Should you write your novel here? Will we replace the agent query? Author Salon writer workshops have enabled writers onsite to successfully write, edit, position and pitch their manuscripts, thereby securing dozens of requests, via Author Salon promotion, for fulls and partials from leading publishers and agencies, including Random House, Dijkstra Agency, Kimberley Cameron, AEI Films, Harper Collins, and many more ...

AUTHOR SALON'S "LITERARY SHOWCASE" SURPRISES AND EXCITES THE BOOK BUSINESS

Over three dozen nonfiction manuscripts and novels written by aspiring authors on Author Salon have been requested by New York publishers and literary agents on both coasts--all part of Author Salon's ongoing "Literary Showcase" initiative. Genres represented include mystery, young adult fantasy, upmarket and general fiction, women's fiction, adult fantasy and SF, historical fiction, and more.

A sample of titles selected by agents and publishers include THE FIVE PENS OF JOHANNES by Richard Hacker (YA/F), CITY OF HER by Francesca Kefalas (YA/F), HALF OF NO by Kari Pilgrim (Upmarket), STICKS AND STICHES by Kathy Weyer (Women's Fiction), THROUGH CHAGALL'S WINDOW by Katherine Cox (Upmarket), THE LAWYER'S WIFE by Deborah Wyatt (True Crime), THE EDGE OF NORMAL (Thriller), LOVE AFTER ZERO by Natasha Bauman (Upmarket), and THE WORLD BELONGS TO THOSE WHO TAKE IT by Joan Koster (Historical Fiction).

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AUTHOR SALON PIONEERS THE SIX ACT TWO-GOAL NOVEL FOR UPMARKET AND GENRE

Author Salon has developed the Six Act Two-Goal novel structure for writers of book-length fiction and narrative nonfiction. We expect further refinements, but the point here is to understand and utilize a tightly plotted act structure, similar to that used by screenplay writers, to effectively brainstorm and outline a very competitive and suspenseful plot for the genre novel, i.e., fantasy, SF, YA/MG, mystery, and so forth. Upmarket, general or literary fiction with a strong plot also benefits greatly.

We combine Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure becomes the "Act 5" in Siegal's version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story, and we concur with this.

In the opening of a story, the protagonist(s) are focused on a major goal begun by the first major plot point that starts the second act (in the Field model), but by the middle of the second act or later, they realize they have pursued the wrong goal. The protagonist(s) are forced to alter their course and struggle for a new, more accurate goal ... [ more ]

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