all write - fiction advice_ june 2014

2/23/2015 AllWriteFictionAdvice:June2014

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SA T URDA Y , 2 8 JUNE 2 0 1 4

TopWritingTips

Sometimesthereissomuchtorememberwhenwerewritingthatitseasytoforgetsomethings,butallittakesissomequickandeasytipstogiveourselvesthatlittlepushtomakesurewevecoveredallthenecessaryelementstowriteagoodstory.

So,tomakesureyoudontmisstheobvious,herearesomequickandeasywritingtips:

1.BANG!

Thatsyouropeninggambit.Orsomethingverysimilar.

Inotherwords,startyourstoryatapivotalmomentinyourcharacterslife,amomentofchange,amomentofjeopardy,orevenabangsomethingthatmakesthereaderinstantlysitupandtakenotice.

Donteverstartastorywithlotsofbackstory.Thatmeansthereaderwouldhavetowadethroughthreeoffourpagesofboringinformationbeforeanythingnotablehappens.Youropeningchapter,andyouropeningsentence,shouldgrabthereaderandthrowthemrightintotheaction,rightfromtheoutset.

2.Tempt,Tease&Tantalise

Sellthestorylikeyoumeanit.Inotherwords,neverlosesightofthewholestoryandwhatitmeansforthereader.Soyouvegrabbedtheirattentionwithagood

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opening,youvesetthescene,youveintroducedthemaincharacterandyousetuptheconflictbutthenwhat?

Well,youkeepdoingjustthatyouhavetoholdthereadersattentionfortheentirestorytempt,teaseandtantalisethereaderfromtheopeningsentencetotheclosingparagraph.Thatmeansyouhavetokeepthemreadingbytemptingthemwithwhatmaycome,youhavetoengageandenticethemwiththestorybydanglingthosecarrotsandyouhavetoexciteandfrustratetheminequalmeasure,rightuntiltheend.

3.CreateConflict

Ifthereislittleconflictthereisnostory.

Everystoryneedsit.Thatmeanstherewillbeaprotagonistandanantagonistworkingagainsteachother,andtherewillalwaysbesomethingstoppingthemaincharacterreachinghisorherendgoal.Thatswhatconflictisabout.

Conflictcausestensionandtensioncausesatmosphere.Yourstoryshouldneverbeasflatasacalmlake.Insteaditshouldberollingandroilinglikeastormysea.

Conflictcomesinthreeforms,somakeeveryuseofthem:

Manv.man(external)Manvnature(external)Manvhimself(internal)

4.RaisetheStakes!

Dontmakeiteasyforyourmaincharacters.

Infact,makeitashardaspossibleforthemtoreachtheirultimategoal.Bemean.Backthemintocorners,givethemproblemstodealwith,placebarriersintheirway,givethemdilemmasandforcethemtomakechoices.

Keepraisingthestakes...readersloveit.

5.DumptheInfoDump

measure.Iamprivilegedtohaveeightshortstories/poemspublishedinthisbook,soifyoulikeyourdamesalittledarkanddangerous,thisisthebookforyou.

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Manywritersfallheadlongintotheinfodump.Thisiswhenthereistoomuchexplanationinthenarrative,wherethewriterhasforgottenthathugechucksofinformationwillborethereadersenseless.Readersdontmindinformation,butinsmall,easytodigestsnippets.Intruth,theyjustwanttogetbacktotheaction.Ifyouvewrittenthreepagesofexplanationorbackstory,gobackandeditituntilitsnomorethanthreeorfourparagraphs.

6.GoonaWordyKillingSpree

Gothroughyourstoryandkillallthosepeskyadverbsandadjectivestheyjustlovetocreepintothenarrativeandweakenit.Instead,replacethemwithnounsandverbs,whichstrengthenthenarrative.

Getridofallthosedanglingparticiplesatthebeginningofsentences,lookoutforrepetition,weedouttheinstancesofwasfromyourdescriptivepassages,andmakesureyourdescriptionsdontsufferfromwordiness.

7.Show,DontTell

Everybodyknowsthismaxim.Whereimportantdescriptionsareconcerned,showthereader,donttellthem.Yourstoryisntaninstructionmanual.Ifyoutellthereadereverything,ratherthanshowthem,theywontbeabletoengagewiththestoryoryourcharacters,theywontbeabletoimaginebeingthereinthatmoment.

Forexample,donttellthemthattwocharactersaretryingtocrossafastflowingrivertorescuesomeoneontheotherside,thattheyusedaropeandmadeitsafety.Thatsboring.

Showthereaderhowthecharactersstrugglewiththecurrent,showthedanger,thefear.Showthemtheconflict(manv.nature),andshowthedeterminationandstrengthofcourageandfinallyshowthemthereliefwhenthereachtheotherside.

Byshowingthereader,youstrengthenyourkeyscenesconsiderably.

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8.MakeYourEndingCount

Yourendingshouldneverbeadampsquib.Itshouldbesatisfactoryforbothwriterandreaderinotherwords,itshouldbeabsolutelyrightforthestory.

Dontoverwriteit,orletitdragon,butdontleavethereaderscratchingtheirheadorfeelingtheyvebeenshortchanged,either.Putasmucheffortintocreatingtherightendingasyouwouldtocreateagreatopeningforyourstory.

Ifitdoesntfeelright,thenitprobablyisnt.Endingsshouldtieupallthelooseendsandmoreimportantly,leavethereadergratifiedandcontentedwiththeoutcome.

9.ReadYourStoryAloud

Anothergreatwaytoeditistoreadyourstoryaloud.Thismayseemstrange,andyoumayfeelsillydoingit,butitisafantasticwayforyoutoactuallyhearwhatyouhavewritten,asopposedtoreadingit.

Readingitaloudallowsyoutolistentoyourdialoguedoesitsoundrealenough,doesitmakesense?Italsoallowsyoutohearthepaceofyourstoryandwhetheritflowscorrectly,andwhetherallyoursentencestructuresreadwell.

10.Write,edit,write,edit

Firstdraftsarebuttheskinthatcoversthebarebones.Thatmeansnoonecaneverwriteaperfectlypolished,publishablestory/novelfirsttimearound.Itneverhappens,becausethestorywillbefullofmistakes,therewillbetoomanylongscenes,stuffthatdoesntquitemakesense,charactersthatcanbeditched,holesintheplot,notenoughdescription,ornotenoughdialogue,orsubplotsandlooseendsthatneedtobetidiedup.

Whatwritersdo,however,isediteachdraftuntilitsaclosetoperfectaspossible.Somewriterscandoitintwoorthreeedits,dependingontheirexperience,othersneedfourorfiveedits.Buteachtimeyouedit,thestoryshouldimprove,untiltherearenoplotflaws,everythingreadssmoothly,thereisagoodbalanceofnarrative,dialogueanddescription,thereareno

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grammarerrors,thesubplotscomplimentthemainstoryandthecharactersarefullyfledgedandsoon.

Neverlosesightofalltheseelementsandyouwontgofarwronginyourwriting.

Nextweek:Doescrossgenrewritingreallywork?POSTEDBYAJ HUMPAGEATSATURDAY, JUNE28, 2014

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WhyRejectionisaGoodThing

Thereisnothingworsethanahardkickintheguts.Thatsgenerallywhatrejectionfeelslike.

Afterworkinghardwriting,draftingandeditingyourmasterpiece,andespeciallyafterhavingthecouragetosubmitittoanagentorpublisher,yougetthesummaryrejection.Anditdoesdeflateyou,nomatterhowexperiencedawriteryouare.

Thereisamisconceptionthatrejectionsrepresentfailure.Butwhilerejectionsdohurtwefeeltheydobecauseweautomaticallyinterpretarejectionasapersonalrejection,wheninfactitisnothingofthesorttheyshouldbetreatedasapositiveratherthantheepitomeoffailure.

Firstly,rejectionshappenformanyreasons,notjusttheobviousmystorymustberubbish,thatswhyitwasrejected.Forinstance,thereareotherreasons:

NotrightforthetargetmarketAgents/publishersarenottakingonnewauthorsforthemomentNotwhattheagent/publisherislookingforrightnowNeedsmorework/editingonplot/storylineNotenoughcharacterisationcharacterswerenotstrongenoughImplausibleplot

WhyRejectionisaGoodThing

TheDifferenceBetweenNarrative&Exposition

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Thestorywasntquitestrongenough.Thequalityofwritingislacking,andneedsmorework.

Thosearejustafewofthemyriadreasonswhywritersreceiverejections.Manyrejectionsmayinvolveafewwordsfromtheeditortowhytheworkwasrejectedthisisveryimportant.Othersmaynotofferanythingbutanautomatednothanks.

Thereasonsforrejectionwilleithermakeyouthrowyourmanuscriptintothenearestcornerwhileyouretreattoyourcavetosulk,oritwillmakeyousitup,takenoticeandworktowardsimprovementbytakingthefeedbackgiventoyouandreworkingyourstory.

Rejectionsareavaluablewayforyoutounderstandthestrengthsandweaknessesinyourwriting,andyouasawriter,soyoushouldtakethetimeprocesstherejectionandthereasonswhy.Onceitisprocessed,youcandustyourselfoffandgetonwithimprovingthestory.Thereisnoneedtogiveup.

Anynotesfromaneditorwillhelpyouseewhereimprovementscanbemadeonthewholetheytendtobeveryconstructive.Thingslikegrammar,bettersentencestructures,morecharacterisationandmoreshowingratherthantellingarestaplesofmanyrejections.Andwithabitofthoughtandhardwork,thesethingsareeasilyimproved.

Youmaybeluckytogetamoreindepthresponsefromaneditor,detailingproblemareassuchadialogueorlackofdescription.Ortheymayhavespottedmuchbiggerproblemareassuchasplotflawsorfarfetchedstoryline.

Asthewriter,youshouldtakethecommentsonboardandgobacktoyourworkwithanobjectiveeyetoseehowrighttheyare.Aretherereallyplotflaws?Isthestorylinereallyfarfetched?Ifso,workhardertoimprovethem.

Reallygood,constructiverejectionswontjusthighlightthoseshadyareasthatcouldbemadebettertheyalsotellyouthepositivepoints,thethingsthatdowork.Gettingthingsrightiswhatweallwant,andtoreceivethataffirmationmakesyoufeelbetter,butitalsomotivatesusbecomebetterwriters,whowritequalitystories.

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Rejectionsarenottheendoftheworld(onlyforaboutaday,maybe),beforethecloudsofdoomclearandweseethingsdifferently.Therealisationthat,actually,yourstorydoesneedtobereworked.

Essentially,rejectionsareagoodthing,theymakeusbetterwriters.Theytellusthatwehavetodobettertheytelluswherewevegoneawry.Theyareourheadmistresses,lurkingintheclassroom,makingsurewedowell.

TheyhighlightstrengthsandweaknessesinourwritingTheypickoutflawsinourwritingTheychallengetheofteninflatedopinionswehaveofourselvesaswriters,andbringusdownapegortwo.TheyhighlightvariousareasforimprovementSomearequiteconstructive,highlightingourgoodpointsTheyarenotaboutfailure,butaboutputtinginmorework.

Withtheexceptionofthosewhochoosetoselfpublish(andthusbypasstherejectionprocess),everywriterhasexperiencedrejection.Icouldpaperawallwithallmyrejections.Butwithoutthoserejections,Iwouldnothavebecomepublished.

Lovethemorloathethem,rejectionsaremorevaluablethanwritersrealise.

Nextweek:Topwritingtips.

POSTEDBYAJ HUMPAGEATSATURDAY, JUNE21, 2014

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TheDifferenceBetweenNarrative&Exposition

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Everywriterwillknowwhatnarrativeis,buthowmanyunderstandwhatexpositionis?

Itseasytothinkthatbothtermsmeanthesamething,buttheyaredifferent,andwritersshouldunderstandthosedifferenceswhenitcomestotheirwriting.Notonlydowritersneedtounderstandtherearedifferences,butthatexpositionandnarrativehavedifferentrolestoplayinstoryconstructionandtheyeffectthepacingofthestory.

Theeasiestwaytoexplainthedifferenceisthatnarrativeisawayforthewritertoinformthereaderwithnonactivedescription,awayofsimplyrelayingnonessentialinformation.Initsbroadestsense,thewriteristellingthereader,butthatinformationdoesntreallymovethestoryforward.

Forexample,thisisnarrative:

InthedaysleadinguptoBobbysdeath,Michaelnevergaveasecondthoughttothesafetyofhishorses.Hiscomplacencyhadbecomesoingrainedthatitwasaninvisibleforce.Heshouldhavepaidattention,butintheend,hedidnt.

Youcanseethatthisisnonessentialbackgroundinformationforthereader.Narrativelikethisfillsthegapsbetweendescriptive,activescenesanddialogue.Itistellingthereadersomeinformation,itgivessomecharacterrevelation,butitsnotdescriptiveinanyway,itsmerelytellingthereader.

Exposition,ontheotherhand,givesimportantinformation,itexplainstothereaderinmoredetail,itcontainsdescription,itinformsanditmovesthestoryforward.Thewriterisshowingthereader.

Forexample,expositionwouldbesomethinglikethis:

Thehugechestnuthorsedidntmove,andwhenMichaeltouchedBobbysneck,itfeltfirmandcold.HiseyesweredarkerthanMichaelrememberedthelifedrained,hisessencevanished,leavingbehindaphysicalshellthatcontinuedtodie.WhateverhadkilledBobby,Michaelwantedpayback.

Unlikenarrative,theexpositionisshowingthereaderwithdescription,itsinformingthereader,butitisalso



movingthestoryforwardbyhintingatMichaelsindentations.

Whenisnarrativeeffective?

Narrativeismosteffectivewhenitsbalancedwithdescription(exposition)anddialogue.

Therearetimesinastorythatawriterneedstoquicklyconveynecessaryinformationtothereader,withouttakingtwopagestodescribeit,andthereforenarrativeisessential.Becauseitismerelyrelayinginformationintherightplaces,withlittledisruptionithelpsslowthepaceofthestoryandallowsthereadertotakeabreather,allowingthemtostepbackfromtheactionwhiletheyprocesspriorinformationorevents.Writershavetoallowtheirreaderstotakeabreather,tovarythepace,toteasethem.

Narrativealsogivesthewritertimetoestablishsomebackgrounddetailsandsetting,thetone,andtosetupthenextscenes.

Byitsverynature,narrativewillslowthepaceofthestoryandhalttheactivemomentumthereforewritersshouldbeawarethattoomanylongsectionsofnarrativewilleventuallyborethereader.Theywillwanttogetbacktoaction.Inotherwords,keepnarrativesectionsfairlyshort,butjustenoughtogivethereaderanynecessaryinformation.

Narrativeisalsousedfortransitions,smoothlymovingfromonescenetoanotherwithoutpagesandpagesdescribinghowandwhy.Justafewwordsofnarrativewillaccomplishatransitionalscene.

Theyarealsousedtoestablishflashbackscenes,becauseinjustafewsentencesthewritercantaketheactionbacktoatimeinacharacterspast.Thiscantbedoneeffectivelyifitwaswrittenasexposition,simplybecauseitwouldtakehalfachaptertodoit.

Goodwriterscansuccessfullyweavethenarrativebetweendescriptiveandactionscenesanddialoguescenes.Thatway,thereisnoneedforhugechucksofnarrativethatcouldeffectivelybringthepacetoacompletehalt.

Whenisexpositioneffective?



Aswithnarrative,expositionworkswhenbalancedwithdialogueandnarrative.

InLatin,itmeansshowingforth.Putsimply,showthereaderwhatishappening,donttellthem.Andthatisthecruxofexposition.

Expositioniseffectivewheninterwovenwithdialogueandnarrativeinordertoprovidedepthanddimensiontothestory,becausemostscenesinanystorywillbemadeupofallthreeelements.

Wellwrittenexpositionhelpsthewritertoshowwhatishappening,ratherthanjusttellingthereader.Thedescriptionsgivethereadermoreinformation,morefacts,andmoreemotion,andithelpswithactivescenesbyquickeningthepace.

Unlikenarrative,expositionalsoallowsustohearcharacterthoughts,forexample:

Reflectivecrystalsglitteredinthesnow,brightbeneaththemoonglow.Davidpulledasidethebrancheshehadcarefullylainoverthelargemound,butthesnowanddirtbeneathhadbeendisturbed.

Someonesbeenhere,hethought,andhisheartbeatquickened.SomeoneknewEllenwasburiedhere

Theexpositionherenotonlyshowswhatheisdoing,butalsoshowswhatDavidisthinkingincorrelationtothescene.

Thedrawbackwithexpositionisthatwriterssometimeswritetoomuchofitanditthenbecomesaninfodump.Aswithanything,itsallaboutbalance.Usejustenoughexpositionshowthereaderinacompelling,interestinganddescriptiveway,interspersedwithnarrative,anddialogue,togettherightbalancedeffect.

Inanutshell,narrativeistelling.Expositionisshowing.

Nextweek:Whyrejectionisagoodthing.


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SA T URDA Y , 7 JUNE 2 0 1 4

CreatingSuspense&AtmospherePart2

Lastweekwelookedatcreatingsuspenseandexpectation.

Thisweekwelllookatatmosphereandhowitworksinrelationtosuspenseinordertokeepthereaderontheedgeoftheirseats.

Firstly,atmosphereoftenreferstothemoodandfeelingthatiscreatedwithinthestory.Sometimesitissubtle,sometimesitsobvious.Butrelayingitsuccessfullydependsentirelyhowwellthewriterconveysit.Ifdonewell,thewriterwillhavecreatedanemotionalresponsefromthereader.

Withoutareadersemotionalconnectionwithcharacters,theabilitytocaptureatmospherewillbelost.

Butwhatactuallycreatesatmosphere?

Severalelementshelpthewritercreateasenseofatmospheredescriptionandimagery,sensesandthesetting.Usedseparatelytheyareinterestingelements,butusedtogethertheyhavethepowertodragthereaderrightintotheheartofthestory.

DescriptionandImagery

Descriptionhelpsthereaderunderstandwhatishappeningwithinthestoryitgivesthemmorethanjustaflatlandscapetowalkthrough.Theyrelyondescriptionstoimaginethecharactersandtheplacesandtheaction.Evensmall,descriptivedetailshelpcreateatmosphere.

Butdescriptionisnothingwithoutpowerfulimagerytoenhanceit.

Imageryreferstothesensorydetailsgivenbythewriteritisthecatalysttocreatingmoodandemotions,andultimately,asenseofatmosphere.

Forinstance,adarkhouseinthemiddleoftheforestalreadycreatesasenseofmood.Thecleveruseofdescriptionenhancesthatmoodthingslikeshadows,lowcloud,theintensedarkness,moistureintheair,earthy,mustyscents.Forexample:

Rusttintedcloudsgatheredacrosstheforest,fullwithrain.Behindthegrimywindowsoftheoldfarmhouse,



theshadowsofthepastskulkedwithoutpurpose,foreversilenced,exceptforthewindraspingthroughtheitsemptyhallways...

Thedescriptioninthisexample,inlaidwithimagery,createsasenseofforebodingandunease.Thesefeelingsandemotions,andtheimagery,createsatmospherebecauseitismanipulatinghowthereaderwillfeel.

Ifitwaswrittenwithdifferentdescriptionandimagery,itwouldcreateanentirelydifferentatmosphere,forexample:

Marshmallowcloudsdriftedacrossanazuresky,andreflectedthesunlightacrosswideopenfields.Behindthepristinewindowsofthefarmhouse,childrenchasedeachotherfromroomtoroom,fillingtheairwithvoicesofdelight.

Youcanseehowthemoodisdifferentandtheatmosphereisoneoflightandplayfulness.Therightchoiceofwordscreatesevokesentirelydifferentfeelingsforthereader.

Youdonthavetooverdescribe,butthinkcarefullyhowyourdescriptionsbuilduponandmaintaintheatmosphere.

TheSenses

Inadditiontodescription,writersusethesensestoenrichthedescriptionandoverallmood,whichtheydonotjustthroughdescription,butmoreimportantly,throughtheircharacters,becausethiscreatesasenseofimmediacy.

Whatcanthecharactersee?Whatcantheysmell?Cantheytasteanythingontheirtonguethesaltyhintofseaairmaybe?Whatcantheyhear?Asoftbreezeonasummersday,orthelowgrowlofastorm?

Whatiftheyreachedoutandtouchedsomething?Whatwouldthatsomethingfeellike?Isitsoftandwonderfulorisitvileandsticky?

Theseelementscanhelpthereaderimaginethesesenses,andagainthechoiceofwordsandtheanticipationcreatesatmosphere.

Setting

InmypreviousexampleIusedanoldabandonedfarmhousesurroundedbyaforest.Thisisthesetting.



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Bythevirtueofitbeingabandonedtoshadows,italreadycreatesatmosphereandthereaderwillimmediatelypickupontheeerinessandtheseclusionandthetrepidation.

Thesettingthatyoucreatecanevokesomethingwarmandfuzzy,oritcanbecreepyandscary.Itcouldbesomethingnicetakingplaceinthedaytime,oritmightbesomethingterribleabouttohappenduringnighttime.

Weatherconditionscanformpartofyoursetting,soyoucouldhaveascenewiththesunandtheheat,oryoumightwantathunderstormandthecoolnessoftherain.Eachoneconjuresdifferentconnotations.

Whateveryoucreate,theyallformpartoftheoverallatmosphereandhastocreateastrongresponsewiththereader.

Considertheimagerycertainwordscancreate,thinkabouttheemotionalresponsesyoucouldgeneratewiththerightchoiceofwords,whethertheyarepositivereactionsornegativeones.

Whenyoumixtogethertherightdescription,therightimagery,thesetting,andyouinvolvethesenses,youcancreateatmosphere,mood,tension,anticipation,trepidationthelistisendless.Andallthesekeepyourreaderontheedgeoftheirseats.

Nextweek:Thedifferencebetweenexpositionandnarrative.


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