished while still maintaining a close connection between the character and reader.

* On occasion, an author will insert a dinkus in the form of three dots, asterisks, or other decorative marks used to signal a shift in the narrative or a change in the POV character within a scene or chapter.

A good practice is to mention the name of the POV character within the first three sentences or the first paragraph of each scene to avoid confusing readers about whose perspective they are experiencing. In some genres — especially romance — the author might even include the character’s name in the chapter heading.

When switching between characters’ perspectives, it’s crucial to provide context clues such as action beats or internal thoughts to clarify who the current POV character is. The text should reflect what that character sees, hears, or feels. For a character’s internal thoughts, the text is often italicized.

A common pitfall of third-person limited POV is head hopping, which occurs when a writer unintentionally enters another character’s thoughts without transitioning properly. This can occur when switching perspectives mid-scene to show another character’s reaction. To maintain consistency, focus on observable actions rather than internal feelings. For example, instead of writing “Jane became uncomfortable” from John’s POV (which raises questions about how John knows this), you could write, “Jane squirmed,” which conveys her discomfort without breaking narrative consistency.

Another potential issue is slipping into omniscient POV — especially during foreshadowing — by sharing details that the third-person limited perspective cannot know. While brief flourishes can be used sparingly for effect, overuse may confuse readers.

Here’s an example. A scene written in John’s POV might suddenly say, “But little did John know that as soon as he crossed the road his entire life was about to change.” That’s omniscient. But if it was written as, “John felt like he was on the precipice of something, but couldn’t say what or why. Shaking it off, he crossed the road.” This keeps us grounded in third-person limited while still hinting at foreshadowing.

As a writer, it’s important to avoid head hopping and maintain a consistent style of POV for clarity’s sake. If not careful, these pitfalls can confuse readers and detract from your story’s impact.

3. Third-person omniscient POV

In third-person omniscient POV, the narrator possesses all knowledge about characters’ thoughts, feelings, and experiences. This perspective provides a broader view of the story and is well-suited for complex plots with multiple storylines and extensive world-building. Phrases like “little did he know” or “meanwhile” indicate an omniscient narrator who knows more than any individual character.

While this style was prevalent in classic literature and in modern examples such as Markus Zusak’s The Book Thief (2005), where Death serves as an omniscient narrator, it is less commonly used today because of its formal distance from characters compared to first-person or third-person limited POVs. However, when executed well, third-person omniscient can still engage readers effectively.  

Other choices

If you’re writing with a POV other than one of the three options listed above, you’re likely writing a story with an experimental edge. Which is fine, but it’s not likely to get you an agent or a spot on the bestseller lists.

The setting of your story is crucial to the reader’s experience. It encompasses the time period, geographical location, and the culture surrounding your narrative. Elements like weather and social environment also play significant roles in shaping the setting.

Key elements of setting

• Specifics: Consider the exact time (e.g., the 1970s), physical surroundings (e.g., a city in a valley), and immediate locations (e.g., a hospital waiting room).
• Broader context: Think about the social and cultural environment, as well as the psychological aspects that influence your characters.
• Real vs. imagined: Even in a fictional world, you must build a detailed and coherent setting.

Importance of specificity

It’s essential to be precise when defining your setting. Instead of saying “New York City,” specify “an apartment building on 79th Street between Lexington and 2nd Avenue in June 2017.” This clarity helps you determine what research is necessary to create an authentic scene.

Questions to consider

• Why choose this specific time or location? How do societal traditions enhance your narrative?
• Does the weather fit the mood? Is a remote town better than a bustling city for your plot?
• How does your character’s environment affect their journey or emotional growth?

Balancing detail

While it’s important for you to understand your setting deeply, avoid overwhelming readers with excessive details all at once. Strive for a balance between providing enough exposition and maintaining pacing.

Tips for crafting your setting

• Focus on clarity: Use clear, vivid descriptions that engage all senses to ground readers in the story.
• Link setting to your characters: Indicate whether characters are familiar with their surroundings to help orient readers.
• Pay attention to details: Research materials and architecture to create an authentic atmosphere.
• Avoid info dumps: Introduce details gradually to maintain pacing and clarity.

Ultimately, how you choose and present your setting affects the mood and tone of your novel, helping readers immerse themselves in your narrative. Be mindful of genre conventions related to setting, as they can influence reader expectations. A well-defined time and place is essential for capturing and holding your readers’ attention.

The opening hook

Your first pages are key to capturing the attention and buy-in of your reader. Most people read only a sentence or two before deciding whether a book is worth investing their time and money. It’s your job to make sure readers simply can’t close your novel. As author Julia Amante writes, “Convince the reader they cannot put the book down.”

How do you secure reader engagement at the crucial kickoff of your story? All you need is to create an irresistible hook. A successful hook often raises a story question in the reader’s mind. The hook can forge an emotional connection with the reader or raise a compelling question that prompts the reader to want to learn more. 

In The Hunger Games, Suzanne Collins opens with: “When I wake up, the other side of the bed is cold.” This immediately prompts questions and draws readers into the narrative. In Big Little Lies by Liane Moriarty, the story opens with a police investigation: “What happened at the school on the last Friday in May?” This question piques the reader’s curiosity about the events that transpired, the characters involved, and the implications of the incident.

Introduce your protagonist early

Introduce your protagonist in the first or second chapter so readers can understand who they are following and whether they are interesting enough to care about. The opening circumstances often determine this interest.

A sense of danger — psychological or physical — can be an effective hook, compelling readers to stay engaged until they discover if the danger is averted. Additionally, unexpected elements capture attention. For instance, if you enter a room and find a new rug, you’ll want to know who made the change and why. In contrast, unchanged furniture would barely register.

The unexpected does not have to mean something sinister or outlandish, such as aliens landing on the golf course. A humorous scene can provide the hook that keeps your reader turning the pages. Humor is a time-honored way of using the unexpected to engage audiences.

Setting up your story

In your opening pages, grab readers with intrigue or a risky situation before easing into your character’s daily life. Each scene should accomplish multiple goals: establish who your character is at the start (e.g., a librarian afraid of heights) while hinting at upcoming changes (e.g., discovering she’s heir to a fortune if she can climb Everest). Also, consider genre conventions. For example, romances often benefit from introducing the love interest early — preferably in the first chapter after meeting the protagonist.

Avoid excessive backstory

Avoid lengthy world-building and backstory at the beginning of your novel. Descriptions of landscapes or routines rarely keep readers engaged unless there’s something threatening or surprising involved. Instead of detailing how your character arrives at a risky situation, place them in the middle of it and weave in backstory and world-building as you go along.

For more details about the early elements of a novel, see the Story beats section’s discussion of the inciting incident and first major plot point in “How to use the data.”

Don’t stress out and think you need to come up with an absolutely killer opening sentence to get readers to keep reading. You have a few pages to do that. But you should polish your beginning in a way that sets the tone and style for the story.

For inspiration, here are a few opening sentences from bestsellers that we wish we’d written:

Helen  Brent had the best-looking legs at the inquest. – James Gunn, Deadlier Than the Male

There once was a boy by the name of Eustace Clarence Scrubb, and he almost deserved it. – C.S. Lewis, The Voyage of the Dawn Treader

It was a bright cold day in April, and the clocks were striking thirteen. – George Orwell, Nineteen Eighty-Four

It was a pleasure to burn. – Ray Bradbury, Fahrenheit 451

Call me Ishmael. – Herman Melville, Moby Dick

We were somewhere around Barstow on the edge of the desert when the drugs began to take hold. – Hunter S. Thompson, Fear and Loathing in Las Vegas

The story so far: in the beginning, the universe was created. This has made a lot of people very angry and been widely regarded as a bad move. – Douglas Adams, The Restaurant at the End of the Universe

The sky above the port was the color of television, tuned to a dead channel. – William Gibson, Neuromancer

They threw me off the hay truck around noon. – James M. Cain, The Postman Always Rings Twice

It was the best of times, it was the worst of times… – Charles Dickens, A Tale of Two Cities

It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York. – Sylvia Plath, The Bell Jar

My mother died today. Or maybe yesterday, I don’t know. – Albert Camus, The Stranger

I was arrested in Eno’s Diner. At twelve o’clock. I was eating eggs and drinking coffee. – Lee Child, The Killing Floor

I’ve watched through his eyes, I’ve listened through his ears, and I tell you he’s the one. – Orson Scott Card, Ender’s Game

If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like. – J.D. Salinger, The Catcher in the Rye

In a hole in the ground there lived a hobbit. – J.R.R. Tolkien, The Hobbit

The snow in the mountains was melting and Bunny had been dead for several weeks before we came to understand the gravity of our situation. – Donna Tartt, The Secret History

He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. – Ernest Hemingway, The Old Man and the Sea

The moon blew up with no warning, and with no apparent reason. – Neal Stephenson, Seveneves

Here is a small fact: You are going to die. – Markus Zusak, The Book Thief

The building was on fire, and it wasn’t my fault. – Jim Butcher, Blood Rites

In a village of La Mancha the name of which I don’t recall … – Miguel de Cervantes, Don Quixote

Have your own favorite? Let us know!

Scenes

Debut authors often wonder, “How long should a scene be?” A very general guideline is to aim for 1,200 to 2,000 words for most modern fiction. However, this can vary significantly depending on the genre and narrative style. For instance, in epic fantasy, scene lengths can be longer due to the genre’s depth and complexity, often averaging around 2,000 to 3,000 words per scene and running 5,000 words or longer.

Many novels contain between 40 to 80 scenes, but this number can differ widely. For instance, thrillers often feature shorter, more frequent scenes to maintain tension, while literary fiction may include longer, more introspective scenes. Cozy mysteries typically have shorter scenes compared to the elaborate ones found in many fantasy novels.

It’s beneficial to vary the length of your scenes rather than keeping them uniform. Consider the purpose behind the variations: a brief scene can heighten action or create a cliffhanger, while a longer scene may be necessary for key emotional moments.

Scenes vs. chapters

Some authors extend a single scene over several chapters. Others pack several scenes into a single chapter. It all depends on your writing preference and the conventions of your genre.

James Patterson is known for including short chapters that may consist of only a few paragraphs or a couple of pages. Conversely, the rom-com Lights Out by Navessa Allen averages 5,069 words per chapter, Emma McLaughlin’s The Nanny Diaries averages 7,160 words per chapter, John Irving’s The Fourth Hand weighs in at a whopping 8,333 words per chapter, and some literary fiction and epic fantasy novels run longer than that. Regardless of your style, ensure that the rhythm of each scene aligns with the overall pacing of your narrative.

A scene should not merely be a sequence of events; it needs to have depth and purpose. As James Frey says in How to Write a Damn Good Novel, “Many books have scenes that don’t shift valences. They never turn. When a scene doesn’t turn, it’s not a scene.” By “valence,” Frey means the emotional dynamics within a scene; it should shift from calm to excitement or from pensive to frantic. Each scene must contribute to the narrative and keep it dynamic. Stagnant scenes that fail to advance the plot or emotional engagement are simply filler. Aim to avoid filler — every scene must have a purpose.

Author Valerie Francis notes that scenes operate on two levels: literal action and essential action. For example, in the film The King’s Speech, a scene featuring Prince Albert (“Bertie”) and Lionel Logue appears straightforward — Logue lacks credentials as a speech therapist. However, the essential action occurs when Logue sits in the seat reserved for the crown. The audience reacts viscerally to Logue’s impertinence and empathizes with Bertie. This deeper level of meaning engages readers by evoking shared experiences of disrespect or humiliation.

Scenes should focus on essential actions rather than merely providing interesting facts about characters. What happens in each scene must contribute meaningfully to the storyline. As James Patterson advises: “If it’s not moving the story forward, ditch it.”

Foreshadowing  

Foreshadowing is a crucial literary device that hints at future events in your story, enhancing its believability. While shock and surprise can be effective, they often leave readers feeling confused or betrayed if not accompanied by foreshadowing. When done right, foreshadowing can make surprises deeply satisfying. Some readers may pick up on these hints while others might not, but all will appreciate the narrative’s coherence.

Two common pitfalls of foreshadowing are timing and front-running. Even experienced authors can reveal too much information too early regarding central story questions. It’s important to space out revelations! J.K. Rowling rewrote the first chapter of Harry Potter and the Sorcerer’s Stone 15 times because she kept giving away too much information too soon. In her first draft, she even revealed the entire horcrux storyline, which would have been disastrous.

Front-running refers to passages that announce to the reader what’s to come (e.g., “But tomorrow, he’d run into her yet again”). This approach diminishes plot tension and affects pacing since knowing what will happen removes surprise.

Good foreshadowing should be subtle — think of it as a light hint rather than an obvious declaration. Done effectively, foreshadowing offers slight indications or allusions without directly revealing future events.  

Closing a chapter effectively is crucial for maintaining reader engagement and encouraging them to continue. Here are a few ways to end each chapter with a hook to entice readers to keep turning the pages:

Create suspense

Leave questions unanswered: End with a question that intrigues readers, prompting them to turn the page for answers. For example, “Can I make it in time?”  

Introduce a cliffhanger: Present a sudden twist or revelation that leaves the reader eager to find out what happens next. For instance, “She swung the door open. A one-armed man carrying a shotgun strode up the walkway.” 

Foreshadow events

Hint at upcoming conflicts: Subtly suggest challenges or conflicts that will arise in the next chapter. For example, “She worried she didn’t have the strength for the showdown she knew was coming.” 

Use symbolism: Introduce an object or event that symbolizes future developments, encouraging readers to ponder its significance.

End a chapter mid-scene

Instead of confining your scene to a single chapter, end it just as the action picks up, forcing the reader to turn the page and read on. Here’s how Claire Mackintosh ends a chapter in Let Me Lie: 

“I lean my back against the stained-glass panel. I wonder if she’ll knock and ring, as she did this morning. There’s a moment’s pause, then I hear her footsteps on the steps, on the gravel. Silence.

My mind whirs. My father was a violent man. So cruel to Mum that she faked her own death to escape him.

And now he’s coming for me.”

Change who’s in the scene

Conclude with the introduction of a new character who will play a crucial role in the upcoming events.

Emphasize emotional stakes

Highlight internal conflict or end on an emotional note that empathizes with the character’s struggles or desires. For instance, “As she closed her eyes, doubt crept in — could she really go through with it?”

Use strong last lines

Craft memorable closing sentences: A powerful last line can linger in the reader’s mind and create anticipation. For example, from The Da Vinci Code by Dan Brown: “He had to find the truth, and he had to find it fast—before it was too late.”

Reinforce themes: Echo phrases or structures from earlier in the chapter.

Offer a contrast: Make your closing sentence the mirror opposite of the line that opened your chapter.  

Set up immediate action

Make it action-oriented: If your next chapter involves action or urgency, end the current chapter on an action-oriented note. For example, “Without giving it a thought, she sprinted toward the sound of the explosion.”

Create urgency: Use time constraints, a ticking clock, or impending danger to propel readers into the next chapter.

Ending a chapter effectively is an art that can significantly enhance your storytelling. By incorporating hooks that create suspense, foreshadow events, emphasize emotional stakes, and finish with a strong last line, you can keep your readers engaged and eager to turn the page. 

Tone

Tone in fiction refers to the overall flavor of your story and the attitude you convey through your writing. It’s shaped by your word choice and the attitude you assign to the narrator or viewpoint character toward specific subjects, events, or other characters. Tone is created through diction (word choice), syntax (sentence structure and word order), and what the character chooses to focus on. This combination can evoke a wide range of emotions in your readers. Tone also supports your story’s theme. For example, if your theme is “good conquers evil,” your tone will likely convey hope, even in the story’s darkest moments. While tone can shift from scene to scene, your story will ultimately have an overarching tone that reflects your perspective as the author.

Mood

Mood refers to the emotional atmosphere you create for your readers, influencing how they experience your novel. Is your story a calm reflection or a nail-biting thrill ride? Mood sets the emotional experience, and it often changes as the plot develops. It can shift from light to dark or from negative to positive, offering emotional variety. Even if your story leans toward a more positive or negative sentiment overall, you need fluctuations in mood to keep readers engaged. A flat emotional tone throughout can make the story less compelling, so it’s important to create moments of contrast.

One common pitfall for beginning authors is the use of copyrighted material in their writing. While we can’t cover all the details of “fair use” here, it’s important to know that you should avoid including excerpts from song lyrics or poetry that are still under copyright protection. Generally, works created before 1924 have entered the public domain and can be used freely. For any copyrighted material, you must obtain permission from the copyright holder before using it in your work.

In the navigation menu at the left, you’ll find the sections of Marlowe Basic that can help you on your author journey, including a cliches finder, dialogue vs. narrative breakdown, Readability and Complexity scores, explicit language detector, repetitive phrases finder, repetitive adverbs and adjectives, spellcheck and more.

But there’s a lot more to writing a successful novel than checking the basics. While every author can benefit from running a free Marlowe Basic report, upgrading to Marlowe Pro signals that you’re serious about turning your hobby into a business venture.

Why upgrade?

Upgrade now during this special period and get a free extra month of Marlowe Pro (with four credits — good for running four reports) added to your monthly subscription if you sign up today.

Marlowe Pro includes these additional sections:

• Overall AI assessment

• Key recommendations

• Potential problem areas

• Narrative arc (with visual graph)

• Plot analysis (with graph of plot turns)

• Story elements analysis (with graph of story beats)

• Pacing analysis (with graph of pacing)

• Character analysis

• Conflict & emotiona shifts

• Theme analysis

• Dialogue recommendations

• Setting & world-building

• Tropes and story structure

• Review & revise

• Get published