Subchapters within chapters?

[sarahdee]

When I change scenes with a chapter, which for me is when there is a change of location, time etc that I don't feel needs a brand new chapter, I leave a space between paragraphs. So a usual para would start with an indent and a scene change starts with a double space and no indent. I noticed this method in a few paperbacks and therefore assumed it was usual. Of course it may be incorrect and I'm just blindly following other people's mistakes but hey, they got published! So I don't see a problem with your *** method, it seems to be a very obvious way of noting a scene change.

I'm not sure what your story is about but maybe think about a symbol for further down the line when you've got a deal and are working with the book binders. Like if you are writing about celtic legends a simple celtic symbol between scenes instead of the ***.

I've just switched to Scivener on a free try and that allows you to work in different scenes and puts a hash sign between when you compile it for word. I'm not sure if I like that or not. Its great for me when editing but maybe not how I would send for queries. But anyway I mention it to tell you thats what the professional software does.

[polymath]

A hash, #, is a typesetter's mark for space. Traditional Standard Manuscript Format calls for an empty line in a manuscript to be marked with a single left flush hash to indicate the line isn't an accidental empty line. It's placed right where a typesetter looks when completing setting the previous line. If there's nothing to mark an empty line, the typesetter has to stop and figure out if the line before and the line after the empty line should close up. Ideally, a publication designer, proofreader, or layout editor has marked the hash on an empty line if a writer hasn't so there's no unnecessary disruption to typesetting.

Unindented opening lines for chapters, subchapters, and subsections are a traditional publication format decision made by a publication designer. They're not a best practice for manuscript formats, again, because a typesetter has to stop and figure out what's going on. Often for publication format, the initial opening glyph is also set as a drop cap. Again, the publication designer has ideally marked the indented line for flush left and given instructions for the drop cap size, i.e., 18 pt. drop cap.

Centered nonalpha glyphs like asterisks, carets, and such are type art and can also confound a typesetter. The principal concern there is whether they're to be set or not; stat, meaning let it stand, or strike.

A marked up manuscript with publication designer instructions will have enough blue pencil on it from basic typesetting instructions. Marking stray glyphs like asterisks and such for stat or strike adds to the chicken scratch appearance and adds to a typesetter's strain.

An editor, proofreader, or typesetter reads word by word. A spacious typeface like Courier is less eye and patience straining because it favors word-by-word editing reading. Proportional book publication typefaces like Times New Roman favor comprehension reading, reading for pleasure, etc. Something that should read look can be typed as lock and easily overlooked in Times New Roman, less likely to be overlooked in amply spacious Courier. Spell checking software won't catch it.

In ye olden pre digital age days, thee did not want to annoy thy typesetter. He could throw a tantrum and make a galley proof a writer's proofreading nightmare. Thus the plain old Standard Manuscript Format adage, keep it simple and plain and spacious; therefore, a monospaced typeface like Courier so typesetting a manuscript wasn't an eye and patience straining tedium. And so there was plenty of aesthetically appealing white space and space for publication designer markup.

Then there's the style sheet with additional typesetting instructions, which could run into a dozen or more pages for a novel-length book.

[Fenris]

Guardian,

It didn't give me any trouble while I was reading. I'm just one guy, of course, whose opinion may differ from those of the Publishing Powers That Be, but I wouldn't worry about it.

One suggestion I will make is this: save the " * * * " for intervals between viewpoints (between introduction and body, and then again between body and epilogue, for each chapter), and perhaps use something else, such as a single empty line if you don't mind upsetting the typesetter, between simple transitions from one place to the next if it's in the same viewpoint. For example:

Intro -> Body: ***
Scene change within body (such as a time jump/scene change): [blank line]

It would serve to tell the reader what's a "major" transition and what isn't. Again, this is just my two cents; I think it works fine as you have it.

[Guardian]

Fenris. So something like this?

Chapter Prologue
* * *
Main, Part I.
(Empty line replacing the stars)
Main, Part II.
(Empty line replacing the stars)
Main, Part III
* * *
Chapter Epilogue

In ye olden pre digital age days, thee did not want to annoy thy typesetter.

:D This was good polymath. Also, thanks for the explanation. It's really helpful.

[Fenris]

Pretty much, yeah. That way the separation of the "main" subsections differs from the separation of the sub-subsections. That way the " * * * " can come to be understood as signifying a major viewpoint change--from story to storyteller or vice versa. It'd be a more subtle section break than, for example, Chapter 8A, Chapter 8B, etc., but it'd still be an understood sign that there's a big transition happening rather than just a scene jump.

Again, this is just my opinion; use whatever works for you.

[sarahdee]

A hash, #, is a typesetter's mark for space. Traditional Standard Manuscript Format calls for an empty line in a manuscript to be marked with a single left flush hash to indicate the line isn't an accidental empty line. It's placed right where a typesetter looks when completing setting the previous line. If there's nothing to mark an empty line, the typesetter has to stop and figure out if the line before and the line after the empty line should close up. Ideally, a publication designer, proofreader, or layout editor has marked the hash on an empty line if a writer hasn't so there's no unnecessary disruption to typesetting..

I thought there'd be some technical reason for it.