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2/23/2015 AllWriteFictionAdvice:June2012
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SA T URDA Y , 3 0 JUNE 2 0 1 2
DoesObservationMatter?Imaginationaloneisntalwaysenoughtohelpyouwrite.
Writerscanfilltheirstorieswithasmuchmadeupstuffastheylike,butthereisnosubstituteforastuteobservationthekindofthingsthataddfinebrushstrokesandlayerstoyournarrative.
Observationisoneofthosethingsyoucanchoosetoincludeinyourwriting,ornot.Itsentirelyuptothewriter.Butwritingwithoutsomeobservationislikeapaintingwithoutcolour.Itsaboutnoticingthesmallerdetails,thebackgrounds,theminutiae.Thekindsofthingsthathelpbuildapicture,asceneoralandscapeinthereadersmind.
Artists,forinstance,dontpaintwiththeirhandsfigurativelyspeaking,theypaintwiththeireyes.Thatsbecause,onadeeperlevel,theirobservationandstudyoftheirsubjectiswhatistranslatedtothecanvas.Thesameistrueofwriters.Whatawriterobservesandstudiesistranslatedintothewrittenwordandthenbuiltintothenarrative.
Observationplaysanimportantpartinwriting.Itsatoolthatwritersusetoembellishtheirdescriptionstogreateffect.Itmeansthewriterhaspaidattentiontocertaindetails,ratherthanglossedoverascenewithoutputtinginanyefforttosupportit.
Youcould,forinstance,writeaboutanighttimescene
A LL WR IT E F I C T IONADVICE
IsBackstoryNecessary?CreatingLastingImagesTrustYourMemoriesReadingYourMSSOutLoudSortingFactfromFiction
WE LCOME T O A L L WR IT E
Soyou'veembarkedonyourfictionwritingjourney.
It'soneofthehardestthingstodocreateawhole,believableworldforotherpeopletoenjoy,especiallyifyou'renewtowriting.It'salsooneoftheloneliestjobs,especiallywhenthereisnohelporadviceorsupport...sorightheretherewillbehandyarticles,examplesandsimplestepbystepguidestohelpmakethecreativeprocessthatmucheasier.
FE BRUA R Y FE MME SFA T A LE S
Thisnewdeliciouslydarkanthologyisoutnow,witharangeofstunningfemalewriterstoscareanddelightinequal
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A L L WR I T E F I C T I ON ADV I C EA D V I C E O N C R E A T I V E WR I T I NG
2/23/2015 AllWriteFictionAdvice:June2012
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withafullmoonoveralandscape.Mostwriterswouldprobablyoptfortheobligatorycloudsfloatingacrossthefaceofthemoonscenario,ormaybementiontheprettytwinklingstarsclich,oryoumightmentionhowbrightthemoonis,whichalsoseemstobeastaplefavourite.
Buthaveyoueverlookedatthemooninclosedetail?Evernoticeditscolours?(Itsnotjustbrightandgrey).Evernoticedthewayitshimmers(yes,evenatnight,duetoatmosphericconditions)?Evernoticedthewonderfulcolourswhencloudssometimesobscurethemoontherusts,thebluehuesorthepaletintscausedbythemoonslightpassingthroughthemandthusmakingthecloudstranslucent?Evernoticedthedifferentwaysthemooncastsitglare?Orthatsometimesthemoonseemssmallinthesky,andothertimesmuchlarger?Andthemoonhasdifferentphasesofcourse.
Thatsthedifferencebetweenpayingattentiontodetailinsteadofrelyingonclichtofillyournarrative.
Eventheseeminglytiny,unimportantobservationscanmakethedifferencetoyourreader.Dontunderestimatehowwellthereadersubconsciouslyabsorbswhatyouwrite,becausethefinerdetailshelpthemtobuildanentirepictureofthescene.
Observationalsoaddsahintofrealitytothewriting,andreaderslovethatkindoftouch,thatfamiliarity.Itmeansthatifyouveexperiencedsomethingfirsthandorseensomethingforyourselfnotjustpeople,placesoreventsandsoonthenthatsliceofreality,andtheabilitytodescribeit,addsmuchmoretothenarrative.
Anotherimportantaspectofobservationisthatitiscloselyconnectedtotheshow,donttellmaxim.Takeflowers,forexample.Theyarentjustprettycolours.Lookcloserandyoullseethatpetalshavetexture,shape,definition,folds,lines,veinsetc.Cloudsbecomemorethanjustcloudswhenyoustoptoobservethem.Coloursbecomemorevibrantthemomentyoustartnoticingthem.Peoplebecomefascinatingthemomentyoustudythemandsoon.
Everythingisobservableand,therefore,thereisalwayssomethingthatyoucanaddtoyournarrative.
Ifyouwantyourdescriptionstobevividandauthentic,thengothatlittlebitfurtherandshowthereader,dont
measure.Iamprivilegedtohaveeightshortstories/poemspublishedinthisbook,soifyoulikeyourdamesalittledarkanddangerous,thisisthebookforyou.
NOW A VA I LA BLE ONAMA ZON
FebruaryFemmesFatalesTheBook
WISE WORDS . . .
Writingislikebeingmarriedyouhavetoworkhardatmaintaininghappinessandequilibrium,butinvariablyonealwaysendsupinthedoghouse.
A BOUT ME
AJHUMPAGE
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publishingindustry.I'vepublishedarticles,studyguides,poems,flashfiction,shortstoriesandanovel.IalsoworkfulltimesoI'mALWAYSworking.
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justtellthemtheresayellowflowerinafieldoracloudinthesky.Letyourobservationscometolife,letthemtouchthatflowerandseethoseclouds.
Youshouldalsoutilisethesensestoenliventhenarrative.Somanywritersoverlookthesensestheyforgettodescribescenesadequatelytheyforgettohintaboutscents,colours,textures,tastesandsounds.Thislastonesoundisbyfarthemostneglectedinnarrative.Thereisalwayssoundaroundus,sowhydowritersforgetthatitsthere?
Anobservantwriterisacleverone.Why?Becauseitstheonethingthatmarksflat,boringtellingdescriptionfromvibrant,richnarrativethatshowsthereader.
Everythingweseeandhearandexperienceformsabankofmemoriesandrecollectionstousewhenwriting.So,nexttimethereisathunderstorm,stopandlistentothesounds.Watchhowtherainformsonwindowsorsurfacesseehowthewindplayswiththetreesandsoon,lookattheshadesofthesky.Observeandpayattention.
Doesobservationmatterinfictionwriting?Yes,absolutely.
Nextweek:Howtopolishyourprose.
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SA T URDA Y , 2 3 JUNE 2 0 1 2
Whattypeofwriterareyou?Thetortoiseorthehare?
EveryoneknowstheoldfableabouttheHareracingthetortoise,andtheassumptionthatbecauseofhisspeed,theharewilleasilywin,untilhedecidestotakeasnooze,leavingthetortoisetoovertakehimandambleacrossthefinishline.Mostwritersfallintodiscernablecategories,dependingonhowtheyapproachwriting,andsomecouldbedescribedasharesandothersmightbemorelike
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tortoises.
Writersareasindividualasfingerprintswhenitcomestowriting,buthowdoyouapproachyourwriting?Areyouthekindofwriterthatlikestodispensewithmeticulousplanningandinsteadrathergetrightintothewritingandlettingthestorygowhereverittakesyou?Orareyoumorelikelytotakethetimetocarefullyplanindetailandplothowyourstoryandcharacterswillevolve?
Perhapsyoufallbetweenthetwotypes.Youmightbeamixofbothyouliketogetonwithit,butmightdoalittlebitofplanningbeforehandtoactasaguide.
Somewriterstearheadlongintotheirwriting,spurredbyinspirationandexcitement,theypushoutasmuchastheycaneveryday,whileothersliketoworktospecificdailywordcountsasasettarget,andfeeltheyhaventachievedanythingunlesstheyvewritten2000wordsorso.
Thesetypesdontreallyplanororganisetheyjustgowiththeflow.And,onaverage,theyspendlesstimereflectingonthestoryormusinghowplottwistsandcharactersshoulddevelop.Theyliketojumprightinandjustgetonwithitwithoutworryingtoomuchabouttheintricaciesofwriting.
Ifthisresemblesthewayyouapproachwriting,youremorelikelytobeahare.
Somewriters,ontheotherhand,approachwritinginadiametricallyopposingway.Unlikehares,theytaketheirtimetoplaneverything,theypourovereverysentence,everyword,theyspendhoursthinkingoftherightconstruct,therightdescriptions.Theyrethinkingofplotandcharacterdevelopment.
Inthattimetheymightonlyproduceafewhundredwords...ornoneatall.
Ifyouidentifywiththiskindofwriter,youremorelikelytobeatortoise,andthatsnotmeantinanegativeway.Neitherisbeingahare,becausethetypeofwriteryouaredoesntreflectofthequalityofthewriting.Nomatteryourapproach,eventuallytheendresultshouldbeahighlypolishedpieceofwork,becauseitistheeditingafterwardsthatcounts,nottheactualwritingofthepiece.
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Harewriterstendtoapproachmostthingswithgusto,whiletortoisewriterstendtotakealongtimetoconsidertheirwritingandalsotheyreflectmoreoftenonwhattheyvewritten.
IfallintothetortoisecategoryIliketoplan,Iliketoplot,IcanspendhoursconstructingandthendeconstructingsentencesandparagraphsandIcanspendjustaslongdecidingwhatwordstochoose.Imighttakeanhourtowritehalfapage,itmightbethatIonlywrite500wordsinonesession,othertimesitmightbemore.
AgoodexampleofatortoisewriterisJamesJoyce,whofamouslycommentedtoafriend,whohadenquiredhowUlysseswasgoing,Ivewrittenawholesentencetoday.
WhenthefriendenquiredagainonJoycesprogressthenextday,Joycereplied,Forgingaheadwonderfully.TodayIcrossedoutthesentence.
AnotherisOscarWilde,whooncesaid,Iwasworkingontheproofofoneofmypoemsallthemorning,andtookoutacomma.IntheafternoonIputitbackagain.
OrwhataboutClarenceBudingtonKelland.Igetupinthemorning,tortureatypewriteruntilitscreams,thenstop.
Howweapproachourwritingisanindividualthing.Someofusplan,someofusdont.Someofusreflect,someneverthinkaboutthewritingtoomuchuntilitstimetoedit.Someofuscanproducethousandsofwordsinnotime,someofuscant.Somejustwriteandletthestorygowhereitwantstogo,whileothersplanrightdowntothelastdetail.
Someofusmightbehares,someofusmightbetortoises,othersareinbetween.Themostimportantpartofthewritingjourneyishowitsalleditedandpulledtogethertomakethefinishedproduct.Thatswhatcounts.
So,whattypeofwritermightyoube?
Nextweek:Doesobservationmatter?
POSTEDBYAJ HUMPAGEATSATURDAY, JUNE23, 20122COMMENTS: L INKSTOTHISPOST
June(5)DoesObservationMatter?
Whattypeofwriterareyou?
TheArtofForeshadowing
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SA T URDA Y , 1 6 JUNE 2 0 1 2
TheArtofForeshadowingAwritersjobisntjustabouttellingastory.Itsmorecomplicatedthansimplestorytelling,becausetherearesomanydevicesavailabletohelpwritersimproveandenrichtheirwriting.Oneveryusefultoolavailabletowritersistheartofforeshadowing,orinsimpleterms,theartofsubtlerevelation,forewarningandteasing.
Itssurprisinghowmuchforeshadowingisoverlookedinfictionwedontalwaysthinkaboutlittlethingslikethisandwetendtoforgettheminuteintricaciesthathelpbringdepthandrichnesstoourstories.
Whatdoesforeshadowingdo?
Foreshadowinghasmanyfunctions,fromprovidingsubtlehintsaboutcharactersorsituations,cluestoeventsyettohappen,toimpartingnecessaryinformation,butitalsoservestomovethestoryforwardandtosometimesdeliberatelywrongfootthereader.
Foreshadowingmoreoftenthannotbringsanextradimensiontothestory,becauseitmeansyouarehintingatwhatmightcome,whatmighthappen,whatcouldoccurfurtherintothetale.Itsaboutteasingthereaderwithsnippetsofinformation,bymakingthemprivytowhatishappening,thereforethereaderwillknowwhatmighthappen,butyourcharacterswillbeoblivious.
Thismeansthereadercanlookforwardtoaneventthatmighthappenfurtherintothestory,ortheymightevenguesstheoutcome.
Foreshadowingalsoaddsalittletension,anticipation,moodandatmosphereregardingwhatmighthappen.Itcreatesthatsenseofsuspense.
Youmightwanttodeliberatelyfoolthereaderintothinkingsomethingwillhappen,andthenthestorytwistsinanotherdirection,butithastobejustifiableandshouldnotleavethereaderfeelingcompletelymanipulatedinawaythattheyfeeldissatisfiedorcheated.
Oneimportantprocessistomovethestoryforward.
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Foreshadowingdoesthisbyallowingthereadertojumpintotheforeseeablefutureofthestoryandguesswhatmighthappen,thusteasingthem.Thisallowsthestorytomoveforwardbecauseofanticipationandguesswork.
Writerscanalsouseforeshadowingasadeviceforplotdevelopment,becauseifthereisasnippetofinformationorasymbolicteasethatisdirectlyassociatedwiththeplot,thenonceagainthewritercanmakethereaderprivytoafuturestorydevelopment.
Effectiveforeshadowingisaskillithastobesubtleandsymbolicwithoutgivingtoomuchaway,orbybeingtooovert.Ifnotdonecarefully,theforeshadowingmightseemtooobvious,toocontriteortwoforced,andmightallowthereadertowhollypredicttheoutcomeofthestory.Henceastoryorfilmorplaybecomestoopredictable.
Whyisitimportant?
Ifawriterfailstoincludesomeformofforeshadowing,thenthereisadangerthatanincidentoroccurrenceinthestoryhappenstoounexpectedlyandleavesthereaderconfusedandwonderingwhyitwasntmentionedearlier,orwhytheyareconnected.
Theskillwithitisnottogivetoomuchaway,butatthesametime,thewritershouldntprovidetoofewdetailsthatitsbecomesconfusingforthereader.
Howisitachieved?
Foreshadowingshouldhingeonlikelysignificanteventsinthestory,soitsaboutfindingoutwhichofthesignificanteventsorincidentsyoucouldforeshadow,thenplantlikelyhintsorperhapsimpartinformationtoteasethereader.Youmightdothisbymentioningsomethingindialogue,somethingthatthecharactersareplanningperhaps,oryoucouldhintwithinthenarrativeaboutsomethingsignificant.
Youdonthavetobeovertyoucoulduseweather,likegatheringstormcloudstosignifysomethingdarkabouttohappen,oritcouldbetherepetitionofacharacterswordsorbehaviour,itmightbethesymbolicnatureofaspecificcolour,somethinghappeninginthebackground...itcanbeanything,aslongsasitissignificanttothestoryandspikesthereadersinterest.
Andofcourse,ifyoudoforeshadowsomething,make
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sureyoucarryitout.Donthintatsomethingandthendonothingaboutitandleavereaderswonderingwhatorhoworwhy.
Example:
Helookedatthecrimsonroseontheseatbesidehim,richincolour,atokensymbol.Hehadalwaysluredthemwithrosesthedeepcolouroflife,velvetytothetouch,lushwiththetemptationofloveanddeath
Thisextractforeshadowsfutureeventsthroughthesymbolicnatureofarose.Hehadalwaysluredthemwithrosesisamassivehint.LushwiththetemptationofloveanddeathThissuggeststhatwhoeverhegivestherosetomightendupintrouble.
Itsunderstatedandsubtleenoughtosinkintothereadersconscience.
Summaryofforeshadowing:
HintatinformationGivecluestoeventsyettohappenMovethestoryforwardthroughrevelationTeasethereaderMisleadthereader,butalwaysmakeitjustifiedEvolveplotdevelopment
Whicheverwayyoudecide,dontmakeittooobvious,letthereaderdotheworkbecausetheyareverygoodatreadingbetweenthelines,butmostofallletthemenjoythatsenseofanticipationandsuspenseofwhatmightcome.
Nextweek:Whattypeofwriterareyou?
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VaryingtheNarrativeforBetterWritingThereare,onoccasions,whenfictionwritingcausesnumerousheadachesforwritersintheirpursuitofbetter
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writing.
Oneofthoseheadachesistherateofuseandoccurrenceofheandshewithinsentencestructures,andinparticular,theincidenceoftheoldhesaid/shesaid.
Heandshebecomesocommonplacewithinthenarrativewhenwearewritingthatwetakethemforgranted,butitsnotuntilyoureadbackthroughourstorythatyourealisejusthowmuchyouhavereliedupontheirusage,andonlythenyoucanappreciatehowclunkyyourdescriptionsmightappeariftheyareoverused.
Ofcourse,usingthemiscompletelyunavoidable.Wealldoitandwedoneedthem,butaswithadverbsandadjectives,writerscanlimittheamountofhesandsheswithinsentencesbytighteningandtidyingthenarrativesothatitnotonlyreadsbetter,butitlooksbettertothereaderseye.
Lookbackthroughpreviousmanuscriptsandstoriesandyoumightbesurprisedjusthowmanytimesitoccurs.Theycanclogthenarrativewithoutyouevennoticing.
Thisisatypicalexampleofwhatyoumightfindinanaveragestory(Ivehighlightedtheoffendingtags):
Helookedather,unsure.
Shesmiled.Iwouldnthaveaskedifitwasntagoodidea.
Thebreezecoiledaroundthem,chillynowthecloudshadgathered.
Itsnotthat,hesaid.Ijustdontthinkweshouldgobackthere.
Shesidleduptothecar.Wedonthaveachoice,Mike.Iwantthathouse.
Hisshoulderssank.Hecouldfeelthehintofrainonhisface.Heapproachedthecar.Butthathousegivesmethecreeps.
Whilethereisnothingactuallywrongwiththeaboveexamplesentencestructure,itcanbefurtherimprovedsothatitreadsbetterandismoreconcisebyimprovingthewritingandvaryinghowsomesentencesarestructuredso
2/23/2015 AllWriteFictionAdvice:June2012
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thathesaidandshesaidorhethisandhethatetc,dontmakethewritinglooktoostilted,wearyorrepetitive.
Youcandothisbyreplacingheorshewiththecharactersnameeverynowandthen(alwaysuseinmoderation),youcouldrearrangethesentenceorder,oryoucouldremoveoraddcertainwordstomakethesentencesmoresuccinct.
Areworkedexamplemightreadlikethis,withthemodifiednarrativehighlighted:
Michaellookedather,unsure.
Shesmiled.Iwouldnthaveaskedifitwasntagoodidea.
Thebreezecoiledaroundthem,chillynowthecloudshadgathered.
Itsnotthat.Ijustdontweshouldgobackthere.
Jesssidleduptothecar.Wedonthaveachoice,Mike.Iwantthathouse.
Hisshoulderssank.Heapproachedthecar,feltahintofrainonhisface.Butthathousegivesmethecreeps.
Thefirstlineusesthemalecharactersname,Michael.Thefourthlinedispenseswithspeechtagsaltogether,becauseitsclearMichaelisspeaking.Thefifthlineusesthefemalecharactersname,Jess,whilethesixthlinemakesuseofthenarrativetocompletelyrearrangeHecouldfeelahintofrainonhisface.Heapproachedthecarandchangestoabetterchoice.
Theseexamplesareverysimple,buthopefullytheyshowhowalittletweakingandaforethoughtcanimprovenarrativewithoutthatmucheffort.
Intheend,itallcomesdownvariationandmoderationtosentencestructure.Getthestructurerightandyouwonthavetoworryabouthowmanyinstancesofheorshesprinkleyournarrative.
Hesaid/shesaidThesameprincipleappliesaboutconstructingbettersentenceswherehesaidandshesaidcropupateveryopportunitywithoutthewriterevennoticing.Again,itsallaboutvariationandmoderation.
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Heresverysimpleexampleofthekindofscenethatwritersslipintowithoutrealising,wherehesaid/shesaidbecomescommonplace:
Theresnowhereforyoutogo,hesaid.
Notunlessyouhelpme,shesaid,tight.Ineedtogetintothemountainsandfindhim.
Butyoucouldbeheadingintotrouble,hesaid.Hismenwillkillyou.
Areyougoingtohelpmeornot,Simon?sheasked.
Look,itsnotthateasy,hesaid.
Nowheresthesamescene,tweakedtocutoutsomeofthehesaid/shesaidtags:
Tilleygrippedherarms.Theresnowhereforyoutogo.
Notunlessyouhelpme,Alexsaid,tight.Ineedtogetintothemountainsandfindhim.
Butyoucouldbeheadingintotrouble.Hismenwillkillyou.
Hereyesdarkened.Areyougoingtohelpmeornot,Simon?
Hesighed.Look,itsnotthateasy.
Byswitchingthesentenceorder,removingsometagsandaddingafewwords,youcanmakethesentencebetter,tighter,andinsomecases,youcandoawaywithallthosespeechtagsaltogether.AllittakesisalittletimetothinkabouthowyoustructureyoursentencesbyaskingyourselfCanImakethembetter?
Butshouldthisreallymatter?Inthegrandschemeofthings,notreally.Notunlessyouwanttobecomeabetterwriter,thatis.
Awriterisasonlyasgoodashisorherwillingnesstolearn.Ifwritersdontwanttolearn,thatsfine,buttheywillneverevolveandthereforeneverimprove.
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Iftheydowanttolearn,thenthelittlethingslikethisarejustasimportant,sonexttimeyoucatchyourselfwritingheandshetoomuch,orhesaid/shesaidumpteentimesinascene,takeamomenttodecideifyoucanreworkthenarrativeandmakeitbetter,tighterandmoreconcise.
Nextweek:Theartofforeshadowing
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TricksoftheTradeHandyTipsAswriters,werealwaysonthelookoutforhelpfuladviceandhints,andeverywritershouldgetusedtousingsomeofthetricksofthetradeinordertoimprovetheirfictionwriting.Theyaretheretomakeoutlifemucheasier,andourwritingmuchbetter.
Hook
Notsurewheretostart?Startwithahook.Somethingthatinstantlysparksthereadersimagination.Getstraightintotheheartoftheactioninyourfirstchapter.Thatwaythereislesschancetoborethereader.Grabthemfromthestartandkeepupthesamemomentum.
Slownarrative
Whenyoureadthroughthenarrativeandyoufinditseemstoplodinallsortsofareas,thatsaclearindicationthatyouneedtoadjustthepaceofthenarrativebyspeedingthingsupandgivingitsomebalance.
Slownarrativeoccurswhentherearefewactionscenes,verylittleconflict,notmuchdialogue,toomuchdescriptionandnotenoughbalance.Also,prologuescanmakethepacebecomeslowbeforeyouveevenstartedwritingthefirstchapter,soavoidthem.
Youcanadjustthepaceofthestorybyaddingdialoguerelevanttothestory,actionwherenecessaryandconflictallofthesetoolshelpmovethestoryforward.
Fastnarrative
Whenyoufindthenarrativerunningawayatablisteringpace,withoutleavingyoubreathingspace,thatswhenyouneedtoslowthings
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down.Thisgivesthereaderchancetopauseandreflectandalsodoesthesameforyourcharacters.
Youcanaccomplishthisbyseeingwhereyoucouldaddsomereflective,slowersceneswhilestillmovingthestoryforwardperhapswithsomemoredialogue.Descriptionisabrillianttoolforslowingthepace,orperhapsyoucanuseaflashback.Thesehelpbreakupthepaceofthenarrativeandallowthereadersomebreathingspace.
Movingthestoryforward
Thisisanimportantpartoffictionwriting.Youmustalwaysmovethestoryforward.Ithastohavethatmomentumuntiltheend.Butwhatifyouthinkthestoryisntgoinganywhere?Whatifitseemstohavecometoahalt?
Thereareseveralwaystodomovethestoryforward:
Revealpartsofthestorythroughdialoguethismovesthestoryforwardandalsoincreasespace.Pivotalactionscenesalsohelpmovethestoryalong.Createimmediacycharacterisationandgooddialoguehelpcreateasensethatthereaderisrightthere,withinyourstory.Providenecessaryinformationinotherwords,useyourcharacterstoimpartpertinentinformationabouttheplot/story.Thiscanbedonethroughtheirinnerthoughtstheiractionsorthroughdialogue.
Doesitallmakesense?
Readyourstoryaloud.Thismaysoundstrange,butitworkswondersforyourwriting.Thatsbecauseyouarenotjustreadingasyounormallywouldanovel,butyouarelisteningtotheresonanceofthenarrativeanddescriptions,youarelisteningtothedialogue,youarelisteningtohowthewholethingsoundsandflows.
Youwillimmediatelynoticeifthenarrativedoesntflowcorrectlyorifitdoesntfeelright,youwillinstantlypickuponcheesyorirrelevantdialogue.Youwillnoticeglaringplotflaws,youwillnoticeifyouneedmoredialogueordescription,orwhetherthestoryneedsmoreorlesspace.
Youwillbecomeawareofthesethingsbecausewedontalwaysdetectthemwhensimplyreadingtoourselves.
Cliffhangers
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Needawayofkeepingthereaderinterested?
Cliffhangers.Theartofagoodstoryisnotonlybeingabletotellagoodstory,butalsotheartofteasingthereaderateveryavailableopportunity.Thatmeansleavingalittleteaserattheendofeachchapter,somethingthatmakesthereaderwanttoturnthepageandfindoutmore.
Alwaysengagethereaderwhereverpossible.Youemploythesametacticattheendofkeyscenestoo.
Plantinformation
Itdoesnthavetobeoverthetop,butplantingsimple,subtlehintsforthereaderkeepstheircuriositybrewing,somethingtheywillknoworbecomeawareoffurtherintothestory,(butthecharacterwont).Thiskeepsthereadersinterestfirmlyonthestory.
Toomuchdialogue
Toomuchdialogueusuallymeanssomecharactersaretalkingirrelevantrubbish.Theconsequenceofthisisthatitdoesntmovethestoryforward.Cutouttheextraneousdialogueandreplacewithdescription,actionorconflicttobalancethingsup.
TheBigSleep
Areyouindangerofsendingyourreaderintoadeepsleepwithastorythatseemslimpanduninspiring?Ifso,thenyourstoryneedsactionandconflict.Certainlynostorycanbeastorywithoutconflictofsomesortthisiswhatdrivesthecharactersandthestory.
Ensureyouhavetherightbalanceofactionscenesandconflictbetweencharacters.Entertainyourreader,dontborethem.
Alwaysrememberthatyourstoryneedsconflict,action,dialogue,descriptionandpace,andaboveall,youmustalwaysmovethestoryforward.
Nextweek:Varyingthenarrativetoavoidtoomuch'hesaid/shesaid'.
POSTEDBYAJ HUMPAGEATMONDAY, JUNE04, 20124COMMENTS: L INKSTOTHISPOST
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