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Finding the main hooks of your book communication without simplifying subplots?
Hi! I am creating a plan on how to frame my book for the readers, and I was talking to the designer that is helping me with the cover as well and we are struggling with answering: My book has an initial tension that frames the action from the beginning, but it is clear as you proceed that there’s more to it than what the narrator originally lets on. I need to define, for example, which characters I will include in the cover or how to frame the marketing activities, but I don’t want to let go of too much or too little. I could frame the story – which is a YA coming of age story – as rivalry between two siblings, because that’s what you have in the beginning. But then it quickly develops into a revenge plot when the siblings have to partner up, and then ultimately you realise that there’s a love triangle there that had been part of it from the beginning but no one spoke about. I have narrowed down the elevator pitch to ‘One Tree Hill meets Heartstopper in this story about two estranged twins who are forced to work together when everything goes wrong.’ But do you have examples of how to find the focal communication points of your book when building its identity? I am looking to go beyond the elevator pitch at this point.