presentation on novel

How to make a book presentation

When it comes to promoting and selling your publication, book presentations play a major part. Are you interested in finding more about how to create a well-structured presentation ? Luckily, you landed on the right page. This article helps you understand the process behind making a successful presentation in Flipsnack. Just keep in mind the next steps we’re going to debate and enjoy the process. So, to cut a long story short here are 5 useful tips on how to make a book presentation:

• Select a book. Decide on what book you want to make a presentation .
• Collect information. Make a research about the author’s biography, reviews, and other books.
• Start designing the page layouts. Flipsnack offers a fantastic online editor.
• Add interactive elements. Integrate video, captions, hyperlinks, and other interactive elements in your design.
• Download or publish it online. Display your book presentation publicly or private.

I was recently asked to design a book promo in both Indesign and Flipsnack, to show publishers how well Flipsnack works for them. I chose one of my favorite authors, Donald Miller.

About Donald Miller

This book presentation is focused on the work of Donald Miller, who usually writes about his life experience and his struggles, in a friendly way. His stories inspire people to fall in love with life and to live it at the highest level. He is better known for the New York Times Best Sellers: “Blue like Jazz”, “Million Miles in a Thousand Years”, but he’s written many other great books. I encourage you to read them.

His most recent publication is Scary Close, and it is the main focus of my book presentation .

Below you can see what I designed.

Because I like how the project turned out, I thought I should give you some tips on how you can make similar book promos.

Using Flipsnack for a book presentation

Flipsnack is a complex tool for creating brochures, newspapers, magazines, and books. Whether you are a professional designer or a high schooler the process of ‘“ how to make a book presentation”  has never been easier. You just have to select a template or create the presentation from scratch, choose the page layouts, to arrange the text and images on the page, add the photos and make it a flipbook . Then publish it and share it on social media or via email with your wide audience. With the help of Flipsnack you’ll be an expert at designing fabulous academic presentations in no time.

What should a book presentation contain?

There is some important information that every book catalog or book promo should contain.  It should present some interesting info that will entice the reader to buy the book. The content shouldn’t be too long or too short. Here are some ideas of what could be included in a book promo:

• Book presentation
• Main characters description
• Other books
• Interview with the author

Conclude the presentation with a closing paragraph sharing the most important lessons learned from the book and what you consider the most important message that you drew out from it.

Nowadays visual marketing is very important, so try to turn your book presentation into something beautiful, fascinating, with a design that matches the writer’s style.

How to integrate interactive elements in your design

When you design a publication in Adobe InDesign, Photoshop, Illustrator, etc. reserve some white space for the interactive elements. Make interactivity a part of your design, and you’ll be surprised of what a big improvement it will bring to your project.

These text blurbs are great for highlighting quotes, for additional information, or for short descriptions. I used captions in the biography section to add some information about Donald Miller’s photos.

What is so great about captions is that you can use them to bring more color and contrast to your designs. Captions will also help you save space, by not revealing all text at once. This way, your design will have room to breathe.

Readers will love to click on captions to see what they reveal. The caption has that element of surprise, that we all love.     

For the book presentation I chose a video tag, through which readers can watch an interview with Miller about his new book “Scary Close”. Tags are a great tool for adding videos or images to a design, because they are small and you can place them anywhere on the page. Just like captions, you can use them to de-clutter a design, prevent visual noise, while keeping all the needed information on the page. To catch the readers’ eyes, tags use a subtle blinking effect.

“Buy This” Button

If you’re showcasing other books of the author you should make it easy for readers to buy them. You can do that by just adding some buy buttons . Insert the Amazon URL, (or any other URL for that matter) and with just one click the user will be able to buy it.

Buy buttons are very easy to use and they are very practical. They can help you sell, and that is the ultimate goal of any book catalog or book presentation.  

Video Widget

After you read some paragraphs of an interview you probably become curious about how the writer would say those things. You don’t have to search for videos on Youtube, because with the video widget you can have it play right there on your page. You just have to reserve some space in your design for this. You will not regret it.

This is how you can use Flipsnack to create a digital book or interactive experience for readers, which will make them interested in buying the book. Also if you are searching for a platform with a good reputation to sell your work, Flipsnack is the right place for you. Now you can sell and publish your publication in no time. The first step when setting your work for sale is to connect your Flipsnack account with Stripe. The second step is to set a price for the publication. Usually, the price of a digital magazine varies between $3 – $6, depending on the page number of the publication and then c hoose the right preview pages. Make sure the pages included in your preview edition share enough information, so your readers are attracted to purchase it.

After you set your publication for sale, you can find the statistics in the Stats section in your account. With the help of Flipsnack reaching readers from all over the globe has never been easier! Learn more about how to sell your digital magazines here!

All of my books are taken from Jewish sources. My writing is taken from the Sages who shapes the Jewish people in the past through today.

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How to Write a Presentation of a Book

How to Write an Eighth Grade Book Report

Book presentations are a staple of the educational process. Book reports and presentations help show that you comprehended the book and can apply that knowledge in a constructive way. Writing a book presentation requires an understanding of basic grammar and writing rules while also giving you some creative freedom in how you want to tackle the subject matter. Writing book presentations is likely something you'll have to do multiple times during your educational career.

Read the book you're writing the presentation on from cover-to-cover. Don't rely on abbreviated notes or other people's summaries of the story because you'll miss out on both the author's own voice as well as possibly vital story points.

Pick an approach for your presentation. If you will actually be discussing the book in front of the class, you can write a presentation in first-person perspective as a character from the book. A more traditional approach is a third-person narrative so you can discuss the story, characters and author from a more neutral viewpoint.

Write a brief overview of the book and discuss any importance it has to history or to culture. Include the year it was published, number of pages and what genre the book falls under.

Describe each of the main characters in the book and talk about how each influences the story.

Provide an explanation of your perceptions and thoughts regarding the book. While the rest of your presentation may be in third-person, you can usually write this section in first-person since you are discussing your own specific thoughts and feelings.

Conclude the presentation with a closing paragraph discussing the most important lessons learned from the book and what you think the most important message is that you gained from it.

• Some book presentation assignments will have very specific requirements regarding structure and style. Review the criteria thoroughly before starting your presentation to ensure you will be in compliance with all requirements.

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Michael Davidson started writing screenplays in 2003 and has had a screenplay professionally produced. He has also studied martial arts since 1990 and has worked as a licensed security specialist. Davidson has written articles for various websites. He is a graduate of Michigan State University and holds a Bachelor of Arts in advertising.

Nicholas C. Rossis

dream-protecting author

7 Tips to Write a Killer Book Presentation

Jul 11, 2020 | Marketing , My friends' Guest Posts

Sometimes, a book you have written draws enough attention that you are asked to speak about it to an audience. You may be asked to present as a subject expert, talk about your material at a conference or convention, present at a book fair , or give a quick presentation as part of a book signing.

As they say, more people are afraid of public speaking than of death. Which means that most people would prefer being in a casket than giving the obituary.

And now, you’re going to be in front of an audience discussing your written work. For many writers, this is a daunting task, to put it mildly.

What public speaking feels like for most people

Still, with a bit of planning your presentation can be impactful and successful. In fact, as you prepare to make your presentation, you may find that your writing skills are quite useful. You can leverage those skills by following these seven tips to write a killer book presentation.

1. Use Your Storytelling Skills

The people attending your presentation want to know the story behind your book. What motivated you to write it? What was the inspiration behind the characters? Is the book inspired by real-life events? Is there a specific message you are trying to send? How do you go about writing?

That’s a lot of great information to share, but if you give your audience a laundry list of factoids about your book and writing, you’ll likely bore them to tears. Instead, use your writing skills to tell the story of the book . Weave in the most important details in a way that keeps your audience engaged.

Oh, and if you have an upcoming book that’s related to your current one? Weave a bit of a teaser for your new book into your presentation.

2. Add Visuals

Every good presentation has visuals. First, you’ll add an interesting element to your presentation. Visuals make your presentation more engaging . You’ll keep the interest of the visual learners in your audience, and better illustrate the points you are making.

3. Learn About Your Audience

Before you prepare your presentation, consider your audience . First, who are they? What is their demographic? Why are they coming to see you? Is there a particular message you are expected to communicate with them? Are there any questions that you should plan on answering in your presentation? What is it that you want them to take away from the event?

Remember that no presentation should be an exercise in self-indulgence . Your goal should be to meet your audience’s needs by giving them the presentation they are interested in listening to.

4. Write a Presentation That Matches Your Personality

Here’s a bit of a conundrum. You want to cater to your audience, as mentioned above. On the other hand, you also want to be genuine. Your content should interest your audience, but you shouldn’t have to put on a mask to do that .

As a writer, you have your own unique personality. You have a unique voice. Remember, you are presenting yourself. There’s no need to put on a fake persona to do your presentation . This is true, even if your presentation style seems to contradict with the personality of your book.

Instead, consider carefully your personality and demeanor. Then, write a presentation where your true self is an asset to that presentation rather than a distractor. Believe it or not, many seasoned writers find this a challenge. You may need the assistance of a professional editor and proofreader to help you present your true voice. Before you select a professional to help you, though, take a look at online editing services reviews so you make the right choice.

If your personality is a bit on the introverted side, delivering a presentation may feel intimidating. However, it may be easier than you realize. There’s something comfortable about immersing yourself into something you know better than anybody else. You have mastered your own written work. Nobody can interpret it or tell the story behind it as you can. Those facts alone may be enough to help you feel comfortable giving a presentation.

5. Use Action Words

You already know that small changes in your writing can change its impact significantly. For example, it’s more impactful to use a strong verb than an adverb. That’s why the sentence, “He ran out the door very quickly” is not half as effective as, “He bolted out the door.” It’s also why words like victorious, enraged, devastated, embittered, and bubbly help readers visualize your story better than happy, sad, or angry.

The same concept applies to your presentation . Choose verbs over adverbs almost every time you can. Rethink your adjectives. When possible, choose words that most closely describe the moment. Avoid adjectives that can be applied generically to a wide range of situations. For example, the word “happy” could be used to describe somebody who found out that can green beans are on sale. It can also be used to describe somebody who just witnessed the birth of their first child. In the second example, however, the word happy is just insipid.

Finally, use the present tense whenever possible as you write your presentation. When you describe what happens in your book, you want your audience to be in the moment. One rule of thumb to follow is that, if it happened in the present tense in the book, it should happen in the present tense in your presentation.

6. Get Inspiration From Great Presenters And Authors

You won’t be the first author to stand in front of a group for a presentation or question-and-answer session. Many people have done this before. That’s a good thing because you have a wealth of examples to draw from for inspiration. One of the best ways to prepare for your presentation is to watch similar presentations from other authors. The goal isn’t to copy what you see. Instead, it’s to look for elements that make each presentation more engaging and allow the presenter to make an emotional connection with the audience.

Here, the key is choosing the right authors to emulate. As you look for author presentations for inspiration, focus on authors who write in the same genre as you, appeal to a similar demographic, and have a personal style similar to yours.

Once you find presentations to review, take notes. Pay attention to body language, use of words, and tone of voice. Make a note of the most memorable things the author says, and where the audience appears to be most interested.

Finally, don’t put too much pressure on yourself to be as polished and perfect as the presenters you see. Many of them have years of experience in presenting their books in a variety of formats across a variety of media channels. It will take time and practice for you to get to that level. In the meantime, the folks coming to see you are already interested in your book and in what you have to say.

7. Be Prepared For Questions

Most book presentations are going to contain some sort of audience participation. Keep this in mind when you write your presentation. How are you going to approach this?

One option is to make a list of questions you believe the audience is likely to have for you. If you think you’re going to be nervous, it could be helpful for you to plan your answers ahead of time.

If your idea of interacting with the audience isn’t so intimidating for you, there are some things you can do to increase that interaction. First, consider leaving a few things out of your presentation. Chances are, at least one curious member of your audience will bring up the point and ask about it. You can then use this as a jumping point to cover that ground.

You can also use a question and answer session as a bit of an intermission. Rather than putting off all audience questions until the end, ask for questions in the middle of your presentation . It could break things up nicely.

Finally, you can turn the tables a bit. Ask your audience questions . What is their favorite plot point? How does the book relate to their lives? Who is their favorite character?

Final Thoughts

It is quite an honor to be asked to give a presentation about your book. This is a great way to let your current readership get to know more about you and your process. You may also be able to increase your reading audience.

At the same time, this can absolutely be a daunting process. Fortunately, you can help yourself immensely with a bit of planning and preparation.

The tips above will help you write a presentation that is engaging and allows you to be yourself. Follow the suggestions above, and your audience will enjoy your presentation thoroughly!

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Having trouble seeing this post or reblogging? Just go to my basic-format blog .

I am preparing a book presentation!!!

A book presentation and this is very helpful!

Thanks, I’m glad you enjoyed it!

Thank you, I am preparing a book presentation and this is very helpful!

Yay! I’m so glad you found it useful 😀

Excellent tips. I’m not afraid of audiences–but that doesn’t mean I can’t do better with them!

I know what you mean. I’m used to public speaking but even so appreciate a few tips!

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Blog • Perfecting your Craft

Last updated on Jun 23, 2023

How to Write a Novel: 13-Steps From a Bestselling Writer [+Templates]

This post is written by author, editor, and ghostwriter Tom Bromley. He is the instructor of Reedsy's 101-day course, How to Write a Novel .

Writing a novel is an exhilarating and daunting process. How do you go about transforming a simple idea into a powerful narrative that grips readers from start to finish? Crafting a long-form narrative can be challenging, and it requires skillfully weaving together various story elements.

In this article, we will break down the major steps of novel writing into manageable pieces, organized into three categories — before, during, and after you write your manuscript.

How to write a novel in 13 steps:

1. Pick a story idea with novel potential

2. develop your main characters, 3. establish a central conflict and stakes, 4. write a logline or synopsis, 5. structure your plot, 6. pick a point of view, 7. choose a setting that benefits your story , 8. establish a writing routine, 9. shut out your inner editor, 10. revise and rewrite your first draft, 11. share it with your first readers, 12. professionally edit your manuscript, 13. publish your novel.

Every story starts with an idea.

You might be lucky, like JRR Tolkien, who was marking exam papers when a thought popped into his head: ‘In a hole in the ground there lived a hobbit.’ You might be like Jennifer Egan, who saw a wallet left in a public bathroom and imagined the repercussions of a character stealing it, which set the Pulitzer prize-winner A Visit From the Goon Squad in process. Or you might follow Khaled Hosseini, whose The Kite Runner was sparked by watching a news report on TV.

Many novelists I know keep a notebook of ideas both large and small 一 sometimes the idea they pick up on they’ll have had much earlier, but whatever reason, now feels the time to write it. Certainly, the more ideas you have, the more options you’ll have to write. 

✍️ Need a little inspiration? Check our list of 30+ story ideas for fiction writing , our list of 300+ writing prompts , or even our plot generator .

Is your idea novel-worthy?

How do you know if what you’ve got is the inspiration for a novel, rather than a short story or a novella ? There’s no definitive answer here, but there are two things to look out for 

Firstly, a novel allows you the space to show how a character changes over time, whereas a short story is often more about a vignette or an individual moment. Secondly, if an idea is fit for a novel, it’ll nag away at you: a thread asking to be pulled to see where it goes. If you find yourself coming back to an idea, then that’s probably one to explore.

I expand on how to cultivate and nurture your ‘idea seeds’ in my free 10-day course on novel writing. 

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How to Write a Novel

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Another starting point (or essential element) for writing a novel will come in the form of the people who will populate your stories: the protagonists. 

My rule of thumb in writing is that a reader will read on for one of two reasons: either they care about the characters , or they want to know what happens next (or, in an ideal world, both). Now different people will tell you that character or plot are the most important element when writing. 

In truth, it’s a bit more complicated than that: in a good novel, the main character or protagonist should shape the plot, and the plot should shape the protagonist. So you need both core elements in there, and those two core elements are entwined rather than being separate entities. 

Characters matter because when written well, readers become invested in what happens to them. You can develop the most brilliant, twisty narrative, but if the reader doesn’t care how the protagonist ends up, you’re in trouble as a writer. 

As we said above, one of the strengths of the novel is that it gives you the space to show how characters change over time. How do characters change? 

Firstly, they do so by being put in a position where they have to make decisions, difficult decisions, and difficult decisions with consequences . That’s how we find out who they really are. 

Secondly, they need to start from somewhere where they need to change: give them flaws, vulnerabilities, and foibles for them to overcome. This is what makes them human — and the reason why readers respond to and care about them.

FREE RESOURCE

Reedsy’s Character Profile Template

A story is only as strong as its characters. Fill this out to develop yours.

🗿 Need more guidance? Look into your character’s past using these character development exercises , or give your character the perfect name using this character name generator .

As said earlier, it’s important to have both a great character and an interesting plot, which you can develop by making your character face some adversities.

That drama in the novel is usually built around some sort of central conflict . This conflict creates a dramatic tension that compels the reader to read on. They want to see the outcome of that conflict resolved: the ultimate resolution of the conflict (hopefully) creates a satisfying ending to the narrative.

A character changes, as we said above, when they are put in a position of making decisions with consequences. Those consequences are important. It isn’t enough for a character to have a goal or a dream or something they need to achieve (to slay the dragon): there also needs to be consequences if they don’t get what they’re after (the dragon burns their house down). Upping the stakes heightens the drama all round.

Now you have enough ingredients to start writing your novel, but before you do that, it can be useful to tighten them all up into a synopsis. 

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So far you’ve got your story idea, your central characters and your sense of conflict and stakes. Now is the time to distill this down into a narrative. Different writers approach this planning stage in different ways, as we’ll come to in a moment, but for anyone starting a novel, having a clear sense of what is at the heart of your story is crucial. 

There are a lot of different terms used here 一 pitch, elevator pitch , logline, shoutline, or the hook of your synopsis 一 but whatever the terminology the idea remains the same. This is to summarize your story in as few words as possible: a couple of dozen words, say, or perhaps a single sentence. 

This exercise will force you to think about what your novel is fundamentally about. What is the conflict at the core of the story? What are the challenges facing your main protagonist? What do they have at stake? 

📚 Check out these 48 irresistible  book hook examples  and get inspired to craft your own.

If you need some help, as you go through the steps in this guide, you can fill in this template:

My story is a [genre] novel. It’s told from [perspective] and is set in [place and time period] . It follows [protagonist] , who wants [goal] because [motivation] . But [conflict] doesn’t make that easy, putting [stake] at risk.

It's not an easy thing to do, to write this summarising sentence or two. In fact, they might be the most difficult sentences to get down in the whole writing process. But it is really useful in helping you to clarify what your book is about before you begin. When you’re stuck in the middle of the writing, it will be there for you to refer back to. And further down the line, when you’ve finished the novel, it will prove invaluable in pitching to agents , publishers, and readers. 

📼 Learn more about the process of writing a logline from professional editor Jeff Lyons. 

Another particularly important step to prepare for the writing part, is to outline your plot into different key story points. 

There’s no right answer here as to how much planning you should do before you write: it very much depends on the sort of writer you are. Some writers find planning out their novel before start gives them confidence and reassurance knowing where their book is going to go. But others find this level of detail restrictive: they’re driven more by the freedom of discovering where the writing might take them. 

This is sometimes described as a debate between ‘planners’ and ‘pantsers’ (those who fly by the seat of their pants). In reality, most writers sit somewhere on a sliding scale between the two extremes. Find your sweet spot and go from there!

If you’re a planning type, there’s plenty of established story structures out there to build your story around. Popular theories include the Save the Cat model and Christopher Vogler’s Hero’s Journey . Then there are books such as Christopher Booker’s The Seven Basic Plots , which suggests that all stories are one of, well, you can probably work that out.

Whatever the structure, most stories follow the underlying principle of having a beginning, middle and end (and one that usually results in a process of change). So even if you’re ‘pantsing’ rather than planning, it’s helpful to know your direction of travel, though you might not yet know how your story is going to get there. 

How to Plot a Novel in Three Acts

In 10 days, learn how to plot a novel that keeps readers hooked

Finally, remember what we said earlier about plot and character being entwined: your character’s journey shouldn’t be separate to what happens in the story. Indeed, sometimes it can be helpful to work out the character’s journey of change first, and shape the plot around that, rather than the other way round. 

Now, let’s consider which perspective you’re going to write your story from. 

However much plotting you decide to do before you start writing, there are two further elements to think about before you start putting pen to paper (or finger to keyboard). The first one is to think about which point of view you’re going to tell your story from. It is worth thinking about this before you start writing because deciding to change midway through your story is a horribly thankless task (I speak from bitter personal experience!)

Understanding Point of View

Learn to master different POVs and choose the best for your story.

Although there might seem a large number of viewpoints you could tell your story from, in reality, most fiction is told from two points of view 一 first person (the ‘I’ form) and third person ‘close’ (he/she/they). ‘Close’ third person is when the story is witnessed from one character’s view at a time (as opposed to third person ‘omniscient’ where the story can drop into lots of people’s thoughts).

Both of these viewpoints have advantages and disadvantages. First person is usually better for intimacy and getting into character’s thoughts: the flip side is that its voice can feel a bit claustrophobic and restrictive in the storytelling. Third person close offers you more options and more space to tell your story: but can feel less intimate as a result. 

There’s no right and wrong here in terms of which is the ‘best’ viewpoint. It depends on the particular demands of the story that you are wanting to write. And it also depends on what you most feel comfortable writing in. It can be a useful exercise to write a short section in both viewpoints to see which feels the best fit for you before starting to write. 

Which POV is right for your book?

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Besides choosing a point of view, consider the setting you’re going to place your story in.

The final element to consider before beginning your story is to think about where your story is going to be located . Settings play a surprisingly important part in bringing a story to life. When done well, they add in mood and atmosphere, and can act almost like an additional character in your novel.

There are many questions to consider here. And again, it depends a bit on the demands of the story that you are writing. 

Is your setting going to a real place, a fictional one, or a real place with fictional elements? Is it going to be set in the present day, the past, or at an unspecified time? Are you going to set your story in somewhere you know, or need to research to capture properly? Finally, is your setting suited to the story you are telling, and serve to accentuate it, rather than just acting as a backdrop?

If you’re writing a novel in genres such as fantasy or science fiction , then you may well need to go into some additional world-building as well before you start writing. Here, you may have to consider everything from the rules and mores of society to the existence of magical powers, fantastic beasts, extraterrestrials, and futuristic technology. All of these can have a bearing on the story, so it is better to have a clear setup in your head before you start to write.

The Ultimate Worldbuilding Template

130 questions to help create a world readers want to visit again and again.

Whether your story is set in central London or the outer rings of the solar system, some elements of the descriptive detail remain the same. Think about the use of all the different senses — the sights, sounds, smells, tastes, and textures of where you’re writing about. Those sorts of small details can help to bring any setting to life, from the familiar to the imaginary. 

Alright, enough brainstorming and planning. It’s time to let the words flow on the page. 

Having done your prep — or as much prep and planning as you feel you need — it’s time to get down to business and write the thing. Getting a full draft of a novel is no easy task, but you can help yourself by setting out some goals before you start writing.

Firstly, think about how you write best. Are you a morning person or an evening person? Would you write better at home or out and about, in a café or a library, say? Do you need silence to write, or musical encouragement to get the juices flowing? Are you a regular writer, chipping away at the novel day by day, or more of a weekend splurger?

How to Build a Solid Writing Routine

In 10 days, learn to change your habits to support your writing.

I’d always be wary of anyone who tells you how you should be writing. Find a routine and a setup that works for you . That might not always be the obvious one: the crime writer Jo Nesbø spent a while creating the perfect writing room but discovered he couldn’t write there and ended up in the café around the corner.

You might not keep the same way of writing throughout the novel: routines can help, but they can also become monotonous. You may need to find a way to shake things up to keep going.

Deadlines help here. If you’re writing a 75,000-word novel, then working at a pace of 5,000 words a week will take you 15 weeks (Monday to Friday, that’s 1000 words a day). Half the pace will take twice as long. Set yourself a realistic deadline to finish the book (and key points along the way). Without a deadline, the writing can end up drifting, but it needs to be realistic to avoid giving yourself a hard time. 

In my experience, writing speeds vary. I tend to start quite slowly on a book, and speed up towards the end. There are times when the tap is open, and the words are pouring out: make the most of those moments. There are times, too, when each extra sentence feels like torture: don’t beat yourself up here. Be kind to yourself: it’s a big, demanding project you’re undertaking.

Speaking of self-compassion, a word on that harsh editor inside your mind…

The other important piece of advice is to continue writing forward. It is very easy, and very tempting, to go back over what you’ve written and give it a quick edit. Once you start down that slippery slope, you end up rewriting and reworking the same scene and never get any further forwards in the text. I know of writers who spent months perfecting their first chapter before writing on, only to delete that beginning as the demands of the story changed.

The first draft of your novel isn’t about perfection; it’s about getting the words down. One writer I work with calls it the ‘vomit draft’ — getting everything out and onto the page. It’s only once you’ve got a full manuscript down that you can see your ideas in context and have the capacity to edit everything properly. So as much as your inner editor might be calling you, resist! They’ll have their moment in the sun later on. For now, it’s about getting a complete version down, that you can go on to work with and shape. 

By now, you’ve reached the end of your first draft (we might be glossing over the hard writing part just a little here: if you want more detail and help on how to get through to the end of your draft, our How to Write A Novel course is warmly recommended). 

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Reaching the end of your first draft is an important milestone in the journey of a book. Sadly for those who feel that this is the end of the story, it’s actually more of a stepping stone than the finish line.

In some ways, now the hard work begins. The difference between wannabe writers and those who get published can often be found in the amount of rewriting done. Professional writers will go back and back over what they’ve written, honing what they’ve created until the text is as tight and taut as it is possible to be.

How do you go about achieving this? The first thing to do upon finishing is to put the manuscript in a drawer. Leave it for a month or six weeks before you come back to it. That way, you’ll return the script with a fresh pair of eyes. Read it back through and be honest about what works and what doesn’t. As you read the script, think in particular about pace: are there sections in the novel that are too fast or too slow? Avoid the trap of the saggy middle . Then consider: is your character arc complete and coherent? Look at the big-picture stuff first before you tackle the smaller details. 

Edit your novel closely

On that note, here are a few things you might want to keep an eye out for:

Show, don’t tell. Sometimes, you just need to state something matter-of-factly in your novel, that’s fine. But, as much as you can, try to illustrate a point instead of just stating it . Keep in mind the words of Anton Chekhov: “Don’t tell me the moon is shining. Show me the glint of light on broken glass."

“Said” is your friend. When it comes to dialogue, there can be the temptation to spice things up a bit by using tags like “exclaimed,” “asserted,” or “remarked.” And while there might be a time and place for these, 90% of the time, “said” is the best tag to use. Anything else can feel distracting or forced. 

Stay away from purple prose. Purple prose is overly embellished language that doesn’t add much to the story. It convolutes the intended message and can be a real turn-off for readers.

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Once you feel it’s good enough for other people to lay their eyes on it, it’s time to ask for feedback.

Writing a novel is a two-way process: there’s you, the writer, and there’s the intended audience, the reader. The only way that you can find out if what you’ve written is successful is to ask people to read and get feedback.

Think about when to ask for feedback and who to ask it from. There are moments in the writing when feedback is useful and others where it gets in the way. To save time, I often ask for feedback in those six weeks when the script is in the drawer (though I don’t look at those comments until I’ve read back myself first). The best people to ask for feedback are fellow writers and beta readers : they know what you’re going through and will also be most likely to offer you constructive feedback. 

Also, consider working with sensitivity readers if you are writing about a place or culture outside your own. Friends and family can also be useful but are a riskier proposition: they might be really helpful, but equally, they might just tell you it’s great or terrible, neither of which is overly useful.

Feedbacking works best when you can find at least a few people to read, and you can pool their comments. My rule is that if more than one person is saying the same thing, they are probably right. If only one person is saying something, then you have a judgment call to make as to whether to take those comments further (though usually, you’ll know in your gut whether they are right or not.)

Overall, the best feedback you can receive is that of a professional editor…

Once you’ve completed your rewrites and taken in comments from your chosen feedbackers, it’s time to take a deep breath and seek outside opinions. What happens next here depends on which route you want to take to market:

If you want to go down the traditional publishing route , you’ll probably need to get a literary agent, which we’ll discuss in a moment.

If you’re going down the self-publishing route , you’ll need to do what would be done in a traditional publishing house and take your book through the editing process. This normally happens in three stages. 

Developmental editing. The first of these is to work with a development editor , who will read and critique your work primarily from a structural point of view. 

Copy-editing. Secondly, the book must be copy-edited , where an editor works more closely, line-by-line, on the script. 

Proofreading. Finally, usually once the script has been typeset, then the material should be professionally proofread , to spot any final mistakes or orrors. Sorry, errors!

Finding such people can sound like a daunting task. But fear not! Here at Reedsy, we have a fantastic fleet of editors of all shapes, sizes, and experiences. So whatever your needs or requirements, we should be able to pair you with an editor to suit.

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Now that you’ve ironed out all the wrinkles of your manuscript, it’s time to release it into the wild.

For those thinking about going the traditional publishing route , now’s the time for you to get to work. Most trade publishers will only accept work from a literary agent, so you’ll need to find a suitable literary agent to represent your work. 

The querying process is not always straightforward: it involves research, waiting and often a lot of rejections until you find the right person (I was rejected by 24 agents before I found my first agent). Usually, an agent will ask to see a synopsis and the first three chapters (check their websites for submission details). If they like what they read, they’ll ask to see the whole thing. 

If you’re self-publishing, you’ll need to think about getting your finished manuscript to market. You’ll need to get it typeset (laid out in book form) and find a cover designer . Do you want to sell printed copies or just ebooks? You’ll need to work out how to work Amazon , where a lot of your sales will come from, and also how you’ll market your book .

For those picked up by a traditional publisher, all the editing steps discussed will take place in-house. That might sound like a smoother process, but the flip side can be less control over the process: a publisher may have the final say in the cover or the title, and lead times (when the book is published) are usually much longer. So it’s worth thinking about which route to market works best for you.

Finally, you’re a published author! Congratulations. Now all you have to do is think about writing the next one… 

As an editor and publisher, Tom has worked on several hundred titles, again including many prize-winners and international bestsellers. 

8 responses

Sasha Winslow says:

14/05/2019 – 02:56

I started writing in February 2019. It was random, but there was an urge to the story I wanted to write. At first, I was all over the place. I knew the genre I wanted to write was Fantasy ( YA or Adult). That has been my only solid starting point the genre. From February to now, I've changed my story so many times, but I am happy to say by giving my characters names I kept them. I write this all to say is thank you for this comprehensive step by step. Definitely see where my issues are and ways to fix it. Thank you, thank you, thank you!

Evelyn P. Norris says:

30/10/2019 – 14:18

My number one tip is to write in order. If you have a good idea for a future scene, write down the idea for the scene, but do NOT write it ahead of time. That's a major cause of writer's block that I discovered. Write sequentially. :) If you can't help yourself, make sure you at least write it in a different document, and just ignore that scene until you actually get to that part of the novel

Allen P. Wilkinson says:

28/01/2020 – 04:51

How can we take your advice seriously when you don’t even know the difference between stationary and stationery? Makes me wonder how competent your copy editors are.

↪️ Martin Cavannagh replied:

29/01/2020 – 15:37

Thanks for spotting the typo!

↪️ Chris Waite replied:

14/02/2020 – 13:17

IF you're referring to their use of 'stationery' under the section '1. Nail down the story idea' (it's the only reference on this page) then the fact that YOU don't know the difference between stationery and stationary and then bother to tell the author of this brilliant blog how useless they must be when it's YOU that is the thicko tells me everything I need to know about you and your use of a middle initial. Bellend springs to mind.

Sapei shimrah says:

18/03/2020 – 13:59

Thanks i will start writing now

Jeremy says:

25/03/2020 – 22:41

I’ve run the gamut between plotter and pantser, but lately I’ve settled on in-depth plotting before my novels. It’s hard for me to do focus wise, but I’m finding I’m spending less time in writer’s block. What trips me up more is finding the right voice for my characters. I’m currently working on a sci-fi YA novel and using the Save the Cat beat sheet for structure for the first time. Thank you for the article!

Nick Girdwood says:

29/04/2020 – 10:32

Can you not write a story without some huge theme?

Comments are currently closed.

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Elements of a Novel

Mar 23, 2019

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Elements of a Novel. A novel is a fictional long story , between 100-500 pages. Huckleberry Finn. A novel uses all elements of storytelling:. plot. character. setting. theme. point of view. The novel first appeared as a genre of literature in England in the eighteenth century.

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• jack london
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Elements of a Novel A novel is a fictionallong story, between 100-500 pages. Huckleberry Finn

A novel uses all elements of storytelling: • plot • character • setting • theme • point of view

The novel first appeared as a genre of literature in England in the eighteenth century. • 1719 Daniel Defoe’s Robinson Crusoe Robinson Crusoe

Though novels share all the elements of a short story, they differ in their scope...

Many conflicts One conflict Short Story Novel Many Themes One Theme Short Read Long Read Few Characters Many Characters

Why do people enjoy novels? • They entertain the reader. • They teach the reader a little about themselves and about the whole they live in. • The reader feels like he/she gets to know the characters, cares about them, and gets involved in their lives.

Call of the Wild By Jack London

Time and Place • George Washington Carmack, Tagish Charlie, and Skookum Jim made a discovery that brought tens of thousands of people streaming into the northwestern part of Canada.

They discovered gold in Bonanza Creek, a tributary of the Klondike River, in August 1896. • The quantity of the gold in the stream was remarkable. • Much of the gold was easy to get, using simple mining techniques.

The Klondike Gold Rush, as it came to be called, attracted thousands of hopeful miners. • Many came by ship to Skagway, Alaska, where they purchased supplies at inflated prices and outfitted themselves for the trip north.

Winter was the easiest season during which to travel because the rivers were frozen, but winter temperatures regularly registered 50 degrees below zero.

Few miners came away wealthy. Many who actually did find gold spent it all while celebrating in boomtowns such as Dawson City.

Miners were often the target of lawless men who were willing to rob or murder to get a share of the riches.

The elements claimed many victims as inexperienced prospectors froze, starved, or got lost in the forests and snowfields. • The territory’s rushing rivers also claimed many victims.

All of these conditions Jack London encountered when he arrived at the Chilkoot Pass in 1898 as a twenty-year-old aspiring writer. • Traveling north to the gold fields he experienced the hardships and lived for a while in the northern frontier town of Dawson.

Here, where there were over fifteen hundred dogs, it was not uncommon for dog fights to break out in the streets. • These animals, whose teams could pull up to five hundred pounds along ice trails, and could travel at a rate of twenty-five miles per hour, had become the most important element in the pursuit of gold.

Jack London drew from his personal experience in the North. • Buck is believed to be modeled after an actual animal, owned by Belinda Mulroney, the proprietor of the Fairview Hotel in Dawson.

Let’s Get to Know the Characters Buck The Protagonist “Lived in a big house… …in the sun-kissed Santa Clara Valley

Antagonist Spitz “…a big, snow-white fellow from Spitzbergen …friendly, in a treacherous sort of way… …smiling…while he meditated some underhand trick…

Minor Characters: Dogs • Sol-lecks • Curly • Pike • Dave • Dolly • Billee • Joe

Minor Characters: People • Judge Miller--Manuel • Perrault • Francois • Hal • Charles • Mercedes • Yeehats • John Thornton

…and care about them as they… Travel the Yukon territory through • Wind • Blizzards • Starvation • Fights-to-the-Death • Famine • Fear-Hatred-Unconditional Love

Settings: See handouts • Santa Clara Valley • Klondike Gold Rush Route • ‘Frisco • Seattle( See Klondike) • Yukon • Dyea Beach • Dyea Canyon • Lake Lebarge(See larger map-Klondike)

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Introduction to Literature

Published by Norma Tucker Modified over 5 years ago

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Presentation on theme: "Introduction to Literature"— Presentation transcript:

Elements of Literature

Literary Terms for Study

Genres of Text ~ a brief overview ~ By Mrs. Mykal Knight.

Short Story Unit Notes.

ELEMENTS OF THE SHORT STORY The short story emerges from the writer’s careful manipulation of various formal elements, which will usually include: Plot.

Important Concepts Non- fiction can come in many forms: personal narrative, memoir, autobiography, and biography. Everyone has a story to tell. Personal.

Literary Terms Short Story and Novel.

Introduction to Literature Dr. Nabil Alawi

Short Story Unit Elements of Fiction English I. Think about a recent television show or movie you have seen. List the main events/details the best.

The Short Story English I The Definition Short Story- a fictional prose narrative containing less than ____________words Fictional= Prose= Narrative=

PROSE FICTION - NARRATIVES

Literary Term Notes Setting Where and when the story takes place: Time of day, place, season, time period, etc.

PRESENTING.... LITERATURE NOTES Literature is writings in prose or verse, having excellence of expression and expressing ideas of permanent or universal.

FICTION is prose writing that tells about imaginary characters and events. Some fiction is entirely made-up, while other fiction is based on real events.

Elements of Fiction Analyzing the Short Story. 10/24/ The Elements of a Short Story Plot Character Setting Point of View Theme Conflict Style.

Mrs. D’s Short Story Unit

What is nonfiction literature?  Nonfiction literature is not fiction.  Nonfiction literature is true. It is about real people, places, things, and events.

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147 Best Novel-Themed Templates for PowerPoint & Google Slides

With over 6 million presentation templates available for you to choose from, crystalgraphics is the award-winning provider of the world’s largest collection of templates for powerpoint and google slides. so, take your time and look around. you’ll like what you see whether you want 1 great template or an ongoing subscription, we've got affordable purchasing options and 24/7 download access to fit your needs. thanks to our unbeatable combination of quality, selection and unique customization options, crystalgraphics is the company you can count on for your presentation enhancement needs. just ask any of our thousands of satisfied customers from virtually every leading company around the world. they love our products. we think you will, too" id="category_description">crystalgraphics creates templates designed to make even average presentations look incredible. below you’ll see thumbnail sized previews of the title slides of a few of our 147 best novel templates for powerpoint and google slides. the text you’ll see in in those slides is just example text. the novel-related image or video you’ll see in the background of each title slide is designed to help you set the stage for your novel-related topics and it is included with that template. in addition to the title slides, each of our templates comes with 17 additional slide layouts that you can use to create an unlimited number of presentation slides with your own added text and images. and every template is available in both widescreen and standard formats. with over 6 million presentation templates available for you to choose from, crystalgraphics is the award-winning provider of the world’s largest collection of templates for powerpoint and google slides. so, take your time and look around. you’ll like what you see whether you want 1 great template or an ongoing subscription, we've got affordable purchasing options and 24/7 download access to fit your needs. thanks to our unbeatable combination of quality, selection and unique customization options, crystalgraphics is the company you can count on for your presentation enhancement needs. just ask any of our thousands of satisfied customers from virtually every leading company around the world. they love our products. we think you will, too.

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A generative AI reset: Rewiring to turn potential into value in 2024

It’s time for a generative AI (gen AI) reset. The initial enthusiasm and flurry of activity in 2023 is giving way to second thoughts and recalibrations as companies realize that capturing gen AI’s enormous potential value is harder than expected .

With 2024 shaping up to be the year for gen AI to prove its value, companies should keep in mind the hard lessons learned with digital and AI transformations: competitive advantage comes from building organizational and technological capabilities to broadly innovate, deploy, and improve solutions at scale—in effect, rewiring the business  for distributed digital and AI innovation.

About QuantumBlack, AI by McKinsey

QuantumBlack, McKinsey’s AI arm, helps companies transform using the power of technology, technical expertise, and industry experts. With thousands of practitioners at QuantumBlack (data engineers, data scientists, product managers, designers, and software engineers) and McKinsey (industry and domain experts), we are working to solve the world’s most important AI challenges. QuantumBlack Labs is our center of technology development and client innovation, which has been driving cutting-edge advancements and developments in AI through locations across the globe.

Companies looking to score early wins with gen AI should move quickly. But those hoping that gen AI offers a shortcut past the tough—and necessary—organizational surgery are likely to meet with disappointing results. Launching pilots is (relatively) easy; getting pilots to scale and create meaningful value is hard because they require a broad set of changes to the way work actually gets done.

Let’s briefly look at what this has meant for one Pacific region telecommunications company. The company hired a chief data and AI officer with a mandate to “enable the organization to create value with data and AI.” The chief data and AI officer worked with the business to develop the strategic vision and implement the road map for the use cases. After a scan of domains (that is, customer journeys or functions) and use case opportunities across the enterprise, leadership prioritized the home-servicing/maintenance domain to pilot and then scale as part of a larger sequencing of initiatives. They targeted, in particular, the development of a gen AI tool to help dispatchers and service operators better predict the types of calls and parts needed when servicing homes.

Leadership put in place cross-functional product teams with shared objectives and incentives to build the gen AI tool. As part of an effort to upskill the entire enterprise to better work with data and gen AI tools, they also set up a data and AI academy, which the dispatchers and service operators enrolled in as part of their training. To provide the technology and data underpinnings for gen AI, the chief data and AI officer also selected a large language model (LLM) and cloud provider that could meet the needs of the domain as well as serve other parts of the enterprise. The chief data and AI officer also oversaw the implementation of a data architecture so that the clean and reliable data (including service histories and inventory databases) needed to build the gen AI tool could be delivered quickly and responsibly.

Our book Rewired: The McKinsey Guide to Outcompeting in the Age of Digital and AI (Wiley, June 2023) provides a detailed manual on the six capabilities needed to deliver the kind of broad change that harnesses digital and AI technology. In this article, we will explore how to extend each of those capabilities to implement a successful gen AI program at scale. While recognizing that these are still early days and that there is much more to learn, our experience has shown that breaking open the gen AI opportunity requires companies to rewire how they work in the following ways.

Figure out where gen AI copilots can give you a real competitive advantage

The broad excitement around gen AI and its relative ease of use has led to a burst of experimentation across organizations. Most of these initiatives, however, won’t generate a competitive advantage. One bank, for example, bought tens of thousands of GitHub Copilot licenses, but since it didn’t have a clear sense of how to work with the technology, progress was slow. Another unfocused effort we often see is when companies move to incorporate gen AI into their customer service capabilities. Customer service is a commodity capability, not part of the core business, for most companies. While gen AI might help with productivity in such cases, it won’t create a competitive advantage.

To create competitive advantage, companies should first understand the difference between being a “taker” (a user of available tools, often via APIs and subscription services), a “shaper” (an integrator of available models with proprietary data), and a “maker” (a builder of LLMs). For now, the maker approach is too expensive for most companies, so the sweet spot for businesses is implementing a taker model for productivity improvements while building shaper applications for competitive advantage.

Much of gen AI’s near-term value is closely tied to its ability to help people do their current jobs better. In this way, gen AI tools act as copilots that work side by side with an employee, creating an initial block of code that a developer can adapt, for example, or drafting a requisition order for a new part that a maintenance worker in the field can review and submit (see sidebar “Copilot examples across three generative AI archetypes”). This means companies should be focusing on where copilot technology can have the biggest impact on their priority programs.

Copilot examples across three generative AI archetypes

• “Taker” copilots help real estate customers sift through property options and find the most promising one, write code for a developer, and summarize investor transcripts.
• “Shaper” copilots provide recommendations to sales reps for upselling customers by connecting generative AI tools to customer relationship management systems, financial systems, and customer behavior histories; create virtual assistants to personalize treatments for patients; and recommend solutions for maintenance workers based on historical data.
• “Maker” copilots are foundation models that lab scientists at pharmaceutical companies can use to find and test new and better drugs more quickly.

Some industrial companies, for example, have identified maintenance as a critical domain for their business. Reviewing maintenance reports and spending time with workers on the front lines can help determine where a gen AI copilot could make a big difference, such as in identifying issues with equipment failures quickly and early on. A gen AI copilot can also help identify root causes of truck breakdowns and recommend resolutions much more quickly than usual, as well as act as an ongoing source for best practices or standard operating procedures.

The challenge with copilots is figuring out how to generate revenue from increased productivity. In the case of customer service centers, for example, companies can stop recruiting new agents and use attrition to potentially achieve real financial gains. Defining the plans for how to generate revenue from the increased productivity up front, therefore, is crucial to capturing the value.

Upskill the talent you have but be clear about the gen-AI-specific skills you need

By now, most companies have a decent understanding of the technical gen AI skills they need, such as model fine-tuning, vector database administration, prompt engineering, and context engineering. In many cases, these are skills that you can train your existing workforce to develop. Those with existing AI and machine learning (ML) capabilities have a strong head start. Data engineers, for example, can learn multimodal processing and vector database management, MLOps (ML operations) engineers can extend their skills to LLMOps (LLM operations), and data scientists can develop prompt engineering, bias detection, and fine-tuning skills.

A sample of new generative AI skills needed

The following are examples of new skills needed for the successful deployment of generative AI tools:

• data scientist:
• prompt engineering
• in-context learning
• bias detection
• pattern identification
• reinforcement learning from human feedback
• hyperparameter/large language model fine-tuning; transfer learning
• data engineer:
• data wrangling and data warehousing
• data pipeline construction
• multimodal processing
• vector database management

The learning process can take two to three months to get to a decent level of competence because of the complexities in learning what various LLMs can and can’t do and how best to use them. The coders need to gain experience building software, testing, and validating answers, for example. It took one financial-services company three months to train its best data scientists to a high level of competence. While courses and documentation are available—many LLM providers have boot camps for developers—we have found that the most effective way to build capabilities at scale is through apprenticeship, training people to then train others, and building communities of practitioners. Rotating experts through teams to train others, scheduling regular sessions for people to share learnings, and hosting biweekly documentation review sessions are practices that have proven successful in building communities of practitioners (see sidebar “A sample of new generative AI skills needed”).

It’s important to bear in mind that successful gen AI skills are about more than coding proficiency. Our experience in developing our own gen AI platform, Lilli , showed us that the best gen AI technical talent has design skills to uncover where to focus solutions, contextual understanding to ensure the most relevant and high-quality answers are generated, collaboration skills to work well with knowledge experts (to test and validate answers and develop an appropriate curation approach), strong forensic skills to figure out causes of breakdowns (is the issue the data, the interpretation of the user’s intent, the quality of metadata on embeddings, or something else?), and anticipation skills to conceive of and plan for possible outcomes and to put the right kind of tracking into their code. A pure coder who doesn’t intrinsically have these skills may not be as useful a team member.

While current upskilling is largely based on a “learn on the job” approach, we see a rapid market emerging for people who have learned these skills over the past year. That skill growth is moving quickly. GitHub reported that developers were working on gen AI projects “in big numbers,” and that 65,000 public gen AI projects were created on its platform in 2023—a jump of almost 250 percent over the previous year. If your company is just starting its gen AI journey, you could consider hiring two or three senior engineers who have built a gen AI shaper product for their companies. This could greatly accelerate your efforts.

Form a centralized team to establish standards that enable responsible scaling

To ensure that all parts of the business can scale gen AI capabilities, centralizing competencies is a natural first move. The critical focus for this central team will be to develop and put in place protocols and standards to support scale, ensuring that teams can access models while also minimizing risk and containing costs. The team’s work could include, for example, procuring models and prescribing ways to access them, developing standards for data readiness, setting up approved prompt libraries, and allocating resources.

While developing Lilli, our team had its mind on scale when it created an open plug-in architecture and setting standards for how APIs should function and be built.  They developed standardized tooling and infrastructure where teams could securely experiment and access a GPT LLM , a gateway with preapproved APIs that teams could access, and a self-serve developer portal. Our goal is that this approach, over time, can help shift “Lilli as a product” (that a handful of teams use to build specific solutions) to “Lilli as a platform” (that teams across the enterprise can access to build other products).

For teams developing gen AI solutions, squad composition will be similar to AI teams but with data engineers and data scientists with gen AI experience and more contributors from risk management, compliance, and legal functions. The general idea of staffing squads with resources that are federated from the different expertise areas will not change, but the skill composition of a gen-AI-intensive squad will.

Set up the technology architecture to scale

Building a gen AI model is often relatively straightforward, but making it fully operational at scale is a different matter entirely. We’ve seen engineers build a basic chatbot in a week, but releasing a stable, accurate, and compliant version that scales can take four months. That’s why, our experience shows, the actual model costs may be less than 10 to 15 percent of the total costs of the solution.

Building for scale doesn’t mean building a new technology architecture. But it does mean focusing on a few core decisions that simplify and speed up processes without breaking the bank. Three such decisions stand out:

• Focus on reusing your technology. Reusing code can increase the development speed of gen AI use cases by 30 to 50 percent. One good approach is simply creating a source for approved tools, code, and components. A financial-services company, for example, created a library of production-grade tools, which had been approved by both the security and legal teams, and made them available in a library for teams to use. More important is taking the time to identify and build those capabilities that are common across the most priority use cases. The same financial-services company, for example, identified three components that could be reused for more than 100 identified use cases. By building those first, they were able to generate a significant portion of the code base for all the identified use cases—essentially giving every application a big head start.
• Focus the architecture on enabling efficient connections between gen AI models and internal systems. For gen AI models to work effectively in the shaper archetype, they need access to a business’s data and applications. Advances in integration and orchestration frameworks have significantly reduced the effort required to make those connections. But laying out what those integrations are and how to enable them is critical to ensure these models work efficiently and to avoid the complexity that creates technical debt  (the “tax” a company pays in terms of time and resources needed to redress existing technology issues). Chief information officers and chief technology officers can define reference architectures and integration standards for their organizations. Key elements should include a model hub, which contains trained and approved models that can be provisioned on demand; standard APIs that act as bridges connecting gen AI models to applications or data; and context management and caching, which speed up processing by providing models with relevant information from enterprise data sources.
• Build up your testing and quality assurance capabilities. Our own experience building Lilli taught us to prioritize testing over development. Our team invested in not only developing testing protocols for each stage of development but also aligning the entire team so that, for example, it was clear who specifically needed to sign off on each stage of the process. This slowed down initial development but sped up the overall delivery pace and quality by cutting back on errors and the time needed to fix mistakes.

Ensure data quality and focus on unstructured data to fuel your models

The ability of a business to generate and scale value from gen AI models will depend on how well it takes advantage of its own data. As with technology, targeted upgrades to existing data architecture  are needed to maximize the future strategic benefits of gen AI:

• Be targeted in ramping up your data quality and data augmentation efforts. While data quality has always been an important issue, the scale and scope of data that gen AI models can use—especially unstructured data—has made this issue much more consequential. For this reason, it’s critical to get the data foundations right, from clarifying decision rights to defining clear data processes to establishing taxonomies so models can access the data they need. The companies that do this well tie their data quality and augmentation efforts to the specific AI/gen AI application and use case—you don’t need this data foundation to extend to every corner of the enterprise. This could mean, for example, developing a new data repository for all equipment specifications and reported issues to better support maintenance copilot applications.
• Understand what value is locked into your unstructured data. Most organizations have traditionally focused their data efforts on structured data (values that can be organized in tables, such as prices and features). But the real value from LLMs comes from their ability to work with unstructured data (for example, PowerPoint slides, videos, and text). Companies can map out which unstructured data sources are most valuable and establish metadata tagging standards so models can process the data and teams can find what they need (tagging is particularly important to help companies remove data from models as well, if necessary). Be creative in thinking about data opportunities. Some companies, for example, are interviewing senior employees as they retire and feeding that captured institutional knowledge into an LLM to help improve their copilot performance.
• Optimize to lower costs at scale. There is often as much as a tenfold difference between what companies pay for data and what they could be paying if they optimized their data infrastructure and underlying costs. This issue often stems from companies scaling their proofs of concept without optimizing their data approach. Two costs generally stand out. One is storage costs arising from companies uploading terabytes of data into the cloud and wanting that data available 24/7. In practice, companies rarely need more than 10 percent of their data to have that level of availability, and accessing the rest over a 24- or 48-hour period is a much cheaper option. The other costs relate to computation with models that require on-call access to thousands of processors to run. This is especially the case when companies are building their own models (the maker archetype) but also when they are using pretrained models and running them with their own data and use cases (the shaper archetype). Companies could take a close look at how they can optimize computation costs on cloud platforms—for instance, putting some models in a queue to run when processors aren’t being used (such as when Americans go to bed and consumption of computing services like Netflix decreases) is a much cheaper option.

Build trust and reusability to drive adoption and scale

Because many people have concerns about gen AI, the bar on explaining how these tools work is much higher than for most solutions. People who use the tools want to know how they work, not just what they do. So it’s important to invest extra time and money to build trust by ensuring model accuracy and making it easy to check answers.

One insurance company, for example, created a gen AI tool to help manage claims. As part of the tool, it listed all the guardrails that had been put in place, and for each answer provided a link to the sentence or page of the relevant policy documents. The company also used an LLM to generate many variations of the same question to ensure answer consistency. These steps, among others, were critical to helping end users build trust in the tool.

Part of the training for maintenance teams using a gen AI tool should be to help them understand the limitations of models and how best to get the right answers. That includes teaching workers strategies to get to the best answer as fast as possible by starting with broad questions then narrowing them down. This provides the model with more context, and it also helps remove any bias of the people who might think they know the answer already. Having model interfaces that look and feel the same as existing tools also helps users feel less pressured to learn something new each time a new application is introduced.

Getting to scale means that businesses will need to stop building one-off solutions that are hard to use for other similar use cases. One global energy and materials company, for example, has established ease of reuse as a key requirement for all gen AI models, and has found in early iterations that 50 to 60 percent of its components can be reused. This means setting standards for developing gen AI assets (for example, prompts and context) that can be easily reused for other cases.

While many of the risk issues relating to gen AI are evolutions of discussions that were already brewing—for instance, data privacy, security, bias risk, job displacement, and intellectual property protection—gen AI has greatly expanded that risk landscape. Just 21 percent of companies reporting AI adoption say they have established policies governing employees’ use of gen AI technologies.

Similarly, a set of tests for AI/gen AI solutions should be established to demonstrate that data privacy, debiasing, and intellectual property protection are respected. Some organizations, in fact, are proposing to release models accompanied with documentation that details their performance characteristics. Documenting your decisions and rationales can be particularly helpful in conversations with regulators.

In some ways, this article is premature—so much is changing that we’ll likely have a profoundly different understanding of gen AI and its capabilities in a year’s time. But the core truths of finding value and driving change will still apply. How well companies have learned those lessons may largely determine how successful they’ll be in capturing that value.

The authors wish to thank Michael Chui, Juan Couto, Ben Ellencweig, Josh Gartner, Bryce Hall, Holger Harreis, Phil Hudelson, Suzana Iacob, Sid Kamath, Neerav Kingsland, Kitti Lakner, Robert Levin, Matej Macak, Lapo Mori, Alex Peluffo, Aldo Rosales, Erik Roth, Abdul Wahab Shaikh, and Stephen Xu for their contributions to this article.

This article was edited by Barr Seitz, an editorial director in the New York office.

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Twins Costars Arnold Schwarzenegger and Danny DeVito Reunite at 2024 Oscars: 'We Both Tried to Kill Batman'

Arnold Schwarzenegger and Danny DeVito, who both played Batman movie villains, had a fun moment with Michael Keaton

PATRICK T. FALLON/AFP via Getty

Arnold Schwarzenegger and Danny DeVito reunited at the 2024 Academy Awards on Sunday and shared a funny Batman bit onstage.

Thirty-six years after their 1988 film Twins , the former costars presented together at the 96th Academy Awards, receiving a standing ovation.

"Look at that, it’s so beautiful," DeVito, 79, said to the audience. "Look at everybody. Look at that, very nice. Well, Arnold and I are presenting together, for a very obvious reason."

"We both tried to kill Batman," chimed in Schwarzenegger, 76.

DeVito starred as the villain Penguin in 1992's Batman Returns with Michael Keaton as the hero, while Schwarzenegger was Mr. Freeze in 1997's Batman & Robin , which starred George Clooney as Batman.

Warner Bros./courtesy Everett 

"How did Batman beat you?" DeVito asked Schwarzenegger, who replied, "He used my one weakness against me...."

"Heat?" asked DeVito. "Love," said Schwarzenegger.

"Oh. He threw me out a window. Really," said DeVito, as Schwarzenegger jokingly added, "Batman, that son of a bitch."

Warner Bros. /Courtesy Everett 

"He’s here. There he is! He’s right here. Look," said DeVito, as the camera cut to a straight-faced Keaton, 72, in the audience. The actor was also a presenter Sunday, reuniting with Beetlejuice costar Catherine O'Hara on stage earlier in the ceremony.

"You have a lot of nerve to show your face here," Schwarzenegger said from the stage. DeVito added to Keaton, "You’re a real beak-breaker. I’m gonna see you after the Governors Ball, pal!"

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The 96th Academy Awards are airing live on ABC from the Dolby Theatre in Hollywood, California.